A Quote by Michael Shurtleff
The first step to a better audition is to give up character and use yourself.
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There was one female role, which was Emily. When I did the audition, I flubbed up. It was my first audition back from Christmas break, and I flubbed up and was devastated. In the audition room, they were like, "Oh, you did great!," but you never really know. So, I left the audition in tears.
Going into an audition or putting yourself on tape, it's not the easiest thing to do especially because an audition is usually a camera and one person and then you have to bring to life this character.
If I have an audition, I go to the audition in character. I'm in character when I walk in the room. I mean, I'm still sweet to everyone, but I'm very much the character.
My agent wanted me to audition for Dumbledore's character after Richard Harris died. I was asked if I would like to audition for it. But I wouldn't audition for it.
I went in for an audition [for As Good As It Gets], but the audition was with James L. Brooks. I was the first girl in that morning, and there was a whole waiting room of girls waiting to read for it. So I did my audition, and he asked me to step outside. So I stepped outside, and when he asked me to come back in, he looked at me, and he said, "Well, I'm very excited to work with you on set." And I was, like, "What?" I thought it was a Hollywood blow-off.
When I first got the audition for Shado, I went online and subscribed to DC Comics and read a bunch on Shado and the Yakuza, just to get to know her character better.
I got some pilot scripts and auditioned for a couple other ones, too. It was just a standard audition, where I kept going in to read and went up the ladder, in terms of people who you're performing for during those auditions. Each step of the way, I was happy with that level of audition.
My first professional audition was for a radio play in Manchester. That was the first audition that I got. It was my first paid job, which I think was, like, £150, and I thought it was megabucks.
It's not easy. I got lots of rejections when I first started out. If you want to write, you have to believe in yourself and not give up. You have to do your best to practice and get better.
What is better adapted than the festive use of wine in the first place to test and in the second place to train the character of a man, if care be taken in the use of it? What is there cheaper or more innocent?
There was rarely an obvious branching point in a person's life. People changed slowly, over time. You didn't take on step, then find yourself in a completely new location. You first took a little step off a path to avoid some rocks. For a while, you walked alongside the path, but then you wandered out a little way to step on softer soil. Then you stopped paying attention as you drifted farther and farther away. Finally, you found yourself in the wrong city, wondering why the signs on the roadway hadn't led you better.
I use voiceover just like I use dialogue. There's a way to give out information or give out insight to the character or give out their worldview, and maybe you have to slip in exposition, but it's all about how you write it.
When you step inside a set and transform into a character, it's your first brush with that role. It doesn't matter who you have worked with. Every character will be a first in your life as an artiste.
Here is the first step toward success. It's a basic step. It can't be avoided. Step One: Believe in yourself, believe you can succeed.
It's the same challenge as with any other character, adults or not. You want to take time with the kids. You want to tell them in the audition that they have time to exchange ideas. I'm there. It's not someone else who does the audition, but I don't want to audition a thousand children.
My mum sent me to an open audition for 'Notes On A Scandal' so I could see quite how many other girls wanted to do this. And I queued up, and I got the job. That was my first-ever audition, and my second was 'Atonement.'
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