NYCastings – DirectSubmit

Victoria Cartagena made such an impact during the interview that I was totally thrown off guard. – ILANA

Let’s talk about Victoria Cartagena, aka Vicki, who plays Detective Renee Montoya on FOX’s Gotham.

When an actor takes a huge chunk out of their time to perfect an interview, that also gives one a sense of how serious they take their job.

As with any other job, acting is not just about acting – it’s also about how you conduct yourself, what you do to promote yourself and how to handle rejection and success.

The original topic of this article was about something totally different, but it quickly changed to what it is now when I interviewed Victoria Cartagena.

Victoria made such an impact during the interview that I was totally thrown off guard.

As I thought about it more and more, this is exactly what I, as a viewer, would want – to be thrown off guard. That’s what takes an ordinary character and makes them memorable.

You’re currently on FOX’s hit TV series Gotham as Detective Renee Montoya. Tell us about your audition.

I auditioned with Meg Simon and Findley Davidson from the WB. I was eager to read for them because anytime I’d walk into their casting office I always got this sense that they were rooting for me. Meg has always been really supportive since the start of my career, so it’s always nice to audition for her. Anyway, the producers were very secretive about the project so there was no script but I received dummy sides for a character named Kim which described her as a detective who was stubborn, tough, honest and super passionate. With that information I prepared for the scene as best as I could but I also wanted to make sure that I looked the part. I just had no idea what to wear so I tried to think of another badass female character and the first person I thought of was Sarah Connor! I was obsessed with that show (The Sarah Connor Chronicles). I remember watching Lena Headey’s audition tape where she wore a black tank & black jeans and I was like, AHA! I put on my best copycat outfit, complimented it with some wannabe military boots and I went on my way. I’m pretty sure that the tank is what got me the part so thank you, Cersei! (Lena Heady’s character in Game of Thrones)

What traits in a character would make you feel uncomfortable? How would feeling uncomfortable help or not help you portray the character?

I guess playing a character that has really different traits than I do would initially make me feel uncomfortable. Then again if I take on the role, accept that challenge and do the work (preparation) then eventually or hopefully I will be at home in the character’s shoes. It means I have to be prepared or else I’ll end up not knowing or understanding who I’m playing and I’ll fail. I won’t be able to fool anyone because the camera will pick it up and then so will the audience.

At what point did you know your character had a steamy past relationship with Barbara Kean, played by Erin Richards? Who told you? What was your reaction?

I knew when Erin Richards told me. I met her at the cast dinner and as she walked over to introduce herself she asked if I was playing Renee. I told her that I was and she opened her arms, gave me a big hug and said, Hello, lover! She actually still introduces me to others as her lesbian lover! She’s hilarious, very witty, smart and beautiful and I thought to myself, lucky me this is going to be a real treat!

Do you / did you study with an acting coach?

No, but I am going to. A lot of people may not know this but my partner in crime [on Gotham], Andrew Stewart-Jones AKA Crispus Allen, is a private acting coach. He has offered to coach me although I don’t know how wise that would be since we’re always clowning around, ha! All jokes aside, he’s brilliant, knows his stuff, knows me and I feel really comfortable with him because of that I think I would benefit from taking a class with someone that I respect and trust as much as Andrew. At the same time he should cut me a break. Andy knows how much I love a discount!

Renee’s past relationship with Barbara is complex, as they were both battling addictions. What are your thoughts on your character’s complex layers?

As the actress playing Renee, I welcome her complexity! She (and the writers who created her along with the writers at Gotham) challenge me to stay on my toes. She has so much going on in that beautiful mind. I always have to be aware of her intentions at every moment: she’s compassionate, stubborn, loving, smart, angry etc. there is so much depth and so many layers to play! Bottom line, I get to live in her mind-the most sacred of places and come up with an execution for her thoughts! As an actor it doesn’t get any better than that!

Do you read your script on paper or electronic?

They send us the full script electronically and that’s how I read it first. A hard copy is provided at the cast read throughs, which I prefer because it means I get to mark up my scenes with notes.

What tricks do you use to memorize your lines? Do you have a sacred space where you do your lines?

I have a sacred room in the basement (which I need to have redone) where I run lines. It’s nothing special, in fact it looks like it hasn’t been renovated since the 70s! The previous owner put down this shaggy mustard colored rug and this weird crappy wood to cover the walls. It drives me nuts! In fact every once in while I’ll walk in there and go all Jessica Lange yelling, “KNOTTY PINE!” just for shits and giggles (look it up, you’ll thank me). Anyway, as far as learning lines, I’ve gone through phases. There was a time when I used to write them over and over until they sunk in, other times I would read them again and again but I’ve recently discovered this app called Line Learner and it’s great because it allows you to record the other character’s lines so you can play them back. It’s less time consuming than my old methods and it’s also more effective. Oooh, the best part is that it’s free! (Author’s Note: In case you’re too lazy to look up Knotty Pine, we looked it up for you! https://www.youtube.com/watch?v=-MUcpPRF-sQ

What’s your favorite Gotham scene?

I have many but recently I am loving the scenes with Barbara, Selina and Ivy. It’s hysterical watching them bond and seeing Barbara take fashion and romantic advice from teenage squatters. They work well together and the scenes are just fun to watch.

When about to work on a scene with Erin Richards, what type of preparation do you do?

The first thing we do, before stepping on set, is that we talk about the scene and we give our interpretation of what we think is going on. Once we get to set we keep that line of communication open and just try and connect with each other so that we are open enough to let Renee and Barbara really come through.

What’s your take on minorities in television and film?

Over the past few years, I think there has been great progress in the representation of minorities on television. And it’s probably because the world’s state of mind has changed and is still changing. There’s more color blind casting which is more realistic in that it represents the diversity we see around us every day, that of a more accepting society. It’s a good thing when you start to see shows that have more than one minority as series regulars because it means that stories are being told from different perspectives and more people are being included.

What’s your food and workout routine?

I wish I ate better but I run six miles a day and I use that as an excuse to eat whatever I want which is probably not the healthiest thing in the world. But I also do 30 push-ups and 30 pull-ups on a pull-up bar I bought off of Amazon. You think I would be proud by those numbers but I don’t know, I’m almost sure that I’m not doing them correctly — I mean, have you seen my arms? They’re less Popeye and more Olive Oyl. I should probably consult with a personal trainer at some point.

What are you addicted to?

Running and ice cream is a constant in my life but I would say that right now I am addicted to Empire, Orphan Black and St. Vincent AKA Annie Clark! (Look her up as well. You’re welcome.) [Author’s Note: http://ilovestvincent.com/ – you’re welcome 😉 )

In any of your auditions, did you ever have a chemistry test?

I had a successful chemistry test for The Bedford Diaries. I was the only girl there testing for the role and there were four guys reading for the part of my my love interest. I sat in the waiting room for about 10 minutes before one of the guys, Ernest Waddell, approached me and asked if I wanted to run lines while we waited to be called in. I jumped at the chance since none of the other guys had asked me and I thought it was good idea. We ended up going over our lines and chatting, by the time we walked in the room we had connection that I didn’t have with any of the other guys and so the chemistry was just there.

Do you have any rituals before starting your work day?

I do because if I don’t find the time to unwind before working it causes some anxiety. So on days when I am shooting I get up early to do breathing exercises for about ten minutes in the morning and then again ten minutes before I am picked up. I find that it actually calms me and the great thing about it is that I can do it anywhere at any time. Occasionally, you can find me doing it on set in between set ups. I’ll go into a corner to breathe, run lines or just to check in with myself. Andrew does this exaggerated impression of me doing the exercises. I always act annoyed when he does it but it’s actually pretty funny!

What good and bad fan experiences have you had?

Knock on wood, I have only had positive experiences. All of my interactions with fans via social media have been great! I’ve never actually met any fans in person [outside of work] though and no one has ever recognized me on the street. Although, I could be wrong about that because there’s this guy that works at a local store I frequent and for about a year we’d always chat at the check out line but the last few times I’ve been in there he doesn’t talk to me. Aside from acting a little nervous he pulls out his phone, brings it up almost like he’s about to take a selfie and starts texting except his thumbs aren’t moving so I’m thinking it’s got to be one of two things: either he thinks he recognizes me and he is actually taking a picture or his eyesight is going and he is in fact, just trying to text. (About me of course ) On second thought wouldn’t it be funny if he was just taking inventory? [Author’s Note: Wouldn’t it be even more funny if he was reading this interview?]

What’s the most annoying thing about acting?

I think the most challenging thing about acting is that you are never promised another job.

Are there craft services [food] on the set of Gotham?

ARE THERE ANY CRAFT SERVICES?! ARE THERE ANY CRAFT SERVICES?! Yes, they have craft services and anyone who knows me knows how excited I get about crafty. Just the thought of having every single snack food I’ve have ever craved in one spread…it just makes my heart want to burst! It’s the little things in life, folks!

Is attending conventions and hyping up Gotham in social media written into your contract?

Participating in a certain number of public appearances is in my contract however hyping Gotham in social media is not.

Tell us about the history of your name.

My full name is Victoria Luz Cartagena. It means victorious light! I was named after both my parents, Victor and Luz. I didn’t appreciate my name as a kid because it sounded so grown up but over the years I’ve grown to love it. How could I not when I was named after the first loves of my life?!

Anything you’d like to say to aspiring actors on doing same-sex scenes?

It’s probably easy for me to say but I’d tell them to have at it! In all seriousness, I’d tell them that if they’re uncomfortable they should approach their scene partner and talk. Your scene partner is your life line in a scene. They’re there to support you and vice versa so open up a dialogue so that everyone is on the same page…and THEN have at it, kids! 😉 [Author’s Note: I’ll let you look up have at it on your own]

Performers seeking authentic advice should search no further than the honest guidance of Heather Matarazzo. The New York raised actress has remained in the spotlight ever since her lead role in the coming of age film,Welcome to the Dollhouse. This breakout 90’s hit propelled Matarazzo into a successful career thats spanned over twenty years so far.For instance, she’s had notable roles in The Princess Diaries films,Hostel Part II, and many other projects, but she’s certainly not finished yet.

Heather has been called “outspoken”, “unattractive”, and “unfuckable” (whatever that means), but when she answered my phone call I found her to be nothing but open and incredibly genuine.In the course of 30 minutes, Matarazzo spoke to me about her journey in show business, her role in the highly anticipated Tina Fey and Amy Poehler filmSisters, succeeding as a woman in the entertainment, and how gummy bears helped her nail an audition.Read these highlights and the rest of our insightful conversation below:

RP: Do you remember the moment you knew you wanted to be an actress?

HM:It wasn’t even a want…. It was I always knew I wasgoing to be an actress.

RP: What is it that you love about acting the most?

HM:You know, it’s as I continue to get older that answer continues to evolve and change. For me, I look at cinema and television as one of the greatest mediums to bring people together. And even though I might not necessarily be able to identify being a 12 year-old boy on a foreign planet fighting aliens… what I do identify with is the feeling of terror, the feeling of loneliness, the feeling of regret…. And I feel that it’s one of the only art forms that can do that. That can have people sit in a theatre and identify with the feelings.

RP: What inspires you as a performer?

HM:A great story. That’s the only thing that inspires me. And other people’s passion. When people are just as passionate, if not more passionate about a project, that gets me pumped. And the most important thing though is, does the story have any weight, any depth.

RP:  I know you’re a writer as well. I recently heard an interview with Chris Martin of Coldplay, where he said bursts of inspiration will come to him randomly and no matter what he’s doing he has to go and quickly write down the idea or song lyrics. Do you experience anything like that?

HM:All the time. So I’m very grateful that as an artist I also have the capability of getting to write. I find more and more the things that I desire to see are not being made, so I might as well create them myself.

RP: I think a lot of our readers could learn from you, as most double as writers. When you have so many projects going on, how do you find alltime and motivation to get things done?

HM:Well, I am a very big procrastinator. I will sit on something for months, until I get to the point of “e;okay, this just has to get written down” and then I excessively write until it’s done. People have been telling me to write for years and then finally I put it out on Twitter saying that it’s going to be out by the end of the week. And, you know, I’m not going to be thought of as a liar so I was like “e;okay” I have now until the end of the week to have this out. And then I did it. And it was out! And the response was incredible and quite shocking. That has now motivated me more.

The burst of inspiration that comes can be very intense, but they can also be very short lived. I feel like, especially, as a performer when you are continually out there and expending your energy, at least for someone like me, I also need a lot of down time to just rejuvenate.

RP: What would you say has been your favorite role to play?

HM:Um… I’m not sure. The roles that I can say that I’m the most proud of are:

I played this girl in this movie calledOur Guys: Outrage in Glen Ridge which is based off a true story about this mentally challenged high school girl that got brutally ganged raped. That I was proud of for a multitude of reasons.

I just did this very sweet film calledGirl Flu with Katee Sackoff that was directed and written by Dorie Barton that I feel has a very strong voice and the chemistry between us was indescribable. I’m excited about that and that woman was fun to play.

RP:  We’re excited too. Of course, a lot of people recognize you as Lilly inThe Princess Diaries, Looking back, what did you learn from that whole experience?

HM:To enjoy the opportunities that you’re given. To have fun. And if at all possible, especially when doing a comedy, don’t be afraid of props.

RP:  Why do you say that?

HM:Garry Marshall was very, very keen on having me use different kinds of props and things to get my hands on. And he said that “e;props make everything funnier”. Even if it’s something small, obviously not something ostentatious that’s going to distract from the scene. I found that, especially with a character like Lily that is very high energy, getting to have a prop allowed that energy to dampen just enough, which I found very helpful.

RP: I wish “e;Shut up and Listen” were a real show.

HM:Yeah, so do I! Especially with everything that’s going on today. I’ve tweeted that quite a few times. (Laughs)

RP:  We have available studio space here – just saying! We can make it happen.

