17 AUDITIONING “Go in there and present your best self. Take it as, this is a day I get to act for somebody else. And be happy about it and be joyous about it. Be confident in it, and go in there and rock the house.” —Samuel L. Jackson SUBCHAPTERS . ake a Lasting Impression e Don’t Improvise Unless Asked e Rules to Audition By e Ditch Unflattering Resumes e Student Q&A: Auditioning MASTERCLASS CHAPTER REVIEW Sam may not have to go out and audition anymore, but the wis- dom he gained from years of pounding the pavement for opportu- nities is timeless. His rules for auditioning are simple. Know your lines and don’t change them. Plumb your emotional depths and have an arc—know where you’re starting, where you came from, and where you’ll end up. Enunciate. Resist the urge to improvise, unless you’re asked to. Don’t show up in costume, but do wear something that suggests the character you’re playing.. Always step into an audition with a plan of who you want your character to be. You want to take everyone in the room with you on your journey through the scene. The most important objective is to make a lasting impression, so that the director/producer/casting director want to follow your character out of the room. Remember that you’re an actor and this is a “look-at-me” business, so make them look at you —keeping in mind of course, the given circumstances of the scene and character. Be your best self. Sometimes the outcome of an audition is not related to your per- formance. You might not have “the look” that the director wants. It’s a tough truth, but accept that you’re not meant for every job. Try not to dwell on the parts you don’t get. TAKE IT FURTHER Going to auditions is the first step in becoming an actor. Browse local theatre companies’ websites and see if any have postings for upcoming auditions. Remember: it’s okay if you don’t get the part—it’s the experience that matters. SAMUEL L. JACKSON 38 17. AUDITIONING es ASSIGNMENTS MASTERCLASS Time to get into gear with your new audition piece. Select a compelling monologue from your character in your chosen script and start workshopping it. Figure out what the goal in the speech is, what your character wants, who you are talking to, and what your relationship is with that other character. Through this, emotional depth will be brought to light. Don’t layer anything onto it other than those things, and try to keep it simple. Once you have the material memorized, record your audition, then view the recording. Note areas where you ex- celled and where you need to improve. Practice your audition again, then record a second take. Post the second take in The Hub and give feedback on your class- mates’ monologues. Add one “quirk”—a speech impediment or change of posture perhaps, then record it again and see how it changes your performance. Remember to keep your goal in mind throughout the piece even with your added “quirk.” Post your final re- cording in The Hub and provide feedback to your classmates. SAMUEL L. JACKSON 39 17. NOES MASTERCLASS SAMUEL L. JACKSON 40