What’s this video have to do with getting an audition or an agent as a comedian or actor? Good question! The answer is simple: Many actors and comedians don’t get work because they give up trying way too soon. If they are lucky enough to get a booker or an agent on the phone, they get one “NO!” and they give up.
You Need Persistence
A comedian or actor—whether you’re trying to get representation from an agent, get seen by a casting director or get get booked by a club booker, needs persistence, “polite” persistence. We hear someone say “no,” or at best nobody returns our calls or emails and we give up. We get that familiar lump in the pit of our stomachs, that feeling of rejection and we stop calling. Most of us don’t like that feeling, because…well, it doesn’t feel good! So we give up. I mean why revisit that feeling right?
Well you have to keep calling and keeping in touch because it’s your job. Many times, even after you meet an agent or casting director and they see that you are good, they simply forget who you are. It’s a simple as that. They are not attacking you personally they just don’t think about you, because they are incapable…because few humans have the capacity to truly multi-task.
Take an actress for example. My student Kim Hopkins is a fine actress. She attends casting workshops and consistently gets the highest ratings in her reviews from casting directors. They literally gush over her. A manager she’s been trying to get to represent her can’t understand why she’s not getting called in.
“Why aren’t they calling you in for these auditions?”
It all comes down to multi-tasking.
Although our brains are bad with multi-tasking, they are excellent with focusing on one task at a time. So when Kim does the workshop, the casting director may love her and think she’s the bee’s knees. But when that casting director goes back to work and has a thousand submissions for a job Kim might be perfect for, Kim is not even close to being in their thoughts, simply because it’s impossible! The brain doesn’t operate that way.
This is Where The Manager Comes In
If the manager was doing their job, they would give a call to the casting director and remind them that Kim was in their workshop. That simple reminder that operates what’s known as bottom-up brain function (something that gets our attention like a phone ringing), could be the trick to getting Kim into the brain of the casting director. Does that make sense?
If I was a manager and I knew an actress was going to the workshops and getting great reviews with casting directors that were consistently working, I would represent that actress in a flash, because she just made my job a thousand times easier! All I have to do is submit, then make a phone call to remind the casting director about the actress.
How Does This Affect You As a Comedian or Actor?
So how does this affect you as a comedian or actor? Well, you have to keep calling every three weeks or so. Keep them posted on what you’re doing via Facebook, your website, twitter. Visit them often at casting workshops. Drop by a club to do a guest set. Make sure you keep reminding them who your are, stay polite and persistent, and never let the lack of return phone calls get you down. It’s nothing personal, they just can’t multi-task.
Here’s another in my series on How To Be A Famous Comedian. (Disclaimer: if you’re in it to be famous, you’re in it for all the wrong reasons…you need to be in it because it’s in YOU–wait is that a Gatorade commercial? However, one of the ways to learn how to be a famous comedian is to learn from the comedians who are already famous so here’s an interesting clip from Ricky Gervais, one of my favorites)
In my classes I teach that the comedian has to be liked. You never put yourself above the audience. As the audience, we want to root for you. When you stand up there and you think you’re “all that,” you’re not going to get any respect from the audience and you’re certainly not going to get any respect from Ricky Gervais.
Take this approach into consideration when you’re writing your comedy material. When you pump yourself up for any reason, knock yourself down a peg. When I talk about my time playing soccer I say this: “When I was 20 I played professional soccer–for a short period of time, as it was a game of skill–“ Then I go on to tell this story of how I played on an all Latino team and was the only white guy. But boosting myself up by saying I played professional soccer, may sound like bragging to the audience, so I follow it immediately by “for a short period of time, as it was a game of skill.” It knocks me back down a peg.
Stand up comedy is not about being prettier, sexier or smarter than the audience, it’s about stumbling…and getting back up. It’s one of the oldest formulas in comedy…I’m just trying to get from point A to point B and I keep running into obstacles. Here’s the irony: the more you stumble and get back up, the more the audience roots for you to win. I hope you enjoy the clip from Ricky Gervais. Take a look at my other blog posts, there’s a lot of information about comedy and if you liked this video, please leave a comment below. Stay funny!
Chris Rubeiz came to The Stand Up Comedy Clinic as a talented actor and a writer who had done some improv and had some acting jobs. He had also written and shot some sketches and shorts. But he had never done stand up and always wanted to.
In the first couple of weeks Chris struggled with material. His act was all about taking a sh*t at work…(not in the office but in the restroom), all while his boss was in the other stall. Could be funny, but I let him know the limitations of having an all ‘scat’ set.
Well Chris did what few people do…he really went to work. In 8 short weeks, Chris wrote and developed a brand new 7-minute comedy set that had teeth and and definite laugh points and best of all structure. I emphasized that it is the structure in your comedy that will set you apart from other comedians and it will give you definite, crisp laugh points.
