Your Questions: Getting into acting, auditions, getting an agent, self tapes and mental resilience

Ali and Unique respond to listeners' questions.

If you found this episode helpful let us know. If you have more topics you want us to cover, or guests you want to hear from get in touch with us on Instagram @GEN_ARTS or message us below.

During the episode we discuss getting into acting as a new or aspiring actor. These opportunities and organisations might be helpful:

Get Into Theatre
London Bubble
Young Vic
Roundhouse Projects
Stratford East Young Company
Almeida
Kiln Theatre
Royal Central School of Speech & Drama GAP Year Diploma
Brixton House
Lyric Hammersmith

Email: actingstrong@generationarts.org.uk
www.actingstrong.com

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Produced & Edited by: Ali Godfrey

Acting Strong is brought to you by Generation Arts and sponsored by the Royal Central School of Speech and Drama
www.generationarts.org.uk
www.cssd.ac.uk

Transcript

Hello, everyone. You are listening to Acting Strong. It's a podcast that helps explore resilience for stage ready, mind ready artists. It's brought to you by Generation Arts, and it's sponsored by Royal Central School of Speech and Drama. We are your hosts.

I'm Unique, a professional actor. And I'm Ali, founder of Generation Arts. In today's episode, we're doing a special q and a responding to your amazing questions. We're talking about auditions, auditions, speeches, self tapes, getting an agent, getting into acting, and mental resilience And we've included links to some other opportunities we think you'll find valuable right below this episode So let's get started. How are you doing, Unique?

Yeah. Let's do this for q and a. So we've had quite a few questions from people on social media. So Jay says, how do you choose an audition speech for drama school? Yeah.

This is the one that everyone wants to know. It's like that that golden nugget, isn't it? I've obviously auditioned for drama schools myself, and auditioned for a few of them, and I've also sat on, panels at, drama schools as well. And I would say the things the most important things to to to look out for when choosing an audition speech is to make sure that it's something you want to do. So don't worry too much about the school that you're going to and and what they would like.

It has to be a piece that you're really interested in, that you really wanna share with other people. And then you wanna make sure that it's the right age. So don't go in playing a 70 year old grandma, and you're 18 because they're not gonna cost you as a 70 year old grandma. So it's about playing your right age. When it comes to speeches around gender, I mean, we're in a new era now where we're getting all female Shakespeare companies and all of those things.

So I think you can you can go for that, but just make sure it makes sense. And you can run that by other actor friends or other people in the industry so they can guide you in the right direction. I would say make sure that the speech has a beginning, middle, and end. If they give you, like, a 2 minute time frame of, like, how long it should be, then stick to that 2 minutes as well. Comedy goes down really well in auditions, just because it's just that laugh factor, and everyone's, that was funny.

That was great. But doesn't necessarily mean that it it it's received better than, like, dramatized scripts or or a different genre. Yeah. I would say, as well, it's part and parcel of it is going to the theater as much as you can, and obviously there's, it's it's not always easy, it depends where you live, and there's money involved, but there's a lot of free or reduced theatre, schemes, especially in London, and it's really worth seeing as much kind of fringe theatre and new writing as you can in order to to find something that is not done all the time. Because I've sat on panel panels as well, and there's nothing worse than just everyone coming and doing the same speech.

It's nice when you hear something that you don't even know what the speech is from, you've never heard it before, or you don't recognize it. So, try not to do something that's maybe overdone or something that's obvious, something definitely do not do something from your GCSE drama syllabus or your GCSE English. Please don't do, like, of mice and Men or something or please Oh, I've just been I've just been in auditions for that all last week as well. Because it's so it's so obvious, and it it just kind of sounds like you don't have any working theater knowledge because you had to draw on your GCSE English, and that was the only play you've ever read. That's that's how it comes across, it might not be true.

So, yeah, kind of go go and see as much theatre as you can and find something find something new, different, underdone. What would you say about the the Shakespeare, the classical unique? Yeah. The Shakespeare and the classical. So, you know, there's some drama schools where you don't get to choose, and there's just a list of speeches that you have to choose from which they've already provided.

