Commercial Audition Basics From Casting Director Laurie Records

An on-camera audition, is an audition, is an audition, right? While there are similarities between all types of auditions, there are differences you can count on, and should know. Knowledge is power, and knowing what to expect brings ease, comfort and confidence. Comfortable and confident actors book commercials. 

Commercial actors should never expect their commercial audition to be like a film/TV audition. 

I always say that commercials vs. theatrical jobs are apples and oranges. They are really quite different. I guess there should be no surprise that the audition process is different as well. Since actors tend to get their start in student films, the default seems to be that all auditions should function like film auditions. They don’t.

Timing on audition notices

Commercially, the time between receiving your audition notice and the actual commercial audition is short. Ideally, you get the notice the business day before your audition, and usually before 5:30 PM or so. Although, the timing has been changing, and I don’t mean in your favor. You may get the notice after hours the night before and it’s only more and more common to receive same day auditions. There are many reasons for this, but let’s skip this discussion for now. I’ll just stick to the turnaround being quick. Theatrical (film and television) auditions tend to get your audition appointment to you with more notice. Several days has been the norm, however, this is changing as well. It’s a speedy industry we are in, increasingly both commercially and theatrically. Being able to accommodate this is imperative. Know that you will need to prepare for your commercial audition quickly… overnight or in a few hours. 

Wardrobe

Wardrobe is wildly important in commercials. Read wardrobe instructions carefully and follow as completely as possible. Really specific wardrobe in commercials can be for roles from a certain era: ’50s, ’70s, ’80s, or even colonial times. When being seen for a doctor in a commercial, a lab coat is frequently requested, and even when it isn’t, I’d bring one along and ask if you should wear it. A Best Buy or fast-food employee should be wearing a polo and khakis. When being seen for a commercial role of cheerleader, you should arrive in a cheerleading uniform. At this moment in time in commercial land, we are leaning strongly toward “costume” in some instances. Always think of wardrobe in terms of being able to leave the audition and go straight to set. That’s what we are looking for. In theatrical auditions, while wardrobe is important, I believe we are still in the suggesting/hinting-at-what-you-might-wear-on-set realm. Theatrical audition wardrobe isn’t as on the nose. If you don’t already have the wardrobe for your strongest commercial types in your closet, go out and get them.

Questions about the copy

When you have a question about understanding the commercial copy, ask. Oftentimes there is a correct answer, and you’d certainly want to know it. When you receive theatrical sides, you won’t always have the context to absolutely know what’s going on. Theatrically, the common sentiment is to make a strong choice with the material you are given and have access to, and commit to it. With commercial copy, you will waste a precious take when making a wrong choice, due to a lack of understanding, that could easily be answered with a proactive ask. You want ALL the takes possible, filled with great choices, with the time you are given. Why?…

Length of audition

Commercial auditions are quick. It varies, but think five or so minutes, total. Theatrical audition slots tend to be longer. There are exceptions to this — co-star auditions are the first that come to mind — but it’s generally true. So, take a deep breath and don’t let the quick in-and-out feel of the commercial audition cause you to rush. Commercial actors are regularly guilty of rushing through their audition. It’s up to the casting office staff to keep things running at a clip. It’s up to you to be great, and that doesn’t involve speeding through copy/scenario, ever.

Sides

In Los Angeles commercial auditions, we rarely let you hang on to your copy. It’s usually written on a cue card located just slightly off camera. Why is this important to know? Reading copy off a cue card is a thing! A skill! Theatrical auditions tend to go with the ol’ hold on to the copy, grab the sentence off the page, look up and deliver. Very different. I always advocate memorizing your commercial copy, but learning to use a cue card is invaluable for commercial auditions. 

Headshots

I think we are all (commercially and theatrically) getting away from collecting a hardcopy headshot and résumé at your audition. I never say never, but commercially, we next to never accept headshots at an audition. Don’t even offer them. If we want them, we will let you know. Have one (yes, literally one) in your car and that should last you a really, really long time. Theatrically, you will want to have one when on you (or in the car) when you walk into the office. Some casting offices still ask for them. Surely that will only be less and less as the days go by.

Self-tape

Self-tape requests are far more common theatrically than commercially… but the commercial world is catching on to the self-tape being a money-saving option in casting. Start exploring what a great commercial self-tape might look like and take steps to make that quick turnaround possible for yourself. 

Having accurate expectations for your commercial audition is always helpful. Knowing what’s likely coming your way will provide a level of comfort. If your audition experience is largely in the theatrical realm, remembering the key differences will only benefit you.

Related articles:
Get To Know the Casting Director: Elizabeth Barnes
Get To Know the Casting Director: Rachel Tenner
Get To Know the Casting Director: Melissa DeLizia
Get To Know the Casting Director: Meredith Tucker
Get To Know the Casting Director: Bernie Telsey

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Laurie Records (Casting Director, CCDA) has been working in the commercial realm since 2004. In 2009, Laurie launched her own company. While she casts all types of commercials, she has broadened her horizons to include casting web content for network television, television hosts, and industrials, and she dabbles in film from time to time. Recent commercial jobs include: Clorox, Toyota, Frito-Lay, DIRECTV, Smithfield and Google. She also cast the new Movie Surfers for seasons 16-18, as well as online content for The Muppets. Laurie teaches a 4-week commercial class almost every month and attends Los Angeles theater regularly.

 
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Laurie Records (Casting Director, CCDA) has been working in the commercial realm since 2004. In 2009, Laurie launched her own company. While she casts all types of commercials, she has broadened her horizons to include casting web content for network television, television hosts, industrials and dabbles in film from time to time. Laurie also teaches one-day online commercial classes almost every month.