Okay, It’s time to talk about your self-tapes.
I know, I know, I miss the Before Times too.
Going into rooms was cool. Actually reading with people was so fun. And nothing was better than the feeling of absolutely crushing one.
Things are different now.
We need cameras, mics, lights, backdrops and editing programs. Costumes and props are now allowed and, in some cases, encouraged or requested.
Before your only job was being an actor.
But now you’re the Cinematographer, Sound Op, Editor, Costumer, Set Designer, and Prop Master.
All of that is on your shoulders. Talk about multi-tasking!
But there’s one part of self-taping that can’t be your job - reading the other character’s lines.
Yep, I’m talking about your Reader.
It used to be that we all had the same Reader. It was casting! And when they did a good job - which they usually did - then we all had a good Reader.
And if your Reader wasn’t great, well, we all had the same not-so-great Reader so it wouldn’t make or break your audition.
But that’s not how it works anymore.
Now, we all have different Readers and we’re responsible for finding one for each and every audition.
Someone who has time. Someone who’s available. Someone who can read an audition in a helpful way at all (sorry mom!).
And that’s not a small job, it’s a massive one.
In the words of my old coach Leigh Kilton Smith, your Reader is the other half of your scene.
It seems inarguable that besides you, no one has more to do with whether or not you book a job than your Reader.
Think about everything your Reader needs to do well:
They need to set you up.
They need to not distract.
They need to be clear.
They need to know when to pick up the pace or give you your beat.
They need to have patience and a decent attitude.
They need to hold space for your vulnerability.
They need to give you time and space to get the right take.
They need to be able to take a note if what they’re doing isn’t helping.
They need to be honest about your work.
They need to let you know if your collar is funky or your hair is out of place.
They need to run the freaking camera.
And this is most definitely NOT the same for every actor.
Some folks live with other actors and always have a Reader. Some can afford coaches for every single audition.
But others have to deal with their parents or non-actor friends.
Or hire helpful strangers on WeAudition.
Or, in a real pinch, record their voice reading the other character’s lines.
No, it’s not fair.
But my approach to the industry is to ignore fair vs. unfair and focus on what is.
And what is, is that your Reader matters and pretending they don’t will only keep you from booking jobs.
And if you can find a reliably great Reader, then you have a real advantage.
So here are my top 5 pieces of advice for improving the other half of your audition:
Stop trying to make bad situations work. If you don’t work well with your parent or partner, try something new.
Make more actor friends. Everyone in our industry needs self-tape buddies, so get out there and find folks you like collaborating with.
Enroll in a class. Beyond what you learn and the regular practice, you’ll get a whole community of fellow actors who know your work and are used to collaborating with you.
Invest in your online setup. There are so many good people who can read with you online, but you have to set yourself up for success. Figure out your Zoom and Camera setup. Trouble shoot your eye lines and sound. Take advantage of this technology to infinitely increase your Reader pool.
Hire an audition coach. If you have the means, hire someone whose job it is to make you look and sound incredible.
More than anything, I hope you all accept the importance of your audition Reader so you can find practical, repeatable solutions that set you and your great work up for success.
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