HM:(Laughs)

RP: Speaking of laughs, you’re in the upcoming film Sisters with Amy Poehler and Tina Fey. I imagine that was a fun experience…

HM:No, it was horrible…. No, of course it was fun! Who would not give their right eye to work with the likes of Amy Poehler and Tina Fey? They aregeniuses! And I don’t use that word lightly. They’re very funny, they’re very smart and they know comedy. Just to be able to witness that unfold for eighteen hours a day for three weeks was incredible. I was very, very fortunate to be apart of that. Maya Rudolph, and Ike Barinholtz, and Bobby Moynihan, and Kate McKinnon… You know the list goes on and on… Diane Wiest… It was brilliant to watch and be apart of it!

RP:  What did you learn from working with a cast of that acclaim? Did it help you grow in any way as an actress?

HM:I’ve had the fortune of working with topnotch people my entire career. With this experience, what I learned was patience. We were shooting a lot of stuff that took a lot of time and we were dealing with a lot of extras. The amount of patience and professionalism and just keeping everything light. I’m definitely sure there are some actors who would have been less jovial and less sweet and less kind. Amy and Tina especially were very jovial and very light.

RP:  Can you tell me a bit about your part?

HM:I played one of Maya Rudolph’s best friends.

RP:  That must have been fun!

HM:Yeah! They(the producers)had called my reps up and said, “e;We really want Heather to be in this movie we really, really love her! They’ve created this part for her. Would she want to do it?” And so I said, “e;Yeah let me think about… like, yes! Of course! I would love to!”.

RP:  I’m most excited for the blooper reel I think. Can you recall anything funny or wild that happened on the set?

HM:I don’t, and if I did I don’t even think I’d be at liberty to say!

RP:  A lot of aspiring actors here in NYC get started by doing background work. Do you think this is a worthwhile experience?

HM:I have never had the experience of being an extra. I feel that each person’s path is their own. I’ve often read a lot of stories where extras have made it “e;big”. But if you really, really, really want to be an actor and you’re lucky enough to work with incredibly talented people and then if you also are ballsy enough to engage and say “e;listen this is something I really, really wanna do, do you have any suggestions?” I say go for it! I don’t think this business is for everyone. It’s not for everyone. I feel as though more and more I find that people who say they want to be actors don’t want to be actors they just want to be famous.If you want to have a job being famous then go out and make a sex tape.

“If you want to have a job being famous then go out and make a sex tape.”

If you really want to be an actor and you’re willing to go to any lengths and you’re willing to be persistent and you’re willing to have chutzpah and you’re willing to take risks and break rules and do what you want to do then, great! Go for it!

RP:  We did some Twitter stalking. I read one of your tweets the other week that said “Every actor should know what angles suit them, what lights suit them and not be afraid to say it”. Why do you think that’s so important?

HM:At the end of the day it’s your face that’s on there, it’s your brand. I definitely learned from experience, that certain angles of a camera do not look appealing on film. They just don’t! And getting to know that and getting to say, “e;what angle is this being shot at?” and what not and know this is not gonna to look good. Especially, if you’re working with a first time DP [Director of Photography]. I’ve done a lot of independent films where it’s the DP’s first time around. Also, in terms of lighting, it’s a really good idea to see if you can get a key light in the hair and makeup trailer or whatever the area so that the makeup artist actually knows how to put makeup on your face. A lot of times it’s very off lighting and then it doesn’t look good. You need to know what frames are going to work for you. I’m not saying it’s for every single film. Sometimes, “e;ugly” or “e;unattractive” is necessary. I know for me some of those frames can be distracting.

RP:  It makes sense that actors should defend their views. So, when you’re on set and you’ve already mapped out this character in your head, how important do you think it is to fight for them/ who they are? I know a lot of Directors can already have a very specific vision.

HM:Well, here’s the difference, right? So I just had this experience with Barton – who I think is one of the best directors I’ve ever worked with – she was open and she was warm. She had put her heart and her sole into this project and done a lot of research. She gave us free reign – Katee and I – to ad lib and toplay and to make it as organic as possible. The questions I had we were able to talk through. Sometimes it can take an actor a minute. I know for me it can sometimes take a minute. I don’t quite get it and then once I get it, I GET it – Great, awesome let’s go! And then there are those directors that I don’t think are really directors – I think they’re ego maniacs that really have problems with control and just want to tell people what to do. They’re not thinking about the story, they’re not thinking about the characters, they’re not looking at it as a collaboration.

There was a producer I worked with once who quoted Alfred Hitchcock’s line about how actors are basically “cattle”. I had another Producer, not Director, say, “e;stand on your mark, and just say your line”. That’s when you essentially become a seller of soap and Coca-Cola. They’re not really caring about the story. They’re not really caring about the development of character. They’re not caring about any of those things. Especially, if they don’t have the answers… they don’t want to take the time. They don’t care. I’m, grateful that I have only had three instances like that in my entire life. I hope to never have it again. The truth is, especially as a women in this industry, the minute that you question, you’re going to be deemed a “bitch” and you’re going to be deemed “difficult to work with”. But I’ve seen many of my male costars do the same thing and they’re given a lot of time. The truth is, I don’t reallyfucking care. Yes, I will spend twenty, twenty-five minutes to be able to get it because at the end of the day they’re not going to blame the director, they’re not going to blame the writer, they’re going to blame the actor. I care that much about the characters that I play because I care that much about the story. You know, if I’m going to invest three months of my time, I want it to be as amazing as possible. Especially when people are paying fifteen dollars of their hard earned money to go see a movie that I just happen to be in.

RP: What’s your advice for actors trying to break their “type”?

HM:Geez Louise! It’s a double-edged sword. It’s what comes first… the chicken or the egg. Do the views that you have of yourself originate from you or do they come from someone else. Again, I can only speak from my experience.

When I was nineteen years old, I had been attached to do this movie for two years, I was really, really excited about it. I was playing this womanwho was very sexy and very brash and very sarcastic, but, you know, had a ton of vulnerability underneath. Two weeks before we were about to begin filming, the director said to me, after much prodding on my part, “e;Heather, we’re going another way with casting. The producers don’t think you’re fuckable… But we have another role for you that I’m going to make bigger because I really, really want you in this movie.” I said, “e;Yes! Okay!”. Here’s the truth: Before I didDollhouse I didn’t really know about pretty or ugly. It didn’t really resonate in my consciousness.

I don’t know if it was because I was a teenager or reading reviews or everything that came out, but all of a sudden I had reporters asking, “e;What does it feel like to play the ugly girl?” All I heard was “e;What does it feel like to be so unattractive?”. That became a part of who I was… Ugly. Ugly. Ugly. Disgusting. It wasn’t until I got to really truly look at myself, and this wasn’t until I was in my mid-twenties, I was like you know what, I’m actuallyfucking stunning. I’m not like the classic, you know, “e;beauty”, but I’mstunning. Like Isabella Rosellini.

“Like, I’m fucking stunning.”

And as soon as I was able to really truly see that within myself the roles that I started to get called in for changed – Strong women. Women that had an immense amount of power – either internally or externally. Women that were much more complex. And I really do feel at the end of the day it had to do with how I viewed myself.

Once the views of myself changed, the views of others changed. So in terms of “e;typecasting”, I went through a period of time in my mid-twenties when I didn’t work, essentially, for like seven years, I didn’t do a major studio film. Every time the phone rang it was for parts that I didn’t wanna play and half the time I would say no and half the time I would say yes. I was like well, “e;I really don’t like this, I think the script is really bad, but, you know, whatever, fine, I’ll go in I’ll say, because maybe if I say yes the universe will see that like yes I’m willing, And I still wouldn’t get the part and I would still feel really down and out about myself. And now, today, I had to go through this breakthrough of why I became an actor in the first place. What is was that I really, really, really, really loved about it. Which is playing really, really, interesting, complex roles. Loosing myself in a role for two to three months. Not doing “e;surface fluff” for a paycheck. And, again, as soon as I recommitted to the origins of why I started everything started to change. At the end of the day too, you know, we have to pay bills. We sometimes have to do projects that we don’t necessarily want to do because it’s a paycheck. In order to then do those projects that we really do love. I don’t have all the answers, I only have my experience. I’ve worked really, really, really hard to build a resume that is reflected of who I am as an individual. So, of course, there’s going to be some deviance – deviations off the path – which was really when I was in my late teens, early twenties. Um… I don’t know if that answers your question… but…

RP:  It was great! Now, just one more question. In your experience, I’m wondering what you would say is the best piece of advice for aspiring actors?

HM:Be bold. Be fearless. Don’t go in there doing what you think they want. Be very, very bold in your choices. I remember I got a script once for a show, and I read it and when I read scripts I hear the character – I hear her – and to me this character had an accent. Didn’t call for it in the script! But, I did it anyway. You know, I didn’t get it, but then on the other hand, I went in for something else recently and I was reading the script and looking at these pages and there was something missing. And I didn’t know what it was. There was something missing. And then it came to me… She needs to be eating something…. She needs to be eating something while she’s talking to this person. It was a very fast paced scene. And I went in. And I did it. And I bought these fucking gummy bears. And I did the scene while I was eating these gummy bears.

RP:  That sounds delicious!

HM:Yeah! It didn’t call for it in the script, but it was something that I intuitively felt – this is it. This is what makes her, her and it’s such a small thing, but what it said to me about who she was is that she doesn’t give a shit. She is in such a position of power that she’s just gonna sit here having this serious meeting eating fucking gummy bears which makes it that much funnier. The response I got was: “e;we love Heather, we thought that was such an incredible, brilliant choice. We definitely wanna find something for her.” So that’s what I mean… being bold and being fearless in the choices that you make. Not in regards to – let me stand out and like be a ham! Not doing it for that sake, but if you have an intuitive thought about a character and it’s not necessarily on the page, it doesn’t mean then that you shouldn’t do it. And also the same goes for lines. I get 100% off book, but if I substitute a word to two, that’ fine. It’s not so much about the letter of the law, it’s the spirit of the law.

RP:  What should we be watching out for?

HM:I haveGirl Flu coming up, I’m getting ready to have something else come out that I directed and I’m getting ready to put out my next blog piece. Also, getting ready to work with a writer on developing a feature!

RP:  We’ll definitely be on the lookout for all of your upcoming awesome stuff! Thank you, Heather!

HM:Thank you so much, dude!

RP:  I’m going to go eat gummy bears, because now I’m craving them.

HM:Awesome! Have a blast.

Keep up with Heather’s new blog here! Also, be sure to follow her on Twitter for some great acting advice, among other things. – @heathermatarazz.

http://paperswrite.org/

Episode 2: Broadway’s Matthew James Thomas (Spiderman: Turn Off the Dark, Pippin and Diner the Musical) stops by the NYCastings studio to chat about his career, working through dangerous stunts and most valuable piece of acting advice. You won’t want to miss it!

Also check out:
‘Q an A’ Episode 1: Laura Donnelly from ‘The River’ on Broadway

RP: Why do you love being an actor?

RP:  To begin, what do you think drew you to becoming an actress?

KL:I think experiencing the way a theater piece moved me and inspired me.  I wanted to be able to give other people that very same feeling.  It is magical to me :).

RP:  Would you mind telling me a bit about your acting technique?

KL:I went to Carnegie Mellon University where we were taught many different techniques and approaches.  What really helped me was the way they helped us to break down each scene.  We had to figure out beats, objectives, tactics, etc.  Truly understanding the ins and outs of each scene helps to create an honest and layered portrayal of your character.

RP:  Have you always dreamed of being on Broadway?

KL:Absolutely!  But before that I dreamed of being a figure skater (I have never even taken a figure skating lesson) and also dreamed of being a professional soccer player (I did a lot of travel soccer). I had these outlandish dreams that I wished so badly would come true one day.  Performing on Broadway seemed like one of those unattainable dreams, but I am here and I am pinching myself!  I worked really hard and sometimes it was not easy, but every second was entirely worth it.  My family is extremely supportive and allowed me to believe my dream could be a reality.  I am so very grateful.

RP:  What’s something you think is a misconception about being on Broadway?

KL:That you haven’t really “made it” until you’ve been on Broadway.  That is the biggest load of poop I’ve ever heard!  There are hundreds of brilliant professional theaters across the country, some of which I have had the great honor and pleasure of working at.  You can make a very VERY comfy living by working at these regional theaters and never step foot on a Broadway stage.  I think many outside of the theater world have this misconception that Broadway is the end all be all. It certainly is a magical place and an absolute dream come true!  But it’s also been a dream working around the country professionally in wonderful prestigious theaters!

RP:  Working in live theatre, of course, presents some challenges.  Have you ever experienced a terribly disruptive audience member?  How do you power through and focus on your performance?

KL:Well there’s never been anyone terribly disrespectful or disruptive, minus the occasional candy wrappers rustling in the front row, but heck, I’d want candy too!  We’ve had to stop during a show before for a sick audience member.  That’s always scary because you just hope they are ok.  We would always get an update if something like that happened because we really do want to be sure they were ok.  Afterward the show would continue on, but it an odd way it felt like the audience was with us a little more because we all had stopped to take care of this person together. It’s strangely uniting.

RP:  The NYC audition scene can be tough.  How do you prepare for auditions?  What’s your advice for our NYCastings‘ readers navigating open calls?

KL:Honestly, I am a terrible auditioner!  My nerves tend to get the best of me. However, I find that if I start preparing the sides and music early on and read with a friend, I feel way more confident than if I were to just prepare it all on my own.  It just helps to really feel what it will be like when you are in the room.  Also, once you are at the audition location maybe listen to some music that relaxes you so that the stress of the waiting room doesn’t inhibit your audition.

RP:  I had the privilege of seeing you in Newsies, and you were incredible!  As a performer, what would you say is the most vital lesson you took away from that experience?

KL:Thank you so much!  Gosh, there are so many wonderful things I was able to take away from that experience, it’s hard to choose just one.  It was a Broadway debut for me and I was in the show for almost two years…the longest I have ever done a show.  I guess it’s just important to keep yourself on your toes.  Its easy to lose the spontaneity when doing the same show 8 shows a week for a long time.  Continuing to challenge yourself and take classes is very important…always.

RP:  I read that your inspiration for Katherine Plumber stemmed from the real-life investigative journalist Nellie Bly.  Do you always try to ground your roles in truth?

