Episode Transcript
Transcript:
Intro: This is words that move me. The podcast were movers and shakers. Like you get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you're someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight. But don't stop moving because you're in the right place.
Dana: Hello. Hello everybody. And welcome back to words that move me. I am Dana and Oh, how about also welcome if you've never been here. Welcome. Welcome. I am so jazzed to have you listening today. Um, I hope this podcast finds you well. I hope it finds you happy and healthy and if happy, fails, I hope it finds you human and healthy and you know what? I'm here for all life. Actually, if you're not even feeling human today, if you are feeling more like plant matter or a geode, I will accept all of it. Welcome. Welcome as you are. I am as always thrilled about this episode, because it is a little bit different from your average. Um, in general, I like to think that they are all different than your average podcast, but this words that move me up episode is truly, truly different. Um, simply in format. Today is our fourth and final installation of Audition August half of this episode is going to be dedicated to questions and answers. Those questions were submitted by my personal clients. And from you listeners via Instagram questions about auditions specifically, the other half of the episode is going to be super special, firsthand audition stories from a handful of super special and very talented guests, that also happened to be friends. Ava Bernstein Mitchell, AKA Ava Flav, Kim Gingras, Hannah Douglas and Dexter Carr. I mean, wow, this is quite an episode and I want to get into it, but you know how we do here. We begin with wins.
Oh guys, I'm celebrating a special win. I am celebrating that words that move me. Podcasts has found itself in Apple's top 100 performing arts podcasts yet again this week, actually last week. But this week, by the time you're hearing this, I guess at spot number 83, now I am not privy to the witchcraft and wizardry that determines the ranking of podcasts on Apple. But I am certain that I could not, would not have achieved that very coveted 83rd slot without all of you. So thank you so much. I'm so glad that you're here. I'm glad to have you, and to those of you that have been giving feedback via social media and on the website. I'm so grateful for that always and now, regardless of what Apple thinks of my podcasts, I'm getting some awesome feedback and some critical feedback too. I appreciate all of it. Thank you so much. All right. If you are digging the podcast, I should say some good next steps for you might be to share it with a friend, leave a review or a rating, and of course, download it and make sure that you're able to have it with you whenever you find yourself in podcast, ready time, be it with or without your wifi. Okay. Now the important part, what is your win this week? What's going well in your world.
Congratulations. Happy, win to you. Please keep winning.
All right. Let's dig in to these Q’s and A's, I got some really, really good questions from you guys about auditions, so thoughtful, um, so thought provoking and I'm actually really, really excited to begin. Let us begin. Oh, by the way, I should say that these questions were submitted via Google forms. So I'm not actually sure who asked them there were submitted anonymously and I will answer them anonymously right from my mouth. Here's where I'd like to begin, listener asks
“What would you say to someone who was training in dance took a few years off to focus on an alternative career, but has started retraining during quarantine and would love nothing more than to dive back into the audition slash dance world.”
Alright to you dancer in her early thirties, I would say go for it. I would also say listen to last week's episode where I talk to Meisha Goetz and Tim O'Brien from Clear Talent Group. They talk a lot about the lay of the land that we're looking at now heading into, um, the post COVID work era and our industry is slowly starting to turn on kind of like a dimmer switch, less like a regular on off switch work is extremely slow right now, which means it is extremely competitive. It might be a tough time to catch your footing, but it will be a fruitful time eventually. Um, and from my personal point of view, most of the audition breakdowns that I've been getting, especially lately are looking for real people. The majority of the work that's happening right now is not, you know, in person award shows, it's not tours. Some of it is music videos, but most of this type of dancing is, um, TV, episodic, film, and commercial. Those are looking for usually real people, not backup dancer types. So for you, I would really encourage, um, to get in there, get your materials in order, headshots, photos and really good video links. Um, if you have a relationship with an agent already awesome, if not keep your eye out on the casting networks to be self submitting. This is the time for video submissions. It is a great day to be self submitting today and every day.
All right, next up, “I have heard a lot of stories about people sneaking into auditions, just out of curiosity, not like I would ever try it or anything.”
