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Let me tell you something that might

sound unfair, but

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it's true.

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Casting starts forming impressions

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within the first fifteen seconds of

watching you

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and know it's not about talent or

perfection,

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it's about presence.

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In this episode, we're unpacking what's

really happening before you say your

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first line,

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and why rushing

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reads

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as nerves,

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and how one small

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shift can instantly make casting lean

forward

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instead of pulling back.

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This is casting actor's gasp.

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Well, hello, and welcome to today's

episode of casting actors cast.

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I'm casting director Jeff dryes back.

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I work with mccorkl casting in New

York, and have done so for over fifteen

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years.

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Glad to have you here.

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I'm looking forward to sharing this

episode.

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Because if you've ever wondered why

some actors feel watchable the moment

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they appear, guess what.

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This is the conversation that you've

been missing.

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And we're going to get you up to speed

on this episode.

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But first, very briefly, I would like

to encourage you to check out the

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website, casting actors cast, all one

word dotcom.

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All kinds of interesting information

there about the podcast.

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Also, YouTube videos are watchable

there.

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You can also check out my new book, you

can check out my new course.

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You can also go ahead and fill in that

form that says, dive into the talent

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pool, which will open up some free bees

for you.

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I'm absolutely free of charge, a book

that I wrote on doing voice over work.

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Plus, there's a video called casting

secrets.

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What they don't tell you all of those,

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when you fill out that form, those are

completely free.

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And I really would love to hear from

you.

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There's a place there.

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You can leave me a note, you can ask

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a question, make a comment, any of

those things.

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And I just want to take an additional

moment and just think, those people who

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have been writing to me, I do read your

comments and your questions, and I try

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to incorporate them into all of the

future podcasts.

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So if you're listening, you're probably

going to hear me referencing a question

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that you've already sent to me.

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So do listen, do, stay there.

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And I'm looking forward to hearing from

all of you

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as we travel this journey together,

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in terms of getting the inside scoop

from a casting director and what it

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really is to be an actor in today's

industry.

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Let me just share now that

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what I think, we are absolutely wired.

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We as casting directors we are

absolutely wired to perceive presence.

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We perceive confidence

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and emotional truth.

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We can do that frankly, almost

immediately.

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So that's what I want to talk to you

about today.

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We're going to explore what casting

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is actually seeing

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in those first few seconds.

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Those first fifteen seconds.

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Now listen.

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I'm sure you've heard that before, that

kashw makes a decision within the first

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fifteen seconds.

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Well, you know what?

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As I mentioned, that is true.

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But we also need to dive a little bit

deeper into the subtle mistakes that I

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see actors making without even

realizing it.

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Then we're going to talk about how to

create instant connection

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in those first fifteen seconds and also

why stillness is much, much more

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powerful than speed.

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So

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let's start off by talking about why

first impressions exist in film.

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Acting,

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the way I feel about it is quite

simple, and that is, film and

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television are what I call intimacy

mediums.

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The camera magnifies the truth,

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the audience senses authenticity

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instantly.

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And

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casting happens to be the very first

audience that you get.

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So that's why it becomes very, very

important

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to make that first impression.

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But I have to tell you, we're not

looking for perfection,

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what we want to sense.

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We want to sense life.

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Are you present?

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Are you thinking?

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Are you connected

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or are you preparing to perform?

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There is definitely a difference.

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Here's what casting is reading, before

you even speak before dialogue begins.

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We notice the following.

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We notice breath patterns.

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We do, we notice eye focus.

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We know physical ease versus

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tension in your body.

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We also can sense emotional

availability.

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We can also notice listening presence,

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what I like to think of as grounded

stillness.

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Now let me just share that this is not

conscious judgment.

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I don't say to myself,

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oh my gosh.

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Are they showing me?

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Grounded stillness

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that's not what happens.

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But what happens is we remain open and

sensitive

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to the energy

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that is coming from you.

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And so it really is much more about

emotional

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perception.

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We feel whether someone is alive.

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And in the moment,

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I'm sure you've heard that before in

the moment.

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And here's the most common first

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second mistakes that I see actors

making.

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So we need to slow this down just a

little bit.

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Now I want to make it clear that these

are not bad, acting mistakes.

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These are nervous system mistakes.

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First and foremost is rushing into

dialogue.

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Actors feel pressure to begin quickly.

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But rushing signals anxiety,

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presence

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signals confidence.