KL:Yes!  With Newsies it was a bit easier to ground Katherine in some truth because it is based on actual historical events.  Though Katherine was a fictional character, there were many famous female reporters in history to pull from.  Nellie Bly seemed to fit all of the Katherine criteria in terms of age, location, personality, etc.  With Wicked, however, it’s not based on truth and is also very different from the book it’s based on.  Continuing to find the layers within the script and and within the characters helps tremendously.  Also finding ways in which these characters relate to you in your own life, helps to bring that honesty and truth.  Essentially these characters are an extension of yourself.  Thats why no one can ever do it exactly the same way, because you are uniquely you.

RP:  Congratulations on Wicked!  I hear you’re an amazing and unique Glinda.  Did you feel any pressure to make the character your own?  Especially with the song “Popular”?

KL:Of course!  These are huge shoes to fill and I always have to pinch myself that I actually GET to do this!  I try to just continue to be honest and be me :).

RP:  What’s been the best part of being in Wickedso far?

KL:EVERYTHING!  But truly, I think the fact that I am actually here.  That is the best.  I was never even really considered for Glinda because I don’t look like her.  So I just feel very grateful that I even get to play this role anywhere let alone on Broadway!

KL:Sleep, tea, acid reflux diet, and take a night off if you don’t feel well!

RP:  To end on an inspiring note, would you please share your best piece of advice for all the aspiring actors out there?

KL:Know that you are enough and the things that make you different or unique may be the very thing that makes you shine above the rest.  Trust in yourself, keep your head held high.  We are rejected a lot in this business so find the people and things that lift you up and remind you of how brilliant you are!  You can do it!

Amanda Schull is mainly recognized for her recurring and noteworthy television stints on shows like One Tree Hill, Pretty Little Liars and Suits. She’s also credited as the sweet Jody Sawyer in the 2000 film Center Stage, which showcases her stunning dance abilities. Most recently, the Hawaiian born performer has landed a starring role on the brand new Syfy series 12 Monkeys. She took a break from filming to chat with NYCastings about her role in the action packed series, the importance of having an acting coach and working with Clint Eastwood.

RP: When did you first know you wanted to be an actress? Did you have an inspiration?

AS: I don’t know whether I had a specific inspiration as much as I was inspired by performing. I have always loved to entertain – I put on quite a few performances in our family room for my parents. I think most performers would tell you that it is a true gift to be able to be a part of a performance no matter the medium, and no matter how small the role, if it has an impact on even just one person.

RP: What do you think was your “big break”?

AS: I guess you could say my big break happened when I was cast as Jody Sawyer in a film called Center Stage.

I was a student in The San Francisco Ballet School, and a casting director poked her head in to one of our rehearsals. She was looking for a dancer who was able to act. She had gone across the country to other ballet companies to audition dancers, and I was fortunate to be in the right place at the right time.

I was given the script for the film, I read it that night, and the following day between rehearsals she put me on tape for the role.

RP: What has been your most valuable training as an actress? Did you ever take acting classes or see an acting coach?

AS: I try to be in an acting class as consistently as I can. I also work with a coach on a lot of my roles before I shoot, and sometimes even do phone or Skype sessions when I am shooting out of town. That being said, I think I learn the most from watching my fellow actors on set. It is all fine and good to work on scenes and characters by yourself and even in a class, but nothing can prepare you for what it will be like to perform that scene with your scene partner or partners in front of a whole crew, with input from the director and possibly the producers, with several other distractions and obstacles.

RP: How did you get your first agent?

AS: I got my first (and only) agent in a very untraditional way. When I was going through the audition process for Center Stage I needed an agent to write up my contract before I could go forward with the screen test. The casting director for the film, Lisa Beach, introduced me to my agent David Rose with Innovative Artists, and it couldn’t possibly be a better match. I am truly fortunate to have David in my life.

RP: Who, that you’ve worked with, do you believe has helped you grow as performer and why?

AS: I think that I learn from everyone I work with – both through positive and negative experiences. Someone I have been working with a bit over the last few years is Rick Hoffman. I am constantly impressed by what he brings to work each day. He is fearless in his choices, and always willing to try new ideas and perspectives on the scene. He is also one of the most supportive and present scene partners I have had the privilege to work with.

RP: You shared a pretty memorable scene with Leonardo DiCaprio in J. EDGAR (directed by Clint Eastwood). What was it like working with those two icons?

AS: It was amazing. Mr. Eastwood has a very calm, yet commanding presence. He doesn’t over direct, which I found really interesting for a man of his talent and caliber. I think that he has faith in the actors he casts, and everyone seemed to understand and appreciate that about him.

RP: You’ve played some pretty, I’ll say, “unstable” characters in the past (like on One Tree Hill and Pretty Little Liars). You’re so good at it! How do you find you’re able to get into that emotional state?

AS: Well, thank you. I think it is so much more fun to play someone a little unhinged than to play the character that seemingly has everything together. I think that everyone has the potential for a little crazy – whether it’s because of a jilted love, pursuit of a career, or protecting a secret. I just try to figure out the thing that drives my character to do what a rational person might think is irrational and push it to another level.

RP: Do you think being a dancer helps you develop a character’s physicality? How so?

AS: Absolutely. People move in different ways depending on their life experience as well as their physical manifestation of certain emotions. Someone who has just been given devastating news will carry himself or herself very differently from a person who has just been on the best date in her lifetime. In addition, people who are used to a specific lifestyle move a certain way. For instance, a yogi moves very differently from a prizefighter.

RP: Congratulations on 12 Monkeys! Can you tell me a bit about your role and your experience working on that show thus far?

AS: Thank you! I play the role of Dr. Cassandra Railly. She is a respected virologist who is tasked with the mission of stopping a deadly disease from destroying most of the world’s population.

We just finished our first season of shooting, and it was incredible. The creators and writers of the show have the most-clever imaginations of anyone I have ever known. Each script I read impressed and surprised me. I can say in all honesty, that I have never had a role that is as challenging and as rewarding as Dr. Railly.

RP: The film has a huge cult following. Did you look to Madeleine Stowe’s performance at all when developing your character? Or did you stay away from that?

AS: I did not re-watch the film before we shot the pilot. Although my character is based on Madeleine’s, it is very different. I was also very aware of the fact that I didn’t want to attempt to mimic her fantastic performance. I wanted to try to develop a different person based on who the writers had created, and the specific experiences that take place in our script/scripts, not on what took place in the film.

I have since watched the film a few more times. It is so good!

RP: In a nutshell, what would you say is your process from start to finish when you receive a new script for an episode?

AS: Because I am already familiar with who Dr. Railly is, I have a pretty good understanding of how she would react in certain situations. That being said, my character undergoes a very distinct evolution over the course of the first season, which is something I wanted to make sure I was always aware of.

My process from start to finish begins with me reading a script at least a couple of times. We also usually do a table read with the full cast, and if the producers, directors, creators or actors have any questions or notes that is the time they are voiced.

After reading, I break each scene down individually. I analyze my characters actions, the actions of those around her, what has just taken place and what is about to take place. This involves quite a few pages of notes in a notebook I take with me to set every day.

RP: What has been your most challenging scene on 12 Monkeys so far and how did you overcome it?

AS: The writer/creators really pushed the characters to extremes, which thrilled me as well as resulted in me having a challenging scene in nearly every episode of the show. I overcame my initial concern with something like that by just preparing my usual way because that is what works best for me. On the day of the scene I will usually take a little extra time to focus myself so that when I am on set I have done everything I need to do to give my best performance possible.

RP: I like to end on an inspiring note: What is your most valuable piece of advice for aspiring performers?

AS: Don’t give up! Work hard, apply the constructive evaluations and allow the negative to roll off your back. Easier said than done, I know. I have had more rejection than I have had acceptance, but from each experience I learn. It is important not to allow hurtful criticism to wilt us. I have heard that Stella Adler said “e;actors must have the soul of a rose and the hide of a rhinoceros.”e;

12 Monkeys airs Fridays at 9/8c on Syfy.  Be sure to tune in!

“Just be nice.” Megan Hilty says when I inquire my signature question of the most valuable advice she has for aspiring performers. “e;Be nice to everyone you work with.” Readers should take heed from the triple threat whose extraordinary talent and passion has lifted her to stardom.

A captivating combination of capability and charm, I’d venture to say that Hilty is the closet thing the world currently has to Marilyn Monroe. The ethereal beauty has taken center stage on Broadway with her stellar runs in Wicked, and 9 to 5: The Musical, and lit up the screen with memorable roles in television (most notably: Smash and Sean Saves the World) and film (Shrek the Third). Armed with training from the illustrious Carnegie Melon School of Drama, the gifted and extremely dedicated performer is a talent you simply can’t keep your eyes off of. Whatever “e;it” is, she’s certainly got “it”.

Megan took a moment from her nationwide concert tour to talk with NYCastings.com about her incredible career, a film adaptation of Wicked, and a Smash reunion. She also sheds some wonderful insight for all you Broadway hopefuls out there…

RP: What was your first paid “gig” and how did you get it?

MH: I sang at my cousin’s wedding when I was 14 – I think they paid me $50 and I sang the theme song from Ice Castles.

RP: What a deal they got! Flashing forward, one of your initial “big breaks” was being cast as a standby for Glinda in Wicked. Lucky for me, you were on the night I went with my family – it was incredible! What’s the greatest lesson being in Wicked taught you as a performer?

MH: Thank you! Following Kristin Chenowith & Jennifer Laura Thompson in the role was terrifying. I knew I was never going to give the same kind of brilliant performance they gave so I had to figure out how to make the role my own and trust that it would be good enough.

RP: The movie version of Wicked is in the works. How do you feel about that? Would you be up for it?

MH: Are you kidding?! I’m thrilled there will be a movie version of Wicked! It’s going to be awesome! Maybe if I’m lucky I’ll get an audition for a flying monkey!

RP: If you had Glinda’s magic wand, what’s one thing you would change about the entertainment industry?

MH: The need for social media. It can be such a wonderful tool to connect us all and promote what we’re working on, but unfortunately too many people use it to tear performers apart and spread all kinds of negative garbage without being held accountable for the awful things they say.

RP: It’s no secret that you have a show stopping and inspiring voice. Could you tell our NYCastings’ readers how you keep your instrument in prime shape?

MH: Well, thank you! The two most important things for my voice are sleep and lots of water.

RP: There are a lot of “e;Broadway hopefuls” out there. What is something you can tell them that you wish you knew before you were on Broadway and why?

MH: That my credits don’t define who I am. Broadway was always the goal and nothing else mattered. The problem with that came when the shows ended. Who am I if I’m not Glinda? Or Doralee? That’s so sad! Now I understand that what’s really important are the things outside of work. I can’t tell you how many weddings, birthdays, graduations and holidays I’ve missed because I put work above everything else. Those moments and relationships outside of work make me who I am – not some fancy job.

RP: Working in live theatre of course presents it’s own list of challenges. Have you ever experienced a terribly disruptive audience member? How do you power through and focus on your performance?

MH: Yes – but it wasn’t his fault. One poor man in the audience had a heart attack in the second act of Wicked in LA. There was LOTS of horrible screaming. There was nothing we could do but go on – it’s the stage managers call to stop a show and I think if we’d done that it would have caused complete chaos in the house. We heard afterward that the man was ok! 

RP: A concert version of Bombshell, The Marilyn Monroe musical from NBC’s Golden Globe-nominated television series SMASH, will be produced by the Actor’s Fund for one night only. Can we get pumped up for seeing you?

MH: I will absolutely be performing that night! I have no idea what I’m doing yet but that night will be EPIC! I can’t wait to see my old buddies again!

RP: Would you consider doing a full run of Bombshell?

MH: Of course! 

RP: I’ve spoken with a lot of Broadway actors that have issues “playing smaller” for screen work. You’ve transitioned incredibly well. How do you modify your acting for the camera?

MH: I think the trick is to not try to “play small”. That expression is so crazy to me! We’re all actors whether we’re working onstage or on camera we’re just playing to different sized audiences – in the camera’s case it’s just one person sitting VERY close to you! 

RP: What would you say is the difference in needed stamina between doing a Broadway show and being on a TV or film set?

MH: Nothing is harder (or more rewarding) than 8 shows a week. It’s all about conserving your energy for work at the end of the day. On a TV set you could easily have 16 hr days but there is a lot of down time in between scenes to rest… and go to craft service! 

RP: You play Sally in the untitled upcoming Warren Beatty feature. Congrats! What was that experience like?

MH: It was amazing! It’s quite a cast he’s assembled – we had an amazing time working on that film. I even got to sing in it! 

RP: Did you learn anything as an actress from working with Warren Beatty?

MH: To always be ready! Very often he would have the cameras rolling while we thought they were just setting up for the next shot!

“Your child should be a model! Your kid should be on television!” your neighbors, family, friends and babysitters shout to you. It all sounds so fun and so easy!

Then you realize it’s not so easy. But it could be fun and a great learning experience if you learn a few simple things.

1. You are responsible for your child on set.

Some productions have baby wranglers, but wranglers, as well as other production crew, are not babysitters. It’s your responsibility to make sure you’re available in a snap’s time in case needed. (For more information on baby wranglers, who and what they do, click HERE ) 

2. Do not raid the food table.

Never assume the craft services table is for you and your child. Craft services, aka crafty, could be just for the crew, just for the principal players or for everyone. Always ask before you take. To be on the safe side, always bring your own food, snacks and drinks. Feeding your children sugar while on set may make them bouncy and hard to work with. It’s best to teach your child about healthy eating as early as possible so they have no problem eating healthy snacks while on set. If your child has a sweet tooth and you’re okay with your child eating things like chocolate, etc., pack these items and let your child know that after the shoot / on the way home, they can have some.

3. If you make a promise, you’re bound to it.

If you promise your child something, be sure to deliver. Everyone has a bad day now and again. If your child is in a cranky mood, it’s human nature to offer them something to get them to be happy — even if it’s for your own sanity. Is this called a bribe? Yes. Some parents/guardians do this so if you’re one of those who do, make sure you do what you say you’re going to do. If your child starts crying on set that they want to take home the toy they’re playing with and you tell them you’ll go to the store and get them the toy, be sure to do it. If you make false promises, eventually your child will not be able to trust your word.

