Skip to main content

Commercial Casting: Before & After.


Some days you’re just not in the mood for a commercial casting, and today is one of those days.

BEFORE:

As I write I’m sat in a coffee shop just a few yards around the corner from the casting suite where I’m due to be seen in half an hour. Part of the reason for my reticence is the fact that I haven’t had a casting for a fortnight or so; it’s very easy to get out of practice. Also, the random nature of commercial castings – never quite knowing what’s going to be thrown at you – means you often have to psyche yourself up for it.

Ultimately, I’m pleased to be being seen for something; it ups the chance of work and money. It’s hard to keep positive, though, when the last few months have been so full of ‘pencils’ and near-misses.

In a moment I’ll finish up my Mint Humbug tea (sophisticated), close up my laptop (high-tech) and wander over to the casting suite (legs), to fill in the usual massive pile of forms (admin) and cast my eye over whatever script they thrust in my direction (reading). 

I’ll be sure to let you know how I get on.

AFTER:

It’s an hour later - and I’m sat on the train home as it pulls out of King’s Cross.

Despite my doom-laden tone prior to the casting, I actually quite enjoyed myself. There was a little dialogue to deliver – which you have to learn quickly before you go in – but it was nothing too taxing.

It helped that the advert is part of a series that has already aired, so I had a bit of a heads-up as to what they might be looking for. The style is right up my street (naturalistic, ‘thrown away’ comedy), so it wasn’t too much of a stretch. It would actually be an enjoyable little gig to get.

The casting studio was full of mothers and babies waiting to be seen for something else, so it was a little frenetic. I arrived, gave my name, filled in the various forms, posed for a picture and then was given the script to have a look at.

The advert revolved around a newly-married couple, so we were seen in twos. The girl had the lion’s share of the dialogue, so I had the easier ride between us. Part of the script called for very specific timing between the two of us, so it took a couple of takes to get it right – then, before I knew it, I’d said goodbye to my ‘temporary wife’ (no affection), picked up my jacket and umbrella, and was back out on the street, heading for the Underground.

The trick now is to forget about it. Getting the job would ease my finances and be a good addition to my CV, but there’s no point in giving it too much thought. If I hear anything over the next few days, then great. If not, it’s just another one to chalk down to experience.

At least I learnt a couple of things today: (1) there’s such a thing as a Mint Humbug Tea, and (2) I enjoy drinking it.

Popular posts from this blog

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

"Speaking Words of Wisdom, Let it Shine."

Tonight saw the second instalment of BBC1’s latest advertise-a-musical-for-months-and-then-cast-it-with-performers-too-inexperienced-to-do-it-a-thon ‘Let it S̶h̶i̶t̶e̶ Shine’ (or as I call it: ‘REAL AUDITIONS ARE NOTHING LIKE THIS’). I didn’t watch it (clearly), but being reminded of how angry seeing just five minutes of it made me last week caused me to mull over what I would call a musical based on the band’s songbook, if I was responsible for it. Here are a my suggestions: IDEAS FOR TITLE OF A TAKE THAT MUSICAL: Barlow! Dirty Fat-Dancing Orange! A Million Love-changes-everything Songs Owen! Howard's End Pray Misérables Mamma Marka! Babe (with a pig as the lead) …BUT MY FAVOURITE HAS TO BE: Jason & His Amazing Technicolour Dreamcoat. "It was Orange, Orange, Orange, Orange..." (TAKE) THAT’S ENOUGH OF (TAKE) THAT.