That can be a little bit more trickier because it's already been selected for you. But I would also say it goes the same as the contemporary monologues. Like, you wanna you wanna pick something that you can relate to. You wanna pick something that has a message that you wanna share, and you also wanna do it in your own accent. I think a lot of the times when we're doing classical monologues and stuff, we we go in with the RP accent, accent, and we think that that's the right way to do it.

But, like I said, we're in 2024, and now things are moving along, and a lot of plays in in Shakespeare or or older plays, people are still now using their own accents. So, Yeah. Yeah. Don't be don't be afraid to use your own accent. Yeah.

And also read the whole play. It sounds so obvious, but so many people don't read the whole play, and they therefore, they do not understand the context that their character is in in that moment. You have to read the whole play, you have to read it and know it inside out. There's loads of things you can do where you analyze the script, asking questions, go through, ask questions about your character, all the questions your character, asks. You can write them down in a list.

You can write down everything your character says about themself, everything your character says about everyone else, and everything everyone else says about your character. Write all of those things in lists that'll take you a long time. It's homework. And then only then will you kind of create, start creating a picture of the of this character, and you need to know what they were doing before the scene, what they what they're doing straight afterwards. Who are they talking to?

Who are they talking to? Yeah. All that stuff. You need to answer every single question, because someone on the panel, a, a, it will come across in your performance, but also, b, someone on the panel might actually ask you. Yeah.

And just going back to that, like, reading the whole play, like, just in terms of those that might have, like, access needs around dyslexia and things like that, and you find it difficult to read, that's fine as well. Just go and watch it. Go watch the play. You can type it in on on YouTube, and you'll see a version of it. Even if it's not the best version, you still have an understanding of the whole story.

And that's that's the way that I work. Like I was just saying, I had to help some actors with a mice and men audition, and I didn't have time to read this play. So I just watched the film again and, you know, I'm able to to understand it all from that. So just find other ways that help you. Yeah.

And also, no fear Shakespeare is a good thing to look up if Shakespeare scares you because it's kind of translated, inverted commas, into modern English as it were, so that you can at least get to grips with it. Then you can go back to the original, text and kind of get to grips with that. But, yeah, there's loads of resources, so just do your homework, basically. Yeah. Don't be afraid of it.

Don't be afraid of the Shakespeare and the classical and all of that. I know some people have never done this before. I've never read Shakespeare. I hadn't either. I'll be honest with you.

I've never really paid that much attention in English. So all of these words and all of these phrases and how they spoke just, like, went over my head, and it takes time to learn that. And so just be patient with yourself and know that that will come. You don't need to be perfect. You just need to have a good understanding of it.

Yeah. And Sam says, I know I want to act, perform, and write, but I have no experience and no money to pay for training. How do I get started? Oof. Okay.

Yeah. That is, that's the whole reason that started off. Yeah. That's that's basically the whole reason Generation Arts, exists really. So this is kind of what what we do, try and support, people on that path.

So there's there's so many, answers to that question. He's he or she, I don't know, is saying I want to act, perform, and write so that they sound like they have, quite a a broad kind of range of interests. To start with, just be doing stuff, so just be, engaging with as many free things that you can in terms of workshops, opportunities. There's a website called Get Into Theatre, which has lots of opportunities on there, some of which are free. Getting involved finding your local theatre or if you're in London, the theatres that are in your borough sometimes have opportunities for, especially young people, which could be under 30, under 25, that may apply to you.

Just get engaged and involved with as many of those kind of projects, participatory projects, going to see things, workshops, classes, anything you can do. A lot of them are subsidised for people with low income or for students, so just get involved and do as do as much as you can that is the first step. Yeah. For sure. I think getting involved in as many young companies.

Because even that way, you just meet other creatives, and so you might wanna act, and and they've got a great script that they've already written. Or you might have the great script, and they wanna act. And and and if you wanna do all 3, then, yes, starting off for, young companies and starting off in the the writing sessions and starting off in the young performance sessions. I mean, when I first started out, I was at Almeda Theatre Company. I was at Oval House Theatre Company, a Stratford East Theatre Company.

They've all every theatre company should have, like, a young young people's division, to help you get started, and it's just about writing to those people. Also I would say another way that I got to sort of learn about acting and and and learn about performing was working at theatres, so getting a job as, like, an usher or getting a job, in the bar or whatever. You just get to be around that environment and that industry constantly, and then you get to meet directors. And so one of the things that I would do is, like, see them around and say hi and stuff, and then I would ask them, oh, would it be possible for me to come and sit in, like, your rehearsal space just so I could just watch actors? Like, just watch how they they performed or watch how the director spoke with them, and and so you can get to learn that way.

