HOW TO: INCREASE AUDITION RATE WITH PRODUCT DIFFERENTIATION

INCREASE AUDITION RATE WITH PRODUCT DIFFERENTIATION

Perceptual version.  The gray dots are the uniformity.  The black dots are differentiated by the fact they are easily recognizable as black against a sea of grey.  In Hollywood, it's better to be a black dot.  In the above image, black dots are easier to identify.  If you had to pick one grey dot, which one would you choose and why would you choose it?  I think the answer is: the choice would be a random selection.  Choosing a black dot is also random, but the black dot has a one in two chance of being selected in a random selection.  Each grey dot has a (one in 52) chance of being selected in a random selection.  If we assign selections to auditions, the black dot will receive approximately 25 times as many auditions simply due to fact that there are less of them to choose from.

PRODUCT DIFFERENTIATION FOR ACTORS

We can take the principle which is at work here and generalize it.

SPECIFIC CASE: By cultivating a unique visual LOOK you are moved into a smaller pool of talent who are differentiated by their visual attributes.

GENERALIZED PRINCIPLE OF DIFFERENTIATION:  Increased interest from casting is a byproduct of differentiating yourself from other actors who are otherwise the same age/ethnicity as you are.  The less differentiated you are, the more likely you are to fall into a large, generic pool of available talent.  The bigger and more general the talent pool, the fewer auditions you will receive.  Generally speaking, the smaller your talent pool (aka category), the more auditions you will receive: as long as the differentiating characteristics of the category are practically significant in the production of film and television.

The overarching principle is differentiation.  I discussed this in an earlier email (the difference that makes a difference).  If you want to be more significant to a casting director, you must differentiate yourself in some significant way from the existing pool of talent that the casting director already has at their disposal.

BY ANALOGY
Imagine you go to an open call on the Disney lot and 5000 actors are in line.  The casting assistant comes out with a megaphone and pronounces: "If you have a major award like an Emmy or a Golden Globe, please move to the front of the line."  The pool of talent is still 5000 actors deep.  However, those with a Golden Globe or Emmy are differentiated from the remaining actors.  The three actors with a major award move to the front of the  line and casting directors audition them first.  Now further imagine that the assistant returns and pontificates "If you had a lead role in a feature film that screened in competition at Sundance last year, please move to the front of the line."

Neither of these criteria (having a major award or opening a movie at Sundance) really has any bearing on whether you are going to be suited to the role or book the open call.  Instead, these are simply means of managing complexity:  just a practical method for the casting office to prioritize a group of 5000 actors into sub-groups.

GENERALIZED APPLICATION OF PRINCIPLE OF DIFFERENTIATION
Therefore, you can increase your audition rate in a scientific manner using this principle.  First, you must ascertain what casting directors consider to be significant differentiators.  We've already identified a number of them and can add some obvious ones:

TOP 5

1. Talent has won a major international award like an Emmy, Oscar or Golden Globe.
2. Talent has opened a film at a major festival and/or won a similar acting award at a recognized festival.
3. Talent was recently a Series Regular on a major US network with at least 100 episodes produced.
4. Talent was recently cast in a major studio tentpole in a significant role across from a major star (including roles booked in regional markets like Vancouver and Atlanta).
5. Talent has a UNIQUE LOOK which places them in a smaller pool of available talent. NOTE: Only available solution to "chicken & egg" syndrome.

These five differentiating attributes are likely to be universal among all casting directors.  What is much more difficult is identifying less universal differentiators which can help get you seen in a particular casting office or for a particular project.

Sometimes differentiators are unbelievably mundane.  For example, one actor booked a Series Regular on the SyFy series Z-Nation.  The role required local hires in Spokane, WA.  That's a very specific locale. Spokane was talent's hometown.

Once we start researching differentiating attributes preferred by individual casting directors, the generalities end and the preferences from CD to CD can differ considerably.

The problem with our top four list of differentiating attributes is that they are difficult to obtain (chicken and egg causality dilemma).  So our efforts would be better spent differentiating ourselves (as talent) in ways that are easily achievable and repeatable.  We're looking for differentiators that have no mysterious aspect or secret handshake.

When it comes to making oneself more appealing to casting directors by differentiation, doing a little research can be useful.  For example, in the April Webster interview that I recently posted to the Facebook group, she clearly states that she is active in live theatre (directing) and shows a preference to actors who are active in theatre.  So as far as April Webster is concerned, it would seem that if you are not active in the theatre, you are less likely to attract her attention. Furthermore, if she directs you in a major role in a live stage production, she might be more inclined to cast you in a film or television project.