4. Do not yell at your child if they are acting up.

I’ve seen this at auditions way too often. Parents/guardians literally yell at their child in the waiting room if they are crying or being too loud. I’ve also seen children being yelled at after the audition if the parent feels they didn’t do well, i.e. forgot their lines, didn’t want to smile when told to smile. Instead of yelling at your toddler, be sympathetic and when you have privacy, find out why your child wasn’t happy. This will help you prevent the same situation next time.

You want your child to have a great, happy experience.

5. Never force your child to do something they don’t want to do.

A toddler rarely makes the decision to go into show business. Some kids love it, some kids hate it. If your child exhibits that they are just not interested, then don’t force them into the business. Think hard — is it YOUR dream or THEIR dream?

6. Do not jeopardize your child’s safety.

If you feel there are unsafe conditions, immediately call your child’s manager and/or agent to discuss. If you booked on your own and you’re in the union, call your union rep. If you do not fall into any of these categories, talk to the production people direct, but under no circumstances should you ever allow your child to work in unsafe conditions. This includes getting to set. If there is a weather warning and you do not feel comfortable going to set, let your contact know as soon as possible. Sometimes the production has backup children who are able to make it in (example: kids who live in the city vs. kids who have to travel.)

7. Make an informed decision about which auditions you choose to go to.

If it costs you $50+ to go to an audition (tolls, parking, gas, public transportation), then you may want to consider which auditions you choose to accept. If the job pays $100 for the day but you have to go on the initial audition plus two callbacks, your child now just lost money, even if he/she books. Remind yourself why you put your toddler in show biz. Is it because you want them to have fun? Do you want them to have a different experience than other children? Or do you want to save for college? This is a catch-22 because if you turn down too many auditions, your agent/manager may stop submitting you for jobs.

8. Your child is not going to be asked to every audition.

Do not ask your agent / manager why your child was not asked to an audition even if your friend’s child who is the same age and look as your kid is auditioning. Your agent/manager is working hard to submit your child, but often times the casting director or director chooses from the submissions. Also, each agent / manager only has a certain amount of slots to fill. Your child may be chosen next time while his/her friend may not be chosen.

9. Do not have an attitude.

Be pleasant to everyone at the auditions and on set. Never complain that you’re at an audition for two hours. Don’t “whisper” to other parents on set how horrible the conditions are vs. the conditions on the last job. Always treat the assistants and everyone else involved with respect. And remember that those assistants may one day be casting directors and directors!

10. Let your toddler be a toddler.

Kids are kids. Working in show business is an experience and hopefully your child will have fond memories of this period.

Phone interviews can be a harrowing process. As an interviewer you anxiously wait on the line, hoping for a pleasant and worthwhile interaction with the talent (and, of course, good reception). With a cheery “Hey, Robert!” almost immediately those preliminary worries vanished. I instantly knew my time speaking with Vanessa Marano would be delightful.

Over the generous span of a half hour, the Switched at Birth star opened up about starring on the ABC Family show, audition room mishaps and golden advice for aspiring actors. Kicking off her career with roles on Gilmore Girls and as Lisa Kudrow’s daughter on The Comeback, Vanessa is no stranger to success. With appearances on more than 38 movies and television shows, the 23-year-old actress seems to navigate the Hollywood lifestyle with effortless professionalism. Simply put, if you’re not currently following this charming starlet, you should be. However, don’t expect to be able to “follow” her on Twitter. See Vanessa explain why and so much more in our phone transcript below…

RP:When did you know you wanted to be an actress?

VM:Well, I was 6 years old when I knew I wanted to be an actor, but of course, I also wanted to be a lawyer and a fashion designer. So you know… as a 6 year old I’m sure I also wanted to be a princess unicorn. Not a possibility. But, my mother owned a Children’s Theatre and she also, for an extended period of time, taught drama at a high school. So I kind of always grew up around teenagers doing plays and kids doing plays, so it wasn’t a foreign concept to me. I just wanted to do it professionally. So I asked my mom at age 6 if I could do it and she said ‘Absolutely not. That’s a terrible idea. It’s a horrible industry for women and for children. And stage mothers are crazy and I don’t want to drive you around in traffic everyday.’ No means try harder [Laughs] especially when you’re six! So I kept asking her and asking her and asking her, and, finally, when I was around 8, I guess I wore her out and she looked up agents.

Her version of being supportive was to look up agents who had a reputation of turning children down for no good reason and crushing hopes and dreams. Cause she thought, ‘Okay, I’ll take her into the agent, the agent will say no and I’ll be like oh that’s so bad for you, I guess, we can’t do it now, when you’re 18 then you can do it.’ And then I went in and I read for this woman and her co agent, and they took me. My mother almost had a heart attack in the lobby! And to top it off, my little sister [Laura Marano], who was five at the time (so a year younger than when I started begging), didn’t even have to read. She was just kind of adorable and so they took her too! My mom was like, “That was not part of the plan. This couldn’t have gone worse!” Both my sister and I have been acting ever since, and we’re still repped by those two agents!

RP: Wow. How would you say your mom feels now?

VM:Oh, she’s better now! [Laughs] She’s on board with it now. She still, like, once a month has that moment of, like, “You can just give it up, that’s fine.” It’s just such a crazy industry, as I’m sure you guys know at NYCastings. There’s no rhyme or reason. Anything happens.

You truly have to love the acting part, in order to get through all of the insanity that you have to put up with… because if you don’t actually like the process of performing, it’s just not worth it. That was kind of what my mother, having been in the industry, was basing it all off of. It’s not worth it if you don’t love it. You have to make a lot of sacrifices, for something that may never pay off.

I really love it and have for the past 14 years. Not a day goes by that I don’t think that that was the right decision, for me to start as young as I did! I totally understand the whole, “I’ll wait tables for the rest of my life, just so I can do a show!”.

RP:Have you worked over here in NYC?

VM:I’ve actually never worked in New York. I would love to! My dad’s side of the family is in New York, so I’ve gone back and forth and had auditions out there quite a bit, but I’ve actually never had the opportunity to work out there. I would LOVE to though! That’s a big dream of mine, just because I love the city and it would be nice to be close to my dad’s side of the family too.

RP:Would you do any theatre out here?

VM:Absolutely! I would do a Broadway play. I can’t sing or dance to save my life, so musicals would be a non-option! [Laughs]

RP:I know a lot of actors who struggle between getting an agent and a manager? You’ve dealt with both… which do you recommend for actors just beginning?

VM:I would say submitting yourself to a manager before an agent is a good choice. A manager is going to be making sure you don’t get lost in the shuffle. So if you can find someone, whether they be a small time manager or a big time manager, just someone who can see your talent like at a showcase or through email or something. Hopefully you can find someone who gets passionate about you and they can figure out the agents from that point on.

Agents have so many people they’re already handling and so many people who are submitting themselves to them already. It’s kind of nice to go in with an insider, and have a manager suggest you. Then you’ll have a higher chance of getting it. My suggestion is finding their email and sending your stuff over. They may never see it, but they also may see it. And if you can do any showcases and know someone who knows someone who can invite somebody – that’s the way you gotta do it.

RP:The audition room can be scary.

VM:Yeah! It’s terrifying! It’s a terrible, terrible place to be. [Laughs].

RP: Can you recall a time when you feel as though you completely failed in there?

VM:Oh! Oh! So many times. SO many times. I actually just went on an audition recently where I thought it couldn’t have gone worse, and then, like, I got weirdly positive feedback for it. There are times when you walk into an audition room and you think you’ve nailed it, and then they call you up and they’re like “that was terrible. No, we hated you”.

I remember one time, I was really sick. I had walking pneumonia. I was not aware that I had walking pneumonia at the time [Laughs]. But I DID. And I had an audition. I was driving from work in the morning and was feeling sick. But it was the only time I could schedule it with the director, so I was like ‘alright, I’m gonna go in, I’m gonna do it!’ I literally was driving and I was like, ‘I’m going to vomit.” [Laughs] And I did. In the car… into a napkin! It was disgusting! And then I got into the audition room and went into the bathroom and vomited in there again! I then went into the audition. I completely forgot the dialogue. It felt like it could not have gone worse! And then they were like ‘yeah we liked her’. I was like, ‘Really!?’.

RP:It’s funny how that happens!

VM:I didn’t get it, but…. [Laughs]

RP:You grew up doing a lot of community theatre. As someone who’s done it quite a bit as well, I’m curious if you think it’s a good way to keep your craft sharp as an actor? Or do you believe actors should spend their time searching for paid gigs instead?

VM:You’re doing something that you can enjoy, so you’re actually artistically satisfying yourself, maybe not financially [Laughs], but artistically. Paid job or not paid job, every time you get up on a stage, every time you get up in front of a camera, every time you just do a cold read in an acting class you’re learning. That’s only gonna benefit you. The more you do the better. But, if the paying gig is at the exact same time and it conflicts with the community theatre thing, then sorry community theatre, I’m gonna have to bow out! I think it’s a good choice to just do whatever you can, if you get paid or not. As long as it doesn’t hurt you. [Laughs] Not something that’s absolutely awful and will haunt you for the rest of your life and you won’t get hired again because of it… then it’s also a good choice.

RP:You play Bay on ABC’s hit series Switched at Birth. Can you tell me a bit about Bay and her journey this season?

VM: Bay is one of the girls that was ‘switched at birth’. She grew up in this super rich, super right wing family and she was always like this artistic, angsty girl. She never fit in, couldn’t figure out why, and then it turns out she was switched at birth and was supposed to grow up in a working class, single mother, family – totally different than the way she was brought up! Also, she finds out the girl she was switched with ended up going deaf at age 3. So there’s this added element to what Bay’s life could have been. The show’s really about identity. What makes you, you. Is it nature vs. nurture? And then it has this added element on top of it with the deaf community. There are at least 3 scenes an episode in ASL [American Sign Language] entirely (no talking only subtitles) and then maybe half the scenes are simcom (talking and signing at the same time).

We start the season focused on a crime her [Bay’s] ‘switchster’ committed. She had this image of moving to California to be with her boyfriend. That’s not happening. She’s figuring out who she is and what she will be eventually. Her plan that she has for herself is not working out at the moment and it’s only going to get further into not going the way that it’s expected to go.

RP: So, I sent out a tweet saying I would be interviewing you and I was flooded with all kinds of questions. First of all, I don’t know if you know this, but masses of tweeters REALLY want you to get a Twitter?

VM: I do know that [Laughs]. We were just talking about it. When I live tweet the show I have to go in and take over, so to speak, the ABC Family twitter. And, literally, the only questions are ‘When are you getting a twitter?’. It’s been four years and it’s just not happening, guys! [Laughs].

RP: A lot of performers say it’s smart to stay away from all that.

VM: I’m either smart or incredibly stupid… we’ll see what ends up happening [Laughs]. Only time will tell!

RP: You know what, Meryl Streep isn’t on Twitter, so I think you’re okay!

VM: I know, I know… I shutter to compare myself to Meryl Streep! I feel like that should absolutely never happen!

RP: The other majority of questions I received had to do with Sean Berdy. People want to know what it’s like working together and why you think you have such great chemistry on screen?

VM: Us working together is kind of like any other performer working together, except there is an interpreter on set. Which is something that’s so weird for all the new directors or crew members. It’s kind of hilarious now, having done this for four years, watching new people come in and try to adjust. I was that person!

I mean, as far as chemistry between performers. Chemistry is something if you are a halfway decent actor and you have halfway decent writing, it’s something that you should be able to do. If the story is there and it’s supporting the two characters and your job is to bring the story to life, then you should have chemistry no mater who they put you with. We have a story that hasn’t really been done before, and I think that’s why it resonates. They [Bay and Sean] don’t speak the same language when they first meet. He’s deaf. So the first few moments when they meet there’s no communication. It’s like only eye contact. I think that’s why it resonates so much with people, because they have to work that much harder to speak the same language.

RP: What’s something you always do before filming a scene for the Switched at Birth?

VM: Coffee. As lame as that sounds… [Laughs]. It’s funny because on Switched, every weekend I have to go over my sign language with our ASL master. It’s like the routine I’m in now. So I get to the point now where learning a scene without sign language I’m like, ‘Oh my God! It’s an easy day. I don’t have to do any preparation!’ [Laughs] Which is crazy. You’re still memorizing your lines and going over your lines with your costars and all of that jazz, but that seems like no preparation compared to all the stuff you have to do for the sign language scenes!

RP: Very impressive. I’d like to end with your greatest piece of advice for aspiring actors?

VM: I would say, my greatest piece of advice is don’t take any of it too seriously. Don’t take any of the rejection too seriously and don’t take any of the praise too seriously. That’s when you get into your most dangerous spot. It’s a rare profession where you get paid to do what you love to do. And you get paid to perform for people and tell a story and entertain and it’s like a lot of people are plumbers for a living, so you can’t take it too seriously. At the same time, it’s also one of the hardest jobs in the entire world. With all the manipulation. All this building up and putting down. Nobody, I think, realizes how much all of that can take a toll on your psyche. Don’t take the highs seriously and don’t take all the lows seriously. Because no matter what point you are in your career, and I’ve worked with a lot of actors at a lot of different point in their career, you’re never on top. [Laughs] But, that’s okay, because who wants to be on top, because then what are you still striving for?

RP: That’s very true. Kind of jumping off that, is there a specific piece of advice that someone’s given you that’s stuck with you?

VM: The best piece of advice I ever got from someone was “e;there are no actors, only actresses. Because it’s so true. The strength of a female and all the emotions of a female – that’s what a performer ends up being! [Laughs]

RP: Well, there are certainly a lot of great roles for women on TV right now, and you’ve definitely nabbed one of the best, so congratulations!

VM: Thank you very much, [Laughs] that’s very sweet of you.

RP: You and your sister are both so talented. There has to be something in the blood there.

VM: [Laughs] It’s just the refusal to give up. Especially if you’re mother is the one saying no.

RP: Well I think you’re doing a great job. Thanks for all of your time, Vanessa. Anything else you’d like to share?