Same with writing. Can can you find the writing company or or writer's group and just ask, can I just come and sit in and and get teas and coffees for you guys so that you can just learn? Yeah. Great. And and with the no money to pay for training, don't be put off by that, as in depends on what's right for you.

But in terms of, like, drama school or, university training, depending on if it's, like, performing arts or or acting or writing, if you see a course that you think, oh, I'd really, really enjoy that, don't be put off by the fees. I know that sounds, maybe complacent to say, but You've been saying it for years and and and I've been saying, I can't afford it, Hannah. I can't afford it. She's like, don't worry about And and she really does mean it when she says that, like, there is a way. There is a way.

There is a way, and I think you can't let that be a barrier. You have to just focus on your goal and your dream and then make it work. Yeah. I I did it myself as a a mature student. I did a masters.

I didn't have any money and it was a lot of money and it was a masters, so you had to actually pay for it yourself. But I just accepted the place because I was like, I really wanna do it. It's my dream MA. And then I ended up doing loads of extra work and selling loads of stuff and doing, doing what I could and I managed to do it and I managed to get them to let me pay in installments. But I think you there's always a way.

And if it comes to undergraduate courses, if it's your 1st degree, student loans, whilst they get a really bad rep, they're not, it's not the same as other debts. So you're not in in debt for the rest of your life, you don't have, it's not on your credit record or anything like that, and you only pay a small percentage of what you earn. So if you don't earn very much, you don't pay back very much, and then it stops, so you end up not having to pay it back. So I think there's a lot of, like, it it is bad and it would be lovely if education was free. The fact that it's not and there are student loans, these are not as crippling as I think some people believe they are.

They think they're gonna come out of uni or drama school with, like, this sort of ball and chain around their neck, but it's really not. If your if your annual income is low, then your your repayments will be 0 or very low until the time that you earn loads of money, in which case you'll have loads of money, so it won't matter. It runs out and then you stop having to pay. So, I I just think don't let that get in the way. Also, a lot of the drama schools and universities do have bursaries, grants, stuff like that available, but they don't always publicise it because it's not, it's quite, rare.

But if you can get in touch with the access or participation department at the university or drama school, speak to them about your circumstances, they can they can help you, they can signpost you to things. There are scholarships, so if you do a really excellent audition, some of our young people have been in receipt of those as well. So there are options and it's just about, focusing on what you really want to do rather than letting the the idea of the the money kind of get in the way. Yeah. For sure.

I think when I first joined Generation Arts, this was the conversation that me and Ali had, and I was like, £40,000 for drama school. There's no way. It just can't be a thing in my household. Like, we don't come from money. But, yeah, Ali Ali let me know that there was scholarships and stuff like that.

And so I applied for, scholarships at the drama school, and I was lucky enough to get one. Also, another way that I know that actors have been getting funding for drama schools is to write to, actors, like, professional actors that are already in the industry and already working. Some of them are really nice enough to get back to you, and and give you some funds to help towards your fees and stuff. I mean, I've even had, like, actors that I've left at drama schools that I've been to that have contacted me and said, you know, I need help for, like, travel, and I've been able to provide that for them because I've been in a Netflix show at the time or whatever. And so there are people out there that will will give back and will help you, so you just need to take the first step and ask.

Yeah. Thank you. Sayon Sayon Sanchez says, how to get an agent and self taping. So there's, like, 2 two aspects to that. So let's start with how to get an agent.

Unique, how did you get an agent? So my first ever agent was identity, IAG, Identity Drama School, and I've I've got them through going to the school, and then they asked me to apply to be on the agency. That was the first way that I got onto it and then got an agent. And then my second agent was going to drama school and finishing my course. And then, obviously, you have showcases and stuff at the end of the 3 years, so that's when agents and stuff would come along.

And then if they're interested, they'll contact you and stuff. But saying that, not a lot of people want to go to drama school or feel like that's the right opportunity for them. So how do they get an agent without going to drama school? I would say the best way to sort of do that is to create work. So it goes back to the question before that is is getting into all of those young companies.