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Starting with performance instead of

listening.

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If your first line begins at an

emotional intensity,

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without an incoming thought,

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we feel the performance begin

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before the moment exists

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that's what we need to feel.

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So before the first line, we need to

know where the character is at.

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Emotionally,

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see, film, acting actually begins with

receiving.

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Ok, somebody write that down.

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That was really good.

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Film acting begins with receiving,

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being receptive to what just took place.

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Now, I know you've heard this many

times.

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I'm sure,

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especially when working on monologues.

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Remember an acting school, the teacher

always talk about the moment before?

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In other words, what just happened

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that made you have the need to begin

speaking?

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Guess what?

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That

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absolutely still applies

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in any film or television audition that

you have

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really take the time

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for.

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Here's some examples of how to fill

that time.

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Eyes are searching for the words

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instead of the thoughts.

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In other words, what are?

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How do I say?

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This that's the internal monologue that

you've got for yourself.

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Ok, now, how do I make sense of this?

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That's the internal subtextual elements

of that,

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see, thoughts impact immediately.

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When actors look for memorized lines.

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You know that moment that you've

memorized.

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The lines and the eyes absolutely

disconnect from the moment.

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So that's why it's important to

establish the moment first.

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Because we see Recall.

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Instead of thinking,

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then there's a mechanical rhythm that

actors fall into

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align, what I call the line delivery

rhythm.

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See, real speech is thought driven.

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Real

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moments are created

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because of the thought.

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And so it's so true.

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And I've changed my tune.

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I have to say just a little bit.

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I used to talk about casting isn't

really that concerned about your

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memory.

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And so memori, I used to say this,

memorizing the script

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might be harmful only because you're

also memorizing how you're going to do it.

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And I'm changing my tune just a little

bit.

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I think a lot of energy should go into

the script itself,

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without the pressure of memorization.

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And see, if you think about that, then

pretty much you're going to be

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memorizing the script without the

pressure of memorizing.

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Does that make sense?

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I hope it does.

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Because once you give yourself

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just what is the thought that is

driving the moment of whatever you're saying,

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then you are making really interesting

connections.

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But if you force the memorization of

the work, you're also kind of

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memorizing how you're going to do it.

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And see, we need spontaneity and

flexibility

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in the work.

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There's another kind of energy that is

perceived very early on, again, within

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the first fifteen seconds.

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And that's what I call apologist

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energy.

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It's a subtle, energetic kind of

hesitation that says, I hope this is ok.

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Are you that person?

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See, confidence says, I am here.

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What works instead

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is this.

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We need to talk about what I call the

shift.

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Allow the moment before the first line.

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That's what I mean, the moment before,

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take the breath.

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See the other person?

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Allow the thought to land.

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Let the words arrive because they must.

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Stillness

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communicates authority

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that's true.

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can communicate

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Stillness invites the audience in

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that's valuable.

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We're going to talk about the power of

the pre line moment,

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the moment before, right after this.

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Welcome back.

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We're talking about

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the first fifteen seconds that casting

observes

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and really does

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influence the decision making process

of your audition.

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And we were also just talking about the

moment before and what I call the power

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of the pre line moment, that is the

moment before

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one silent, beat, before speaking, can

absolutely transform an audition.

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I've seen it happen many, many times.

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Here's why it shows thought processing.

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It shows listening.

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It shows presence.

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This is life

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on camera.

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Actors who have a tendency to rush look

like they're starting a race.

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Actors who arrive, they look like

they're living a moment.

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That's challenging

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living a moment.

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I want you to be in the moment.

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I don't want you to show me the moments.

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And you know, I've said that many, many

times.

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And so that actor's first energy.

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is something that we absolutely are

sensitive too.

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But I want to share a casting secret.

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You know what?

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We're not looking for speed.

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We are looking for life.

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And you know what, as a casting

director and as a teacher, I don't like

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giving paste notes.

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I don't like saying, oh, that could go

a little more quickly, or

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that you need to slow that down.

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I never liked it when I was an actor,

and I certainly don't like it giving

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that to actors.

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Now, but if I say something along the

lines of,

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make sure that the other person really

understands you

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guess what?

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Now, we're getting a truthful

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pace.

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If you're making sure that the other

person is understanding.

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That means that you're delivering the

words at a pace you know, we can understand.

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And that is,

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life that's what we're looking for.

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And speed

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simply just

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reads as nerves.