This person's cheeky. “How are some people just able to sneak into private auditions and what would happen if they got all the way to the end, asking for a friend angel emoji.” I love this question. I love it so much. And I am going to leave it to my dear friend, Ava Bernstein Mitchell, to answer this question with her special story coming at ya in just a few moving right along. Ooh, we have a poll “technique versus style. Which one is more important to you at an audition? Of course it depends on the project, but for you personally, meaning me Dana director, choreographer, or person behind the table, which one do I side with? Or which one do you side with?” This is a great question. In fact, I Dana the person on the other side of the microphone am going to be bringing you an episode entirely dedicated to this conversation technique versus style in a knockdown drag out battle who would win? Well, dear writer, dear listener. I think you're already onto the answer to this question, which is it's different for every project. I know certain choreographers prioritize and champion style. I know certain others that prioritize and champion cleanliness, um, this, this ability to replicate, duplicate and do exactly as I say and exactly as I do. I personally, Dana am a fan of personal you and your style. I really love to see individuality. It's something I champion with my work and it's something I really look for in my team. So that is my answer. Bring on your style. All right.
Ooh, here's another good one. “How important are looks AKA hair, makeup, clothes, et cetera. When you are at an audition?” I will answer again for myself, not nearly as important as your, your talent is numero UNO, but oftentimes especially because there are many, many humans and usually not a lot of time, your hair, your makeup or your clothing can become a quick and easy identifier a way for us to remember you. So although your talent is the most important thing you can bring to an audition, your hair, your makeup and your wardrobe are really, really easy way to become memorable. Hair, makeup wardrobe. Yes, important, but only fractionally compared to how important your talent is.
Okay. Ah, this is great. “If an audition asks for all black attire, what would you wear to stand out?” Oh dear writer slash listener. Please do go listen to episode 32, where I talk at length about exactly this. Okay. Next step. Next step. “How much research should you do on a project before an audition?” Oh my gosh. This is the fun part for me. I love research. I love digging. I love learning. I love trial and error. This is just a process that I so get into my recommendation is as much as possible before you audition for a project, you should. Absolutely. If, if nothing else have researched the choreographer, if there is one attached or the project itself, um, this is something that I could spend hours doing. But if you are limited, I'd say you get the tip of the iceberg in 15 to 20 minutes, but this is like bare, bare minimum. The more you can dig in, the more prepared you will be. Even if nothing else, you might simply enter the room differently, feeling prepared, thinking that you had done your homework. There is really nothing like the feeling of walking into the room, knowing that you didn't do your homework. I am all for anything you can do to avoid that feeling. Okay moving on. “Are agencies, signing new talent via online submissions?” Yes, yes, absolutely. Yes. Off the top of my head. I know that at least Go2Talent agency is signing new talent. Okay. Next up. Ooh, this one's a doozy. It's a, it's a bundle.
Okay. Listener asks “In response to the Instagram posts going around saying that Instagram is your new real slash resume. Has Instagram really become the dancers new reel?” Okay. I'm going to give you guys a little bit of context. I pulled up the, um, posts that has been circulating around Instagram. I'm going to read it to you now. It says this
“To all of my dancers. Please, please show your versatility on your IgE page because when you're sleeping, having your coffee… I am quietly trying to submit you for a gig. Yes. I'm sharing your profile privately. And when I have to literally search your page and scroll all the way down to show the client, some sort of versatility, it makes it hard to push for you. Please spread the selfies in between and add some content that will get you booked.” All right. So that's the post that this writer is referring to. Now let's listen to that question. One more time. Has Instagram become the new dancers reel? So that I would say yes and no. I don't think anything will ever replace a good, reel, reels show many, many different projects, preferably your best work with one click with one view, no time scrolling in between, but in some ways Instagram can do one better because where a reel stops, right, Where it ends. Instagram does keep going. You can have an endless feed. I mean, maybe not actually endless, but close to it. You decide the same listener asks. Do you need to have separate IG accounts for personal versus professional to that? I would say no, probably not. I would actually say you don't even need an Instagram account. I can say that because I know plenty of dancers that are plenty working that don't have an IG account. Is it helpful to have one? Yes. Is it more common to have one probably. But do you need? No. I would definitely recommend anybody with questions about the use of social media. Go back and listen to episode 10. It's called your social media storefront and a really, really dig in to my relationship and several different types of relationships you can have with social media.
Okay. Here's another good one. “If you're new and don't have high quality content, is that still good enough to post or should you wait until you have the good content?” If social media is the new audition, then it doesn't serve you much good to wait until you have good content so that you can get booked so that you can have good content. It's this which came first, the chicken or the egg conversation. To this listener I would say it is not out of your reach to create good looking content. If you have a phone in your pocket and something to prop it up against, you have the sunlight, you have your body, you have your talent, get your talent out there. Just hit record and share. B minus work is still above average. It's a great place to start.
