We are an audition taping service located in Atlanta, Georgia. Founded in 2010, we're one of the first services of our kind. Owned and operated by two hardworking professional actors, Brooke Jaye Taylor and Matthew Cornwell, the mission of Get Taped is to dispel fear in actors through empowerment. This channel will feature tips on both the craft and business side of this complicated industry.
Minimize it. If it feels silly it will probably be distracting. Do the absolute least amount that honors the intent. Ask yourself could the scene exist without it? Could you accomplish the same result through emotions? Intimidating? If yes, try eliminating the fighting. If it’s the last moment of the scene, consider cutting it. Unless casting clear states that they need to see something, then do as little as possible and/or eliminate it all together.
This specific video is GOLD. Those who already know this, know how valuable it is. Those who can't quite see the forest for the trees yet, this ONE video is worth the cost of at least 2-3 months of acting classes if you truly commit to absorbing what's in here.
@@GetTapedReally wanted to come from authenticity here, well for any audition- ( especially for a DuPlasse Bros production- one of my fav's). When you say train for years, I assume you are not just talking about acting classes, (which I do all the time)- in addition to CD workshops, script analysis, biz classes, next is body awareness classes, improv too ... are there suggestions for what type of classes, when you say train -or you do just mean all of the above? My husband and I are even considering a stand up comedian class- which would be a total challenge and scary situ for me. He's not an actor, but we thought it might be cool to do, and either fail miserably or maybe get a few chuckles. At any rate your videos are very helpful. I really haven't found any that hit these type of topics and get right to the heart of the matter. Again, kudos to Get Taped.
Here's an incomplete list of the types of classes I've taken over 25+ years: acting fundamentals (Meisner, Stanislavsky, et al), improv (years of it), cold-reading (a lost art), on-camera classes, a mask workshop, a year of tap, private singing coach, martial arts, Citizens Police Academy, stand-up comedy workshop (terrifying, but so much fun), The Performers Mindset, workshops with CDs, and finally, the big kahuna, The Sam Christensen Image Process. We now are the facilitators of the Image Process, and we just finished another weekend workshop last night, and we watched a group of actors LEAP forward in their acting. One actress even went straight to her acting class last night and was commended on her progress from the previous week. But in short, yes, you're right, I mean taking all sorts of classes that will round you out as a human.
@@GetTaped Thx! I've done 80% of those..at this for years, but just got "serious" in '21. Hoping someday you take on one-on-one coaching for auditions/tapes, via internet, for us Northerner's😊
Hey Matt!! Hey there, brother. So awesome to see you here, speaking practically, hilariously and authentically. And I mean it. And as a card-carrying former JV base ball jock (but still a good natured, wiseass, somewhat ireverant (did I freakin' spell that correctly?) working class kid at heart) I just fired a super floppy sneaker off a tube socked stocking foot that I hope you will catch and toss back in amazement as I catch it on that same stocking foot like a proper 80's jock slipper lol 🤣🤪. You 100% remind me of one of my buddies in high school and I could do that for days 😜. Seriously tho (WAIT. WHY?!) I really do hear you with the shaking a guy outta his fear (need to be perfect) in these self tapes. Honestly, I watch these and think-WTF!? how is an analog "car mechanic guy like me" gonna navigate this "virtual" online self-tape world when I honestly just wanna goof around with my buddies and dream of acting in this 'n that, truthfully talented and well trained here in ol' NYC...but it comes down to reality, and just wanting to do this 'n that badly enough, you know? It can be done, with time and learning of how these self tapes work. Oh boy! I wish you were in Brooklyn, Matt. I would see you on Wednesday! But I'd probably fire a sneaker through a window first lol 😛. Thanks for your heart and putting in the time and sweat, brother. You are appreciated. ⚾⚾ JV Johnny
Hey Johnny! Thanks for the comment. Your sneaker smells of grass clippings and Big League Chew, so I'm tempted to keep it. So much nostalgia! But I'm glad our videos resonate. We love putting them out there, especially if it inspires folks instead of shaming them. There are plenty of voices out there that aim to discourage actors, and we hope our content is realistic, but optimistic!
