A working actor tells acting coach Brad Heller which tools raised her callback and booking rate, from dropping her vocal register to playing against the text.
10 Things Actors Should Know About Booking More Roles
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Give every character dignity, villains included
Corinne says the note she had never had before this class was how to make a character likable even when they are the antagonist, and never whiny. Stop judging the character and find what you like about them, so the audience can too. Her example is Christoph Waltz, whose villains stay likable even while you hate what they are doing.
Lowering her voice is the one adjustment she says has never been wrong, even when the character is vulnerable, nervous or tight. She uses it down to her slate. In her words it makes her more grounded, more likable and easier to cast.
Heller's rule is that the characters believe they are in a drama. You cannot walk in and just be funny. Start with authenticity, then add the comedic beats on top like icing on a cake. Corinne says having a structure for the beats replaced the pressure of "just be funny" and let her go into comedy auditions confident.
Instead of playing a needy character as needy, fight for something that opposes how the character feels. Corinne credits this with making her auditions stand out and leading to more bookings. It also shows writers a complexity in their own script they may not have seen when they wrote it.
Rather than marching through a whole play, Heller picks out the spot in a scene where the performance goes flat and asks what happened there. When the actor cannot say, the answer is that they do not know the character's history or relationship to that line. That is why script analysis matters: the lack of it shows on screen.
Heller calls acting a two-step, muscle memory process, learned from his mentor Don Richardson. At home you use the emotion exercise, breathing and substitutions to get familiar with a feeling. On set you switch tools to listening, reacting and having fun, so you are not straining to reach that place in front of the crew.
Corinne names the trap she and many actors fall into: deciding they have the scene down and just going in to do it. Knowing exactly what you are doing before you arrive is what frees you from thinking about it once the camera rolls.
In her first lead in a feature, her character lives through several traumatic events in one night. The character closest to her already breaks down, so she played someone struggling to hold it together instead. She says copying the breakdown would have killed the contrast, and doing what would actually happen to her served the script better than guessing what they wanted.
When she started she had no current headshots, no reel and no agent. Writing the gaps down as a priority list at a six-month goal check-in, with someone holding her accountable, is how she got them, one at a time. She now describes acting as running a small business: you need the skills, the network and the people.
Heller says his students book more on Zoom than they did in his theater, because what casting sees is the same tight frame, chest to head, not a whole stage. Corinne built a proper backdrop and lights she did not own before, and says that setup is why she can work comfortably and confidently on camera from her own office.
[music] - This is Corinne. Welcome. Thank you so much for for for being here. Um So, we've been working together for a couple of years. - About 2 years, yeah. - 2 years. And I just kind of remember when we started working together, you're very talented, you have great look, but it felt to me like there were some things that we went over and some tools that you learned that kind of increased your booking ratio and your callback [music] ratio. I was just wondering if you could share a little bit about some of the things that you learned that were really helpful to you that might be able to help another actor. - Yeah, absolutely. I I would [music] agree with that statement. I've had a lot of musical training, um musical theater training, and and stage training mostly. - [music] - And I've been lucky to have very very wonderful teachers, but one thing that really shifted when I joined your class is that it was [music] first of all, much more film based, and so I got kind [music] of more training in the subtlety of of that style of acting, which I really appreciated.
And it also helped me a lot in the beginning of my career when I [music] started taking it seriously with my self-tapes and uh being able to book online and be confident and comfortable in my space uh doing doing the things to actually book jobs, [music] even though I was more comfortable felt like I was more comfortable on set than doing the actual booking, and that was a big thing that [music] um held me up. I mean, we start from the beginning uh when I started your class, that was when I started to take my career seriously as an actor - [music] - and think of it less as a hobby and more as a real possibility. And - Which you're doing now, you know, like you're like full-on acting all the time, which is really exciting. Karin's one of our our our success stories, [music] which is really makes us happy. So, go on. I'm sorry, I didn't mean to cut you off. - No, not at all. I That's That's kind of what I was going to say is when I came to you, [music] I I didn't have current headshots, I didn't have a reel, I didn't have an agent. I and um you know, I can go on and on about the actual acting coaching that you give, [music] but one of the things that has helped me so much is that you almost act as a manager sometimes and help with goal setting and - [music] - figuring out what the next step in your career is, what you need to do, and you're able to break it down in a really easy way while you're also getting acting training so that my career can be [music] moving forward while I'm learning more. - COME ON! OH! - YOU GO TO ALL THIS WORK DONE TO work and it doesn't even work.