Alright. One more question on this subject in this post “They say to show versatility on your page. What does that mean?” I really love this question and I'm going to answer it like this. If you're a person that wants to be doing work, like what you see on TV, then post yourself dancing styles, similar to what you see on TV, put out into the world, the work that you want to be doing to that I would also like to add. It's not always about being versatile. Sometimes it kills to be a specialist. If that's you, if you specialize at one thing, show me that one thing. Show me you are the greatest at that one thing, if you're a person that desires doing a lot of different types of work, then yeah. Show that you're able to do different types of work. And that doesn't just mean dance. Go take a look at the special skills section on your resume. If you don't have a special skills section on your resume start considering what sets you aside, bring that, bring those special skills, bring those talents, bring those interests to your social media as well, because it isn't just about how well you dance. It is about who you are. People want to work with people who do good work and people really, really want to work with good people. All right. I hope those Qs and As Aid, some of your Qs, and I hope that you are ready with a pen and paper because you have a lot to learn from these special stories coming up. On your mark, get set, grow. Oh yeah. I said, grow.
Kim Gingras: Bonjur! My name is Kim Gingras And I like to share this one audition. I will never forget. So we're in 2011 and it had only been a few months since my move to Los Angeles. When a friend told me about this upcoming audition for Nicole Scherzinger from the pussycat dolls, which was very exciting because I knew their music well, I loved her style. I love the whole empowerment female in heels, a type of dancing. But I was a little worried because I never received a memo from my agency. So since communication is key, I reached out to my agent to clarify what the audition was about, why I hadn't gotten the memo, if I could possibly go. And they nicely explained that it didn't fit the specs that they were looking for. So an audition always comes with an audition breakdown and I didn't fit the characteristics. Fair. That's totally fair, but I wasn't ready to walk away from that opportunity. I just knew it. I felt that in my gut, this was something I needed to show up to. So I found out who the choreographer was for the job, which was the amazing Jaquel Knight. And I had a connection with him through years back in 2008, when we were both in the cast of the Monsters of Hip Hop showcase. And I decided to reach out to him and he is so sweet and so kind and openly welcomed me to the audition. He's like, yeah, just show up at this time. No problem. I got you. And he sure did. So I showed up over there and I mean, it was such an amazing experience. This audition lasted hours. It was dancing after dancing and so much sweating and people were getting cut. We had to stay longer. And Nicole showed up at some point. Then we all had to dance by ourselves, the entire song for her to watch. I mean, it just went on and on. I feel like we ended around like midnight or something. It was just so exciting. And I booked the job and not only did I book this right there, music video, but it turned into my first appearance on the Ellen DeGeneres show, American Idol. So you think you can dance, my first European tour and then nine more years of friendship and opportunities when Nick and the team, like what, I mean, she's just the gift that keeps on giving. We've gone to Vietnam, Malaysia, Turkey, Thailand, Indonesia, together. And I've gotten, you know, amazing lifetime friendships through her and the team. So the moral of the story here is you miss 100% of the shots you don't take. Of course I had to quote Wayne Gretzky cause I'm Canadian. But in all seriousness, I know we've all felt this fear take over us in specific situations where in reality, we had that little voice inside telling us this is for you. Go for it. So let's be a little more daring. Let's listen to that little voice inside. Let's take chances. We owe it to ourselves.
Dexter Carr: Hey, what's going on? Y'all my name is Dexter Carr. I am a choreographer dancer in Los Angeles, California, and this is my crazy audition story. So when I had just moved to Los Angeles, I was getting a lot of open calls from my agency. I was getting calls that had like literally 300 people in a room, all trying to audition for like three spots. So I was going because you know, that's what you're supposed to do. That's what you're supposed to do. You pound the pavement, you hustle, you move, you move, you move. So I went, one audition in particular was for an artist that was very, uh, eclectic and liked a lot of drama and like, you know, things and extra and lace and all the things, all the, all the, all the things. And uh, if you know anything about me that I have that side, but it's not, it's not something that I'm really, you know, like that's not my go to, and especially not at that age, you know, moving here like six, seven years ago.
