I recently auditioned for an award-winning short film/documentary director’s upcoming short. It was for the lead role in a film with a truly touching script (in addition to our sides, the director wanted all actors auditioning to become acquainted with the full storyline). While I was excited to be called in for the role, it was a crazy week with a schedule beyond packed. I would have declined the invitation, but there was something about the director over the phone that particularly drew me in, and I was intrigued to meet her and hear more about the film. Long story short, I worked things around, called her back, and confirmed I could make the audition.

 

When I get to the audition, a significant distance uptown from Penn Station (the gateway to the city for Long Islanders, on 34th St. and 7th Ave., for all you non-New Yorkers), I am a bit tired and feeling rushed, but surprised to find that the actor sitting there waiting to audition is a guy I recently took a workshop with at the Actor’s Green Room. Cool, I thought. We recognized each other and started talking. While that happened, a woman walking by, not even there for the audition, tells me I look familiar. I tell her she doesn’t. She says we’ve met before. I say, where? She thinks and then says, the Penny Templeton Studio, where we took an on-camera class. I say, oh, cool…glad to see you again? And she laughs, and I laugh, and we all laugh. I still didn’t remember her. She leaves. Very random. A few more minutes, and we both (the guy, not the lady) get called in to the audition room.

 

We meet the director – she is as inviting as she was over the phone, and I instantly relax and the rushed feeling I had before subsides for the next ten minutes we’re there. A total of three people are in the room with us – the director, a man behind a table, and the camerawoman. We proceed to do three small scenes with some adjustments and direction along the way. The man behind the table points out, from looking at our resumes, that we both do martial arts. A nice coincidence. We all shake hands and leave the room.

 

I say bye to my audition partner and rush out only to get stuck in the worst subway traffic ever. Okay, maybe not ever, but for me, yes, ever. The saga continued with a taxi and later the train back to Long Island and finally a car once I got back home.

 

And that was it. That was my audition. The next day, I thought about it and how much I had liked the script. I was kind of hoping I would get the role, even though I didn’t want to admit it to myself. But days passed, and I heard nothing. Then a week. Still nothing.

 

But then…a call and a voice message from the director to get back to her. About what? Did I get the role? A several-hour-long game of phone tag commences. As time elapses, I begin to think that I didn’t get the role. But then why the call?

 

As it turns out, when I finally did speak with the director, they didn’t think I was right for the role (gasp), but (BUT) what I did at the audition inspired them to create an entirely new role and segment of the script…would I accept the offer?

 

I was flattered. Stunned, slightly confused, but definitely thrilled. Of course I would, I told her. I didn’t know what exactly I did at the audition, but whatever it was, whatever I brought to the table, was something that they wanted.

 

And that, right there, sums up auditions. You never know what they want; you only know what it is you have to offer. Don’t try to give them what they’re looking for (because you’ll end up giving them nothing at all). Instead, give them something to think about, something that makes them remember your face long after you’ve left the room, something that makes them say, “We need her.”

 

I guess that’s what I did, I’m just not too sure how. But that’s the great part about auditions: You usually won’t ever know what finally made them call you and not someone else – you just need to know that you’re the one who booked the job. Then it’s just a matter of delivering the performance.

 

The film shoots in April.

One more day. 2010 comes to a close. Looking back, it’s been a great year, in so many ways.

 

I can now say I’m a writer and an actor without any hesitation. My acting resume expanded from no films to eleven of them (if you count Maroon and Gold as one feature-length of film, but twelve if you count it as two short films…go ahead and do either, I won’t tell anyone). I began working with my agent Michael W. Rodriguez at The Roster Agency, met so many casting directors, explored new opportunities, went on plenty of auditions, and built relationships with some very talented people in the industry. And because networking has become ingrained in my very psyche, I figure I’ll share some of those names and places here. When you have time, check them out. I promise it’ll be worth it.