Hey Matt! lol awesome! Hey buddy, I'll toss ya my other floppy sneaker like a pop fly ball from my stocking foot and you can keep both my boys for a bit and wear them yourself. If it's not raining I'll walk home in my baseball guy tube socked stocking feet (it has happened many times before lol). Thanks for taking me back to high school, brother! Your videos very much resonate, Matt. Inspiration instead of shaming and the incessant watch tapping "so what are ya gonna do, huh?! HUH JOHNNY BOY?!" I get the necessity of reality and having to learn these self taping skills, but to do it without elitist BS is refreshing and unique. God bless you and your wife their, Matty! :) JV Johnny 🤪⚾⚾
Great video .. had to rewatch. Quick question, if I may- what about if you have a standing (then going almost immediately to a sitting) position after the first two lines? Should I start standing and then sit, as in the sides? But then my camera won't focus, or you wouldn't be able to see my head, when I'm standing unless I adjust, so should I just do the whole thing sitting... I'm never sure about this! Figured I'd ask since this is an Atlanta audition/tape for a well known actor/director..best advice?
Great question. Might be worthy of a whole video. Short answer is ignore all the staging written in the script. Decide which physicality serves the whole scene and focus on that.
Best advice! You go to an audition for fun, not for a job, although you should treat the audition like a paid job. Better things happen when you’re in a relaxed state and don’t exude a desperate vibe.
Thoughts: 1) When you reach out to the audience too hard, they will lean back...if you draw them in, they will lean forward. 2) If you serve the story and the scene and work within your frame, you won't usually have to think about whether it's too much or too little. 3) This channel and the Scuttlebutt rock! 4) More cowbell!
If you're looking for our current offerings, head to this website: www.get-taped.com/get-schooled We're located in Atlanta, GA, so all the in-person offerings are at our studio (just off I-75 at Northside Dr.). We do offer the Sam Christensen Image Process virtually, and our next offering is 10/18-10/21/24. There are also more links in the show notes of this video.
Good topic. Anything specific you're looking for? Technical challenges or the craft? Or both? It's a broad topic that couldn't all be covered in one workshop...
For me, it's the opposite. The trap of the 2nd serve mentality is at its worst during self-tapes. When I have an in-person audition, and even more so when I'm on set, I feel free to let loose because I know that if it isn't working, I'll get a redirect , and I'm confident in my ability to take those and run with them. I don't feel a need for direction, but knowing I'll get it if necessary gives me a sense of freedom, and the process of collaboration is what I enjoy most and what gives me energy. And I've said it here before, but the boldest choice you can make is to be yourself and trust that you're enough.
Actors Access is a joke... More than half their projects are no pay and student films except for some current crap vertical movies that usually pay less than minimum wage. Nowadays, Actors Access is just a money grab supplying false hopes to a lot of untalented people who have been told by about a half a dozen people that they need to go to Hollywood!.... #Facts
I understand your frustration. Unfortunately, for auditions that come through agencies for full-budget TV shows and films, we all HAVE to use Actors Access. Thankfully, when it goes through the agent, we don't have to pay to submit media of any kind. But we still have to pay to upload extra headshots, or store any video clips. It's a monopoly...
@@GetTapedI appreciate your comment. I've been in the industry for 30+ years.... Actors Access are the crumbs of the real breakdowns that come out. I'm not trying to spar with you but you saying that you have to use actors Access is kind of leading on that it's an industry standard and it is not, it's helpful but it does not list anything close to half the breakdowns that come out.
