Marcia’s tips

1. Let your weirdness out

2. If you want to feel safe, don’t be an actor
3. 2 questions: are there helpful hints/traps to avoid
4. When slating always put it at the end (unless they ask for it to be before)
5. If you mess up on your slate-let it be-it shows a human being
6. Start the scene looking off camera and turn into it
7. Cross the camera with your eyes at some point
8. You can have your reader in the room with you-if you are having a remote session. Ask if
it is alright with the creatives/casting director
9. Know where you will place the others in the scene. It may be the person who is the one
with the most conflict. Use the reader for the one you look at.
10. If you have 2 scenes with the same character, make a decision about your tone-create a
difference
a. (Michael Caine:onstage-you have to show it on film you only have to think it)
11. If you can leave frame at the end of the scene do
12. If the other person leaves at the end of the scene-follow them with your eyes
13. If you fuck up-just ask to start over
14. If you are not full emotionally-play shock
a. If the script says cry-relieve yourself of the obligation
b. Fake crying looks fake-if you must, keep your voice in a lower range
15. Don’t bring coals to Newcastle. If the script is written angry-play against it
16. Explore the contrary impulse
17. If you are imitating someone in the text-make a choice about how they talk-imitate
them
18. If your line straddles 2 pages, write the whole line on one page
19. A good audition will pay off-you may not get the job but it will add to your store of
goodness-they will know you
a. The best actor does not always get the job-as much as 50% of the time
20. Make choices-search for a word, real behavior, play against to the text,
21. … means trailing off a – means cut off. Know what you would have say-they may not cut
you off. If the reader has the cut off-be ready to do it a nano second
before they stop.
22. Throw it away-especially if you have a very small part-don’t make a meal of it
23. If you have a long shot at the end of the scene-keep thinking-like a soap opera scene
ending
24. Anger is the first and most obvious choice-be more creative
25. If you have an accent-use it
26. If auditioning for an accent part-begin speaking in the accent. After the audition is over
you can bring out your American accent
27. Lie about your age-don’t give a hint on your resume. No one can ask you your age and
ethnicity. If you have an ethnicity but your looks or name do not reflect it-add your
mom’s last name.
 28. You don’t get some roles because you are not the kind of actor that the director is
looking for style wise-perhaps. If they don’t get you they don’t get you, and you will find
your people
29. Don’t try to be rational in an irrational business. It is not a meritocracy. Do work that
you feel passionate about.
30. Be nice to everyone. Be especially nice to assistants
31. Don’t worry that the casting director doesn’t like you. If the casting director calls you
back more than once, they like you.
32. Who are you like in the business-follow them.
a. Cathy Bates: You have to have the heart of a child and the head of a bullet to be
an actor
33. Share info with your friends-ask them about their experiences in the audition rooms
34. Off book is not required-some casting directors do. Know what they want. If you have
medical or legal jargon-memorize it
35. Don’t be afraid to bring humor to drama and drama to comedy
36. Headshots are all online-no hard copies anymore
37. Special skills are amazing
38. Don’t think of the casting director as adversary-they want you to solve their problems

For Filmmakers

1. What are the important skills for directors?

a. Director needs to find solutions for each individual actor and technician
b. Don’t give result directions-be angry, be sad
c. Guns for hire directors know about the tech, but not much about the acting
2. Ask if you can trail techs and directors-if you aspire
3. Take acting classes