2 Veteran Commercial CDs on Why You Should Forget What You’ve Learned in Acting Class

While your ultimate dream may be to lead a TV show or film, commercials offer a variety of opportunities for actors of all skill and experience levels. Those just starting out or who don’t have formal training, for instance, have the chance to get on-camera experience. And actors who are seeking the financial freedom to pursue passion projects can do so with income from commercial projects. But, of course, you have to know how to land the job. That’s where Mary Egan Callahan and Brooke Thomas come in with their commercial audition class, Casting Loop. Callahan, a CD at House Casting, and Thomas, who owns Brooke Thomas Casting, share their must-know tips with Backstage.

What differentiates commercial casting from casting narrative projects?
Brooke Thomas: From a casting director’s perspective, it’s time. Commercials come in and they’re gone. They can come in on a Monday and you’re done with the whole project by Thursday. It’s fast and furious. The TV and film process is a little bit longer. You get the sides, you get a call, maybe in a week you have another call; it’s a longer, drawn-out process.
Mary Egan Callahan: I think from an actor’s perspective, too, commercials are just fast. You don’t get sides in advance. You show up, you read the sides, and off you go. We also see more people for commercials than casting does for TV or film.

How can commercial work benefit an actor’s career?
BT: First of all, you can make a ton of money on commercials. For one day of work, it’s bread and butter. If people want to do theater or an independent film, commercials are a great way to be able to fund your ability to do lesser-paying, more creatively fulfilling projects. Commercials are not creatively stimulating—I’m just going to say it. It’s saying the same words over and over to sell a product. For actors, it affords you [the ability] to do the things that feed your soul.

What advice do you have for people who want to get into commercial work?
BT: When you’re just starting out, do your research. Get online and look up casting directors, look up talent agents. I always tell people who are interested in getting into commercials to take an improv class. It goes hand in hand with commercials. I tell people to get into a beginning acting class. You should always be studying, whether it’s improv or standup or taking an acting class. I think it’s imperative. Look at breakdowns. Sign up for Backstage to see what breakdowns are coming out. People who are starting out, but also people who are currently working, should do background work, because it’s smart to get on a set, especially for somebody who’s new, just to see how that works; it’s a learning experience for somebody who is new. You never know, you might get the upgrade. If you’re not working consistently, why not just work for a day? It’s good money and they feed you and you’re around other actors sharing information.

An inside look at commercial voiceover casting.

What shouldn’t someone do in an audition for you?
MEC: Get mad at me. Tell me what they’re going to do, and not listen to my direction. Don’t show up late and be very cavalier about it and not be apologetic. Have somebody or your agent call and say you are running late. Don’t just assume that it’s going to be OK.

What should actors know about auditioning for commercials?
BT: Commercial acting is very different. You’re not acting like you’ve learned in acting classes. When someone takes our class, we always say, “Just so you know, everything we’re teaching you is about commercials.” All that awesome stuff you learned from your acting teachers and your college—that stage stuff—keep it with you, but we’re about to throw it all out the window for a lot of different reasons, because it’s more about being just you.
MEC: There’s not a ton of acting involved when it’s a spokesperson or that kind of work. Maybe if you’re doing a New York Lotto commercial and you get to play the quirky secretary, but we’re still looking for you.

What challenges come with the commercial casting process?
BT: I think, from an actor’s perspective, the challenge is you’re in the room for a minute and a half, then you leave. There’s not a lot of time devoted to it. I think actors can feel they didn’t really get to show enough of themselves or get to audition for a longer amount of time. We always tell people who take our class: The most successful auditions are when you have so many things going on that you don’t have time to think about what you do in that audition.

Where do you find new talent?
BT: The class that Mary and I teach has filled my files with new talent because we meet so many new people every month. I get to work with them and see what they can do. And then if someone takes the class and they have a web series and I watch it, then I might see somebody else new in that web series.
MEC: There are people out there who are doing some stuff, and I’ve never seen them before, so I’ve researched who they are because I think some of the work is so brilliant. People have sent me videos, it’s kind of cool.

What can an actor expect from auditioning for you?
MEC: For the most part, we’re not in the room. We usually prep the jobs and decide who’s coming in on them. The person you’re going in the room with is the session runner. The person who told your agent to call you in may or may not be in the room with you. Know who you’re going in for. As long as you’re there on time and you are doing everything professionally, you should expect to have fun in the studio.
BT: I’m usually in the callback when there is a callback. It’s a very positive environment in my casting rooms. It’s a positive-feeling place. I try to keep that positivity at all costs. Keeping that positivity going with the actor is really important.

What makes someone memorable in an audition?
MEC: If I can tell that you worked hard at it, that it’s not just some fluff thing to you, it shows. I think if you’re a hard worker, you’re going to keep working the rest of your life.
BT: It’s also nice when someone I haven’t met is comfortable saying, “I haven’t met you, it’s nice to meet you,” when they come for an audition. I like when actors have the confidence and feel comfortable enough to act like we’re just two people talking to each other. That’s always refreshing.

What to to know before booking commercial work according to top CDs.

How have new forms of advertising like social media affected how you cast commercials?
BT: The platform on which it runs doesn’t really change what happens in the audition room. But, recently, I’ve worked on several of these jobs where they want a real person. A rideshare company I was casting for wanted real rideshare drivers. The audition, they wanted people to do in their car with their cell phone. In terms of that, the audition process has changed. We’re getting content from somebody’s cell phone, they’re sending it to me, and I’m looking at them deciding what to put up. I then upload it and send that to the client.

What don’t you think actors know about what you do?
MEC: I’ll get emails from people saying, “Will you represent me? I think I’d be awesome on your roster.” We can work together, but I’m not an agent. We make no money off of actors at all, agents do. I get a little peeved when people call us casting agents. That’s not a thing!
BT: And we don’t get to decide who books the job. A lot of times, actors think the casting director decides, but we don’t. We just offer choices.

This story originally appeared in the May 21 issue of Backstage Magazine. Subscribe here.