It's getting into that performance space so that you can actively invite an agent to come and see what you're doing. Even if that is your own work that you've just created and you've just put on in the venue, you can still invite them, and some of them will come. I mean, it's a busy industry. So, you know, you send out 50, only one might come. But you just keep going and you keep persevering through it.

What might be helpful when looking for agents is to look on their on their books. So you they every agency will have, like, a website, and you'll be able to see their client list. And if you can go on there and you can see that, oh, actually, there's not that many people that they represent that represent that looks like me or or or offering what I can give to this industry, then that will be your best bet to sort of contact those agents. And keep going to the theater. Keep going to networking events.

You will bump into agents at those places, and you can then have a one to one chat with them. Yeah. And with self taping, that's obviously become a much bigger thing since COVID. There are some drama school processes that are involving self tapes now as well. What what's your advice on that?

How do you if if it's the first time you've been asked to do a self tape, where do you start? So with self taping, it's it's a process. Like, you you I could go back and watch my first ever self tape and think, what the hell was I doing? Like, you have to you have to, you know, start from somewhere and and get comfortable with watching yourself on camera and knowing the things that you're good at. So the first thing is, do you have the equipment to self tape?

So, basically, all you need is an iPhone, something to prop your iPhone on. Usually, you use a tripod that can be like a ring light and a tripod. Then you've got your light in, and you've got your ring, your tripod all in one, and you set that up on a blank space behind you. So, like, usually a white blank space behind you. Just start off with your tripod, your white space, and find someone to help you read the lines.

When you get a little bit more advanced, you can just start taping the lines yourself and then redoing that back and forth. But, yeah, find someone to help you read the lines. What would be useful is if you found an actor who is already in the industry so that they could be able to help and guide you with with some of the things. So some of the things you wanna think about is eye line. So where are you looking?

You never look directly into the camera. You're just looking outside of it. When there's multiple people in the scene, you have to think about where you're looking at everybody. And these things take time. Like I said, you you can do it for years and only only now I'm starting to understand the logic of it all.

So, yeah, just just keep having a go at it. Keep trying. Keep bringing other friends in that are part of the industry to give you advice and and give you feedback on what you're doing. And, Anna says, how do you manage your well-being when work is inconsistent? This is really interesting because I guess there's a there's an aspect to this of, your finances.

So if you are if your work is inconsistent, either because, you know, you're an actor or you're multifaceted, and then that means that you are struggling financially in difficult circumstances, then that is gonna impact on your mental health. And I guess it's and and then the other aspect, sorry, is also because of just the nature of the work that we all do as creatives, broadly speaking. We have portfolio careers, a lot of us. So some people are actors all the time, but a lot of people are actors and facilitators and teachers, and they do other things. They they work in theater, front of house, They work in service industry, lots of different things.

That is then also something else to manage because you're juggling so many different responsibilities, so many different, workplaces, so many different identities, so there's a lot going on. From my side, I mean, I've spent a long time I I used to work in teaching, and then I I left teaching, and then I did facilitating, and I set up a a company, and I also lecture, and I've done consultancy, and I've done theater directing, and I've done loads of, like, random things. But I think the stress of of having to support yourself and, not you know, knowing where that money's coming in was the thing that I found quite difficult when I when I was first, freelance. So I think if you can find some some sort of backup job that you can do part time that gives you that kind of foundation, that might help you. A lot of actors do it.

We've got, we've we've got loads of actors who've come through us who are doing other jobs, you know, kind of normal, jobs on the side to kind of keep top up their income, and I think that that's something that you have to be real about. Even though that might not be your ultimate goal, that might be something that you need to do, to get where you wanna get to, basically. Yeah. For sure. Yeah.

How about you? Yeah. I think, yeah, you're gonna hear from some of the actors on the podcast that have, you know, finished Netflix jobs and then gone back to work as, a Sainsbury driver. Like, that is the reality of the industry that you're in. And I think even when I first started, I had this idea in my head that I'm just gonna be an actor, especially when you go to drama school and stuff and you put in 3 years that you can't see anything other than you just being an actor.

