{"id":288,"date":"2016-04-30T18:54:20","date_gmt":"2016-04-30T18:54:20","guid":{"rendered":"http:\/\/mgs.performerstuff.com\/?p=288"},"modified":"2017-09-23T01:57:32","modified_gmt":"2017-09-23T01:57:32","slug":"7-essentials-amy-baker","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/7-essentials-amy-baker\/","title":{"rendered":"7 Essentials: Amy Baker"},"content":{"rendered":"
\"\"<\/span><\/div><\/div>

7 Essentials: Amy Baker<\/h3>\n
\"\"<\/a><\/span>

Written by Tiffany Weagly-Wilkie<\/p>\n

April 21, 2016<\/p>\n

<\/div><\/div><\/div>
<\/div><\/font>\r\n
\r\n

Performer Stuff\u2019s Theatrical Director, Tiffany Weagly-Wilkie, sits down with casting director, Amy Baker, for an interview about casting the newest High School Musical<\/em> film, audition etiquette, and what to expect before, during, and after a film audition.<\/p>\n


TWW: Hi, Amy. This past week, you auditioned young actors for the new High School Musical<\/em> movie. Can you walk us through your process of selecting actors for\u00a0the audition?<\/span> <\/strong><\/p>\n

AB: Sure. So what we were looking for for the High School Musical<\/em> project was natural talent and a natural look. So when kids submit themselves or are submitted through agencies, generally all we get to see of them is their headshot and their resume, so we look at both to see what kind of experience they have \u2013 if it\u2019s musical theatre, if it\u2019s TV and film. For this particular project we were looking across the board because we wanted to break out of the normal audition process and see as many unrepresented kids as we could, which was great that the Florida Thespian Festival was recent, and you, Tiffany, we able to help out out there and get us some really talented kids for us to see. But as far as the headshots and the look that we\u2019re going for \u2013 it\u2019s just to be natural and to look your age.\u00a0 Our age range for this was very specific. It was 15-18 to look <\/em>15-18. They didn\u2019t want someone who was over 18 that looks<\/em> younger. They didn\u2019t want younger to look <\/em>older. They really wanted to stay within that age range, which is why we are allowed to ask how old they are if they are under 18.<\/p>\n

TWW: Before the audition, you mentioned that the headshot and resume are important. What is the current industry standard for headshots? Do you have any resume dos and don\u2019ts?<\/strong><\/p>\n

AB: Okay, let\u2019s start with the headshot. The headshot must <\/em>represent what you actually look like. There are so many times that we get pictures of girls that are so made up and in these costumes, and it doesn\u2019t represent who they are at all. Your headshot should be an extension of you as a person, your personality. You know, if you don\u2019t wear makeup, don\u2019t wear makeup. If you do wear makeup, wear very natural makeup. It\u2019s not a glamour shot. We\u2019re not looking for, you know, a senior picture. This isn\u2019t something to hang in your living room. This is something that a casting director, producers, and directors can see what they\u2019re going to get walking through the door. And if you walk through the door, and you don\u2019t look like your picture, they\u2019re going to stop paying attention right then and there. I can promise you that.<\/p>\n

And as for the resume, contact information \u2013 if you\u2019re not represented \u2013 is key. I did get a couple resumes from kids who weren\u2019t represented that had no contact information. It had their name, it had their height, it had their experience, their training, what plays they\u2019ve been in, yadda yadda yadda, but no way <\/em>to get in touch with them. No phone number, no email. And I recommend that \u2013 if you\u2019re going to submit yourself without an agent \u2013 that you get an email address that is just for this purpose. Don\u2019t get something cutesy, like \u201cfroglady123 at gmail dot com\u201d. You know, use your name. Something that is professional and is easy for a casting director to find is key. And as far as putting your stats on there, it used to be your height, your weight, and your hair color and all that. If you have a good picture, we can see what color your eyes are, we can see what color your hair is. Back in the day, they were black and white, which is why you had to put that on there, but now they\u2019re color. So we have a little advantage. (Laughs.) <\/em>Height is good, and you don\u2019t need to put age range. Height\u2019s good. Weight is never necessary, as far as I\u2019m concerned. Again, training is good. If you don\u2019t have a lot of experience, just put what you have.\u00a0 No one is judging you on how much experience you have or you don\u2019t have. But you can list plays that you\u2019ve been in, any classes that you\u2019ve been in. Drama classes in school are fine [for high school students]. And the outside training is good, but just don\u2019t mix performance stuff with crew stuff \u2013 because a lot of times I\u2019ll see that. They\u2019ll say they were makeup artists on this or that, or that they were involved in the production, which is great. You should know everything there is to know about productions as an actor, but don\u2019t list that on your acting resume.<\/p>\n

