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Hello my fellow actors.

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Welcome back to casting actor's caste,

the podcast for actors from a casting

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director.

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I'm Jeffrey Dreisbach.

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And today we're talking about something

that quietly sabotages more auditions

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than lack of talent, lack of training

or lack of experience, combined

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overthinking.

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Yes, the invisible

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career killer

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today's episode is

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called the overthinking

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All coming up right now

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on

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casting actor's castle.

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Well, hello, and welcome to today's

episode of casting actors cast.

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I'm Jeff Dreisbach a casting

partner with mccorkl casting in New

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York.

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Nice to see you.

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This is called the overthinking trap.

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And before we get into it, I just

wanted to say thank you for tuning in.

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Please check out the website, casting

actor's cast, all one word dot com.

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You can find some free bees and some

information called jeff's jots, which

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are corresponding show notes.

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My book is out, my course is available.

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It's all at casting actors cast.

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Just fill out the form that says, dive

into the talonpool.

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And if you like what you hear to day,

please consider leaving me alike a

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share.

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A review would be phenomenal.

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I would really appreciate that.

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All right, let's jump into the subject.

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Shall we let me first start by

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sharing with you

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a truth

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that, ah,

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you know what this might, sting a

little.

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Most actors

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who don't book are not under prepared.

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That's right?

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They're over prepared.

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Now, before anyone panics, I am not

suggesting you.

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Stop preparing.

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Preparation is essential.

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Preparation is your foundation.

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Preparation is your safety net.

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But overthinking.

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Overthinking is fear, dressed up as

discipline.

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And casting

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casting can see it instantly.

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There is a specific energy

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that walks into an audition room when

an actor is overthinking.

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It feels tight, it feels cautious.

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It feels like some one trying not to

make a mistake,

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instead of some one trying to tell a

story.

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And, you know, story telling is what

books jobs.

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You do know that,

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not perfection,

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not caution,

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not calculation.

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Often for young people, I say this,

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guess what?

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School is over?

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Your audition is not for a grade.

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Here's what overthinking

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actually looks like from the casting

table.

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A right picture, this.

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The actor comes in,

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they're polite, they're prepared,

they're focused.

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They start the scene.

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But instead of watching a human being

experiencing something in real time we

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watch someone carefully executing

choices.

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They rehearsed at home.

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Every beat

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feels placed, every pause, feels

measured, every reaction,

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feels decided in advance,

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technically

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correct,

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disconnected.

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But real moments are not

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Real moments unfold.

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Real moments surprise even the person

experiencing them.

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The best auditions I ever see

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are the ones in which the actors

actually surprised

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in real time by their own choices.

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You see, when an actor overthinks,

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they replace discovery

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with control.

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And control is the enemy of truth.

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Ay?

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Somebody right that doubt?

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is the enemy of truth.

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Let's talk about why actors overthink

in the first place.

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It's not because they're insecure.

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It's not because they're inexperienced.

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And it's definitely not because they

lack talent.

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Actors overthink because they care.

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They want to get it right, they want to

impress, they want to be chosen.

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So

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they plan every

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inflection,

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every pause, every movement, every

emotional shift.

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But guess what?

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Here's the problem?

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The more you plan,

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the less you listen.

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And listening is where acting lives.

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Acting does not live in your

preparation.

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It lives in your response.

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If you are busy remembering what you

decided to do.

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You cannot respond to what is actually

happening.

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See, casting doesn't hire actors who

demonstrate

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decisions.

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We hire actors who experience

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the moments.

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There is a massive difference between

those two things.

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And let me tell you something.

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Casting directors say all the time,

after their auditions.

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They say,

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after you've left the room, you've

auditions, you've left the room,

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whether it be on zoom or whether it be

live, the casting director says

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that one felt alive.

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They almost never say

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that one was technically precise,

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active

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alive,

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that books,

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precise auditions

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do not.

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So how do you stop over thinking?

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You don't stop preparing.

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You change what preparation means?

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Most actors think preparation means

deciding how they will perform

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professional actors.