VM: Just tune in to Switched at Birth, Tuesdays at 9! Thank YOU so much for speaking to me. Have a good rest of your day! I hope it’s not freezing over there too much right now.

Take Vanessa’s advice and tune into Switched at Birth, Tuesdays at 9PM on ABC Family.

With an impressive career spanning across film, television and theatre mediums, Raúl Castillo is simply just getting started. The industry is abuzz with big expectations from the CAA represented actor and playwright.

Raúl can currently be seen playing the fan favorite character “e;Ritchie” on HBO’s Looking. The drama offers an intimate look at a group of friends in San Francisco and their uncensored experiences while searching for happiness. Despite the cloud of controversy that has inevitably surrounded the HBO series, when asked if he had any difficulty tackling a gay role on the show (especially as a straight male in reality), Raúl simply replied – “e;No, not really.” This answer alone, not only proves the fearless nature of Raúl as an actor, but his authentic dedication to the craft. He is an exceptional example of an artist who does not consider the repercussions of his work, but merely seeks the truth in his given role.

NYCastings.com spoke with Raúl on his advice for actors and the upcoming season of Looking. His responses are both concise and insightful:

RP: Would you please begin by telling me the very first part you were cast as?

RC: When I was in third grade, Tony, my brother, played the Tin Man in The Wizard of Oz. At that time I wanted to do everything my big brother did, so the following year I auditioned for the school play. Something about a mouse and a clock. I couldn’t stop giggling during the audition, so I was cast as a guard with no lines.

RP: Can you reveal the most valuable piece of acting advice you’ve ever been given? What do you tell actors striving to break into the industry?

RC: Focus on the things you can control and let go of the things you can’t. Love the craft, the process. At the end of the day, that’s all we have. Look for as many opportunities to do it. Act where you can, when you can. Cultivate your own standards based off of that. Fine-tune your choices based on your experiences.

RP: I read that you studied theatre at Boston University’s School for the Arts. What was the most instrumental skill you learned there?

RC: How to write and produce my own work. There was a student-run playwright’s festival called Play Ground. Every year, I put up a play or two. We were given space, the rest was up to us. Some really great work came out of those years. I’ve always had a hands-on approach to my career and work.

RP: In addition, have you taken any classes in New York City that you found helpful?

RC: I haven’t taken many, but Heidi Marshall’s On-Camera Class was the most valuable. On a very practical level, it demystified the audition process for me.

RP: Out of curiosity, have you ever used NYCastings.com to submit for a role?

RC: Absolutely.

RP: As far as getting an agent goes, a lot of aspiring actors seem to struggle with the process. What’s your wisdom for our NYCastings.com readers?

RC: It’s like getting a girlfriend or a boyfriend: make sure they like you as much as you like them.

RP: What do you think is the smartest move you’ve made in your career?

RC: Move to New York.

RP: Congratulations on becoming a “regular” on the HBO’s hit, Looking! How would you say appearing on the show has changed your career, overall?

RC: Thank you! It’s been an incredible experience. Career-wise, it’s given me a certainty and stability that’s new.

RP: What can we expect from your character, “Richie”, this season?

RC: A deeper look into what makes Richie tick. A look into his past, his home, his family.

RP: Michael Lannan (who wrote the pilot) was a fan of your work and asked you to come in and read for Looking. Do you remember how you felt during and after the audition?

RC: The auditions were varied and plentiful. I was between representatives at the time. I thought the role wasn’t mine and then it came around again. So when the offer came in, I was surprised.

RP: On that note, what do you typically do to prepare for auditions?

RC: Depends on the audition. Typically, I try to get at the heart of what’s going on. Figure out what the character is going through on a very basic level. Where I do connect with him? How can I relate and make it personal. After that, it’s about being prepared and being on time.

RP: Is there a scene you were really excited about filming or challenged by for the upcoming season and can’t wait to see the final product of?

RC: Yes. Episode 8. That’s all I can say.

RP: You and Jonathan Groff, your cast mate, have both worked with the Atlantic Theatre Company. Do you guys ever go back there and surprise the current students?

RC: I haven’t yet. But I would love to.

RP: Sounds like it would be fun. You’re also a very talented writer. Do you find that your acting skills help allow you to create complex characters in your work?

RC: Danny Glicker, costume designer of Looking, was talking about this the other day. He was talking about serving the story. As designers, as actors and directors, we are there to serve the story. Having people interpret my words makes me appreciate what actors do and how an actor can contribute to the story.

RP: This might be a tricky question, but since you seem to be a jack of all trades, I’m wondering what your absolute favorite work situation is? Do you prefer being a writer or actor, and in which medium?

RC: That answer changes from minute to minute. Both can be very terrifying and very exciting in different ways. Also, they can both be incredibly disappointing but also inspiring in ways that make me want to do both again and again. It depends on when you ask me.

RP: Could you fill us in on any upcoming projects you’ve got cooking, besides Looking?

RC: Chicago’s Teatro Vista will premiere my play Between You, Me and the Lampshade in April of 2015 at the Richard Christiansen Theater at Victory Gardens in The Biograph. I am a huge fan of that company and cannot wait. Sandra Marquez, from Stephen Adley Guirgis’s The Motherfucker With The Hat at Steppenwolf, will lead the cast.

RP: Let’s end with something fun. What’s your favorite NYC hangout?

RC: Since this is a NYC piece, I have to mention my neighborhood joints: Betty Bar on 46th and El Rancho Burritos on 45th. Great spots, both. I love running on the West Side Highway and in the park. Lastly, when opportunities present themselves I love spending time at the Bank Street Theater, our LAByrinth Theater Company home.

Those sound like some nice havens for New York City actors.

You can catch Raúl in an all-new episode of Looking this Sun. Jan. 18, at 10:00 PM on HBO.

I started teaching maybe 20 years ago at NY Conservatory of the Dramatic Arts simply to talk about acting with aspiring young actors AND to put a very practical spin on the acting game. Starting PATH was with other actors to help provide extra income. The Company uses actors to teach medical students how to talk to patients.

When you do a photo shoot, who approves the pictures that get published?

For acting headshots my manager will recommend which photos she thinks will work best and for publicity photos both manager and publicist have final say; I feel they have a more objective viewpoint.

You’ve done voice overs for video games. Tell us about the process.

Voice overs can be done with other actors or solo. You don’t memorize your lines; you read from a script but you become as familiar with them as possible, given time restrictions. Also improvisation is usually encouraged to a small degree.

What do you think about the SAG-AFTRA (http://www.sagaftra.org) merger that happened a couple of years ago?

The merger of SAG-AFTRA is a great benefit to all actors without a doubt. It’s a stronger single union now that works in concert.

Describe the difference between auditioning TODAY vs. auditioning 20+ years ago.

Being I’m 100 years old & a Luddite, I’d say the old way was better because it was often more spontaneous. Having said that I’ve noticed in the last four or five years the casting directors have much more control and input into their process; they can expand who and how they see talent. I definitely feel they allow me to explore the character on a more complex level. I find also self taping fascinating because now you don’t have to be in Los Angeles or Chicago or Toronto to get a job. If they like what they see you can book a job without ever going into a casting session. So I’m glad I’m here.

What are your thoughts about the one, two, three and four-year acting programs available in New York such as the conservatory programs at American Academy of Dramatic Arts, The Juilliard School and The New School?

I think the four year acting programs in NYC are the world’s best because you have stage, TV, studio and cutting edge independent film making right here congested in a small geographical area. Also NYC is vibrant with ideas and accepting other people’s ideas. So right now is the best time to be an actor in NYC.

Do you use a specific acting method?

I don’t use a specific acting method. I’ve studied both Meisner and the Method but it comes down to what’s in your mind and heart and trust that. It takes a while to get there.

On the dramatic side, Ray will star alongside the late Michael Clark Duncan and S. Epatha Merkerson in The Challenger.

What’s the best acting advice you’ve ever received? Who gave the advice to you and when?

The best acting advice given to me, whew that’s complicated. Let’s see, maybe go out into the world, travel, talk to people who think differently from you, look at great painters’ work, be kind to people, observe others closely, study other actors you admire, the list goes on. Perhaps the best advice came from my first acting teacher; Julie Bovasso she said, “Never ever give up.”

What complaints about the acting world do you hear the most from your students?

The biggest complaint from students whether they say it or not is fear. Fear of no guarantees in this life.

Back in the day, it was all the rage to join the unions (AEA, SAG, AFTRA.) Today it’s much different, with more productions casting non-union actors because they’re cheaper. At what point should an actor consider joining the unions?

An actor should think about joining the union immediately. My union makes it possible for me to make a living and have a medical, dental and prescription drug plan for both me and my wife which is paramount these days. Also having the unions on your resume legitimizes the work on you’ve done. It says I’m a Professional Working Actor. Time does fly.

How can an actor get over their greatest weakness? What are some weaknesses you’ve seen?

Well. fear and also lack of confidence are two great weaknesses I’ve suffered from and seen in many others. Training helps a lot, a good therapist (LOL) and setting goals.

How do you play off an actor who gives you nothing to work with?

If working with another actor who seemingly is not up to the task you do your best and be patient and only offer kindness. You have to bring to the scene, at least on your end, a place that is real for you and potentially you may need to project onto your partner what you hoped would be there. Your audition is your audition. You make the best of the situation.If you give in because you allow the other actor to affect you in a negative way you only have yourself to blame.

What’s the secret to comedic timing?

The secret to comedic timing is? I guess you have it or you don’t.

How does an actor define his/her type?

Your type is defined by the roles you get. Others do it for you as well and my advice to actors especially young actors is not to fight it.

Should an actor learn skills such as combat fighting? What types of skills does an actor need?

Any skill available is an asset to an actor. Riding a unicycle is one that comes to mind.

How does one ace an audition?

You ace an audition by being “I’m the guy”. I don’t think I have to explain that. Break a leg!

Well, it was a great year for NYCastings in 2014, and a Really Great Year for the two ladies that won the NYCastings’ Top Bookers Award!

The Winners are:

Ashley Blankenship- Award for ‘Most Money Earned’ with a total earnings of $36,559.

Kimberly Magness – Award for ‘Most Days of Booked Work’ with 220 Days of booked gigs and totaling $35,874 in earnings.

Important note: These numbers are only from gigs booked from NYCastings and are not their total earnings as talent from Agents or other sources.

Ashley’s Booking Highlights Include:
Brands: Oprah Magazine, Revlon, Sephora, Wella, vtech, Amazon, Aston leather, High Five Games, Genie Bra, AFI docs, Kenra, Clear, Suave, Golden Nuggett Casino, SugarHouse Casino, Vision Palace, Terminex, Henri Bendel

Television: Last Week Tonight with John Oliver, Inside Edition, Americas Hottest Guy, MTV, Momsters, The Trevor Moore show

What do you get when you cross the dorkiest actor alive with one of the most prominent Casting Directors in NYC? Don’t think too hard because there’s no answer.

Ahem. Let’s talk about commercials!

You’ve seen DAVID BANKS on the big and little screens, you’ve laughed with David Banks, you’ve laughed AT David Banks… Just who is this guy who has booked 100’s of commercials as well as TV & film roles and theater? How did he become so successful in the business?

The name SUE CRYSTAL should ring a bell. Sue has been a Casting Director right here in our city since the late 1980s. You may recognize some of her work for such companies as Sears, Sprite and most recently the Kidz Bop commercials. https://kidzbop.com/

If you see Sue, tell her I say hi! (Mention NYCastings because you know – word association.) Let’s get to it!

DAVID BANKS can now also be seen on the other side of the camera. He wrote, produced and starred in his wrapped original film CUT! Now David is scripting Re-CUT! Https://www.thecutmovie.com

Check out David Banks’ Theatrical Reel: https://www.youtube.com/watch?v=np9QOZzMabI . Photo by: Andy Rooney.

You recently co-wrote and starred in the film CUT! What attracts you to horror film making? 

I have always been a fan of the horror world. Jason, Freddy, Leatherface, Chucky. I sat down with the director David Rountree and we bounced ideas off each other for a while and wanted to write something truly terrifying with a twist and attach people we grew up admiring. Sam Scarber, William McNamara, Suze Lanier. To have them as a part of this project was a real blessing.

What’s more fun, working on a film or commercial? Why?

I may get punched in the stomach for this but I really enjoy commercials. They say it’s a stepping stone for TV/Film but I really love the entire process a bit more. From the casting, the callback, the avail, shooting and just watching how it all turns out in the final edit. It’s still a rush for me.

Who makes your commercial reels? Why is it important to have a reel?

I have a good friend in the UK named Ryan J. Thompson who will spend weeks crafting just the right reel. He will send a couple examples along the way and keep me updated on his choices which always blows me away. Finding him was an absolute blessing. He is super passionate about the entire journey. When casting directors put out a break down for a certain role and they aren’t familiar with your work, it’s a nice way for them to get a sense of who you are and what you can do. The first few years of your career is crucial in building relationships with the casting directors, so until they know what you can do, it’s our job to have a reel that they can see right along side of your headshot.

How did you find your publicist? (or did publicist find you?) What was the first interaction you had with your publicist? Why did you choose your publicist?

I was researching a few online and finding just the right one was very important to me. This town really is small. I found MLC PR on an actor’s page through IMDbPro I had worked with years ago and noticed she had MLC PR listed so I reached out and it turned out that Kelli Jones grew up in the same town I did (Petaluma, Cali) It felt like just the right move and it absolutely was.

Do you have a specific wardrobe just for auditions?

I have one closet full of my go to gear (suits, ties, polos, khakis) and another filled with things I rarely use. Lab coats, super hero costumes, referee, cop etc. [LAUGHS] You never know what you will have to be from one day to the next. You sort of build as you go.

One of your specialties is talking fast. Is that something you perfected over time because you realized there was a need for it? Why is talking fast your ‘signature’ thing? (Readers – Click the link to see David Banks talk super fast in the @NYCastings teaser: https://youtu.be/CgerbtYrEiM )

Well I have always been a pretty nervous guy, and was always being told for the first few years to PLEASE SLOW DOWN. So instead of doing something I knew was next to impossible I decided to hone in on that and make that sort of my thing. I still get nervous even after all these years. For me the acting is just the talking and introducing myself to a new room before the read. I have to “ACT” like I am calm and in control when I’m really going a mile a minute on the inside.