So I'm walking into this thing, thinking that, like I got to really come up with something. I got to pull something. I got to really like try to, you know, and that's the energy in the room. Cause I already knew what the energy and the room was about to give. Right? So I come in there with like a little rip tank tops of ripped jeans and some boots and a bandana tied around my head. I'm like, yeah, this is it. This is edgy. This is the edgiest you're going to get. I walked up to the parking lot, which is where all of the dancers were waiting to go inside. And the first thing I saw, we, God, I'm laughing. Cause I'm, haven't told the story in so long. The first thing I saw was somebody with, um, wings, wings on like the size of Victoria's secret angel wings. Like, you know what I mean? Huge wings. And then somebody else had their face painted one color half and then there are other, and like people got like weaves for this that were like down to the floor. And I was like, Oh wait, wait, wait, I missed the memo. I thought I was really doing it. I thought I was really going to be able to, you know, you know, rub elbows with these people. But no, no, no. They have surpassed me and we haven't even gotten in the room yet. We haven't even learned one step yet cut to, we all get in the room and you know, the choreographers is letting us know what the job is, how many spots there are and what he's looking for. And basically what he said is that he wants a star. He wants somebody that comes in here and grabs the attention. Now, mind you, like I said, I'm in all black and some boots. So I don't, I don't have a leg up. I don't have a leg up on the competition with this. When it was time for my group to audition, I was of course, in a group with the person, with the wings. And when I tell y'all they finished the choreography, which you know, choreography happened, boom, I'm set. I'm good. I'm clean. I'm probably not doing a lot. I'm probably not making a lot of choices. It's probably not doing anything. You know, that's like, wow, bam. But I'm getting through the choreography right. Time to freestyle. The person with the wings takes the wings, walks to the center of the room as if it is a runway flaps the wings in front pushes them back and struts all the way down to the table and literally stares at the people at the table. Now these wings are so large that it does hit you or move you or give you a gust of wind that if you're not expected, may topple you over. Which is what happened to me. I literally like was not expecting these wings to come at me. And I looked up and I saw them and I fell over needless to say, no one got kept other than him. So moral of the story is if they say edgy, go, go for the gold go. Like no, no fear go for it. Y'all yeah. Thanks for listening to my crazy audition story.
Hannah Douglass: My name is Hannah Douglas and this is my audition story. So I have plenty of audition stories, but the most memorable for me is the very first audition. I was fresh off of Edge scholarship. I was 18 years old and it was for the Celine Dion world tour, which is so major. It was Nick and RJ. It was everybody who was, anybody was there at the time. And I was nice and green. And I remember loving the choreo thinking. I was killing the choreo in my little scholie corner with my friends and, you know, going over it over and over and over, and then going in a group with a bunch of OGs and then just like fully losing it and completely blanking. I basically stood there. It was a full tragedy and I just freaked out and it was, it was terrible. So I got chopped ASAP, obviously. Left and just couldn't believe it. And then I remember the next day going into Edge and seeing Bill and bill was so excited, Bill Prudich, he's the director of edge, the edge scholarship program. And he was like, you know, guru dance guru and cared so much about our journey. So I was, you know, kind of embarrassed to see him. Cause I knew I was terrible, but he was like, how was your first audition? And I just broke down crying. I lost it. I just lost it. And he was like, okay, so you should probably move home because these are your options. You either cry and break down right now because you got told no once or you get it together and you move forward. And I will never forget that moment in my life because the idea of moving home was just not an option for me. I mean, I love my home, but I just, I was so determined to just do better. And Bill saying that reacting that way was, you know, the option was to move home. Just really rocked me to my core. And I had an audition four days later, I think for Seal, for Dancing with the Stars. And I went in hearing Bill's voice in my head saying, you know, move home or just figure it out basically. And I booked it and it was simply because of that mindset shift, which I've carried with me literally the last 14 years of my career. You know, you either choose to be rocked by who you're surrounded by and you know, the, the caliber of the job in your mind, or you just do what you love to do to the best of your ability. You're not going to be right for everything, but you can shift your mindset to the point that you offer the best that you have in that moment. And because of Bill's wording to me that day, I will never forget that feeling of being hold. Like basically you just figure it out, you know, or you, or you leave because that's the alternative to just break down every time you turn you'll you're told no, or just do your best. So, you know, that week of auditions really shaped the rest of my life because I had one of the worst auditions I've ever had in my life. And then just four days later, the best auditions I've ever had in my life. And it was just because of a mindset shift. So that is what I try to carry with me forever. Still, you know, 14 years later is how mental this game is and that's what gets you through. And so, yeah, I'm forever grateful to Bill and forever apologetic to Nick and RJ for that tragic audition. Um, but also grateful for the lessons I learned. So that's my story.