And that reality would be lovely and it would be amazing, but it's not the truth. The truth is that 99% of actors all have another income, all have another job, all doing something. Even if you see them on big TV shows, consistent TV shows, they're all still doing something outside of that to make more income. Focus on that as well as chasing your dreams because that's gonna be the thing that helps you feel like your well-being is stable. So for me, I work, as a creative support worker.

So I work with learning disabled and autistic actors. And at the moment, I'm currently working with an actor on EastEnders. And so when I'm not acting myself I'm there and I'm still on set. I'm still meeting directors. I'm still in the industry.

I'm still learning. So I never think like, oh, I've been away from it for so long. How am I gonna audition tomorrow? I haven't acted in so long because I'm constantly surrounding myself with it. And for me, just having that job has made my well-being skyrocket.

Because before I was, you know, in therapy, I was talking to therapists about depression and anxiety, and and not feeling like I could cope in this industry anymore, and and just finding something outside of that to just help with my finances, help with my self esteem, help with, you know, having a a day to day life and not just sitting at home and trying to wait for that audition to come in. Also taking breaks, taking holidays. Me, I love to travel. I'll be on holiday all the time that my agent will be like, well, you can't be back because you can't you can't live your life just for this work. Like, you have to go out there and experience all of the other things in life so that you can bring it to that character.

Do you know what I mean? Like, what's what are you gonna bring to a character if you've been sitting in your room for 2 years just waiting? Yeah. And I think, it's a it's a bit of a reality check sometimes when, younger or kind of newer actors are coming through. I had a bit of data which, was based on some surveys that Equity and, Mandy dotcom did.

A couple of years old now, but they basically said that I think 68% of actors earn under £5,000 a year. Yeah. Yeah. Yeah. That's true.

That's true. That's true. I love that. Obviously, that means that they're not, you know, they're not gonna be full time actors. And I think it's only 3% earn more than about £45 a year.

So it's, you know, it's re that's the reality. So you have to be you have to have a backup plan and you have to have a plan to get there. I would say as well, like, think ask yourself what you're feeding yourself in terms of what are you absorbing when you're not, at work or when you're not on set or in rehearsal? What are you feeding yourself? Are you on social media all the time?

Is it healthy? Are you reading reviews? Are you kind of reading all this stuff about people's opinions about, acting or theater or, you know, that kind of stuff, as well as physically what are you feeding yourself in terms of nutrition, exercise, sleep, reading, learning, self development, training. Your body is your tool, and your creativity needs to be nourished. So if you do find that you you're in between work, get on something to develop yourself, Jump on a course, do a workshop, read a book, find this so much free stuff on YouTube.

It doesn't always have to be around acting as well. Like No. Exactly. You know what I mean? Like because you don't know when that thing that is outside of acting might come into play in acting.

Do you know what I mean? Like, it might be that character that likes crocheting, and you've been learning to crochet for for for 5 years. Like, you don't know when it's gonna come into play. Yeah. Absolutely.

And I think, things like exercise really help with mental health as well as physical. Things like, the Insight Timer app is really good, which I always recommend because it's, it's free and there's thousands and thousands of things you can listen to every morning just to sort of set yourself up. And, yeah, having, like you said, having some interests away from just completely away from acting. Do you have any friends that are not in this industry? Sometimes it's quite nice to just talk to someone who does something completely different for a job and, doesn't have any kind of understanding of what you do.

Sometimes that's quite refreshing to do. Yeah. And then also embracing the adaptability. I think, Hayley was talking about it in her podcast about pivoting. She talked about pivoting in terms of your skills.

So what, you know, what other ways can you apply these skills that you have in a way that will earn money but also engage you and teach you something? Like like you were saying, you know, maybe working with children or working with communities or whatever, are there things you can do and ways you can apply these skills in a way that will benefit others, benefit the community, benefit yourself and your well-being, maybe bringing bringing in an income as well, helping you to connect with other people. So it's just really utilizing all of the tools in your in your toolbox, basically. Have you ever had any situation where you found it difficult, unique in between jobs? Oh, yeah.

For sure. Like, when I finished my, Netflix job and I went and we went straight into COVID, that that hit me like a ton of bricks. I I didn't know who I was. I didn't know why I existed here. All I've been doing for the last 7 years was acting.

I've done generation arts. I've done my degree. I I I finally made it on TV. Like, I just felt like it it had to continue. Right?

