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What's worse,

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never being called in at all, or

getting close over and over and over

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again, but not booking.

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Most actors would say the second one.

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But today I'm going to show you why

almost is actually one of the best

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signs you are on the right track.

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We'll tackle the negative self talk and

replace it with a kind of mindset that

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keeps you in the game and gets you

closer to the win.

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This is casting

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actor's caste.

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Well, hello, welcome to casting actress

cast.

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I'm Geoffrey driesback on, the casting

director with mcorkal casting in New

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York.

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You know what every actor knows?

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The sting of being

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so close to booking a role?

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You nailed the audition, maybe even got

a call back.

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But in the end, the role went over to

somebody else.

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You're just not right.

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And then over time,

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I know this firsthand,

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those near missis can feel like

rejection after rejection,

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and the self defeating

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thoughts start creeping in.

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I'll never make it.

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I must be doing something wrong,

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etc, etc.

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But here's the truth

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being almost there is not failure it's

progress.

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It's evidence that you're in the mix,

that casting directors see your talent

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and that you are one step away from

landing another job.

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We're going to talk about that.

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In this episode, we're going to flip

the script on almost.

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You'll learn why close calls matter,

how to shift your mindset

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and how to keep momentum when the

bookings aren't rolling in yet.

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But first, this is that moment of the

conversation where I get to say thank

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you for tuning in to casting actors

gasped.

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I love doing these podcasts, has been

so much fun for me.

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And guess what?

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The audience continues to grow.

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I still get a lot of really nice

comments being made on the website,

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which is casting actor's cast, all one

word.

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Dotcom there's a place that says, dive

into the tallet pool.

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If you do that, it just gives me your

name and email address.

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That'll open up some freebies.

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There's a book on voice over work.

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There's some, a video called casting

secrets, what they don't tell you.

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You're also going to see some other

offerings there on the website.

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My book called book tit the actress

playbook for getting cast

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um.

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Also there's past episodes of casting

actors, Cass and the blog that corresponds

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to each of the shows.

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So you can get a blog using the show

notes.

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That I use to deliver the podcasts.

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It's all an effort to try to make this

a warm, positive community for actors

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who sometimes find that they're awfully

alone in this business.

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I'm doing my very best to let you know

that you are not alone.

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And being a casting director for over

fifteen years with me, corcle casting

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has given me a lot of insight.

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And I was an actor before that.

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So I can now sort of give back

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what I got, or even what I wasn't

given, when I was an actor.

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And so I'm happy to share that.

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Please let me know if you like this

episode by going to any where you

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getting your podcast there's a place

that you can leave a review, or like,

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especially iTunes, that seems to be the,

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you know, the holy grail

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of reviews.

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I can always use some positive

feedback.

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That's what keeps me going.

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Because I'm shallow.

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Maybe not that shallow, but I've got a

shallow I would love for you to reach

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out, should you be so inclined.

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Now let's jump into the subject.

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This is the reality

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of hearing almost, or feeling like

you're almost there.

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Number one, most importantly, you guys,

casting is subjective,

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tiny factors outside your control.

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Determine.

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Final choices.

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Somebody write that down?

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That was really good.

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The littlest

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asked for by the producer or the

director from casting

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means that it has nothing to do with

you.

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It has everything to do with something

that is completely out of your control.

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It's important.

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But I have to tell you that if you're

seeing yourself in the top tier on a

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regular basis,

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that means you're the right brand for

the role.

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You're competitive

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with those booked actors,

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you're being remembered

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for future projects.

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I like the key phrase almost.

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It means you're visible.

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Almost means you're visible.

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So

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here's a reason why I think, and I

could be wrong.

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I'd love to hear from you.

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Please send me some feedback on this.

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See if you agree.

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Actors spiral into negative self talk.

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The thoughts, like if I were good

enough, I would have booked it.

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You know what?

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That's something I literally said early

on in my career.

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And then, of course, there's that

comparison trap, watching peers post

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bookings on social media.

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How does that feel?

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Oh, my goodness, that's like a gut

punch.

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I honestly i'll be truthful.

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I remember saying

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they got the job.

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What the hell

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that's because I didn't know all of the

parameters.

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When I was auditioning for the piece,

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I didn't,

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but

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looking at another actor and wondering,

gosh, I think, and thought that I had

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so much more going on than they did.

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Once again, that's a slippery slope,

and that's a trap that you can put

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yourself in.

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And you know what happens at that

point?

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That leads to emotional burnout from

those repeated

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near misses.

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Here's a key phrase.

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Comparison

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is corrosive.

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Focus on your own trajectory,

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keep it

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simple and keep it on your terms.

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That's the only way you're going to

find a level of survival and keeping

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you on top of that.