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Life reads as truth.

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Now let's talk about what I call the

lean in effect.

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And when you are present,

264

00:14:13,620 --> 00:14:16,322

we, meaning casting directors, lean

forward,

265

00:14:16,656 --> 00:14:19,292

also the producer and the director,

sometimes literally.

266

00:14:21,394 --> 00:14:23,830

And when you are performing,

267

00:14:24,497 --> 00:14:26,566

we have a tendency to lean back.

268

00:14:27,133 --> 00:14:29,402

In other words, we don't do it

intentionally.

269

00:14:30,36 --> 00:14:31,705

We don't do it in a mean way.

270

00:14:32,172 --> 00:14:34,574

It just means that we become much more

passive

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in our observation of you in character.

272

00:14:39,145 --> 00:14:43,550

When we are active with you, then that

empathy is there, and that

273

00:14:44,918 --> 00:14:45,919

sense of

274

00:14:46,419 --> 00:14:48,321

danger is also there.

275

00:14:49,155 --> 00:14:51,324

And this is very, very subconscious, I

know.

276

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But guess what,

277

00:14:53,59 --> 00:14:55,695

it's still very, very powerful.

278

00:14:56,730 --> 00:15:00,333

I think we should also share a little

bit about why actors rush.

279

00:15:00,900 --> 00:15:04,4

I think actors rush because they feel

time pressure.

280

00:15:04,904 --> 00:15:06,72

That is so true.

281

00:15:06,840 --> 00:15:09,642

You know, you show up to the audition

on time.

282

00:15:10,176 --> 00:15:11,945

The audition is running ten minutes

late.

283

00:15:12,12 --> 00:15:14,247

I'm talking about live auditions now,

of course.

284

00:15:16,182 --> 00:15:20,120

And so you've made every effort to be

there on time, or hopefully a little

285

00:15:20,186 --> 00:15:20,353

early.

286

00:15:20,920 --> 00:15:25,125

And now you realize you've got fifteen

more minutes before you're going to be seen.

287

00:15:25,859 --> 00:15:30,30

That's very challenging, because you're

feeling ready when you walk in the

288

00:15:30,30 --> 00:15:35,802

door, and now you have to put that on

hold until it is your time to come into

289

00:15:35,935 --> 00:15:36,970

the audition room.

290

00:15:38,104 --> 00:15:40,974

And so by the time you have to come

into the audition room,

291

00:15:41,875 --> 00:15:44,10

that is time pressure.

292

00:15:44,411 --> 00:15:49,215

Now what happens is, psychologically

you try to summon up that same I'm

293

00:15:49,382 --> 00:15:50,717

ready energy

294

00:15:51,451 --> 00:15:53,620

when you've waited at for fifteen

minutes.

295

00:15:53,953 --> 00:15:55,855

And now you come into the room with that

296

00:15:56,890 --> 00:16:00,593

sense that we have to get through this

because I've been waiting and I don't

297

00:16:00,660 --> 00:16:01,795

want to keep others waiting.

298

00:16:01,928 --> 00:16:05,231

And there's all kinds of psychology

about that that goes into it.

299

00:16:05,465 --> 00:16:09,135

And so actors naturally feel very, very

rushed with their audition,

300

00:16:10,270 --> 00:16:13,440

rather than taking the time to be

present.

301

00:16:15,542 --> 00:16:17,610

There's also what I call judgment

302

00:16:17,744 --> 00:16:18,411

pressure.

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00:16:19,546 --> 00:16:20,347

The judgment pressure,

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00:16:22,749 --> 00:16:23,616

that if you can

305

00:16:24,651 --> 00:16:28,788

go very, very quickly, then there's

going to be less

306

00:16:29,556 --> 00:16:33,126

for us, casting producers, directors,

to judge the work.

307

00:16:33,960 --> 00:16:36,629

In other words, there's also a sense

that

308

00:16:37,530 --> 00:16:40,33

rushing the work is a sign of

intelligence,

309

00:16:41,234 --> 00:16:44,504

because you can read very, very briskly

and with clarity.

310

00:16:45,238 --> 00:16:47,507

Well, that's not really the truth

either.

311

00:16:48,975 --> 00:16:52,312

Judgment pressure is something to

really take a look at,

312

00:16:53,79 --> 00:16:56,483

because it's keeping you from being

fully present.