How did your family respond when you told them you wanted to be an actor?

Never. My father always said having a back up plan is too often used as an excuse for failing to work the primary plan with all of ones energy and resources.

What or who influences you when working on screen or in theater?

I have always been influenced by the 80’s comedic types Chevy Chase, Steve Martin, Eddie Murphy. Nothing like a classic Vacation movie to bring out the real laughter.

What are your best and worst qualities?

I don’t think you have enough space for the worst qualities. [LAUGHS] Perhaps I will just list the top three: – Always tough on myself – Put my career before relationships – Don’t believe in vacations My best quality is that I can laugh at all my worst qualities.

Have you ever worked as an extra? What would you tell an actor who wants to work as an extra? Should they not do too many extra jobs or that’s the only way they’ll be categorized and never make it into bigger roles?

I always think it’s a very nice way to learn the business. Everything from taking your mark to working with others. I worked on a beer spot where an extra got bumped to a principle because the director liked her look and she made a killing on residuals. I also worked on a commercial last year where the guy who was hired lied about being able to play bass guitar so they pulled someone from the crowd of extras who could actually play and he was bumped to a full scale principle. It was exciting to see that happen. Although I do think there is a time where you have to say no more extra work.

Do you ever really know what a casting director is looking for?

Does anyone really ever know? I think they have a pretty damn good idea, but every once in a while they will throw in what is called a wild card just to shake things up. Sometimes they are super specific and other times it will just say “Hero guy”. I personally like when they narrow it down (friendly, likable, warm hearted, guy next door, etc.)

When you audition, do you do it off book? Do you bring the script with you even if you don’t look at it?

I won’t go in the room unless I know it 100%. The script is usually right on me. How do you deal with rejection? I heard something a few years ago that really changed my whole outlook on rejection. “Don’t worry about booking the job, because that will only last a day or so, concentrate on making a new fan in that audition room because that will last a lifetime.”

View David Banks’ Commercial Reel here: https://www.youtube.com/watch?v=0qUcGrUP4Rw .

Photo exclusive to NYCastings.

What’s a fun fact about you that no one knows?

Hmmmm. The up close and personal time, huh? I start every day with a prayer and end each one with another. Giving thanks to God for each and every opportunity and the excitement to take on another. I have spent the last 16 New Years Eves in a different church for the countdown just thanking him for the previous year.

If you are offered two auditions or roles simultaneously, how do you decide which one to take?

I always ask my agent or manager if there is a window for the audition. If there isn’t I will always show up early just to be safe to see if I can sneak in. Nothing sits in my head worse than missing an audition. If the casting director can’t fit me in I always peak my head in and let them know I made the attempt. As far as a double booking it then boils down to the rates and relationship with the casting director. Thank goodness we have managers to handle this for us. Isn’t it hard enough for us running around hearing all of these NO’s? [LAUGHS]

What advice do you have for aspiring actors?

If you are really going to do this DO IT WITH EVERYTHING YOU HAVE TO GIVE. Don’t do it as a hobby, and certainly don’t put a time limit on it. I have seen too many people come out here from Missouri, Maine or Michigan with that whole mentality of giving it a try for a year. That’s like saying I have never picked up a violin but I’m going to be a professional violinist and if I don’t make that happen in a year, I will quit. Sounds pretty ridiculous right? I had a meeting with a manager in the beginning of my career who asked me if I had 10 years to spare, because that is what it will most likely take to make a name for myself, and if I did I just might have a shot. I said, YES I DO. He still didn’t represent me because he already had seven others that were my exact type. Find your niche and find the right agent or manager that believes in it just as strongly as you do. www.davidbanks.tv If you want to read some more personal tidbits about David Banks, go here: https://www.huffingtonpost.com/ilana-rapp/actor-david-banks-of-cut-_b_7181376.html

SUE CRYSTAL has cast very popular commercials as well as Indie features and more. Previously, Sue was a successful Theater Director and Acting Coach. Her answers to my questions are gold, so pay close attention!

Why and how did you become a casting director?

I was a Theatre Director and Acting Teacher. I basically decided one day that I wanted to do something in film or TV and I didn’t know what. A friend of mine hooked me up with a job assisting a Casting Director on two films. Then I started to get my own jobs on Indie Films and Commercials as the Casting Director.

What’s it like auditioning children?

The approach with children is basically the same, just much slower….to make sure they understand everything. Patience. The direction needs to be simpler. It really depends on their age. Below six years is more difficult.

How do you handle an actor who is really cocky?

If an actor has a bad or cocky attitude I usually just dismiss them quickly. I usually do not run into this though.

Have you ever ‘caught’ an adult or child actor crashing an audition?

Yes, I have caught actors crashing my audition. If I think they are good for a role, I invite them in, if not, I politely ask them to leave.

What’s it like auditioning the same person multiple times over the years who never get booked for the projects you’re working on?

If I like them and think they have talent I wish and try to get them booked. If I think they are not talented, I might ask the agent not to send them anymore.

How important or unimportant is an actor’s reel?

For commercials, I generally do not ever look at a reel. For films, I will look at reels. They still have to read for the role perfectly to get cast.

Often times an agency will only be allowed to send a certain amount of actors / models to an audition. Example: Each agency might get five slots. Who decides on how many slots each agency gets?

The Casting Director decides these things.

How do you get your jobs?

My business is all on a referral basis.

After the audition process is over, what’s the next step?

Commercially, after the first audition, the tape is sent to the Ad Agency, Director and Producer. I send a list of my picks and comments. A call back list is sent back to me decided upon by the agency and director. After the call back, the top three pics for each role (in order of preference) are sent to the client. This is decided up by the director, agency and me. For film, I work directly with the director only on everything creative.

Do you ever receive gifts after an audition or after someone books the job?

Actors might send a thank you note, flowers. No gifts necessary!

Do you reserve a studio to do the auditions or do you have your own space where you hold auditions?

I reserve a space. Usually Endeavor.

What advice do you have for actors who are auditioning for you?

Don’t try to shake my hand or get in my space. Don’t be late. Wear the proper wardrobe (and make-up), be prepared, don’t ask too many questions…especially asking what I just told you. Listen! No (never) any excuses for anything. Be able to take direction. Ladies, hair out of your face so I can see you. Oh, also, never stop and get flustered in the middle of a reading, keep going as nothing happened! Don’t ask to read again, if I want you too, I will ask you to.

What if an actor is unprepared but you feel they would be perfect for the part?

Being unprepared is seriously bad. But I will give a person a second chance if they are right for the role.

What’s the difference between casting for commercials vs. television/film roles?

For the actor, for films, know the character and be prepared. Do your homework! For me, more off script you are, the better. Dress (and MU/hair) appropriately for the character so that we believe you can be that character through your acting and looks. Best to be a trained actor. Be open and flexible to direction. Basically the same for commercials, although it is a different animal. Some actors are better at commercials, some better for “legit”. Some great at both. Although, commercials are a lot about a “look”.

How do you feel about self-tapes and sending digital auditions in vs. auditions in person?

I never allow self-sent tapes for commercials. My clients don’t seem to want them. For film, yes to self-tapes.

Anything else you’d like to say that would help actors better understand the casting process? I think I pretty much covered everything above.

When your young performer gets an audition for a TV show with lots of buzz, it’s time to close your eyes, take a deep gulp and maybe even meditate. You want them to go on the audition, but at the same time, you know if they get the job, life will change. Maybe forever.

For young actors David Mazouz of FOX’s Gotham and Zoé de Grand’Maison of the BBC’s Orphan Black, there was no doubt in their minds about auditioning for their prospective roles. Both have very supportive families which helped make their decision easier.

David and Zoé take us on an in-depth look at their audition processes, contractual obligations, school and how things have changed (or not changed) in their lives.

David Mazouz plays the young Bruce Wayne on Fox’s hit series, Gotham. fox.com/gotham
David’s Twitter: @realdavidmazouz

What went through your mind when you found out you booked the role? Do your agents contact you direct or go through your guardian? Did you know you were auditioning for Bruce Wayne? Who was in the audition room with you? Did you have any callbacks?

I knew the premise of the show before I auditioned vaguely and I knew I was auditioning for young Bruce Wayne, but there were dummy sides so I knew nothing about the character or what they wanted from the actor. So I did the sides which were nearly a monologue and was asked to test for the role immediately after that first appointment, after the Christmas holidays. The first audition was actually with the Casting Director, Sherry and Bruno Heller, the Executive Producer and creator. They were both really great and I felt really comfortable with them. After Christmas, which was about three weeks later, I tested three times in one week after having 103 degree temperature. On the third one, they sent me to make up and hair and they chopped off a bunch of my hair.

My mom found out I booked the role the day before she allowed my agents and managers to tell me because it was my sister’s birthday and I got in a bit of trouble at school that day and we were going out for my sister’s birthday — so she wanted to focus on that. My sister knew they were going to tell me that day so she had a camera with her and video taped me in a store when they called I was shocked because we waited for a while and it just took a long time so it was hard to believe it when it finally happened. I was so excited that I screamed!

As far as who they go through, it’s always my mom. She handles all of my appointments and decides what I need to know and what I don’t need to know since I also have school work and other things going on at the same time.

How do you handle school?

I go to a regular school that I’ve been going to since I was 18 months. It’s a pretty small private school and most of the kids live around me and I know their families. The teachers I have always send the work that I have to do to the studio teacher on set who is a really great teacher and she helps me with it. I have always had a pretty easy time getting all my work done and have been ahead of my classmates since I began acting. I don’t want to be home schooled and my mom is very against it because I work with adults mostly and she thinks it’s better for me to keep me grounded if I’m able to socialize and continue to know people who I’ve known most of my life. In California or if you’re a California kid, you have to have at least three school hours per day whether you’re working that day or not. But my school is from 7:50am to 4:40 pm every day and on Fridays until 2pm. So I have very long days and more classes than most kids my age so it’s getting harder and harder to squeeze all that into a three hour time. But my mom tries to get me home as often as possible when I’m off for several days in a row so I can see my friends and family and get caught up with the work from the classroom. They have to email classwork and homework as well.

You tweet about the productions you’ve been on. Is this something you’re ASKED to do or you do it on your own? What type of promotional events are built into your contract?

I usually tweet about things I am doing and if I’m working on a production, I am more likely to let people know what I’m doing. If something has been built into my contract, I actually don’t know about it so I guess not. No one has ever made my tweeting or social media necessary. Productions often ask us to but there’s no pressure to do that and it’s usually a memo that goes out to many people about suggestions or what we can and can’t send out in terms of material or spoilers.

The only convention that is in my contract is the Television Critics Association which I love going to but nothing is forced ever. The truth is, I really love going to conventions whether it’s for journalists or fans. I went to Comic Con this year in San Diego with some castmates and it was awesome and I love to meet people anyway and talk to fans. So I wish they’d put all of the conventions into my contract!

You played an important role as Jake on FOX’s Touch with Kiefer Sutherland. What was it like having a role with no speaking parts? Tell us about the guitar Kiefer gave you.

I had to express my emotions though my facial expressions so it was pretty difficult but also I didn’t have to memorize lines and once I got the character down, I was so attached to him that I sat like him and ate like him for two years. The guitar Kiefer gave me is one of the best guitars you can buy. He bought me a Taylor and a really beautiful case and tuner. Best birthday was when I worked on Touch, the director, Francis Lawrence worked with an expert in Autism, and she worked with me on my walk and climbing but not really on how to express my feelings without talking. That I think I just put myself in his shoes and what you saw was the external expression of what I did inside. I honestly just thought this is the most awesome job. I absolutely loved that experience cause I could really take the time over two seasons to get to know everyone working on the show. Super amazing group!

What do your friends think about you being in show business?

My friends have never really understood what I have been doing because most of the things I’ve done were more for adults or the family film I did for Latin American Disney hasn’t been released yet. So until Gotham, they didn’t really understand what I do or appreciate my work. My friends have known me for so long and they’ve watched me on little commercials and probably got more excited then because it was a first. The ones that act funny, I haven’t stayed friends with. They are really excited now because they are all watching Gotham so I think they have a greater appreciation for my work. No one is particularly star struck about it because I’m just me, their friend. Most of the social events I’ve missed have been because I have been out of town but I did miss a school trip that we paid for because of work. That was hard but I never got particularly upset because it’s what I chose to do. I don’t really have much of a say though if I’m working and there’s a party, it’s just not going to happen. When I was on Touch, one of my best friends was having a party one weeknight and my mom didn’t ask for it off because I never really worked at night. That was really really hard because she was one of my best friends. When the Director, the Assistant Director and Kiefer found out, they did everything to get me out on time to go! They even hired a double so I could go as soon as my close ups were done. They were so incredibly awesome but typically that won’t happen. You just have to be at work and appreciate the fact that you are lucky and have an awesome job! I’ve never been teased because of my job by my friends but people do say “Oh you’re so lucky!” My mom says luck is important but it’s a lot of very hard work too that you’re willing to put in that makes all the difference.

What does your older sister think about you in show business?

My older sister is very very proud of me and couldn’t be more supportive! She’s always been so generous with her love and support and she doesn’t resent me for taking up so much of my mom’s time. She’s a pretty incredible sister and I’m very lucky. This all happened because she bugged my mom to take acting classes and my mom wanted to drop us both off so she could go to the store every Sunday at that time. My sister does a lot of theatre at her school which has a performing arts program. She’s actually really hilarious. She does voices and characters and she’s done Groundlings and Second City and she loves improv. She also did book an episode of Modern Family and she did a horror film with me a couple of years ago. She really is great though at comedy and she’s very natural. She has so much going on in school though that she hasn’t yet gotten an agent but she will be doing that soon. 11th grade is really hard she says so she’s focusing on Theatre and Musical theater and school stuff. She has helped me run lines in the past but usually it’s my mom and sometimes my coach, Connie will come over or Skype with me. She’s really awesome too.

David behind the scenes of 6 Miranda Drive with Kevin Bacon.