- This is work. Is this not all work? - Uh so that if I were looking at new students, which I do when I'm on set, if if people are trying to build their career and just starting out, that's one of the big reasons why I recommend you is because you will give so much help in the career side and then on the acting side, you are able to give so much more specific notes for film acting and being able to act on screen and on [music] Zoom, which is super helpful for auditions and callbacks. And I think that the Heller Approach method and the Dawn Richardson method are really approachable and - What does that mean? Like was there any particular tool? Cuz I think learning the emotion exercises and being authentic [music] and We also talked about playing characters with confidence and dignity and [music] playing your casting type. I do remember some of these things in working together. Those things seem to help you a lot, like not playing along with the way the lines were written, but kind of going against the grain. Is that Is that true? - Oh, absolutely. I could I mean just to list them off and then we can go into more detail on anything. - know, cuz I think there are a lot of people who don't know where to either they're seasoned actors and they're [music] now over it and tired and burned out and mentally drained, need therapy and they don't want to do it anymore.
[music] Or I have new people who don't have any training and I'm I'm hoping cuz we have levels in our classes from new to people who are masters of the craft, 50, 60 years [music] acting and everything in between. So I'm hoping that you can kind of now that you're more seasoned compared to when we started, just share with like how can this these tools [music] help people and what did you learn? - Yeah, I think the one thing that I had not gotten coaching on before your class in particular was with things [music] like how to make your character likable even if they are an antagonist or [music] you know, not making them whiny or things like that, giving them dignity. Those are things that were really helpful to me - [music] - and not judging your character is another one, finding a way to make them likable [music] to you that they can be likable to the audience. I think that for me a good example of this is Christoph Waltz and pretty much any villain role that he plays is so likable even though you don't like the things that he's doing and I think that that is something that you teach really well in your classes, giving them dignity and a likable aspect no matter what their circumstances are. I also think that [music] for me a big thing was just dropping the register of my voice. That's something I still work on [music] and still think about often when I'm on set and even when I feel like a character is vulnerable or nervous or tight, it I just always need to drop my voice and there's - [music] - I have not found anytime where that is not what I should be doing, you know, and that's something that's been really important and transformative to me and I think that even in things as simple as my slate, it's helpful because it - [music] - it just makes me so much more grounded and likable and easy to cast, I think. Um and then you know, marking out my comedic timing has been incredible for me and just having a structure [music] around that so I can go in feel confident for comedic roles and and knowing exactly what I want to do so that the joke can land and having some sort of structure instead of just the pressure of well, just be funny. [music] That has been really helpful. - You feel like that you were able to kind of meld authenticity [music] and the timing together cuz I I try I really try to stress you know, the [music] characters believe they're in a drama. But it doesn't matter. You can't just go up there and be funny.
You have to kind of start with [music] that and then put the timing in on top kind of like icing on a cake. Does that Does that what happened with you? - Yeah, I think I'm That's something I'm definitely still learning with um when we're talking about beats, comedic beats, um I definitely [music] always want to lead with authenticity. I am still definitely learning about how to add the beats on top of that. But even in the learning process, I feel myself able to do that and able to be more authentic - [music] - and funny at the same time in a way that I hadn't before before your class and go in confidently again. - I mean I I remember [music] some of the auditions you've had, you kind of go you went from, you know, a character that was nice, but she was kind of needy. - Mhm. - I don't I mean, you're still adorable, but kind of like a whiny, needy quality when we went completely against the grain, how did that impact you aside from the lower of the register? - I was just wondering why I why you insisted on coming. - Uh I to help you uh find your rocks. You know. Of course.