I often say that you only need five major casting offices to champion you in order to have a career.  Why not learn and acquire the key differentiators significant to the top five casting directors on your wish list?  You can watch interviews and listen for clues.  You can ask other actors who regularly audition in the casting office.  You can ask CDs direct questions at Q&A sessions or at casting workshops.

KNOWN DIFFERENTIATORS
Here is an unordered laundry list of differentiators which actors can acquire which are not subject to the chicken and egg problem of the top four differentiators:

A) Differentiation by unique name.  Many of the A-list stars that "you think you know" are actually unrecognizable by their legal names.  You know them only by their stage name, not their birth name.  Example: Awkwafina. As such, an actor need not use the name given to them by their parents.  In fact, much like naming a product, you can name yourself with the exact name that describes the career you want to have.  Unique and appropriate names are easier to remember.  Because they are easily differentiated from other names.  If you have never worked in television or film you have a window of time to choose your stage name.  This is the name the public will know you by and need not be related to your legal name.

B) Differentiation by physical fitness or lack thereof.  This should be self-explanatory and covers both Dave Bautista, The Rock and Chris Farley.

C) Foreign language skills:  in particular, Russian and Arabic seem to be prevalent.  The one hour drama tends to reflect the cultural zeitgeist, which means that antagonist characters are likely to be either Russian speaking or Arabic speaking.  For roles with only a page of dialog, I think any actor can aspire to the role if they have an acting coach fluent in the language (to translate sides) and assist with preparation of the material.  Which means you could claim fluency in Russian for the purposes of television if you have resources to help prepare.  If casting wants the talent to be able to improvise in a foreign language, they will indicate it on the breakdown or in the audition notes.  Anyone can learn a language.

D) Special skills in related arts, including music and dance.  This would include singing, playing an instrument with a high degree of proficiency and expertise in any form of dance.  You can acquire these skills by taking classes.

E) Training at a specific comedy school, acting studio or in an acting methodology.  For example, I understand that Linda Lowy's husband was/is involved in the Steppenwolf Theatre (Chicago).  I would expect that she would demonstrate a curiosity or preference for actors coming out of their training program or who have been cast in Steppenwolf productions.  Similarly, an agent just told me that Lisa Ystrom is active at the ACME comedy theatre (they have classes and shows).

F) Exceptional skills in a related performance field like stand-up comedy, storytelling.  This could be as simple as performing at Montreal Just for Laughs or the now defunct HBO Comedy Festival.

G) Special skills in stage combat, martial arts or weapons handling.  In particular, the big studio action films have need of supporting actors who can believably handle weapons.  There are classes available.  If you have such skills, be sure to register at Central Casting with your special skills listed.  When major casting offices cannot find actors with specific skills, often the production will reach out to Central Casting.

H) Certified stunt performers.  Many breakdowns are seeking actors who are also certified stunt performers.  This simplifies the production because the stunt actor can be given acting responsibilities.

I) Many small awards add up to a significant differentiator.  Imagine you were in a short film that screened at 20 small film festivals around the country and you received "Best Actor" award in 10 of them.  That's a signficant differentiator.

J) Being a member of a recognized acting company or theatre troupe.   Second City Chicago,  iO Chicago, Groundlings Main Company, Groundlings Sunday Company, Boom Chicago (Amsterdam), UCB Harold, UCB Maude, iO Harold, ComedySportz,  The Actor's Gang.  Mounting an original show at The Comedy Central Stage at The Hudson (many of my clients have done it).

K) Creating viral content with a large, active subscriber base.  Increasingly, some casting offices are seeking "social media influencers" with millions of followers.  It matters not why they are following you, what matters is that you can draw an audience simply by tweeting or posting about it.

L) Self-promotion to achieve visibility and recognizability - "the squeaky wheel gets the grease".  Human beings have a limited capacity to remember faces, names and other factual data.  The simple truth is: the more you self-promote, the more likely you are to be remembered at the time when casting is looking for you.  If casting can't find you, or can't remember you, or can't tell you apart from 100 other actors by your headshot, then you will be lost in the shuffle.

During my initial consultations with prospective clients, I often say "In Hollywood, it's better to be specific than to be better."  If I were to restate that more clearly in light of the above discussion: "In Hollywood, it is better to have specific, differentiating personal attributes than to simply be a better actor."  The fact is that many jobs in television and film require only basic acting skills.  The other requirements: the look, the special skills - are just as important as the basic acting skills.

HOW CAN I TELL IF I AM DIFFERENTIATING MYSELF?
Differentiation = memorable.  If something is described as memorable, it is differentiated.
Differentiation = noticeable.  If something naturally catches our attention, it is differentiated.
Differentiation = talked about.  If something is discussed widely, it is differentiated.
Differentiation is the opposite of uniformity.  When things are described as being uniform, they are not differentiated.