TWW: Great! So before the audition, can you walk us through some tips on how an actor should prepare to audition for you. Should they memorize their side? Should they create a character? What about wardrobe?<\/strong><\/p>\n

AB: In preparing for an audition it\u2019s never necessary to memorize the side unless you\u2019re asked to, but you should be familiar with them enough that you\u2019re not looking down. What we\u2019ve seen especially lately is kids who were reading when their reader was saying their lines. They were looking down at the paper not reacting, not paying attention to what the other actor was saying. And that\u2019s a big deal \u2013 not knowing the lines verbatim is okay as long as you stay in the moment and as long as you can propel the thought forward. So when preparing, I would say run through the lines a couple of times. Make sure you have a reader, someone you can bounce it off of \u2013 and listen to them! Because even if they mess up and you can keep going with it and not have everything come to a screeching halt, that gives you points in the eyes of casting directors.<\/p>\n

Wardrobe, that\u2019s a whole thing. (Laughs.) <\/em>So, when you come into an audition, it\u2019s not time to play dress-up. It\u2019s not time to, you know, experiment with eyeliner or crazy lipstick or wear fancy clothes. It should be a representation of who you are. However, if you are really into vintage clothing, look in the mirror before you leave the house, and if the color of your shirt or dress matches the color of your skin\u2026change clothes. You wanna have color because you\u2019re going on camera, and you will wash yourself out really quickly if you don\u2019t have a color on that pops. Stay away from blues and greens, solids, because sometimes we do put you on a blue background or a green background, and you\u2019ll fade in. And whites are really difficult, and don\u2019t wear all black. Just kind of dress like you would if you were going out to dinner with a friend.<\/p>\n

\u00a0<\/strong>TWW: So should they create any type of character or block anything, or should they be more in the moment?<\/strong><\/p>\n

AB: No, they need to be more in the moment. I mean, the things that I cast for, I\u2019m always looking for natural. I\u2019m not looking for you to create a different character and have to get into a mode and kind of prepare. I want you to come in and extend the character that\u2019s on the page into your everyday life, because honestly, if you can\u2019t relate to the character you\u2019re auditioning for, you\u2019re never gonna get the role. So that\u2019s why it\u2019s important to read the character descriptions and make sure that you\u2019re right for the role, that you can bring something to it. The role that we were doing for High School Musical<\/em> \u2013 the lead character, Erin \u2013 we\u2019re not quite sure who she is yet. So we were looking for the actors and the people who were coming in to bring something of themselves into the character so they could say, \u201cOh! We want her to have that <\/em>characteristic.\u201d So it\u2019s always important to be in the moment.<\/p>\n

TWW: So we\u2019re at the audition now. I\u2019ve heard something about an \u201cLA ten-second rule.\u201d It kind of means the way you walk in the room. So can you kind of walk us through what your thoughts are about how you walk into the room, from the second you open the door.<\/strong><\/p>\n

