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AUDITION BOOTCAMP ONLINE COURSE IS HERE!

“How To Audition For Film and Television: Audition Bootcamp” is now online!

 

Hey gang, Happy Holidays! I wanted to let you in on a special limited time offer on a new online course I’ve created. Thousands of people have bought my Audition Bootcamp DVD and many have asked me to put it online.

Are you a really well trained actor, but you seem to stumble when it comes to auditioning?!

Or, are you just starting out and need a road map to navigate the slippery slopes in Hollywood?

How would you like a VIP pass to learn casting secrets on booking more acting jobs from one of the top Casting Directors?

Based on my top-selling DVD, Marci Liroff’s Audition Bootcamp, I created a one-of-a-kind online class to help actors learn exactly what it takes to win the role in a film and television audition. I’ll take you step by step on the audition process.

This is a must have for any actor! The online course is designed to provide a clear perspective of acting and auditioning from the business end to the creative side. From my over 35 years as a casting director and producer, I will give you insider secrets such as:

  • Audition techniques that will make them remember you
  • Re-framing your perspective to book more jobs
  • On-camera technique to show that you’re a pro
  • Essential knowledge into the competitive world of auditioning from the point of view of directors, producers, studio executives and casting directors.
  • Easy-to-follow video clips take you through the process from preparation, what you should be doing in the audition room (and what not to do!), and your all-important mindset before, during and after the audition.
  • As an added bonus, several of my blog articles are included throughout to highlight the course.

Competition is huge in this business – this course will give you the edge over other actors.

I know you’re all being sold gimmicks and tools and shortcuts to “Get on the red carpet” and “Get on the A-List”…frankly I don’t think that should be your goal. If all you’re seeking is fame, then you’re probably in it for the wrong reasons.

I believe, and I think you do too, that you’re an artist – a storyteller. You want to be on stage and on screen because you have a story to share and characters to embody.

“Your audition should not feel like a visit to the doctor! It is your time to show us what you’ve got. I will help you feel more in your body than you’ve ever felt before.” – Marci Liroff

Read what people are saying about Marci Liroff’s “How To Audition For Film And Television: Audition Bootcamp” – scroll down after class description to “Testimonials”

I’m teaching this course on the UDEMY website. UDEMY is an online education platform and one of the largest destinations for online courses. I find it to be easy to use, free to join, well organized and once you subscribe you have lifetime access to my course.

The course is priced at $29. You can get a lifetime of viewing for this course here. I’ll be adding new lectures throughout the year.

Make a commitment to yourself and take advantage of a rare opportunity to sharpen your audition skills under the guidance of one of the most respected and successful casting directors in Hollywood.

Happy Holidays everyone. I hope you’ll take advantage of this offer!

Marci Liroff

DON’T TYPECAST YOURSELF TO DEATH

By Marci Liroff

8551519887_af60cb9ae8_cPhoto credit: Alma 7:12

Have you ever gone on an audition, walked into the waiting room and found 10 actors there who were nothing like you? All different types? “Soup to nuts” as it were? I’ve heard actors tell it this way—“Clearly they had no idea what they’re looking for. They had men, women, and six different ethnicities up for the same role!”

I’m going to let you in on a little secret. We’re being creative. When I get a project to cast, first I go through my database and come up with lists for each role. These lists are part wish-lists, part reality lists (as in who we can actually get realistically), and part thinking outside the box and being creative.

I was casting the original “Footloose” movie and the role of the father called for a very charismatic, handsome, salt and pepper haired, Paul Newmanesque preacher. I thought, yes, that’s good, but what about John Lithgow? I know, nothing like the character as written – but I had just seen him in “The World According to Garp” as a transsexual, and Brian DePalma’s “Blow Out” playing a serial killer, and I thought, “This guy is brilliant! Wouldn’t it be cool to see him play something completely different?” The director, Herbert Ross, looked at me as if I was crazy. I begged him to let him audition. Lithgow read one scene with me and Ross gave him the role in the room. I also did the same thing with the Chris Penn role. It was written as a handsome jock football player. I had just cast Penn in “All The Right Moves” and I was in love with his “bull in a china shop” quality. He auditioned and they liked him so much for the role they re-wrote it to fit his unique qualities.