313

00:16:57,784 --> 00:17:02,255

Moving on, I think there's also a fear

of silence, fear of

314

00:17:03,223 --> 00:17:06,393

those beats, those moments where you're

processing,

315

00:17:06,893 --> 00:17:07,60

because

316

00:17:08,94 --> 00:17:10,897

we feel that those silences are kind of

uncomfortable.

317

00:17:11,631 --> 00:17:13,466

They might be uncomfortable for you in

life sometimes.

318

00:17:14,501 --> 00:17:16,336

But let me tell you, in character,

319

00:17:16,903 --> 00:17:18,872

it can be absolutely

320

00:17:20,273 --> 00:17:20,674

mind bogglingly

321

00:17:23,76 --> 00:17:27,147

because you are now in control, the

character as having an experience.

322

00:17:27,947 --> 00:17:28,581

We are experiencing

323

00:17:29,616 --> 00:17:30,750

the character's experience.

324

00:17:31,384 --> 00:17:32,585

Okay, somebody write that down?

325

00:17:32,585 --> 00:17:33,286

That was really good.

326

00:17:34,988 --> 00:17:39,693

So fear of silence simply means we want

to fill in those voids, as opposed to

327

00:17:40,93 --> 00:17:42,228

giving real world

328

00:17:42,729 --> 00:17:42,996

attention

329

00:17:44,330 --> 00:17:45,465

to those spaces,

330

00:17:46,733 --> 00:17:49,936

to those emotional shifts that take

place in Scenes.

331

00:17:51,871 --> 00:17:56,509

There's another reason why I believe

actors have a tendency to rush, because

332

00:17:56,743 --> 00:18:00,313

there's this subliminal fear of being

boring.

333

00:18:02,15 --> 00:18:03,83

Please, please, no.

334

00:18:03,149 --> 00:18:04,651

Silence is not boring.

335

00:18:05,285 --> 00:18:05,919

Silence.

336

00:18:06,519 --> 00:18:07,987

Boy can be used as tension.

337

00:18:08,988 --> 00:18:12,92

Silence can be used as you processing

338

00:18:13,226 --> 00:18:13,460

the thought.

339

00:18:14,494 --> 00:18:15,495

Silence.

340

00:18:16,29 --> 00:18:17,931

I mean, silence is reality.

341

00:18:19,65 --> 00:18:22,268

So here's an exercise I want to share

with you it's called the breath shift.

342

00:18:22,502 --> 00:18:24,37

I want you to record a scene.

343

00:18:24,270 --> 00:18:26,72

I want you to record it twice.

344

00:18:26,506 --> 00:18:29,75

Now, version one, I want you to start

immediately.

345

00:18:29,542 --> 00:18:31,311

In other words, no moment before.

346

00:18:31,778 --> 00:18:33,146

Just go right into the scene.

347

00:18:33,546 --> 00:18:35,315

Write in character very, very quickly.

348

00:18:36,516 --> 00:18:37,751

Now, in version two,

349

00:18:38,585 --> 00:18:40,487

I want you to allow one

350

00:18:40,920 --> 00:18:43,423

full silent breath

351

00:18:44,24 --> 00:18:45,125

before speaking

352

00:18:47,394 --> 00:18:48,161

every line,

353

00:18:49,462 --> 00:18:53,433

one full silent breath before speaking

every line.

354

00:18:54,501 --> 00:18:56,2

Ok, you got it.

355

00:18:56,736 --> 00:18:58,71

Then I want you to watch both.

356

00:18:59,773 --> 00:19:01,708

When you compare, you're going to see

the difference

357

00:19:02,909 --> 00:19:03,677

instantly.

358

00:19:04,411 --> 00:19:05,478

Now, there's always a danger.

359

00:19:05,712 --> 00:19:09,549

I'm not suggesting that an audition

needs to have the same amount of

360

00:19:09,549 --> 00:19:11,84

silence before you speak.

361

00:19:11,317 --> 00:19:11,618

Any line

362

00:19:12,652 --> 00:19:17,624

that becomes a rhythm thing that's

boring and not very appealing.

363

00:19:19,159 --> 00:19:21,561

It's also a bad habit to get into.

364

00:19:22,28 --> 00:19:23,663

However, I want to tell you

365

00:19:24,330 --> 00:19:28,902

that that processing time that you can

fill, that makes sense for you to fill

366

00:19:28,968 --> 00:19:32,906

in the way it makes sense, is that what

the other character just said might

367

00:19:32,972 --> 00:19:34,574

need some time to process.