AB: Well, your audition really starts when you walk into the door of the waiting room. Because you never know who\u2019s in there. You never know who\u2019s watching. I walk into waiting rooms all the time, and people don\u2019t have any clue who I am. And they\u2019re talking bad to their parents. And they\u2019re, you know, with their headphones on with music and being rude and loud. So you never know who\u2019s watching you. And sometimes you have people that are signing you in. They\u2019re spies. They\u2019re making notes on you the minute you walk in the door. So always come in being professional, being respectful. You sit down, you wait your turn, you don\u2019t complain, you read over your lines, read a book if you want to, listen to music, just don\u2019t be obnoxious. <\/em><\/p>\n

\u00a0<\/em>And then when your name is called, when you walk into the room, you\u2019ll always be shown your mark. Walk to your mark. Don\u2019t ever go shake people\u2019s hands. If they want to shake your hand, they will get up and come to you. You never go behind the desk. You never ask any personal questions. Don\u2019t ever ask, \u201cHow\u2019s your day?\u201d Let them ask you the questions first, and if they want to talk to you, they will initiate. Don\u2019t ever engage in conversation first. You are there for one purpose, and that is to audition. And generally what happens is you\u2019re shown your mark, you\u2019re told what the slate is, and we might ask if you have any questions \u2013 and those questions are about the script or the sides or the material. Don\u2019t be cute and ask what I had for lunch. There\u2019s a time and a place for that kind of stuff, and it\u2019s not at the beginning. After the audition is finished, if they want to know more about you, they might engage. And they might ask some questions. That\u2019s the time to show your personality. But never initiate.<\/p>\n

TWW: This is great, great feedback. Some performers might not know what a mark means. Can you explain that?<\/strong><\/p>\n

\u00a0<\/strong>AB: (Laughs.) <\/em>Yeah! Usually it\u2019s a piece of tape on the floor. It\u2019s a place where \u2013 especially if you\u2019re being put on camera \u2013 it\u2019s a place where the camera gets you with the best possible angle. And a lot of times, the cameraperson will have to maneuver the camera a little bit. But it is important that you stay on that mark because they have the lighting fixed to that mark, and it\u2019s the right distance from the background. And always go look for that piece of tape, and if you can\u2019t find it, just say, \u201cI don\u2019t see it,\u201d and we\u2019ll point it out to you. You can ask that question.<\/p>\n

TWW: Great, great. That\u2019s some really awesome advice. So now we\u2019re in the audition, we\u2019ve found our mark, we\u2019re standing there. Can you walk us through what it\u2019s like to audition for a production of this caliber \u2013 from your perspective? And then from what your expectations are for the person coming in auditioning?<\/strong><\/p>\n

AB: Well, this particular project, it\u2019s a once-in-a-lifetime opportunity. The kids that we were looking for \u2013 the age group \u2013 they grew up on High School Musical 1, 2,<\/em> and 3<\/em>. So this has been in their lives since they were little, and for somebody who is hoping to become an actor or an actress \u2013\u00a0getting the opportunity to come in for something they have seen their entire life \u2013 it\u2019s a pretty big deal. And any time you get to audition for one of the big networks, and you\u2019re actually being seen by network people and LA people, it\u2019s a pretty big deal. Act like it. If you get an [audition] time and you\u2019ve got a birthday party [afterward], go late to the birthday party. We only could see a certain amount of kids, and we chose the kids that we wanted to see, and if a kid was having [scheduling] struggles or, \u201cI can\u2019t do this, I can\u2019t do that,\u201d we just weren\u2019t able to see them. And unfortunately, because this was such a big audition, we weren\u2019t as able to be as lenient as we normally are. And that\u2019s just because we had three days.<\/p>\n

So the other thing, too, when you\u2019re in there in the audition, and you\u2019re reading with the reader \u2013 and I saw this a lot \u2013 is in the middle, when you\u2019re reading your lines, you\u2019re engaged with the reader, you\u2019re saying your lines, you\u2019re acting your lines. And then the reader starts reading their lines. And a lot of kids would look down at their paper to read along. But the biggest thing is to actually listen and to react to what the reader is saying, because the reader might miss a line. They might give you some choices by the way they\u2019re delivering their lines, and if you\u2019re listening and you\u2019re reacting to them, you might actually get a note without even realizing that you\u2019re getting it. And doing something the way that it was written to be done just if you\u2019re listening<\/em>. We find that when you are so concerned about the lines and what\u2019s on the paper, you\u2019re not engaged, and an audition like that is just not very memorable.<\/p>\n