 

1) SK Headshots – www.skheadshots.com

 

I have now been working with Sam Khan for more than two years. He has done all my headshots, postcards, prints, and reprints, and he also won a top spot in Backstage NY Readers’ Choice Awards 2010. And in the past few months, I have found myself getting recognized by other actors at auditions because they saw my headshot on his website or in his studio, which is pretty cool. As a photographer, Sam is second in my book only to my 16-year old little sister, a budding photographer with an eye for amazing pictures. But my sister doesn’t do headshots. Well, she might do one for me, but she certainly won’t do one for you, so go have a consultation with Sam instead.

 

2) The Actor’s Green Room – www.theactorsgreenroom.com

 

I found The Actor’s Green Room several months ago, registered for my first workshop, and never looked back. The people I have met, the skills I have honed, and the things I have learned have proven invaluable. It is one of the most intimate, professionally run, and industry-significant spaces you will find in the city. For anyone that has any smack to talk about workshops, come see me. I’ll probably shout and scream and grumble for a few minutes, but then I’ll send you right along to AGR. In fact, skip the middle girl and go there first.

 

3) T. Schreiber Studio – www.tschreiber.org

 

I’ve only been training here for three months, but I’m impressed. Before you even think about registering for a class, you have to attend a free mandatory information session. I love this. You get to meet a panel of the school’s teachers, including Terry, and get to hear what the school has to offer and if it’s for you. To me, it demonstrated professional consistency and unity. The staff is on the same page as to what they do, what their actors do, and why they’re all doing what they do. Enough said. A nice bonus: They put on tremendous theatre productions and only students can audition.

 

4) Penny Templeton Studio – www.pennytempletonstudio.com

 

I first found the Penny Templeton Studio over two years ago when I was looking for an on-camera class to help me make the transition from theatre to film. I found PTS and could not have been more thrilled. Between Penny Templeton and Hank Schob, you get the acting, the technical know-how, the experience, the technique, the street smarts, the terminology, the practice, and an all-around comprehensive learning experience. They do precisely what they say, mainly, get actors working. I also officially met my current agent while I was there. It was then that I decided he was the agent for me, and a year later, that became a reality. Check out the studio’s site and their free sample classes.

 

In other news, I finally got a chance to send some follow-up postcards to casting directors I have met in the past year. I also signed up for a class with Kim Micsia, casting director of projects like Gossip Girl, Bella, and Bored to Death, at TVI Studios, set to start in June. And I'm looking into classes at T. Schreiber Studio and One on One NYC. Not to mention, I have to get back to taking classes at Penny Templeton Studio, where I did my first on-camera work and met my current agent =)

 

Any suggestions on what classes to take/where to take them?

 

Now for writing and the rest of my life: I've been doing a ton of copywriting and ghostwriting, but not nearly as much creative writing as I'd like to be doing. Time to look over my goals again? I think so. Two upcoming projects/partnerships will hopefully kick my butt in the right direction. One is a screenplay, the other a fiction novel. At the latest, these will get off the ground in June.

 

Oh, and with the start of May, the adventure season has officially begun. We ran a 5K last weekend and ran a very short distance in a marathon to catch a train (long story). Next up are a host of more 5K races, a triathlon, a few bike tours, a couple of adventure races, and some sick obstacle courses.

 

Now if only I could find some time to sleep…

It has been an amazingly busy few weeks!!

 

I was just cast in my third film, this time in a supporting role. It's a short being shot in January in NYC.

 

I also went back out to Boston for more shooting on a two-part film we're doing out there. And I even got to check out a rough cut of the trailer last week. After some more pick-up shots in January, the final product should be finished by February.

 

As for writing, we have been busy working on The Vigilant Monkey. I'm looking forward to creating new advertising relationships in the new year.

 

And finally, I am thrilled to announce that I am now signed with Michael Rodriguez of The Roster Agency. I first met Michael last year when he came in to speak to my on-camera acting class at the Penny Templeton Studio. By total chance, we ran into each other again at a headshot workshop at TVI Studios last month and once more at an Actors Connection seminar. Words cannot adequately describe just how happy I am to be working with him =)

 

2009 has been an amazing year, and I am incredibly grateful to everyone who has helped make it such an experience. Have a Merry Christmas, enjoy the festivities these next two weeks, and I'll see you in 2010!!

 

- Melissa