368

00:19:35,208 --> 00:19:38,712

If the answer is, I'm going to need

time to process that information,

369

00:19:39,145 --> 00:19:41,281

or that line, or that emotion, whatever,

370

00:19:42,115 --> 00:19:43,49

then do that.

371

00:19:43,550 --> 00:19:45,752

But please don't make it a habitual

thing.

372

00:19:46,353 --> 00:19:49,55

But you're going to see the difference,

the difference big time.

373

00:19:49,289 --> 00:19:52,992

Also, let me just share this,

especially in film and TV, the editor

374

00:19:53,693 --> 00:19:55,28

is going to love you,

375

00:19:55,862 --> 00:19:58,732

because it becomes very clear when

you're processing information,

376

00:20:00,33 --> 00:20:02,68

that that editor can make a cut

377

00:20:02,569 --> 00:20:07,707

and go from one character to another

character with ease and with the full

378

00:20:08,41 --> 00:20:10,877

understanding of what's actually taking

place in the scene.

379

00:20:11,311 --> 00:20:15,548

So that's just a really good habit to

get into again, as long as you're able

380

00:20:15,615 --> 00:20:18,385

to fill in with an emotional place.

381

00:20:19,52 --> 00:20:22,989

In other words, it's not just an

arbitrary bet, breath beat or pause.

382

00:20:23,390 --> 00:20:24,257

It's something that is

383

00:20:25,558 --> 00:20:27,627

organic to the moment.

384

00:20:28,261 --> 00:20:30,397

Ok, I know I said that word

385

00:20:30,730 --> 00:20:31,64

organic

386

00:20:32,98 --> 00:20:32,966

to the moment,

387

00:20:33,700 --> 00:20:37,270

but you're going to see the difference

very, very quickly.

388

00:20:38,672 --> 00:20:42,175

Now, let me just tell you a little bit

more about what confidence does look

389

00:20:42,409 --> 00:20:43,510

like on camera.

390

00:20:44,10 --> 00:20:44,911

And let me share this.

391

00:20:44,978 --> 00:20:48,14

That confidence, I promise you, is not

big.

392

00:20:48,982 --> 00:20:50,183

Confidence is ease.

393

00:20:50,517 --> 00:20:52,18

Confidence is comfort

394

00:20:53,153 --> 00:20:54,87

with stillness.

395

00:20:54,554 --> 00:20:54,654

Confidence

396

00:20:55,689 --> 00:20:57,757

is trust in the moment.

397

00:20:58,425 --> 00:20:59,826

And I can tell you

398

00:21:00,427 --> 00:21:05,432

from the many, many auditions I've been

in, the many auditions I've seen,

399

00:21:06,32 --> 00:21:09,135

that when I get a sense of confidence

again, without being cocky,

400

00:21:10,270 --> 00:21:13,673

when I get a sense of groundedness and

stillness,

401

00:21:16,109 --> 00:21:20,513

and that trust in the moment, there is

a really satisfying comforting place

402

00:21:20,747 --> 00:21:25,852

for me to be, I am now much more

vulnerable and really much more available

403

00:21:27,53 --> 00:21:29,456

to being open to what you have to offer.

404

00:21:31,791 --> 00:21:34,394

This is what I call a real casting

observation.

405

00:21:36,96 --> 00:21:39,199

Actors who simply take their time, they

just feel grounded.

406

00:21:40,734 --> 00:21:41,768

Actors who rush,

407

00:21:42,969 --> 00:21:44,304

feel unsure,

408

00:21:44,738 --> 00:21:45,905

feel insecure.

409

00:21:47,240 --> 00:21:50,744

Let me just tell you this, grounded

actors, they book more.

410

00:21:52,12 --> 00:21:53,113

They do, no giving

411

00:21:53,947 --> 00:21:55,215

it's not because they're better,

412

00:21:56,182 --> 00:21:57,584

because they are

413

00:21:57,917 --> 00:21:58,718

watchable.

414

00:22:00,987 --> 00:22:03,990

See when the first fifteen seconds goes

wrong,

415

00:22:06,192 --> 00:22:07,27

don't stop.

416

00:22:07,394 --> 00:22:09,596

I want you to simply breathe,

417

00:22:11,865 --> 00:22:13,600

don't ask to go back,

418

00:22:14,34 --> 00:22:16,36

don't say, may I start over?