You recently worked on the film 6 Miranda Drive with Kevin Bacon and other well known actors. Who did you have interactions with and what lessons did you learn?

Miranda was an awesome and really relaxed experience. I worked with Kevin Bacon, Radha Mitchell and Lucy Fry and many other Australians who are just really warm. I didn’t necessarily get acting tips but they were very comfortable to be around so if I had a question, I would not have been shy about asking it. Kiefer always gave me a lot of tips on Touch though and the most important thing he taught me was to be respectful of everyone on the set, actors and crew alike and to be prepared. He also told me to make sure I finished school. He was awesome too.

Describe your first day on the set of Gotham. Then tell us about your most memorable day on the set of Gotham.

I wish I could tell you about my first day but I honestly can’t remember specifics. The first day of Gotham was the pilot so everyone was a stranger but really nice and friendly. I don’t remember the first person I met but we stayed in a Hotel in Manhattan for the pilot and shot on location for the Wayne Manor and the the scene where my parents get killed which is when I worked with Ben and Sean the first time. It was really really fun doing that scene. Bruno Heller, the creator and exec producer and Danny Cannon the director of the pilot as well as a producer were the first group of people I saw and I had already met Bruno so it was all really comfortable.

How and at what age did you connect with your agents? Why do you have a different agent for commercials?

I met my commercial agent at a showcase when I was seven years old and made up a song for an Oreo commercial. Then after a year, he suggested that I meet the agent in charge of the theatrical department. She slowly began sending me out when I was about eight years old and I’ve been with them ever since. Commercial agents work with commercial casting directors and theatrical agents work with theatrical Casting directors and they do very different things.

What was it like working with Robert Englund in Sanitarium?

On Sanitarium, I worked with Chris Mulkey and Lacey Chabert. Chris is hilarious and fun and wild and loves to have fun and Lacey was really kind and modest and warm so working with them was really great. They are really professionals and both are great with kids.

Tell us about your acting coach Connie Barrett?

Connie is still my acting coach and always will be unless she gets sick of me. She is a close friend of the family’s now and she comes to our rescue like a Genie sometimes. I don’t get coached for so many roles now because I try to use my own instincts but she will help me if I need help or if I’m stuck. She was my first acting class teacher which was so much fun. So that’s how we met. The “Class” I take is a small workshop with a handful of kids that I know including my sister so we just work together on stuff one or more people need to work on based on what’s going on or auditions or just trying to get better at a particular thing and Connie runs it so we don’t have our natural instincts kicked out of us.

Your work has taken you all over. When you fly out of state to work, who pays for the flight and hotel for you and your guardian?

When you go out of town for a movie, the production will pay for transportation and hotels and per diem as well but if you move out of town to work, you get an amount for relocation and the rest you pay for after that flat amount. The production pays for all of that unless you are on a TV show and then it’s just a relocation amount. A car picks you up from the airport where you’re working and then when you go home but if you go home in between, you pay for that yourself.

What video game consoles do you have and which games are your favorite?

I’m not a big video game guy but I do have a Playstation and a wii. I don’t have a lot of time for video games unless I’m hanging with my friends but we tend to be more physical.

How often do you get new head shots? Which photographer do you use?

The last head shots I got lasted about four years. The one picture I used actually still looked like me until a few months ago so I had to get new ones. I used Brad Ross the first time and Robert Kazanjian the last two times.

David, age 13, likes a nice balance of family, work and fun. David at his cousin Aliza’s wedding in London. Also in pic: David’s sister, dad and family friend.

Which do you like better: working on film or a television series? Why?

I like working on films because you know when it’s starting and ending so you can sort of plan around that but with TV, it’s all unpredictable. But I love the family that’s created in both places but if you’re on a TV show for a while, there’s a family bond that grows more than a movie that lasts a month obviously. I love working so for me it doesn’t matter if it’s TV or film although with film you usually get to travel and I love to see new places.

What’s your advice to other young performers?

My advice is don’t give up! Work hard and show up for all of it. And remember, it’ll never be perfect but keep trying to get better at the things you’re not best at and finally be kind to all the people you meet. You’ll see them again and again. It’s a small world.

Zoé de Grand’Maison plays Gracie in the BBC’s popular series Orphan Black. bbcamerica.com/orphan-black/
Photo by Steve Wilkie. http://www.stevewilkie.ca/
Zoé’s Twitter: @ZoedeGM

Tell us about your audition for Gracie in Orphan Black. What info was given to you for the audition? What did you wear? Did you have call backs? Were there chemistry tests?

I was already a huge fan of the show when I got called in to audition. As you can imagine, this made me both very nervous and eager to get in the room. I was sent two scenes, along with the following character description: Sheltered and distrustful of the world beyond her family. A passionate young woman, sure of her beliefs and the values she’s grown up with, but given to anger when those values are threatened. What was funny is that, due to the show’s extreme secrecy, they’d switched out the names of known characters from the sides. For example, I believe Helena was referred to as Dorothy, so I actually had no clue that I was meant to be talking about her!

As for wardrobe, boy was I off! I went for more of a Catholic School Girl look than a Religious Cult Member look. I remember John Fawcett jokingly commenting on my knee socks in the audition room!

There were no callbacks or chemistry reads. I got the call that I’d booked the part about a month after my audition– I was BEYOND thrilled!

What hobbies do you have?

I have many hobbies. I love to read, draw, play guitar, write and cook to name a few.

What was it like working with Laura Marano in Bad Hair Day?

Laura was great! She’s a very sweet, fun and down-to-earth girl and an absolute blast to work with!

How do you handle getting recognized on the street?

I actually only ever get noticed while I’m at work, oddly enough (I work part-time at a sketch comedy theatre as an Usher). People are so great when they come up to me, they’re always so happy and so sweet. I love meeting the fans and talking to them about the show. It’s really cool to hear what everyone thinks about the show’s plots and its characters and to hear their predictions for the upcoming season.

What was the worst day for you on Orphan Black? What happened?

I can’t say that I’ve had a bad day on Orphan Black. That being said, of course there are times when you might skip/stumble on a line or miss a cue, but everyone is very understanding, so, when that happens, you just pick up and try again.

Zoé de Grand’Maison. Age 19.

Photo by Denise Grant. denisegrantphotography.com

Do you have any plans for more school?

I would love to go to school eventually! I’ve been out of high school for just over a year now and I definitely miss being in a classroom. I was accepted to the University of Toronto for Chemical Engineering (I’m a TOTAL science geek) but I’ve been deferring in order to pursue acting. I may end up deciding I want to go to theatre school instead, or I may choose to study something entirely different. It’s tricky though, when you’re an actor, because you never know what your schedule is going to be like, so it would be quite challenging to juggle both acting and school at once.

What was your family’s reaction when you told them you wanted to become an actor?

My family is so incredibly supportive. I honestly could not have asked for better parents. I consider myself very fortunate. When I told them I wanted to become an actor, they fully had my back. They even help me run lines sometimes!

Do you have an acting coach and/or take acting lessons?

I am always taking lessons. I have been studying with Lewis Baumander in Toronto for quite some time now. He’s fantastic! I also like to take a few other classes all over the place, because I love getting different people’s perspectives on acting and on my progress as a performer.

What’s your advice to other young performers?

Commit, 100%. Don’t do this unless you ABSOLUTELY love it! For me, nothing makes me happier than acting does. I almost feel like I get a high from it. I’m completely addicted. That being said, I can’t imagine doing this if I didn’t love it so much. It requires a lot of hard work, practice, patience and perseverance and there is so much rejection involved, so it can be tough. If you aren’t fully committed in this industry, you will have a really hard time, but if you, like me, are absolutely in love with it, keep working hard, keep pushing and don’t give up.

ILANA RAPP. Please follow me on Twitter: @LizardLadyNJ and also remember to follow @NYCastings for the latest New York casting notices, contests and blogs! You can email me at ilanarapp@gmail.com with any questions or ideas you’d like to see in future articles. Thanks for sharing!

Earning a role on Broadway, or being cast in a major feature film are seemingly implausible dreams to the majority of actors plunking along the New York City audition scene. For Lilla Crawford, these feats are simply credits on her resume. The fresh-faced teen broke onto the great white way with her debut in 2011 as “e;Debbie” in the Tony-winning musical, Billy Elliot, but most will recognize her from the most recent Broadway revival of Annie. She secured the title role after exceeding over 5,000 girls during an extensive nation-wide search. Her stellar run as Annie wowed waves of audiences nightly, and clearly garnered the interest of some major industry giants.

Lilla has traded shiny red curls for an iconic red cape to showcase her glittery charm and undeniable talents on the silver screen with her role as Little Red Riding Hood in Disney’s highly anticipated Into the Woods film adaption. The rising starlet kindly took a break from her busy schedule (and studying) to entertain a few of my questions regarding her budding career and favorite NYC eateries:

RP: To begin, could you please tell us how your acting career started?

LC: Since as long as I could remember I started putting on elaborate “shows” for anyone that would let me. I started professionally acting when I was 6 years old.

RP: You’re a very accomplished singer as well. What is your process for keeping your voice in shape?

LC: Well when I have an event or audition that requires me to sing, I drink lots of tea, and try not to speak so much (which is kinda hard cause I love talking 😉 ) It also helps to use something called a humidifier and I have a special throat lozenge for those 2 show days.

RP: What’s been your favorite role to play so far?

LC: That is like asking me to pick my favorite dessert, I can’t pick one, their all good!

RP: Well that gets rid of my dessert question then… Congratulations on being cast as Little Red Riding Hood in Disney’s Into the Woods – what an amazing story to make your feature film debut with! Can you tell me what that filming experience was like?

LC: I had such an amazing time. It was such a great first experience and I learned so much. It’s also such an amazing story and I loved playing my character, Little Red.

RP: Had you seen the musical before production began?

LC: Yes! James LaPine invited me to see Into The Woods in Central Park. I loved it! My friend showed me the original version right after and I loved it too! It’s just such an amazing show.

RP: A lot of people are hoping the storyline of the film stays true to the original. Do you believe it does?

LC: I think this version will thrill all of its’ audience members – people who know the musical and people who don’t. Disney has added its own touches, but has definitely stayed very true to the original.

RP: The star-studded cast is made up of some powerful talent, and helmed by acclaimed director, Rob Marshall. Did any of your older costars offer you advice for your acting career?

LC: No, no one did, I probably should have asked though. But now that I think about it Emily Blunt did help me study for my Spanish test….and I got an A+!!!

RP: How cool is that! Speaking of your costars – Meryl Streep is considered one of the greatest actresses of all time. How was it working with her? Were you nervous?

LC: I was very nervous to meet her of course, but working with her was incredible. She was so funny and sweet and so laid back. When I was not in the shot, I had the chance to watch her – I was mesmerized! I got chills! She is amazing as the witch.

RP: Of course, when there’s a Little Red there’s always a big bad wolf lingering behind. Johnny Depp plays the Wolf in this production – how was that?

LC: Well … Come on he’s the perfect person to play the wolf! He brings a very different feel to the wolf that is very different to how the wolf is usually done. Other than that I don’t want to give too much away 😉

RP: You also recently finished shooting for the upcoming film Little Miss Perfect, what can you tell me about that one?

LC: It was SO much fun. It was such a hip and cool cast and crew, I don’t think anyone on the project was over 21 years old, which was so fun. I learned so much from the director, Marlee Roberts, in a short time. My favorite part was that I was proudly playing a high school girl when in real life I was only 12 HAHA!!

RP: What’s up next for you, Lilla?

LC: Well you’ll just have to find out 😉 but one thing I can tell you… I do have to memorize The Periodic Table by tomorrow since have a science test… (I am so scared).

RP: Maybe you should call up Emily Blunt for help! One last thing before you go, I understand you’re a bit of a foodie (me too). So I had to end with this question. I’ve heard you love Schmackary’s, but what’s your ultimate New York City eatery?

LC: I love Juniors, Chipotle, Eataly, Shake Shack (even though I am a vegetarian), Juice Generation, aaannnddd…. my neighbor’s kitchen cupboards, but really I love everything in NYC!!

😉 PS- as long as there is an A rating!!

Into the Woods whimsically premieres in theaters nation-wide on December 25, 2014.

Copper leaves dwindle down the Broadway strip, as Autumn sweeps over Manhattan once again. With this changing of the seasons comes a new gust of aspiring entertainers hoping to build their mark amongst the towering skyscrapers standing in the city of dreams. Yes, despite the lingering notion that “e;show business” is one of the toughest industries to infiltrate, masses of hopefuls continue to migrate to New York City wishing for their big break. What a lot of people don’t realize is that beyond all the city competition and just down the picturesque Hudson River, exists a secret hub of production, brewing with opportunity – The Hudson Valley.

A speedy train ride can be your escape from the intense and, occasionally, brutal monster that is the New York City audition circuit. Film and television production in the Hudson Valley has been growing at a steady pace, attracting award-winning filmmakers and actors with its’ delicious scenery and appetizing tax incentives. “e;War of the Worlds” (with Tom Cruise), “e;Peace, Love & Misunderstanding” (with Jane Fonda and Catherine Keener) and “e;Taking Woodstock” (directed by Ang Lee) are among notable films that have ventured to the Hudson Valley. In addition, television has a presence there, with Lena Dunham’s HBO series “e;Girls” filming an episode in New Paltz. One of the premiere casting companies that has been assisting in this recent boom of production is Hudson Valley Casting. We were lucky enough to pick the brain of the company’s fearless and talented leader, Heidi K. Eklund, who’s worked on such projects as All My Children and, the 2013 breakout indie hit, Francis Ha.

Check out what she had to say:

RP: First of all, how would you best describe what you do?

Heidi: I think of what I do as the Human Resources of the project or production I am working on. I help talent find their way into a job and I help the production get the best people to fulfill the story they are working on telling. I am the liaison between the two. I am a filter basically. Many people think I am an agency – NO! Agencies represent talent and are paid by the talent when the talent books work. Casting Directors are hired by production to find talent for a specific project.