Ava Bernstein Mitchell: What's up? This is Ava Bernstein Mitchell, and this is my most memorable audition story. I want to take you back to 2006 when I auditioned for Justin Timberlake. So let me preface the story with, at this time in my life, dancing for Justin Timberlake was my dream job. It was on the top of my wishlist. It was, it was it for me. And also I had met Marty at a hip hop intensive workshop. I would say, I don't exactly know how much before, but it could have been a year. It could have been a few months, but I had met Marty and he said this to me and I'll never forget after class. He was like, ‘yo, you're dope. We're going to work together someday.’ And I'll never forget it. So I carry that into 2006, when it was all the buzz around town that Justin Timberlake was coming back. He had been gone for four years. So everybody knew this audition was coming up. But the thing about this audition was it was a picture submit only, which means Marty or whoever his team was, were picking pictures of the people who could attend the audition. First round goes around, I'm waiting. People are like, Oh yeah, I got called. Did you get called? You know, you know, everybody talks, I wasn't called in. So I call my agent. I was like, Hey, was my picture chosen? You know, I really want to be at this audition. She's like, sorry. No. And I was like, Oh, okay. So I let a few days go by and you know, still everybody's talking about it, call again. I'm like, Hey, just checking to see if you know, my picture was picked and I really want to be at this audition. She's like, no, I'm sorry. You know, just, it just wasn't on the lineup. So again, I waited a little bit longer and then I'm like, I need to be at this audition. So I called my agent and she says again, no, I'm sorry. It's just, the people have chosen. They're actually doing a sign in. It's a whole thing. And I'm really usually a rule follower as what I do. And I respect the construct, uh, that is audition process and whatnot, I just try to be respectful of it. So, but I said to her, I I'm going to go. And she said, well, if you do go, don't tell them we sent you. And I said, okay. So that was that. So day of the audition comes a crash, the forbidden crash of the audition. And I was glad I did. It was all the hype was all the rage. I just remember there being a line outside then getting in and seeing all the familiar faces, your peers, your friends. We had a great time. I specifically remember though from this audition, cause I do have a bad memory sometimes, but this image is imprinted in my mind is that I remember auditioning and Justin sitting next to Marty and I'm right in front of him and his piercing blue eyes are just looking dead at me. Like I can't get out and he's just watching me and I'm thinking like, Oh my gosh, I really just have to, like, I just have to do me. I just have to go off. You know? And sometimes that can be very nerve wracking, but I honestly think, I just felt so deeply that this was my job that I was supposed to be there. That I really just enjoyed this moment. And I kind of remember what I was wearing. I was so basic. I had on some like loose jeans that were like a tie at the ankle, uh, with elastic at the ankle. And I had a gray tee shirt on it. Might've been a ACDC gray T-shirt like, I don't even know. I don't know. It seemed like a good choice at the time. You know, I wasn't like sparkly and glitzy and glamorous. It was Justin Timberlake. Let's be honest. So I think it worked anyways fast forward to, I don't even know, maybe it was a few weeks later. Maybe it was a few days later. I get the email that I've booked this job, which entailed at the, originally it was for a music video. Then it was for, you know, the VMAs then it was for tour. But I think at that time we did know that we were being booked for the tour if I remember correctly. But when I say it was the greatest feeling, but I shared this story because for two reasons specifically why this is a very significant story. is that Un-officially I was the only one from this audition that booked this tour. And I say that meaning anyone else who was involved was either assisting him or part of a previous tour or chosen ahead of time. You know, that is what I mean by that. And I was the only person who one was not invited to, who didn't have a relationship with Marty at that audition who booked it. And I'm very proud of that. And secondly, sometimes you just got to break the rules. Sometimes the rules are meant to be broken, but you have to use discernment. And you also have to know when that time is because you don't want to just be out there running them up. But in this particular situation, I knew that was job. My spirit told me I just had to go for it and I'd have no other way. So cheers to being a rule breaker and cheers to going after your dreams.
Dana: All right, everybody, I hope you enjoyed those stories. I hope you learned a lot from this episode and I hope that you head into this new and slightly different audition season, audition life feeling informed and inspired. Thank you so much for listening as always keep it funky. I'll talk to you later.
Thought you were done. No. Now I'm here to remind you that all of the important people, places and things mentioned in this episode can be found on my website, theDanawilson.com/podcast Finally, and most importantly, we have a way to become a words that move me. So kickball, changeover to patreon.com/wtmmpodcast to learn more and all right, everybody now I'm really done. Thanks so much for listening. I'll talk to you soon.