Interesting. Because for 22 years, every LEGITIMATE film and TV credit I’ve booked was released and submitted through Actors Access. All speaking roles for union projects. And to be clear, none of those opportunities were visible to the actor. They are the breakdowns only released to reps who have access to them. It’s how Casting avoids 100,000 unsolicited submissions from actors. And to your point, there are countless projects on AA that are open to all that often times are low pay, no pay, or otherwise have red flags. But again, for all the actors that come to our taping service, they are receiving their auditions (whether for network TV shows like Will Trent, streaming shows like Stranger Things, or movies like Captain America 4) from their agent, and these speaking roles have to be taped and uploaded to AA in order to be considered. That’s the vast majority of our interactions with AA. I’m less versed in the Wild West side of it that I think you’re talking about…?
Hey Y'all. I am getting back in front of the camera. Recently had new headshots and not sure they represent my range. Based on my agents advice and guidance they selected the shots the liked the most.
Headshots are a broad topic. It's extremely common to wonder if the ones you took really do represent you. The photographer did their best, tried to loosen you up, or inspire you, but it feels weird, honestly. Until you do some work on your own humanity/authenticity/archetype, you won't be able to truly be objective when you look at your shots. This is just one of the reasons we endlessly share the good news of the Sam Christensen Image Process. After a rigorous 4-day deep dive into how you're seen by the industry (and learning how to actually be EXCITED about that), you'll approach headshots with a newfound confidence. In fact, you won't find yourself needing your agent's advice nearly as much in deciding which shots represent your range the best.
This makes me think of something I heard a VO CD say a while back..basically, they would rather an actor give a take at 100% and have them dial back, than an actor start a take at say 50% but not be able to ramp up to where the performance needs to lands.
YES! From their POV, it's a liability to have to ask for more. Because what if the actor can't do it? Then you're wasting valuable time (esp if they book that actor "assuming" they have more to give on set). Much easier to see the actor having "too much fun" and ask them to rein it in...
I believe this is definitely the case with in-person auditions, but not so sure about self-tapes where they're looking for the right performance and not one to re-direct.
@@fredgalyean Good point. What plagues so many actors that come into Get Taped is what the "sweet spot" is. I often joke with my reader that I'm "sabotaging" my career with a choice that I am making. It's a nod to the fact that I'm being authentic and free, but still sending it off into the void where the CD may scoff at my choice. In the end, I personally don't lose sleep over it, but I know many actors do...
In short. What I got from this was one simple instruction. Second serve should be not taken as a second safe nervous chance, but a lucky given opportubity to confidently place the perfect serve.
Oh! In reference to the video, I enjoy going into a take with the “first serve” mentality. If the Director needs me to “turn it down a notch”, then I will.
Don't wait for permission to be creative. Don't wait for someone ELSE to tell you what's possible. Don't wait for the approval of the Casting Director or the Director to be yourself. Simple words, but concepts that most actors struggle with (or are completely immune to) for much of their careers.
I know you already sorta answered this question for me in the comments of another video, but this video made it REALLY click for me. It IS me asking for "permission" to go all out.
Another great video, Matt! As a casual tennis player I knew what you meant right away haha! Another question: One topic I've been experiencing a lot of late on a personal level is that audition deadlines keep getting pushed back. I will submit my tape on a Thursday evening (early, of course) and then see on Sunday that the audition was extended for a few additional days. I know there is a multitude of reasons as to why, but I can never help but feel that means I am out of the running. Can you speak to this a bit? Seems to be a universal issue in the new world of the self tape. Thanks Matt!