Like, it's never gonna stop. Like, I've it I've worked this hard for a reason, and then it stops, and everything is no longer what it was before. And I took a break. I think that's one thing that everyone who's an actor is scared to do because they think they can't come back from it. Like, no.

I took a break. I took myself to Africa. I spent 6 months in Africa working on, like Ali said, my fitness, just working on my mental health, working on, like, myself. Do you know what I mean? Like, looking at where I come from.

Like, obviously, we all know we come from Africa, so I got to go back there and and and really delve deep into who I was. And when I came back from that, that's when I felt like I could reconnect with the industry again. And it takes a lot it takes a lot to say, you know what? I'm not well. I'm not well, and I need time out.

But I promise you, you'll be better for it. And there's and and no one's gonna think bad of you, or no one's gonna think, oh, they're not they're not up to par with this industry, or they can't keep up. No. Like, you're in this for the long run. I was just speaking to, Patrick from EastEnders.

He turns 85. He's been acting for longer than I've been alive. And to think I've still got 50 years of this, me, I'm taking another trip to Africa next week. I'll be making sure my well-being is good. And and, yeah, put it at the forefront.

Don't let anyone tell you that, you know, you just have to get through it. You just have to do this to become famous or to become, you know, successful. You don't. You need to make sure that you are 100% in yourself. That's the only way you'll be successful.

It's so true. And it reminds me of what Ira was saying in in his, interview where he was talking about Tom Cruise and saying that he worked with Tom Cruise and he was saying that he actually asked him how he sustained his career because he's he's such a rare example of someone who has been kind of at the top, as it were, for so long. Oh, really? And it is not that's not normal, guys. That is not normal.

And, you know, Tom Cruise has had to sacrifice a lot. Like, he might he might look like that the way he looks, and maybe he's got all that money, but there's other things that make you happy. And I think that he's had to effort a lot to keep there, and that effort has probably cost him in other areas. So which is kind of what Ira was saying, that it's about having a a bit of a rounded approach to this and not having that kind of view that some people have right at the beginning or maybe when they're, you know, at school or whatever, they think, oh, when you're an actor and you've made it, like you said with Top Boy, and you thought, alright, I've made it. That's it now.

I can rest. No. It is never and life isn't like that. Okay? Life isn't like that anyway.

It's all just a phase. Everything is a phase. Everything is a phase. Everything. And, you know, you can get offered, like, your top top jobs.

I remember getting offered, like, a top top job, and I was away doing my well-being stuff. You know? Yeah. And I got offered this top top job, and and I couldn't get back into the country for for to to do it. And and that broke my heart.

Do you know what I mean? But you just have to say, what is for you will not pass you by. I promise you. What is for you will not pass you by. And making sure that you're happy connecting with your friends and your family is the most important thing.

Do not let acting overtake your life. Like, some people may think, oh, you're just bitter because you haven't got to where you wanna be and the the the the no. Like, I'm around people that do series upon series back to back back to back, but they don't take no time out for themselves. And then after a while, what's gonna happen? Mental health kicks in.

So either way, it's gonna catch you no matter where you allow it to. So you might as well just get on it now, put it at the forefront, and know that your well-being is the most important. Definitely. No. And I think as well because it's an industry where people are obviously judging you because they're coming to see you perform.

So it is a it can be kind of very external if you're not careful, so you really have to work hard to counter that and not, judge yourself by those standards and think about where your validation comes from. If it's all coming from outside of you, you have no control over that. You can't live like that. You've got to do a job because it feels right for you, because the the writer resonates with you or because you love working with that team. If it's right, then it will it will be right.

Don't be thinking about reviews or, kind of audience numbers or anything like that. Just really try and separate yourself even though that's a really difficult thing to do. Yeah. Be careful not to fall into the trap of, like, this, how many followers and all of that you've got and and all of that clout because once that dries up, that puts you in an even more dangerous position because you've had all eyes on you. And then when them eyes are no longer on you, you're gonna be thinking that you have no value, and that's not true.

Okay. JK, what would be some tips for auditions? Tips for auditions? So one thing I meant to say earlier, regards to drama school, if you are auditioning for drama school, do look up the drama school website and check because every drama school has different rules and parameters about the audition process, what kind of speeches you need, da da da da da. So just make sure that you do do that.

