Pilot Season 2018, Part 1

12 02 2018

This post is more for the non-actors than the actors – but I feel like maybe there might be some interest in knowing our process – so here goes!

It’s Lundi Gras and Mardi Gras week in New Orleans, but pilot season in the acting world.  As a native of #nola and someone who has lived here most of my life (except college, grad school and a few years in NYC) there is something oddly eerie about the “time out of joint” feeling of being in the midst of my city’s most celebratory time of the year, AND in the midst of the big fight for my career all at once.

I have entirely new representation this year, agents and managers, and this means for the first time I have direct access to all the big auditions for this year’s possible series-to-be, and it is such a breath of fresh air.  And a lot of stress and work.  But I live for that stress and that work.  In fact, I find when I am NOT auditioning or working I am the most ill-at-ease.

So, here is a glimpse into the last several weeks in the life of this working actor.  In the first couple of entries I will detail my process more specifically, and give each part of the process a title.  In the subsequent entries I will just use the title to indicate.

(Sidebar:  Most of the audition and show processes don’t allow me to share the role or the show or even information on the network.  SO, if I say NETWORK television – it means your channels you get without cable.  If I say CABLE it means…. cable.  If I say STREAMING it means streaming.  Also, any resources I mention here I get no kickbacks for.  They are truly the resources I use.)

Jan 23rd, 5am

A new role comes across my desk – via my sources.  (Odd that you must have “sources” to know what is going on right?) NETWORK TV, we’ll call this show:  CONDO.  Character is a single mom, works as a nurse in a specific facility.  Age 38-42.  Nothing in the description says anything about her size, or about her being “breathtakingly beautiful”, so I think – ok – this is a possibility.  I send it on to my managers, who rock.

Jan 23rd, 1pm

I get the audition!  Due in four days, which is a crazy luxury.  (FOUR WHOLE DAYS???) .

ACCENT FIRST (if there is one):

I buckle down and work on the regional accent the character has first.  Thank you David Alan Stern, and https://learnaccent.com/ – he has every regional accent and foreign accent you can imagine, and teaches from the place of resonance FIRST, vowel and consonant changes SECOND.  I had the good fortune to study with him in grad school.  Go to that site and you can get all of his materials.

Jan 24-25


I also get the entire script for CONDO, a luxury I never had with my previous representation.  So, I get ready to read read read.  I try to read initially without favoring the character I am auditioning for.  Just to understand the story and the tone of the show.  Then I dig into the character’s story specifically.  While I do this I take notes, and just let my imagination go wild with what everything LOOKS like in the show:  my house, the condo, my daughter, the place I work, etc.  If someone says to you, “Where do you work?”  You know EXACTLY what your workplace looks like.  It lends validity to your story because it is TRUTHFUL based on what you PICTURE when they ask you.  You want the same thing in the fictional life of your character – to know what everything looks like.


As I work, I take everything into consideration – the network station (every station has their own brand… if you carefully look into the shows each channel produces you will see trends), the producer – especially if it is a producer/writer (it is in this one).  They typically have a very distinct STYLE that can give you lots of clues into how to approach the work.  I think about the character’s name, which I can’t tell you, but writers pick names for really specific reasons.  The name Mary, for instance, can have a lot of connotations.  The Virgin Mary – hence she is motherly, virginal, etc.  OR the writer could have picked “Mary” as an ironic name – maybe Mary is a prostitute.  Get it?  My favorite resource for preparations for film/tv auditions is AUDITION FOR YOUR CAREER NOT THE JOB, the work of the master Tim Phillips.  Here is his website – www.timphillipsstudio.com . You can go there and download his book, DVDs, all kinds of great resources.  I am thankful to James DuMont, who was my husband in BAREFOOT for introducing me to Tim’s process.  http://www.imdb.com/name/nm0003069/?ref_=nv_sr_1


Then, the memorization starts. I don’t memorize with any specific inflection in my voice, as I don’t want to lock in any choices.  My choices aren’t really ready yet, but I want to know the words as if they are in my SUBCONSCIOUS, because this will allow me to play moment-to-moment when I start taping the audition, and take everything off of my partner.


I bought my own set of lights and camera several years ago, and it is a lifesaver.  I have several great actor friends I can call to come over and read with me, and not having to find a studio or taper, and pay someone every time I need to tape is just… financially crucial.

I don’t allow myself to tape too many takes, as I want to be sure I remain in the true state of what LIVE AUDITIONING is like.  You MIGHT get two takes in a live audition, but more often than not it is ONE take.  So, I don’t want to get into the habit in my taping from home of allowing myself to do things over and over.  I prepared for my taping the same way I would for a live audition (if time allows!), and force myself to be on point.


I edit the video very simply, no title cards, no crazy fade ins or fade outs, none of that.  Fade to black at the end quickly.  I send the tape in.

Here is where the process is strange and can be very nerve-wracking if you cannot let go of your auditions.  I say this because I am not always great at letting go.  I obsess over some characters, and hope hope hope I will hear something.  Other characters don’t haunt me as much and are easy to let go of, but for your mental health you really need to have the “Next!” attitude about your auditions.

You send this audition in, and it is as if it disappears into the ether.  You don’t know what they think of it, you don’t hear back unless you get a callback, so all that work just kind of… disappears.  Now, if you consider every audition a chance to show your chops, it is quite different.  It disappears, but you know even if you don’t get THIS role, you will be remembered as a prepared and compelling actor… and who knows what that could lead to in the future.

I can’t show you the entire audition for CONDO, but here is a little glimpse of what I looked like for the character.  Stay tuned for Part 2 of this PILOT SEASON blog.








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