Any luck? - No. No. Yeah, I think in general - When you think about some of the roles you booked - Mhm. - that we worked on, like what was it? Like was there a thing? I think that's definitely one of them. But anyway, you know, go [music] ahead. I'm sorry. I keep cutting you off. Go ahead. - I think that in general your your coaching [music] about playing against the text and trying to fight for something that is in opposition to [music] maybe how your character is feeling um have been extremely helpful in in making my performance stand out - [music] - in my auditions and and has led to more booking.
I think that it makes me more connected to [music] the characters that I'm playing because it feels more human to have [music] things that are underlying what I'm saying. I think that it is really helpful for writers to see someone play against the text [music] because they can see the complexity of what they wrote even if they didn't see it when they wrote it because it - [music] - it just adds more dimension and humanity to whatever character to play against what they're [music] saying and be struggling further for what they want [music] and that is something that a lot of other coaches have, you know, everyone always talks about the objective and the conflict and things, but I think that the way that you put it and the way that you Don Richardson both structure that makes it a lot easier for me to connect to and I think playing against the the lines is a big one for that. - Nice. How about any um uh anything to do with sort of script analysis and breaking down a scene and kind of figuring out [music] what's important? Did that Did you find Do you find that helpful, too? - Yeah, absolutely. I think that again, you have a very approachable way of introducing an actor to script analysis and [music] - Why is that so important? - Sorry? - Why is that so important, do you think? - Because I think that in the way that you teach it, it I think that a lot of coaches make it seem really scary and for you, you have a way of finding a dead moment in a scene and saying what happened there and the actor being like, I don't know, and you're you're just be to say, well, you don't understand what's going on here. Like, you haven't you haven't done the work on this line. You don't know the history of the character and the character's relationship to what they're saying right here.
And you have a way of just picking out these specific moments that make it feel less stressful than let's go through the entire play, let's go through the entire scene, and just see showing the actor, "This is what happens when you don't spend time with the script." It It shows. And that is That's why you do the script analysis, you know? - Right. Yeah, I mean, [music] did you have any What about like parallels and like [music] substitutions? Do Do you use kind of that in combination with maybe the emotion exercise or the breathing? [music] Do you use those tools regularly in your work? - Yeah, I do. The The emotion exercise in particular [music] is really helpful. I love the idea that you can do that work at home and connect [music] to it and re-familiarize re-familiarize yourself with that emotion and then be able to let that go for set so that you're not [music] struggling um to get to that place on set so that you can be relaxed and free to do the work when you're there. Um And then if I'm ever you know, feeling a dead spot that is a a good kind of systematic or clinical almost way to - [music] - really dive deep and like push myself further um when I'm doing that work at home. I don't know if that makes sense, but - does. I mean, I - [music] - I always try to make it clear that acting is a you know, a muscle memory experience, which [music] is what I learned back from Don Richardson, but it's a two-step process.
So, I think you're saying like you like the idea of doing the work at home, using those tools and then when you get on set, you use different tools. And those different tools have more to do [music] with things like being in the moment and listening and reacting and having fun. Does that Is that how you do it? Like I'm just curious like is that how you work? - Oh, yes, absolutely. [music] And I think that the importance of that is something that I really learned in your class. I think it's something that other people talked about, but I think that a lot of actors, myself included, [music] fall into the trap of you know, well, I've just I've got it. So, I'm just [music] going to go and do it instead of doing the work and doing the preparation because it is so important to know what you're doing going in so that you're not thinking about it. - Mhm. Um you know, this is all great stuff. Can you Can you kind of talk a little bit about some of the things that you've - [music] - you've booked and what's going on with your career and it's exciting and you have a new agent and all these exciting thing things are happening [music] and you know, you've kind of elevated to a new level and I was kind of wondering if maybe you could talk a little bit about like how that happened [music] and what you feel like helped you with that cuz there's a lot of people There are a lot of people in the industry that have maybe a particular look. You know, you're very beautiful, of course, but there's not a lot of beautiful people who can act.