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Uh, that slippery slope that puts us in

a really bad place.

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So when you reframe

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almost as progress,

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that

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changes

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the atmosphere, it means, almost is

evidence that you're on casting's

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radar.

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So each callback is really a layer of

trust that's being built between you

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and the casting director and the

director or producer of the project,

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depending upon what it is.

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So it's not wasted

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energy, it's not wasted

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on the moment.

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It really is something that can build a

level of confidence and trust in those

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people that would bring you in again,

or want you to be seen for their other projects.

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See, casting directors often say, if

they don't book this, we're going to

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see them again.

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That happens all the time.

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A good audition is something that lasts

a long, long time.

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Now,

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I have a story to tell you.

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So, you know, the actor, j k.

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Simmons, I hope, done a lot of really

amazing work.

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Well, I worked with j k in two shows.

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I worked with j k and a musical

production

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ah of Peter pan.

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Yeah,

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we were both pirates

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in a theatre in Pennsylvania.

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That sounds kind of weird,

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Peter pen in Pennsylvania.

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And so j k was one of the pirates, as

was I.

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Later after that, it was amazing

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to know that we were both cast in a

production of guys and dolls.

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So,

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looking at j k's, career

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he's

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now become

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that guy.

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But he was that guy, before landing

rolls that defined him,

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he wasn't going to be stuck in the

musical theater thing.

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But he really was very, very good.

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He knew his stuff.

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But that was a foundation.

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When he started getting those

commercials, for example, he started

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getting that kind of exposure.

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It was an amazing trajectory.

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If I saw j, k, today I just give them a

hug and say, congratulations.

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So the key phrase, almost is

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what I think is a rehearsal

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for, yes,

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okay.

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Somebody write that down?

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That was really good.

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So here are some actionable mindset

shifts that I would ask you to consider

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if you find yourself in those near miss

situations.

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First of all, replace I blew it with, I

made an impact.

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Let me repeat that.

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Don't say I blew it.

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Say I made an impact.

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Say I grew stronger in the room,

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say, I'm providing

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with my work, with all of the callbacks

that I've been given.

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You don't have to have the cigar, but

you can say, close, but no cigar and

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that's ok, too.

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It's not a prize.

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Auditioning is not an event.

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It's part of the job of being an actor.

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So

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here's a suggestion that I would love

for you to consider.

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Write down three things you did well in

the audition.

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So the next audition you have, just

make sure, if you're journaling, and I

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hope you are, I think that there's

great value in doing that,

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the three things that you were really

happy with that you did in your

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audition.

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Now this is important that I make this

really, really clear.

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I'm not talking about what you did as

far as your performance is concerned.

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Ok?

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Because I want you to be so invested in

your acting that you're not watching

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yourself, so that you can give yourself

notes later about your acting.

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I really want you to structure those

three positive things

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that reference

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you as an actor in the room.

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You understand the difference.

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So this isn't about

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watching yourself and then writing that

down.

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Oh, I could have been more angry, or I

could have done this, or that,

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shouldn't do that.

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But

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did you feel you were making a nice

personal connection with the people in

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the room,

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where you

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feeling the positive energy that was

happening in the room?

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Were you able to shift that energy in

the room so that it

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created an even better atmosphere?

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All of those things before the actual

audition, and indeed, after the

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audition is over, that's something that

you can evaluate

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when the audition is over.

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So I think there's also a mental mantra

that needs to be adopted here.

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And that is,

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the more I'm seeing, the closer I get.

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Isn't that good?

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The more I'm seeing the closer I get?

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That really is helpful, because now you

can say it's only a matter of time.

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And that becomes what you control

versus what you can't control, doesn't it?

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See, control means preparation.

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You can really spend time on the

audition.

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Control means what choices are you

making for the character.

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Control means professionalism.

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Control means your attitude

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about your work.

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All of those things are foundational.

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And that leads you to the next step,

which is starting to book the job.

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Here's what's out of your control.

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You're not ever going to know, not

necessarily

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what casting needs.

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Casting might have parameters that are

just so completely

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not to do with you.

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And that's because perhaps the director

has somebody in mind for the role.

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And so you coming in, you have to knock

that person who's in that producer or

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director's mind out of the running,

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you see?

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And so that has nothing to do with you

other than just demonstrating

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your good work.

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There's also timing politics,

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the timing,

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the timing politics are literally, like

I just said, if the director or the

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producer has somebody else in mind,

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that's

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out of your control.

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And the politics part, well, there's

that kind of stuff going on behind the scene.

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And then there's that bugaboo that we

all kind of don't talk about which is

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the look?

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Do they have the right look?

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Kind of crazy, right?

