Auditioning for TV: How to Prepare for Success as a Television Actor |
From inside the book
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Page 28
... cerning ability in dialects . Directors are suspicious of more than four or five , and since doubling parts in tele- vision is the exception rather than the rule ( as is stand- ard practice in radio ) your use of many will be rare ...
... cerning ability in dialects . Directors are suspicious of more than four or five , and since doubling parts in tele- vision is the exception rather than the rule ( as is stand- ard practice in radio ) your use of many will be rare ...
Page 47
... cerning your experience and background , name , address and telephone number . If you are being referred by some- one , be sure to include their name or letter of recom- mendation . While you are waiting for an answer , continue your ...
... cerning your experience and background , name , address and telephone number . If you are being referred by some- one , be sure to include their name or letter of recom- mendation . While you are waiting for an answer , continue your ...
Page 48
... cerning background and experience . Smile ! Be easy to talk to . He is evaluating your personality and weighing the facts you are relating . He learns a great deal about your during this interview . Don't ask about or try to glimpse the ...
... cerning background and experience . Smile ! Be easy to talk to . He is evaluating your personality and weighing the facts you are relating . He learns a great deal about your during this interview . Don't ask about or try to glimpse the ...
Common terms and phrases
ability accept achieve acting action actor actual answer appearance asked audience AUDIO audition auditioner BACK BEGINS better broadcast camera career carefully casting casting director cause CEMENT character choose CLOSE complete concerned consider create definite DESK determine devices dialect dialogue director DISSOLVE DOOR easily effective Elizabeth emotion employed experience expression FACE FADE feel FLETCHER FLOOR follows HAND HEAD hear HENRY HOLD imagination immediate important improvisation interest interpretation interview keep knowledge LEFT light listen live LOOKS material means medium MIKE natural never OPEN pantomime pattern performance person PICKS picture play practice preparation production props radio reading reason rehearsal remember require result scene screen script SHOT sight sincerity situations SOUND speech stage station STEPS STOPS studio success TAKES talent television tell tion TURNS usually VIDEO VIEW viewer voice