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No, preparation means understanding

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what is happening

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so they can simply let it happen.

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Preparation

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should give you freedom, not rigidity.

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Now, here is a simple shift that

changes everything.

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Instead of asking, how should I say

this line?

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Ask,

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why am I saying this line?

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One question leads to performance.

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The other

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leads to behavior.

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And behavior

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is always more interesting to watch.

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That's absolutely true.

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And when actors overthink they perform

results.

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When actors trust, they play emotions.

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Casting always chooses action.

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So here's a practical example.

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Let's say the line is,

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I didn't expect to see you here.

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All right, that's the line.

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Now, listen.

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An overthinking actor decides the tone,

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the meaning, the intention, the back

story, the emotional color, the tempo,

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the facial expression

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and physical stance,

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even how they're going to stand before

they actually walk into the audition room.

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A present actor decides only one thing,

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what they want

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from the other person.

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That's it.

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Because if you know what you want,

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your body, your voice, your timing and

recognition,

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will organize themselves.

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Naturally.

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Want organizes

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behavior.

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Planning

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organizes presentation.

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Behavior feels real.

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Presentation feels acted.

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Casting hires real.

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Another truth from the audition room,

the actors who book most often are not

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the actors who make the most

interesting choices.

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They are the actors who make the

cleanest

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clearest

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choices.

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You see, clarity is absolutely

watchable.

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Confusion is tiring.

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often leads actors to,

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I don't know, pile on layers.

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They add complexity,

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nuance,

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invention,

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cleverness

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all kinds of stuff.

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But casting is not looking for

complexity.

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Casting is looking for truth.

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Truth is simple.

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Truth is direct.

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Truth is grounded.

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Truth is specific.

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The moment an actor starts trying to be

interesting, they stop being

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believable.

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Believability is your currency,

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not originality.

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Originality is a byproduct of truth.

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Now here's something I want you to

remember for the rest of your career.

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You cannot indicate

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and experience

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at the same time.

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If you are showing emotion,

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you are not feeling emotion.

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If you are demonstrating behavior,

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you are not living behavior.

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The camera knows the difference always.

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Now let's talk about one of the biggest

overthinking traps actors fall into.

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And we're going to do that right after

this message.

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So what is one of the biggest

overthinking traps?

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Actors fall into?

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The fear of silence.

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Many actors rush

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because silence

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feels dangerous.

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But silence is where life happens.

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Silence

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is processing.

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Silence is listening.

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Silence is truth.

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When you rush to your next line because

you planned the timing at home,

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you eliminate the possibility of

discovery.

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Discovery

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is magnetic to watch.

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Planned timing is predictable.

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Predictable is forgettable.

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Memorable actors allow moments to land

on them before responding.

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They receive

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before they send.

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That is presence.

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Here's a test you can try at your next

rehearsal.

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Do the scene exactly as planned,

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then do it again and allow yourself to

be surprised

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nine times out of ten.

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The surprise version,

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the one

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that you don't think about,

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that feels alive.

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Why?

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Because you're not reciting any more,

you're reacting.

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Casting is not watching to see you

remember your choices.

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We're watching to see if you can forget

them

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forgetting.

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Preparation

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is the final step

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of preparation.

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Ok, that was really good too.

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So let's just think about athletes.

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They, well, you know this, you're

watching the Olympics.

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They train relentlessly

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so that in the game

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they don't think they trust

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actors, must do the same thing.

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Preparation is rehearsal.

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Audition is play.

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If you bring rehearsal energy into the

audition,

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it feels practiced.

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If you bring play energy into the

audition,

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it feels real.

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Now, let me just take a moment and

share this with you.

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I often tell actors to

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say to themselves, an audition is not

an event.

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I think that's really, really healthy.

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I also sometimes go on to say, if you

could treat the audition like it's the

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first day of rehearsal.

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Then you're in a different energy,

you're in a different frame of mind

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because you're collaborating,

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you're looking forward to working with

others.

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You have a different mindset when you

know you've already booked the job.

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That is not what I'm saying here.