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But I will say from my experience

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that most directors, most producers who

are involved in casting actors,

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they have a vision, they have an ideal

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quality that they might be looking for

part of the time,

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not all of the time.

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The other part of the time is that they

are saying to themselves, i'll know it

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when I see it.

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That makes me crazy, doesn't it?

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Yeah, it makes me crazy.

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But on the other hand,

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that's the process.

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That's what it is.

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That's not something that you can

fight, it's something that you can

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understand, so that you can focus more

energy on those more important things.

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I'm going to have a key phrase for you

to work with, and more information

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about this subject, right after this.

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Welcome back.

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So we're talking about the mindset,

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the actor who gets really, really close

to auditions, but

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hm doesn't book it.

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I have a key phrase for you,

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do your work.

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Release the rest.

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Come on.

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I like that.

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Do your work, but release the rest.

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That is in conjunction.

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What we just talked about before the

break, which is what you have control over

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versus what you don't have control over.

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Because here's an example, an actor

might lose a role because they look too

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much like the lead

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has nothing to do with your talent.

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You see, that's an example of how

choices are made that have nothing to

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do with your talent.

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I will also say that, as a casting

director, it's my experience, that

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talent is a given.

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I don't bring in

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untalented and people.

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That's not my job.

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My job is to fulfill the vision of the

producer and director.

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By the way,

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I don't remember ever saying they're

untalented.

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I do remember saying, they're good, but

they're not right.

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There's a big difference there.

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And I hope you can appreciate that

difference.

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The other suggestion I'm going to be

make is that, consider staying,

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energized between those, almost,

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how do you stay energized while you

need to keep training?

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Continue those classes, workshops,

scene, study,

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meeting other actors, sharing your

experience with other people who are in

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the same boat.

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Because your creative life outside of

auditions,

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whether you're writing, perhaps you're

working on a short film or a one person

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show, or whatever stage work you're

doing,

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that's much, much more valuable.

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Finally, when you're working with other

actors,

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when you're talking with other actors,

when you're in a class together, you

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know what you're doing.

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You're nurturing community,

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you're developing supportive actor

friends.

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And they're not just competitors any

more.

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It doesn't make it an us

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versus them, a me versus them.

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It really doesn't.

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Your competitors are

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irrelevant.

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You don't have competitors.

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The key phrase fuel the artist,

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not just the audition.

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And I'm going to repeat my other

mantra, which is an audition is not an

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event, right?

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So here's why?

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Almost means you're closer than you

think.

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Being in the conversation equals

winning at a hidden level.

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Casting remembers consistency.

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I know this to be true.

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Momentum will always build more slowly

than you want.

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It always is more slow than sudden.

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The key phrase, almost is the bridge to

bookt.

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You might be next in line

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should the other actor drop out.

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Guess what?

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That happens more than you think you're

the second choice.

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The furk first actor says, upon further

consideration, I've decided I'm not

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interested in accepting the role.

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What?

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Ok?

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Who is our second choice?

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In fact, this is true.

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I act asked a director yesterday

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because he says, I love these two guys.

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I think I'm going to go with guy

altogether.

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And I said, well, I just want to

understand now that if

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guy a is not able to do the job, would

you be equally happy with guy b?

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Because I needed to know whether this

is something to prepare for in terms of

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finding a replacement.

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But he said, yes,

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you see what happens.

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Now we'll see if a takes it.

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But if it doesn't take it,

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b might be just the thing.

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So here's my call to action and my

clothes.

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So the next time you hear, you were

amazing.

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But we went another direction.

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Please do not look at that as a defeat.

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Let it encourage you.

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Almost means you're in play.

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You're in demand, and you're building a

career with staying power,

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the bookings will come, why

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the book is will come because you're

already doing the work.

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So here's my call to action.

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Write down the new mantras that we

shared in this episode.

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And you know what?

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Share that with a friend

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in the same point in the same way.

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00:19:05,545 --> 00:19:08,581

Tell those folks to listen to this

episode, because that might be really

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helpful for someone you know as well.

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00:19:11,851 --> 00:19:13,787

Thank you so much for tuning into this

podcast.

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00:19:14,821 --> 00:19:16,423

It's been a pleasure bringing it.

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00:19:16,423 --> 00:19:18,892

Please don't forget to like and share

and subscribe

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00:19:19,392 --> 00:19:22,662

the fact that you lasted this long

through the episode in our short

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00:19:22,896 --> 00:19:23,797

attention span theater

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00:19:25,465 --> 00:19:27,67

means so very much.

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00:19:27,300 --> 00:19:27,701

Thank you.

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00:19:27,701 --> 00:19:28,368

I'm Geoffrey driesback.

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And this is casting actor's