ds...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected.

In a previous article, I dropped a huge tip about, of all things, what you should wear to each and every casting session. That's right...a secret about wardrobes.

And if you're expecting to be acting in television commercials and if you're expecting to get cast for television commercials, then you need to go FIND THAT ARTICLE. Who knows, it might do you more good than that wildly expensive head shot you just got another 300 copies of.

Back to you.

You need to understand, right here and now, that commercial casting is played very quickly. Creatives and producers and agents and casting directors and even directors from everywhere in the casting loop do not have the time to get to know you personally. Their lives are and endless series of 'sales' and your part, while it is the focus of YOUR life, obviously, is just another thing they have to worry about.

Sadly, they don't really care that you play water polo, or that you live on the same block that OJ was thinking of buying on.

What they DO care about is you making the process go as easily as it needs to...because everyone of those people in the loop has to sell you up the line. So the more you know about what to do during the casting for commercials process, the easier you make their lives.

And the reward? A national spot that gets picked up flight after flight netting you residual dollars that will make your head spin.

So buckle down.

Here's the ultimate pearl of casting wisdom. If done time and time again, you will land commercials in your sleep.

Here goes. KNOW AND DELIVER EVERY SINGLE LINE EXACTLY AS IT IS WRITTEN, BUT THEN ALWAYS HAVE SOMETHING EXTRA READY TO BE ADDED TO EVERY SPOT.

Before you take that out of context (and people will) remember this: when you first go into that little nondescript room, you'd better know every single word on that piece of paper. Not most of the words, not almost all of the words. Every single one.

What you need to understand is that blood has been fought over those words. Creatives have pulled out hair and have thrown wine bottles and have vowed to never speak to anyone who ever wears a suite again because of those words.

So repeat every 'the' and hit every 'an.' This is not to be fooled with. You simply will not know the terrible back stories on these words...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected. T

rs and agents and casting directors and even directors from everywhere in the casting loop do not have the time to get to know you personally. Their lives are and endless series of 'sales' and your part, while it is the focus of YOUR life, obviously, is just another thing they have to worry about.

Sadly, they don't really care that you play water polo, or that you live on the same block that OJ was thinking of buying on.

What they DO care about is you making the process go as easily as it needs to...because everyone of those people in the loop has to sell you up the line. So the more you know about what to do during the casting for commercials process, the easier you make their lives.

And the reward? A national spot that gets picked up flight after flight netting you residual dollars that will make your head spin.

So buckle down.

Here's the ultimate pearl of casting wisdom. If done time and time again, you will land commercials in your sleep.

Here goes. KNOW AND DELIVER EVERY SINGLE LINE EXACTLY AS IT IS WRITTEN, BUT THEN ALWAYS HAVE SOMETHING EXTRA READY TO BE ADDED TO EVERY SPOT.

Before you take that out of context (and people will) remember this: when you first go into that little nondescript room, you'd better know every single word on that piece of paper. Not most of the words, not almost all of the words. Every single one.

What you need to understand is that blood has been fought over those words. Creatives have pulled out hair and have thrown wine bottles and have vowed to never speak to anyone who ever wears a suite again because of those words.

So repeat every 'the' and hit every 'an.' This is not to be fooled with. You simply will not know the terrible back stories on these words...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected.

So the more you know about what to do during the casting for commercials process, the easier you make their lives.

And the reward? A national spot that gets picked up flight after flight netting you residual dollars that will make your head spin.

So buckle down.

Here's the ultimate pearl of casting wisdom. If done time and time again, you will land commercials in your sleep.

Here goes. KNOW AND DELIVER EVERY SINGLE LINE EXACTLY AS IT IS WRITTEN, BUT THEN ALWAYS HAVE SOMETHING EXTRA READY TO BE ADDED TO EVERY SPOT.

Before you take that out of context (and people will) remember this: when you first go into that little nondescript room, you'd better know every single word on that piece of paper. Not most of the words, not almost all of the words. Every single one.

What you need to understand is that blood has been fought over those words. Creatives have pulled out hair and have thrown wine bottles and have vowed to never speak to anyone who ever wears a suite again because of those words.

So repeat every 'the' and hit every 'an.' This is not to be fooled with. You simply will not know the terrible back stories on these words...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected.

d people will) remember this: when you first go into that little nondescript room, you'd better know every single word on that piece of paper. Not most of the words, not almost all of the words. Every single one.

What you need to understand is that blood has been fought over those words. Creatives have pulled out hair and have thrown wine bottles and have vowed to never speak to anyone who ever wears a suite again because of those words.

So repeat every 'the' and hit every 'an.' This is not to be fooled with. You simply will not know the terrible back stories on these words...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected.

ds...so give them their do and repeat them.

THEN...

Once you know you've nailed the lines, once you are 100% sure that you have 'covered the script' then and only then do you want to do another take.

In this one, you add a little something from yourself into it. A pause. A tiny aside. An eyebrow. Something that YOU add that no one else thought to.

Heck, throw in a full line if its killer. But make sure its killer.

The advertising process is funny. We fight over the words and the wardrobe and the lighting, yet we always seem to strive for the unexpected. That's where the real humanity in great commercials happens.

Lots of directors, to this day, will drop a script or disturb an extra to get a genuine reaction out of actors because they know it's real. It's not acting.

So ONLY AFTER you've thoroughly covered the script (and you do this so the creatives don't have to tell the client that they'll make sure you get it right when the shoot day comes) only after you speak every written word do you give the spot a little bit of you.

And if you're getting love in the room, keep going. Keep punching up what is already on the script. Acting in television commercials is supposed to be a riot, remember?

This additive nature of advertising is one of the main reasons why good advertising is not and never will be a science.

So follow the rules and then improve the rules, and you'll be headed out to Pasadena to shoot that Viagra spot in no time.