Ahh, yes. This situation is confusing/frustrating. I've heard numerous Casting Directors speak to it. As you alluded, it could be a multitude of reasons, most of which don't mean you're out of consideration. The bottom line is that as a CD, they need to present 5-7 options to their producers for each role. So you could very well be in the mix, but they haven't amassed enough variety to show their bosses, so they extend the deadline. Also, for Actors Access, I've heard CDs say they can't extend the deadline for that ONE actor who is asking for it. They have to extend for everyone, which is why we get that notice. So it's not always that they're casting a wider net, it could be just accommodating one person. When there are late people, there could be a person or two who they were specifically thinking of when they sent the breakdown out, so they're still hoping that person(s) will vindicate them with a solid read. It could be that for YOUR role they have everything they need, but if it was a big breakdown that went out simultaneously, they're having to extend for ALL the roles even though it's just for one particular character that they need to extend. It could be their bosses extended their deadline, giving them breathing room. So they think they're doing everyone a solid by extending. Similarly, some CD's (Matthew Sefick here in the Southeast JUST said this on a Zoom call to actors) wait until the deadline before they start watching tapes. They got too much going on to be watching tapes as they trickle in. So if only 80% of the actors will make the deadline, he has an incentive to extend the deadline (esp. if his deadline allows for it). And on and on. So for all the reasons I mentioned, you're still potentially in the mix. I know it doesn't fix that feeling of "why did I rush to prepare this read, when it turns out I had another day or two?"
Glad to help. Until I heard a few CDs explain their reasoning, this very thing would get under my skin. Specifically with a certain casting office here in the Southeast.
I usually make it a point to accept every audition opportunity that comes my way. However, there will inevitably be occasions when I have to decline. It’s a difficult situation for me because I worry about my agent perceiving me as ungrateful or, even worse, fearing that she might reconsider my representation due to too many refusals.
Understood. Ideally you should have a relationship with the agent such that they either inherently trust your judgment or - short of that - you are straightforward and communicative each time you decline. You may be surprised by how understanding they are 👍🏻 And if they aren’t understanding, and you stand behind your decisions, then it may be time for a new agent.
Hello, when I saw the title of your video I dropped everything I was doing to watch it because I wanted to know if I being an actor who lives in Michigan can audition for roles where ad states " they are looking for local talent" now I'm in a P2P called Backstage and I see it all the time and it doesn't stop me. I apply because I'm looking looking for work in warmer climates anyway. I just wanted to know how they can get away with that?
It’s getting better as more awareness is raised. But it takes all parties to really fight it. The Casting Directors need to fight the producers. The agents need to fight. The actors need to fight. If anyone caves in, it just perpetuates the issue.
Love this. Every actor MUST "know their no" and the NO could include nudity/certain types of content/pay/people...and, gasp, the no may change as an actor grows and evolves. Boundaries are healthy. Every actor should have them and should communicate them proactively to their reps, so there are no surprises.
Yes, the whole video could be renamed "Boundaries". And I should've addressed things like genre/language/nudity/etc that can dissuade an actor from auditioning...
Love this and the only thing I would add (which Brooke so eloquently stated in a podcast) is boundaries. Everyone has different sets of boundaries (be it nudity, language, etc) and it’s important to recognize those and not waste your time or casting’s time.
YES! This is so true, and a great addition. I could work to lump it under "artistic fulfillment", but really it deserves its own consideration. Thanks for this!
Ah yes - so true! I did a couple of non union commercials about 10 years ago. Buyout forever. I was pretty new, so happy to book anything. But those ads played every night news hour for years and years. Made somebody money. Just not me. Really appreciate your content. Thanks!
Ugh, yeah I did a "spec" commercial in my early career. Got paid $400 flat fee, but the dude sold that commercial in at least 4 different markets where they played it a lot. Learned my lesson fast LOL...
The power of "no" is always ours. If anyone treats us as divas because we decline, that's on them, and I'm never worried about burning a bridge by saying no. And yes, I'll work for little, or even no pay, if it's a project I'm passionate about, but I'm also done with the soul-sucking jobs for moderate or little pay. In particular, I don't think I will ever work on one of those new vertical film/webisodes again. The scripts appear to be written by AI, the filming schedule is insane, and the pay is low. It's like an assembly line of film production with horrible scripts, and I feel dirty just being on a set that bastardizes our art form...rant over.
What's sad is how long it takes us as actors to let the artistic fulfillment box exist. Even if we find financial stability, it can take us far too long to realize we can say no to opportunities.