TWW: <\/strong>That\u2019s a great segue to the next question. So during the audition \u2013 overall, the three days \u2013 are there any particular strengths and weaknesses or successes or needs-improvement that really stuck out to you in this particular round of auditions?<\/strong><\/p>\n

AB: Oh, definitely. We can start from every phase. We had some issues in the waiting room where kids would come in and they were loud or not respectful, and we got a note on a piece of paper. And coming into the audition room walking in trying to shakes hands with everybody, you know, isn\u2019t a good way to start. And we had kids who would read the script when we specifically said, \u201cMake sure that you are familiar enough with the material. You don\u2019t have to be off-book, but be familiar.\u201d And if you can be off-book \u2013 if you have that ability \u2013 be off-book and don\u2019t hold the script, because it becomes a security blanket, and you look stiffer if you have it in your hands. We had kids that, after the audition, would try to hug us. You know, they\u2019re feeling good, they feel like they did a good job. Go hug your friends. <\/em>Basically, we\u2019re strangers, especially the Disney people. So, you know, it\u2019s just knowing your boundaries and knowing what to say and what to do.<\/p>\n

And the other big issue was the girls coming in with the makeup. Overly dressed. You know, the Natalie character was a cheerleader, and we had a couple girls come in wearing cheerleading uniforms, which was totally fine. It worked for that character. But, you know, it\u2019s kind of one of those things where a little bit can go a long way. So coming in wearing sparkly short, short Barbie shorts and high heels \u2013 when you\u2019re supposed to be a fifteen\/sixteen year-old \u2013 is a little much. Like, this is not a beauty pageant. So look in the mirror, and if you\u2019re uncomfortable, and if you feel like you\u2019ve put on a costume \u2013 change clothes.<\/p>\n

TWW: That\u2019s really great. I remember I worked with you on a past project, and you said that a lot of the kids were saying \u201cThank you\u201d at the end of their auditions. Was that happening at all?<\/strong><\/p>\n

AB: Not really. You know what, it got a lot better. But a couple people did say, \u201cScene.\u201d Which I know is a theatre thing, but when you\u2019re finished with the audition, you\u2019re still supposed to be in the moment until we cut the camera. In TV and film, you\u2019re supposed to stay in character until a director says, \u201cCut!\u201d It\u2019s not just because the line is over that you can get out of character, and you\u2019re like, \u201cPhew, I\u2019m done.\u201d You have to stay in it as long as they want you to stay in it. And generally what happens is the casting director or the producer or the director, whoever\u2019s in the room will say, \u201cThank you.\u201d And that\u2019s your cue that you can come out of character.<\/p>\n

TWW: That\u2019s great advice. I don\u2019t think a lot of young performers know that. So can you walk us through what the post-audition process is like? Will actors get a call if they\u2019re not being considered? But, if they are being considered, will they be called right away?<\/strong><\/p>\n

AB:\u00a0You rarely get called. If you\u2019re not being considered, no. They don\u2019t call you. I mean, we saw over 250 kids. I can\u2019t call 250 people. I wish I could. But it\u2019s just not necessary. And the people we are considering have no idea that they\u2019re being considered. With this project in particular, it\u2019s a process. And it\u2019s going to be a long process because not only are they auditioning in Florida, they\u2019re auditioning in many other cities around the country with the casting directors from Disney. But they\u2019re also doing an open call, which means anybody can send in their tapes from anywhere. They\u2019ll all get watched. So until they\u2019ve exhausted that, we\u2019re on hold. So it doesn\u2019t mean you can run around telling your friends that you\u2019re being considered for High School Musical 4. it doesn\u2019t mean that you\u2019ve gotten the part and they\u2019re waiting to announce it. Because we do have kids that lie and say that just to try to hurt the opposition and to try to make people think they didn\u2019t get the part. And that\u2019s really bad.<\/p>\n