But what about any other tips for auditions, Unique? Being yourself. Being who you are. A lot of things in this industry take time. You think you know who you are, and then you come in and you start to question it.

And then you have to find yourself again. Not going into auditions, trying to give them what they want. And I know that may sound contradictory because it's like, well, I'm not gonna give them something they don't want. What I mean by that is you don't need to change yourself to fit into a mold of who they expect. Being you walking into the room, talking how you talk, being how you be is what they wanna see because that is gonna inform if they want to work with you.

That is gonna inform if you are the right person for this job. And those things are judged in audition rooms, and people forget that. So it's really important to have that in mind and then the basics of know your lines, know who you're going to meet. Most of the time when you get an audition through, it will tell you that you're meeting a producer, a casting director. Know who those people are.

Google them. See what they've done before. Also keep a diary of all of the people that you have actually met in auditions because you may be called in multiple times by that person. And so if you get called in, they're like, oh, nice to see you again, Younique. And you're like, oh, have I met you?

Like, it just keeps that, you know, that regular flow with them. Also, be mindful. Don't go to auditions looking like you've just rolled out of bed. Like, that I see a lot sometimes. Like, people just look like they haven't been bothered, and it's like acting isn't just dress and and turn up how you want.

You're still working. Like, it's still a job. So just be mindful of that. If you are nervous, just say it. Just say, like, oh, I'm a little bit nervous, but, you know, I'm just trying to work it out and and get excited for this audition.

It's okay to be nervous. No one is in the room is trying to make sure that you don't get the job. Everyone wants you to get the job. And we'll have a podcast coming out with a casting director that will speak a lot about auditions and the processes of that. But main tip is do the work, be prepared, be yourself, and enjoy it.

Have fun because this might not be the one you get, and you might be doing auditions for the next 30 years, so you better find a way to like it. Yeah. And I would add to that, try and stay grounded. So something people often do if they're nervous or inexperienced is kind of pace up and down and move around quite a lot, and that's quite distracting for the panel or whoever's looking at you, so so try and stay stay grounded. I would also say be flexible.

So depending on the context of the audition, at a drama school, for example, you might be redirected, they might ask you to try something different. So when you've rehearsed your monologue, hopefully you've, you know, learnt it back to front, forwards and back, so you can do it standing on your head, but at the same time don't be too rigid in the way that you've rehearsed it. So for especially for a drama school audition, they might ask you to come in and do something different, they might ask you to run up and down or jump up and down on a chair or, come in from a different part of the room or do it, as if you're screaming at someone on the panel or something. So you have to be able to just take that direction and say, yep. Yep.

And then just do it and respond and adapt really quickly and showing versatility, because it's demonstrating that you're someone that they could work with and that they could direct and that you you kind of trust yourself. Yeah. The redirection in auditions is always difficult, especially if it is drama school because you don't have all of the experience. Do you know what I mean? That's why you're going to drama school to gain that experience.

So don't be too hard on yourself and and clarify. You know, if they're talking in a jargon or in a way that you're like, I don't I don't know what that means, then say that. Like, that doesn't make you less than anybody else in that room just because they're talking a way you don't understand. Make it make sense for you so that when you then start in the redirection, you understand what they're talking about. Don't just say yes, yes, yes, and then just try something, and you have no understanding of what what they've just asked for.

Clarify everything. It doesn't make you silly. And then just, like, basic things like turn up on time to early. Early. Early.

Early. Not even on time. Early. Yeah. Yeah.

Get there early. Oh, please. Just get there early. And go to bed early the night before, you know, get all your stuff ready, drink loads of water, all that stuff. And when you walk in, just be bright and smiley and look them in the eye when you say hello.

Ultimately, they want to know if they if they want to work with you. So you need to be present. So thank you for your podcast q and a questions. Honestly, keep them coming. They are amazing, and they are helpful to other people as well who haven't thought about those questions that you've asked, And we can't wait to keep creating more episodes.

Take care. Take care. Bye. Bye. Each one can teach one, so keep acting strong.

Subscribe, spread the word, and turn on your notifications. The lineup of guests have all tested their resilience So come see what you can learn Thank you for listening, and see you next time Bye