There's just not. And so, you will have an edge on [music] if you whether you're beautiful or if you have a character look, like having that look, being able to play what you look like [music] and making it authentically you is one of the things that I really try hard to do and I I would imagine that's something that's helping you because [music] you're more honest. Is that true? - Yeah, I would definitely say so. I - [music] - think that as - Like your career stuff. Like tell us a little bit about that [music] process. - Mhm. Just anything you want to share with us or like exciting moments or, you know, anything fun. - Yeah. I think Like I said starting out in your class, I had um - [music] - starting out in your class I didn't have headshots, reel, any of that. And so being able to break it down and just do one thing at a time, maybe list it [music] out and make a priorities list, you know, I right now - you what happened. Like you you you got some structure and then from there after you knew what you needed to do go on.
- Yeah, so I um - You are important. Jake I will kick her ass. - Thanks, babe. - I will. I'll kick a teacher's ass any day of the week. Just watch me. - I love [music] you, too. - Okay, good. I did. I think I joined your class right before one of your 6-month check-in goal meetings. - Mhm. - And that was really helpful to just write it down on paper and then have someone that's going to make sure I'm accountable to getting [music] that stuff done.
Um feeling like I am constantly learning. Acting itself [music] from you also is amazing because you do emphasize a lot that acting is a skill. [music] It's like it's like a physical skill and you need to exercise it like any sport. And I really feel the momentum [music] while I'm in your class because I can constantly be getting better and and it makes it takes the stress off of a lot, I think. As far as career checkpoints - Yeah, I mean you don't have to go through everything. Just something you want to some things you want to share just for fun to talk about. [music] Like maybe some of your roles that you got and what you what you did to like onset or what you did to prepare or just to share with some people who, you know, might be interested in your career. - Yeah, I think the biggest standout for me right now is I just wrapped my first feature that is is finished now, finally. And I was leading in that and there is quite a lot that happened [music] to this character. And I did all my work at home. I did what I needed to do and [music] the thing that came out wasn't, I think, what I originally um had in mind for the character. [music] She has a a whole bunch of traumatic things happen all in one night.
And it kind of manifested itself in this like struggling to keep it [music] together instead of breaking down and it was vulnerable and it was really nerve-racking and I think it ended up working really well because the [music] character that my character is closest to had that breakdown happen. And if I had made the same choice uh because I thought that that's what was needed, then we would have not contrasted as as well and I think that it worked really well for the scene and the characters just for me to play - [music] - what was authentic and true to myself in that situation and [music] it was just a really beautiful moment for me because it felt like I was doing the script justice by going out on a limb and not playing it how I [music] thought they wanted it to be played and doing what I felt would actually happen. And I think that the struggle that my character had to keep it together [music] as opposed to the other character who was trying to process, maybe, um just made it more, again, more human and [music] and beautiful. And that was a really a great way that I saw all of my training from the past few years with you kind of come together and and affirm that I'm on the right track with that. - It's awesome. Yeah, we're almost done. Um so just a just [music] so if you were a new actor going, "I don't know where to study." Just tell me like [music] two or three things why this new actor who doesn't have any training should come here compared to There's thousands of schools. Why here? - [music] - Oh my god. A couple reasons is going to be hard. - I mean just talk for a you know, just a minute or whatever. You don't have to go too far, but just top things.