But as far as the post-audition \u2013 when you walk out of the room \u2013 you should just feel proud of what you\u2019ve done. The accomplishment of having the audition is enough. And if you get a callback, and if you get onto the next level, that\u2019s fantastic, but everybody who auditions should be very proud of themselves for getting the opportunity to audition. And if there\u2019s somebody out there who wanted to audition who didn\u2019t get to audition, send in your tape! And, you know, you can go on the website and find out how to do it, because I promise you \u2013 I know for a one-hundred-percent fact \u2013 they watch every single tape.<\/p>\n

TWW: Wow that\u2019s really great to know, Amy. What would you say is the biggest thing they would need to know about film acting auditions? <\/strong><\/p>\n

AB: I think it\u2019s keep it natural and not try to over-characterize. Bring yourself into each role that you play, but not try to change yourself into a role. Have the role come into your life and your personality. You\u2019ll be so much more natural and you\u2019ll get so much farther that way.<\/p>\n

TWW: And for any actors who might happen to live in the Orlando, FL area, can you recommend any acting classes that might be good for them?<\/strong><\/p>\n

AB: Well, I can. The one that I actually like, that I send a lot of people to, is Kia. She has a studio called Starcatcher Acting Studio. And her philosophy \u2013 her background is TV and film \u2013 and her philosophy is so <\/em>keeping it natural and embracing every actor\u2019s personality and bringing something new to a role that nobody else can, because it\u2019s part of their personality, part of their DNA. And it\u2019s keeping it fun. And I think that\u2019s the biggest thing. Acting is fun! And at this stage in the game, you\u2019re not trying to create a livelihood for your family. You\u2019re doing it because you love it and you wanna learn and you wanna grow as an actor. And when it\u2019s not fun, it\u2019s not worth it. So I would recommend her. There are a couple of others that I know of, but she\u2019s the one that I work with the most closely, just because of our history.<\/p>\n

TWW: I love that you said, \u201cKeep it fun\u201d because that\u2019s one of my philosophies. You should really have fun, and if you\u2019re not having fun, then why do it?<\/strong><\/p>\n

AB: Exactly.<\/p>\n

TWW: Amy, thank you so much. I really appreciate it.<\/strong><\/p>\n

AB: No problem!<\/p>\n

\"\"<\/span><\/div>
<\/div><\/div><\/div>
<\/div>
\n
Amy Baker, CSA<\/strong> (Casting Director\/Producer) has over 20 years experience in the entertainment industry focusing on casting, producing, talent relations, development & marketing.\u00a0Her credits include casting award-winning feature films (<\/em>To Write Love on Her Arms, Letters to God), casting and producing countless television series for networks such as Nickelodeon, Disney Channel, PBS & FOX Family, and many other specials, PSA\u2019s and commercials. MarVista Entertainment is currently shopping her most recent project, <\/em>Annabelle Hooper and the Ghosts of Nantucket, which she cast and produced. Amy is the recipient of the 2012 Crystal Reel Award for Best Casting for<\/em> To Write Love on Her Arms. She is a member of the Casting Society of America.<\/em><\/h5>\n
Tiffany Weagly-Wilkie<\/strong> is the Director of Theatricals for\u00a0PerformerStuff.com. She also serves as the Casting Director for The Imagination House.<\/em><\/h5>\n<\/div>\n","protected":false},"excerpt":{"rendered":" [...]","protected":false},"author":2,"featured_media":313,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[261,470,259,258,256,265,453],"tags":[317,12,271,39,327,321,38,316],"_links":{"self":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/288"}],"collection":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/comments?post=288"}],"version-history":[{"count":0,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/288\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media\/313"}],"wp:attachment":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media?parent=288"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/categories?post=288"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/tags?post=288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}