Melissa Martin was born in San Diego and educated in San Luis Obispo before she headed up to San Francisco to pursue her dream of singing. She had studied opera but switched to musical theatre and subsequently performed in over forty musicals. Before pursuing a career in casting, she also spent six years as a singing waitress. She then assisted two commercial casting directors before striking out on her own and moving to Los Angeles. Since relocating, her work has included a wide variety of products and companies including Nike, IBM, Volkswagen, Energizer, Johnson & Johnson and Saturn, to name just a few of her clients.
Well, other than a certain subjective look that you either have or you don’t for that particular spot, actors receive the same copy. The person who can take those words and turn them into something special, is the one who pops out over all the rest. It’s the actor who brings quirkiness or an interesting behavior—maybe it’s how they break up the copy, where everyone else just ran right through it. I look for sincerity and honesty as opposed to being over the top. It’s a fine line though, sometimes actors don’t make enough out of what they’re saying. It’s that funny balance of not going too far with it and not being flat. I think the acting style for commercials is becoming more and more cinematic. Commercials are using much more subtle acting than they used to. I think one of the reasons that’s true is because there’s been such a swing in the last few years toward hiring non-professional talent from all over the county - real rodeo riders, real little old ladies from the senior center or real bowlers, etc. Whatever it is that these real people do, they do it without thinking or editing themselves. And quite honestly, the tapes are so much more visually appealing because it’s generally not a bunch of actors shoved up against a wall in a casting studio all day.
Well, first of all, they don’t have to be in Los Angeles. I know actors who have lived in Florida, Chicago, Atlanta, Nashville and San Francisco, just to name a few places. In San Francisco, from my experience, you can work constantly, get experience and, importantly, get your SAG-AFTRA card. Then, when you come to Los Angeles, you are more prepared because you’re familiar with the audition process, so it’s not such a big high tension event. Also, having your card gives you more legitimacy when pursuing an agent. I would say, for a beginner, take acting classes that encourage improv skills so you’re quick on your feet. I can’t tell you how that training sets actors apart. The reason comedic actors are so in demand is because they can adapt to new situations in a blink. However, sometimes the downside is that while they’re funny, they’re so “on” that they appear insincere, so be careful there. Also, I would never lock in with one teacher for very long. Actors will study with one teacher for years and it’s not always in their best interest. Move on—even if it feels disloyal. Gain information from as many teachers as you can. Get feedback on bad habits that may be in your way. Quite frankly, it looks better for your résumé, if you’ve taken various types of classes from well-known teachers in this area.
Another suggestion is to get friends to tape you and do your own self-criticism. That can be really useful. When I was first doing commercial acting, I used to go to the grocery store and write down the copy from the back of the product labels - they’re often worded very similarly to commercials. I’d then go home and practice using the copy I’d gotten from the labels. Watching, or I should say, studying commercials, is another great learning tool. When you’re paying attention, you notice that different products use different approaches. Daytime commercials vs. nighttime commercials tend to be very different animals. If you study commercials—the clothing, the makeup, the line delivery—technically, you will know better how to prepare, when you get a similar audition. A Clorox audition will be different from a Budweiser or a car spot. If you don’t know what to do with your makeup, go to a department store and have them do a makeover. See how they apply it, what colors look best, etc. It’s free and you can get a lot of objective input. You have to start thinking about your body and your face as a complete package along with your acting skills. Do your homework, so when you walk into the casting room you know exactly what you’re doing.
After you get to know the business, you’ll understand the types certain directors like and look for. When I was an actress, I used to literally walk in and ask, “Who’s directing this commercial?” Depending on who it was, the earrings would come off, the makeup came down, I’d roll up the sleeves or make the collar crooked, because I knew that this particular director favored a less than perfect look. They thought I was just walking in off of the street that way.
There are two magazines, Shoot and Adweek, both of which are geared to the production side of commercials. You can get these and they’re great. You can learn who just shot what, what they’re about to shoot, trends, and so on, and that can familiarize you with different directors’ styles. I can’t tell you how helpful that can be. There are so many things that actors can do to study their business and be prepared.
Overly bright and perky slates are phony and over the top. Back off. Don’t be arrogant or cocky or, the director will fast-forward right through your audition to the next actor. You should be confident and friendly. If you’re asked for your profile after slating, just do it. Don’t commentate— “here’s my left, here’s my right.” It’s not flattering and comes off as nervous if you talk your way through it. They actually may need to see the sides of your face for a particular shot. When you’re done slating, just relax. The camera will either cue you or you’ll just take a beat and go into the audition. Listen for instructions.
Remember, many times the sound is turned down when the directors watch audition tapes. Or they’ll fast forward through the tapes, only stopping if someone or something catches their attention. As I mentioned, they’re looking for sincerity, interesting behavior, body language, etc. Often it’s not what you say, but how you say it that separates you from everyone else.
There’s nothing more frustrating for an actor than feeling as if you’re ready to go and not having an agent. You do need one. But if you don’t have one, you can submit yourself. You can make the rounds to some of the different casting studios. Many casting directors have some sort of in-basket near the receptionist. Leave your picture. Do it once a week. It makes you feel proactive and you never know what they’re casting right then, that you might be perfect for. You don’t need to write a note; we know what you want. But please, put your phone number and email on the front and back of your headshot/résumé. I cannot tell you how many pictures I get without contact numbers! But do be aware that when you drop your picture in the casting director’s box, there’s a pretty good chance it will go right into the trash. Most casting directors can’t hold onto pictures due to the sheer volume received. That’s why it’s not unusual for an actor to do this once a week. This, of course, is in addition to submitting to agents. Get an agency guide at a bookstore or online. Quite often it will tell you the various agencies’ emphasis—kids, TV, film, commercials, whatever. The guide may also indicate whether or not they accept new talent.
Keep all these things in mind as you prepare yourself. Success in this business is nothing but hard work and of course, luck. And belief in yourself.
Melissa Martin passed away in 2008.