- First of all, I think that this [music] is a huge credit to you and the Heller Approach. When I am on set and I'm doing well, people ask me where I'm training and I say the Heller Approach. That is just hands down I think the easiest way to tell that that is where you should be because it's an easy win. I have I've gotten a couple of people into your class already just because people want the training that I have and I'm able to give people tips who ask on set uh that are really impactful and just these little bits of wisdom about the craft about the - [music] - the - So you're kind of giving notes to people other actors on set that may have a question and you're [music] kind of sharing like an idea or tool? - Absolutely. Or people ask me how I'm how I'm doing something, what my process is and it always comes back to you in your class. I think another easy selling point is that it's online, which I know is scary for some people, but it means it's flexible. It means you can do it consistently. It means you're going to get help with self-tapes. It means that you it's super accessible for when you have a quick turnaround on an audition. - [music] - It gives you access to people from all over the US and the world. It helps you build connections everywhere.
If you're not in LA, it gives you a connection at least one connection to LA. [music] And it it the Heller Approach helps with again your career side and the acting side, which you need both. It needs to be a mindset of you are building a career, you're building a small business, and you need the network and the people and the skills to be able to pull it off. And that's something that the Heller Approach does really well, I think. - Oh, that's awesome. Thank you. I mean, I feel like one last thing on what you were saying about the Zoom experience, I think a lot of my students are booking a lot more on Zoom than compared to when I was in my theater because this is what the casting [music] people are seeing. What I'm seeing in Zoom is the audition basically. It's just [music] right here to here rather than in my theater it was like a whole stage. So, it is a different experience, I think, and that you found that helpful. - Oh, absolutely. I mean, that's why I'm comfortable, confident, and have the setup to do this [music] right now.
I mean, the backdrop is Heller Approach approved, the lights are Heller Approach approved. The I mean, every [music] single part of my setup I didn't have before starting this, and just the ability to sit in my office and confidently do an interview with you right now is something that I wouldn't have been able to do before your class. - cool. That's nice. So, you feel a a lot more confident on on camera. - Oh, absolutely. Especially on this like one-on-one like kind of strange new world that we're in with acting, you know? - Sure. Sure. [music] And lastly, so that's good for somebody who's What about somebody who thinks that [music] they know everything, but they just want to polish their tools? Like, why here compared to - [music] - going to some other program if for a seasoned actor? Is there anything that you feel like we provide that maybe a seasoned [music] actor could use?
- I think it depends on what their UM - HELLER APPROACH. THEIR [music] EXPERIENCES ALREADY. I think that having a Zoom class, if they've never done it before, is still [music] a great resource and a great thing to try. I also think that the Heller Approach method and Don Richardson's method and the alternative to the method [music] is just a great healthy way to pursue acting in a very honest way without it being a detriment [music] to your own mental health. I think that it's everything that everything hm I think that it is something that everyone should try. And if you're a seasoned [music] actor and you think you know it all and just try it. You might as well just try it. And if you, [music] you know, if it's not for you I don't understand. Okay? Like just try it. It's different. It's new and and it's [music] helpful.
- Mhm. I mean, I try to keep it fun, you know? And I also I would say one of my favorite things to teach seasoned actors [music] is the comedic stuff. - Mhm. - Because there's not a lot of people know how to do that. And so Don Richardson was one of my main mentors, directed 800 television shows, many of them [music] sitcoms. So a lot of those tools came directly from his work as a director on big shows that I watched when I was a kid. - [music] - So I try to impart that to my clients, but um awesome. This has been great, and thank you. - [music] - Thank you so much for doing this. And you know, it's just been incredibly [music] awesome to kind of watch your success and your blossoming and [music] everything. And the fact that you believe in the program is also really cool to hear.
Um you've been always a big proponent and you're very passionate about the skills you've learned here, which I love. Just makes me want to work with you even more. So, - [music] - anyway, thank you Corinne for taking the time. I really appreciate it. - Thanks, Brad. - Wish you nothing but awesome success, and I'm sure it's on the way. It's going to just going to keep [music] building and big bigger and bigger stuff. - Thank you. - Yeah, of course. - [music] - All right.
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