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Because if you bring that sense of play

into the rehearsal room,

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then that energy,

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that energy in that audition, it feels

real.

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I think that playfulness is one of the

most bookable qualities an actor can

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have, not

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comedy

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playfulness,

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the willingness to explore,

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to adopt, to shift, to respond to be

affected.

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Playfulness tells casting.

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You are directible.

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Directible actors get hired.

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Rigid actors.

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They get remembered,

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but not rehired.

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Here is the sentence.

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Casting.

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Directors love to say

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they were great to work with.

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I say that all the time.

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I get calls all the time from directors

or producers that are interested in an

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actor.

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And if I know the answer, I'm going to

tell them, this actor is so great to

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work with, you're going to love him.

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Now notice

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that sentence has nothing to do with

performance quality, right?

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It has everything to do with experience

quality.

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If working with you feels easy,

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collaborative, alive and flexible.

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You become valuable

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value.

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Books work.

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Now let's talk about how to practice

owning the moment.

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Starting to day,

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when you rehearse, stop

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locking choices.

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Instead,

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lock intentions.

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Your intention

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is your anger.

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Your delivery

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is your sale.

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Sales move with the wind.

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Anchors stay grounded.

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If your intention is clear, your

performance can change every time and

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still be truthful.

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That

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is what directors want.

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They don't want a finished product.

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They want a responsive instrument.

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You are the instrument.

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The scene is the music.

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Your partner is the conductor.

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Ok.

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How about that for a metaphor?

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If you are too busy remembering

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how you planned to play the note you

missed the cue,

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missing q's is what overthinking does.

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Owning the moment

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is what presence does.

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So let me give you a phrase.

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I would love, love, love, love, love,

love, love, love, love, love, love,

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love for you to adopt immediately.

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Replace don't mess up.

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Dev, you said that to yourself, don't

mess up.

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Replace that phrase.

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Don't mess up with,

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let it happen.

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Three words,

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let it

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happen.

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Those words shift your nervous system

from control

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to trust.

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And trust reads on camera as confidence

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confidence is calming to watch.

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Anxious control is uncomfortable to

watch.

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Casting always chooses the actor who

feels safe

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to watch.

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Not safe, as in boring, safe as in

grounded.

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Because grounded actors

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that moments land pushing is effort.

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Landing is truth.

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Here is your action step for this week.

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I want you to pick one audition,

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whether it's a rehearsal or it's a self

tape.

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And I want you to give yourself one rule

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here.

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It is

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no planned line readings.

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Know your objective,

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no, your circumstances.

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Know your relationship.

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But do not plan how lines sound.

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Let your partner determine that

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you may feel terrified the first time

you try this that's pretty normal,

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because you're giving up control.

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But here's the secret.

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Casting does not want control.

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Casting wants life

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is messy.

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Life is uneven, life is surprising.

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Life is human.

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Before we close, I want to leave you

with this.

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Overthinking is not a disciplined

problem.

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It's a trust problem.

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Trust your preparation,

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trust your instincts, trust your

listening.

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Trust that you are enough

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without the

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decorating the moment.

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I see that all the time.

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Because guess what?

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Because actors

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who work consistently

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are not the ones who control the scene

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they're the ones who live inside it.

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Come on.

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Now that's another gem.

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If you listened to this episode very

deeply and you got it, then you are

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well on your way to feeling more

confident and more successful.

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And if this episode helped you, please

do yourself and me a favor

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shared with an actor who tends to live

in their head instead of the moment.

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00:18:50,263 --> 00:18:53,133

And if you want more insider guidance,

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00:18:53,533 --> 00:18:57,437

practical tools and real worldcasting

perspective,

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00:18:58,104 --> 00:19:00,607

be sure to follow casting actors, cast

and visit.

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00:19:00,840 --> 00:19:05,945

Casting actor's cast dot com, where we

help you prepare smarter, perform

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better and book more.

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00:19:08,581 --> 00:19:09,482

I'm Jeffrey Dreisbach.

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Thanks for listening.

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Now

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I want you to go out there and do your

best,

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live truthfully.

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See you next