Don’t turn down an audition because you think you’re not right for it. If we think you’re right and are willing to give you a chance to audition, go for it. Remember, we know what’s going on behind-the-scenes creatively. If you give a good audition but are ultimately not right for the role, two things can happen—we may re-conceive the role for you, or we’ll remember you and bring you in for something else. Generally, go to any audition you get and knock it out of the park. I say generally, because there are exceptions to the rule. Sometimes you get an audition for a part you just can’t seem to crack or you feel it’s something you’d never be able to do due to it’s sexual or violent content. Better to pass on the role. You don’t want to give a bad audition because we will definitely remember it—and we have long memories! Come in and make it your own. A director I know said, “Tell me something about the character that I don’t know.”

I have so many stories about actors coming in for a role, not getting it, and getting another role because they made such a huge impression on us. It’s good to know your “type” but you need to know that there are a lot of casting directors and filmmakers out there who love to take chances and cast against type. As an actor it’s your job to interpret what’s on the page and put your unique stamp on it.

Have you ever been cast against type? Or have you gone in for one role, and gotten another down the line because they loved what you did? Please share your stories.

Glad you’re here!

Marci

 

 

 

HOW TO RUIN YOUR AUDITION IN ONE EASY STEP

8821230126_015e2916edPhoto credit: Wonderlane

By Marci Liroff

I was casting a TV pilot a few years ago and one of the roles was described as an “Old-World Hollywood agent. He even wears a pocket square in his suit jacket.” All of the lovely actors who came in were dressed to the nines.

I brought in an actor from Canada who I didn’t know personally, but had seen his demo reel and was impressed. It was enough to convince me to bring him straight to the producers without a pre-read because I was pressed for time. He had a great comedy background and was a fresh face out here so I thought it would be an interesting audition at the very least.

When you work on a television show the writers are often the creators and producers of the show. I had a full house that day with the director for the pilot, the star/creator/writer/producer and his writing/producing partner as well.

Mr. Canada showed up wearing a grungy leather jacket, ripped up jeans (not the designer kind!), and a wrinkled t-shirt. I thought to myself, “Wow, this guy must be really good to be so carefree about how he’s dressed for his audition!” He sat down, didn’t say much, put on his “readers” (half-glasses), and began to read the scene off of the page. Our creator/star read with all the actors. The actor continued to read, face down in his sides. He’d look up briefly to see that we were all still there, but basically just read off the page. I felt the energy in the room shift. I saw steam start to come out of the producer’s ears. My face got all hot. Then it happened. As if things weren’t bad enough, Mr. Canada decided to try his hand at a joke and change the dialogue. He was sitting in the presence of one of the hottest veteran comedians for the last 30 years who had a long-running hit TV show and he thought he’d show them how funny he was by changing their dialogue. The line read, “Boy! Somebody’s got a bee in his bonnet today!” referring to how our star was being cranky. He changed the line to, “Boy! Somebody’s got a bee in his yalmulke today!” – he was referring to what a Jewish man wears on his head in Temple. He tried to make a Jewish joke to the Jews in the room. At that point, one of the producer’s head exploded. The other producer was so furious he literally turned his entire body around on the couch to face the back of the room, away from Mr. Funny. I felt myself sinking into a pool of hot molasses.

He finished his scene. We all just sat there staring at him. You could hear a pin drop. I said “thank you” and he slunk out of the room. Then everybody turned to look at me with a giant “what the f*ck was that?!” look on their collective faces. I had no answer. I threw myself on the sword. I took responsibility for this guy being not prepared, not caring about how he dressed, and the ultimate sin – changing dialogue.

You have to remember that by the time you finally get the script it has been through months of revisions and rewrites, and notes from the studio and network. The writers want to hear their words. They get very attached to them.

I’ve worked with some directors who openly say, “I’m not attached to the material – it’s ok if you riff with it a bit”. That’s the time to improvise. Otherwise, stick to the material you’ve been given, put your own unique spin on it from your well-thought out character choices, then let it fly….as written.

Please share your experiences when you improvised and it didn’t work…or it worked beautifully! There are exceptions to every rule. I want to hear your stories!

Glad you’re here!

Marci

 

 

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