419

00:22:16,569 --> 00:22:17,771

It doesn't matter.

420

00:22:17,871 --> 00:22:18,238

Stop.

421

00:22:19,639 --> 00:22:20,473

Take a breath.

422

00:22:21,374 --> 00:22:23,43

And guess what here's the good news,

423

00:22:24,177 --> 00:22:26,79

if your start is present,

424

00:22:27,380 --> 00:22:28,815

is there in the moment,

425

00:22:29,549 --> 00:22:31,518

has an emotional reaction.

426

00:22:32,419 --> 00:22:33,286

We relax.

427

00:22:33,953 --> 00:22:34,654

And when we relax,

428

00:22:35,689 --> 00:22:40,360

we watch, when we watch, we feel, when

we feel, we remember.

429

00:22:41,61 --> 00:22:41,594

You

430

00:22:43,663 --> 00:22:44,330

see,

431

00:22:44,664 --> 00:22:46,499

I know, easier said than done.

432

00:22:47,867 --> 00:22:50,70

you just have to have some self

awareness.

433

00:22:50,570 --> 00:22:53,6

Are you the actor who has a tendency to

rush?

434

00:22:53,473 --> 00:22:55,942

If you're not sure you need to get some

feedback?

435

00:22:56,409 --> 00:22:59,946

Whether it's from a teacher, a fellow

actor, when you're working on something

436

00:23:00,113 --> 00:23:04,751

together, it's important that you know

if you are falling into that trap.

437

00:23:05,151 --> 00:23:09,723

Because once you fall into that trap of

rushing a little too quickly, jumping

438

00:23:10,90 --> 00:23:13,927

into the scene with all kinds of energy

that doesn't really make sense.

439

00:23:15,228 --> 00:23:18,498

Then you will be able to see how to

adjust.

440

00:23:18,898 --> 00:23:20,333

And when you do that,

441

00:23:21,534 --> 00:23:23,36

when you see how to adjust,

442

00:23:23,470 --> 00:23:26,72

you will absolutely see a difference in

your auditions.

443

00:23:27,73 --> 00:23:29,542

If you don't do that, it continues to

become habitual.

444

00:23:30,977 --> 00:23:36,16

And that means it's going to be more

difficult to break that cycle, that rhythm.

445

00:23:37,617 --> 00:23:37,784

Ok?

446

00:23:38,251 --> 00:23:40,186

I just made jaw a lot of money right

now.

447

00:23:40,653 --> 00:23:42,88

I want you to do that.

448

00:23:43,156 --> 00:23:44,657

So let me give you a final thought.

449

00:23:44,758 --> 00:23:48,962

The first fifteen seconds, honest to

god, they're not about impressing us.

450

00:23:49,863 --> 00:23:50,730

They're about

451

00:23:51,531 --> 00:23:52,465

inviting us,

452

00:23:53,533 --> 00:24:00,640

inviting us in, inviting us into your

world, inviting us into your method of storytelling.

453

00:24:02,909 --> 00:24:04,511

All right, so here's my call to action

today.

454

00:24:04,744 --> 00:24:09,949

If this shifted your perspective at all

today, please do me a huge favor and

455

00:24:09,949 --> 00:24:13,286

share it with an actor who believes

faster is better.

456

00:24:14,120 --> 00:24:14,821

Because guess what?

457

00:24:14,921 --> 00:24:16,156

Faster isn't better.

458

00:24:16,956 --> 00:24:18,91

Alive

459

00:24:18,591 --> 00:24:19,192

is better.

460

00:24:20,660 --> 00:24:23,163

Thank you so much for tuning into

casting actors cast.

461

00:24:23,463 --> 00:24:27,167

I look forward to sharing the next

episode with you, and I hope you come

462

00:24:27,233 --> 00:24:28,835

on back and share it with your friends.

463

00:24:29,135 --> 00:24:32,839

Also, please leave alike in a share, a

thumb, a subscribe.

464

00:24:33,640 --> 00:24:36,109

All of that stuff means the world to

me.

465

00:24:36,343 --> 00:24:39,713

So if you got something out of this, I

would really love it for you to give me

466

00:24:39,713 --> 00:24:41,881

some feedback and don't forget to write

if you want to.

467

00:24:42,115 --> 00:24:42,816

I'm, Jeff drive.

468

00:24:43,450 --> 00:24:45,151

This is casting actor's castle