Here is an abbreviated list of what we do:

1. Keep a database of actors we believe in.
2. Call agents to ask for talent submissions
3. Run ads on websites like NYCastings.com to find talent.
4. Run auditions to show the director/ producer/ final decision maker the talent available.
5. Weed out people who don’t fit the vision (so actors shouldn’t take this process personally).
6. Quickly, concisely and efficiently send people talent photos and information. (so if a CD asks you for information, you had better follow their directions or that might keep you out of considerations).
7. We facilitate the negotiation process between producers and agents.

Here is what we don’t do that people often mistake us for doing:

1. We do not “e;represent” talent.
2. We do not make final casting decisions (at least I don’t at this level).

RP: There’s really no school for becoming a Casting Director. How did you get started in it?

Heidi: I grew up on the stage and had a career on the stage and one day I decided I needed to do something M-F with evenings and weekends off. So I started working as an Assistant in academia (NYU).

In 2004 I started working at Vassar in the Film Department after having several years as a roving Yoga Instructor and Shiatsu Practitioner and working at Skydiving Centers where the jumpers really needed bodywork. 

Each year at Vassar the seniors would make 20-minute narratives. My first year, there was one group who couldn’t find an actress old enough to star in the film, so they asked me. It was great to work on the film, but when I viewed the collection that year, I noticed that the roles were miscast and their stories suffered because of it.

The next year, I asked if I could compile a list of local actors and organize a casting session so that the students could see who was available in the Poughkeepsie and surrounding areas. They allowed me to spend some time working on the casting. That year the narratives really showed a significant change and the films were entered into festivals. Some of the films showed at festivals that year.

I think it was the very next year, that some of my favorite actors that we had worked with were turning SAG. So I called up the union and asked what we needed to do to work with SAG actors. Once I found out what we needed to do, I worked out the details with the production professors and we started working with union actors. This also gave the students a taste of what it means to work within a system of rules that can make or break your indie project.

Over time, people in the community realized I was doing this and started asking for my help finding students for their projects. Amy Hutchings would call me and ask for students for films. There are many project shot up here in the Hudson Valley and in those films have been cast, many Vassar students. (By the way: the past tense of cast, is cast, when I hear people say casted it makes my skin crawl).

One summer I was working on two different projects so I decided to start Hudson Valley Casting.

RP: Yes, can you tell us a little bit about your company, “Hudson Valley Casting”?

Heidi:

“e;FINDING THE BEST TALENTFOR FILM, COMMERCIALS,PRINT, VOICEOVER, THEATER AND CORPORATE EVENTSIN THE HUDSON VALLEY AND BEYOND.”

That is our slogan. As a family run business, we live and work in the Hudson Valley of New York, home to Woodstock, Vassar College, the Culinary Institute, Walkway over the Hudson, Bard College, SUNY New Paltz, Shadowland Theater, Shawangunk Mountains, Catskill Mountains and countless other fun and famous landmarks. Twelve to Fifteen feature films are shot in the Hudson Valley each summer and we are one of the primary casting companies finding talent for these projects and yes, we seek talent from NYC as well as local talent.

Wayne Pyle is our resident acting coach and provides coaching in voiceover, acting for the camera, acting for stage, audition coaching, dialect reduction, and coaching for Shakespeare as well. He has an MFA from PTTP at the University of Delaware and has acted in countless films and on stages all across America. Wayne is also a lecturer and acting instructor for colleges and universities.

RP: Why did you choose to locate your company in the Hudson Valley and what do you think it offers for NYC actors?

Heidi: I came to the Hudson Valley from Williamsburg. I came to jump out of a plane, once (or what I thought would be once).

After that one time experience, I knew I must return again and again. It was to skydive and get my jumping license, yes, but then it turned into need. A need for breathing fresh air and seeing the mountains and the lush greenery, taking in the more wooded parts of our great river and vibrating at a lower pace in the relaxed environment. There is nothing more amazing than stepping on that bus or train and riding your way to relaxation. Even if you will be working.

I watch actors when they come up here. Now, I take the beauty for granted, but when you first step into it, it captures you and draws you in. You can’t help but want to explore all it has to offer. When I am not working, I still like to hike the rail trail, walk around the shops in the little towns, take my son to the Hudson River park in Poughkeepsie, walk over the stunning Walkway over the Hudson, and eat amazing food from all the terrific restaurants. It is like exploring the City… it takes a long time, if you do it right.

RP: And, of course, the rest is history. What is your favorite part of being a Casting Director?

Heidi: I really enjoy seeing how beautifully an actor can tell someone’s story. It is like facilitating a marriage. When it works, and you find that perfect someone, it is magical, like falling in love.

RP: As a Casting Director, what’s your best piece of advice for aspiring New York actors?

Heidi: FOLLOW DIRECTIONS on your submissions and label all your materials with a filename that includes Your Name! Make it easy for me to cast you.

Be concise, efficient, on time, unfettered, open, aware, considerate, humble but not self-demeaning, HUMAN, and authentically you. Be ready to tell a story, for real, in the moments we spend together. Connect.

RP: If you could change something about the “audition process” what would it be?

Heidi: What would help the audition process is if every actor had a 2-minute reel ready to go on Youtube, photos that are honest and look like them (that aren’t cluttered and messy or overly glamorous), and skill plus the availability to make a connection (a real human connection). Actors who follow submission instructions make the process easier, while actors who don’t cause it to become confusing. To me, the audition begins with the submission and you would be surprised at how many actors make this part of it difficult. Remember, there are just a few of us looking at 500 to 1000 submissions sometimes.

RP: Generally, where are some of the places you discover new talent?

Heidi: I am always looking for new talent. I found twins the other day in a local park where I was playing with my son. All the usual places too (Online, Facebook, All the NY/LA Casting websites, Mandy, etc). When I am casting local extras, I have a lot of fun going into the area where we need the people and putting up flyers, meeting people in the neighborhood, and watching the joy spread that they are going to “e;be in a movie.” Honestly though, I find that the people who come through to the director and book speaking roles, are the people I know from other film projects. Experience and skill are important so I often remember people by what role they played in a prior project and how the end product turned out.

RP: What’s the biggest struggle you’ve had to cast a role, and why?

Heidi: Restrictions, locations and low budgets. Recently, I worked on a short that Melissa Leo and Stephen Spinella starred in. I was looking for actors over 18 to play kids of 13 and a little younger for little to no pay and up in Chatham NY. I failed to find anyone. It was frustrating that they cut the roles. The restrictions on children, combined with union rules and shooting schedules combined with the low budget and location made it impossible to find the right people. I have also had to find Pigeon speaking Hawaiians in NY, and Orthodox or Hassidic people willing to be filmed.

RP: What has been your most rewarding project to work on?

Heidi: “e;Mi America” screens in November… I am on the poster in the Casting by section… nearly 70 speaking roles! That was fun and rewarding. I love every project. They all have different challenges and overcoming those challenges is like climbing a mountain. Commercials are fun because they are a short and intense commitment.

RP: Can you share with us some of the upcoming projects you’re working on?

Heidi: Right now I am in the script reading stage. I have at least 4 feature length screenplays to read right now.

In December I will be holding auditions for Vassar Films (in Poughkeepsie). I am also a Mom of a 4.5 year old actor child, I do act occasionally myself, and I am writing two of my own projects. Some day in the next year I will likely be working on “e;This is Nowhere” with John Russel Cring, Tracy Cring and Heidi Philipsen, casting extras. My busiest time is in the summer. This past summer I worked with Amy Hutchings on “e;The Outskirts” and solo on “e;The Ticket,” and in September I did “e;Damnation.”

RP: Anything else, you want to let New York actors know?

Heidi: Keep trying! Never stop growing! Live life and be well!

Heidi K. Eklund (http://www.imdb.me/heidieklund) has played upon stages and in film from Massachusetts to Arizona. While living in NYC she worked on “All My Children,” in countless Off Broadway theaters, and primarily as an ensemble member of the Irondale Ensemble Theater.

Heidi has been the Casting Coordinator for the Vassar College Film Department for the past 10 years and has cast somewhere between 30 and 40 short films in that position. She grew her casting role from her assistant position when she saw a need to connect students with professional actors in the Hudson Valley Community.

Heidi is now the owner of Hudson Valley Casting and has served as the casting director for “Mi America,” casting associate for” Lychee Thieves,” extras casting director for “Dovid Meyer,” and coordinated talent and production assistants for “Francis Ha.” Heidi also serves as the Programming Chair of Upstate Women in Film and Television.

For more information please check out hudsonvalleycasting.com or follow the specific links below:

http://www.hudsonvalleycasting.com/about-heidi.html

http://www.hudsonvalleycasting.com/projects.html

You can also like our Facebook page for casting alerts:

https://www.facebook.com/HudsonValleyCasting?ref=hl

Brain Freeze! That’s what it feels like when I first look at an intimidating stack of sides that I must memorize. And since many actors feel the same way, I’ve asked the cast members of TWO MANY MOMS (including myself!) to lend their advice on how to best memorize with less pain, more gain.

TWO MANY MOMS – A Rock City Productions Pilot – is a hilarious and heartfelt story about an 8-year-old genius who attempts to keep the peace between his progressive, uptight super mom and his live-in, conservative and judgmental grandmother.

Here are some cool tips for memorizing lines…

Advice from Kelly Calabrese

To help alleviate that Brain Freeze! – ice cream style headache – that comes with memorizing lines, I rely on popping those lines into a recording device.

First up: I use Audacity on my computer to record the entire script, including stage directions. (If you don’t have audacity almost every phone post the Flintstones era has a recording App either already installed or just a click away for being yours)

Second: I break up the script into digestible chunks – usually about a page at a time if the lines are snappy as they were in TMM. If I’m programming my brain to remember paragraph length verbiage, I break these down even more. The goal is to have each recording short enough to memorize in parts. (About 30 sec. to 1 min. each max.)

I do this for the entire script, in sequential scene order. (Well at least the pages that contain my part. I’m diligent not glutton for punishment)

Third: I re-record the entire script on one track, if it’s only a couple of pages. Or I break it down to a couple of pages at a time if it’s longer. Except this time I leave out my lines. All the other characters I tape. This way, I can show off the work I’ve done (or realize how far I still need to come) by filling in the blanks when my part comes.

Fourth: I run away! Wouldn’t you if you just completed all this time sucking work! And by run I mean that I transfer the recording on to my iPod and I hit the Hoboken waterfront for 4-6 miles (Which goes by in a flash because my brain is distracted with learning my lines.)

And yes – I speak aloud to myself as I run. What do I care if anyone thinks I’m nuts. I’m too busy to care. I’m strengthening both my mind and my body at the same time. Whoot! Two birds, one step closer to getting that role… Done!

Disclaimer: if you don’t live near a waterfront as nice as Hoboken’s, I’m sorry. That is too bad. It’s got sweet views of NYC all the way from downtown to the George Washington Bridge. BUT any running or walking or dancing around in your living room path will do.

That’s my tip! I hope it works for you

For more information about me – check out – www.KellyCal.com

Advice from Frances McGarry

JUST DO IT.

Memorizing lines does not take genius capacity; it requires a mindset of diligence, duty, and dexterity. For me, all of the strategies Kelly mentioned are all options that I use as well, but I’ve learned that different approaches work for different projects.

For learning lines for a play, I tape a rehearsal run through so that I can hear the other actors’ voices; for a TV script, I will create a plot flow chart connecting words from the script to envision in my head how to move to the next idea. I also have found that doing a Bart Simpson System works: write the line as many times as necessary to learn its rhythm and syntax. What often happens is that I connect words, phrases, vowels, consonants to help mnemonically remember the line.

Bottom line is that there are no short cuts. So, just get down to brass tacks and, well,

JUST. DO. IT.

For more information about Frances McGarry – check out – www.francesmcgarry.com

Advice from Sagine Valla

I’ve always struggled with learning lines and now, over time, I’ve figured out a few things that have improved my memory therefore leaving me free to focus on acting and the director’s notes when I get on set.

The first thing I do is read a scene as many times as I can to be familiar with it. I would say about 4 times. Then I record the scene on my iPhone in an exaggerated wonkey voice. I find that I learn songs much faster and when I listen to this exaggerated version of the script it helps me retain the information faster. I listen to this while reading the script. Then I listen to it without looking at the page. Lastly, I record the other parts and practice to see how much I’ve retained. Anything I haven’t retained I review it until I get it right.

Memorization for TWO MANY MOMS was a challenge. We filmed 4 episodes in a 7 day window. That means 12 scenes of which 10, I was in. There were piles of lines. And so I divided the task by day. Always working at least one day ahead but reviewing the previous day’s lines to keep my lines too of mind.

For more information about Sagine Valla – check out – www.saginevalla.com

Advice from Samantha Turret

For TWO MANY MOMS it wasn’t too hard to memorize. I was in a majority of two episodes. At first I was just in one episode but they expanded my character (THANK GOD) and it was a happy surprise of more lines. But the amount of lines was not terrifying especially in the often single shot style they were shooting in. There was not too much pressure to have 100% accuracy.

No matter how many lines I have or how few, I still write all of them down. My template tends to be 3 columns – One for the cue line, one for my line, and one for an action/tactic for the line. I keep a small notebook with me almost all the time. In this notebook, I keep a variety of anal retentive lists AND my lines. I even write down lines for auditions in a similar style. No matter what, writing it down always helps me to at least become familiar with the text.

Recently I was in a production of THE DIARY OF ANNE FRANK as Anne, yeah I look like a 15 year old so…. Anyway, this character has a substantial amount of lines including big block diary entry-style monologues. I got a composition journal and FILLED it in the same manner I do any other memorizing- cue, line, action/tactic. This time it took a seriously LONG period of time to write it all down. When I write I like to kind of mouth the words or say them aloud of I’m not in public where people will undoubtedly think I’m a raving lunatic. I’ll often write the script over and over but those pages get ripped out so as not to distract from the beautiful final copy of cue,line, action. I do this process during subway rides and while nannying (my money job) and basically any semi-free moment of time.

It’s easy, it’s not too time consuming, and it’s just what I need to memorize!

For more information on Samantha Turret – check out – http://sturret.wix.com/samantha-turret

THANKS to the cast of TWO MANY MOMS for sharing your tricks for memorizing lines!