After he performed his culmination set in The Belly Room at the world famous Comedy Store, he was asked back to perform in the Main Room. Now I’m under no illusions as to why he was asked to return. Despite the fact that his set was solid, he brought a bunch of people to the club that night and the booker wanted him to repeat that feat and bring more to the Mainroom. After all, it is a “bringer” show.
I try not to knock another man’s hustle and I get the game. I didn’t come up through the trenches of comedy participating in bringer shows and I have no qualms sharing my feelings about them.
In my classes I teach at my comedy studio, I try to be as transparent as possible about what a bringer show is and how it works. I want my students to have no illusions about this business—both the positives and negatives. I suggest to my students to use the ‘bringers’ to their advantage and only participate when they can benefit from them. (I.E.: If an agent is coming or a manager or casting director, or if there is a chance to get a great tape).
So Chris called and asked my advice. He said he wanted to try the Mainroom once and the booker had told him that an agent was going to be present. I’m not going to mention his name, but I know the booker and he has a good reputation and is a very talented comedian himself, (that should narrow down the choices, huh?). The gig fit the criteria we discussed so Chris did the Mainroom.
Low and behold, the booker once again exceeded his reputation and the agent was in the room. Chris brought his people, rocked his set and the agent asked him for a meeting. Chris signed with Jamie Ferrar of JFA this week.
Navigating this business requires good instincts and a thoughtful approach. Chris is one of those guys who is not only creative and talented but also a thinker. He approached this with thought and good instincts and it paid off. His talent, work ethic and drive will continue to take him down the road of success and I’m glad to be a part of it! Congratulations Chris! Jamie is getting the better end of the deal.
I was just writing something about a video I came across on YouTube. It was Louis C.K. paying tribute to the great George Carlin. Then I received an email from a student of mine referring me to HuffPost Comedy which is a segment of the Huffington post. They had beat me to it and written their own piece on Louis’s tribute.
Louis says so many of the things that I have said about George Carlin, so I am going to share those thoughts on it. I am no HuffPost writer so if you want to ready their article you can find it here.
In the video, Louis talks about how George Carlin inspired him to dig deeper and find more material. Like a lot of comedians I know, Louis had the same act for 15 years. Think about it! Fifteen years of the same material! George Carlin would do an HBO special, then chuck out all the material he did in that special and write a brand new act for the next special. How’s that for inspiration?
I had an opportunity to meet George about 20 years ago and the advice he gave me was gold. He said, “Take the stuff that drives you absolutely f**king crazy and make it funny…” That was when my entire approach to comedy changed.
In the video below you’ll get to see Louis C.K. talk about a similar experience he had in his career as a result of George Carlin. I think George has inspired many of us. He certainly inspired me and still does. So many things he said still resonate in my mind and I still apply them in my writing and teaching.
I am always writing and I encourage my students to write constantly, dig deeper, really go for it to find the jokes and say something that’s important to you, something that actually means something. George said there’s three levels of comedy:
Funny with good ideas.
Funny with good ideas and compelling language.
It’s great advice.
People are blown away that George Carlin actually threw away an act and wrote an entirely new act each and every year. One of the reasons is we are often taught that it’s really hard to come up with material. And it is sometimes, but so what? Who said it was going to be easy, right?
There are other reasons we fight that urge to write. In some comedy classes, teachers actually say to their students, “if you write one new joke every week, at the end of the year you’ll have fifty-two new jokes and I think, What?! Hey, if you’re a television writer and you write one new joke every day, you’re fired!
Bottom line is this: George Carlin taught us that ideas are a dime a dozen. As comedians, we are an endless fountain of material, we just have to dig deep to find it.
Enjoy the video! Louis has earned the right to pay this tribute. He is probably the next George Carlin.
Before I begin, it’s important to reiterate that “How To Be A Famous Comedian” is a series in my comedy blog dedicated, not to show how to be a famous comedian, but to show the path to getting work, which includes learning the craft of humor writing and comedy performance along with the trials and tribulations of the business that surround this art form. I’ve said it before and I’ll say it again, if you’re goal is only to learn how to be a famous comedian, you’ll have much better luck getting press by knocking over a string of 7-11’s, than doing stand up comedy. Comedy requires hard work, persistence and a bit of luck, but with the right combination of having a firm grasp on writing comedy, developing your comedy performance skills, as well as navigating the business, you can make a pretty darn good living pursuing a career in an incredible art form.
Wow! I am always amazed at where I find information that teaches me lessons that I can continue to apply as I move through this amazing business. I was reading an article on the rise and fall of the Dana Carvey Show, a show that was cancelled after like 3 episodes, (It taped 5). You might ask yourself how does this teach anything? It failed! And how does it apply to the theme of “How To Be A Famous Comedian?”
As comedians or we have to remember that show business is two words and we have to emphasize both words. Writing great material and learning to master performance are key skills, but the famous comedian (and Dana Carvey certainly fits that bill), also knows how to navigate the business. Do they make mistakes? Sure! This article helps us all learn from the mistakes that were made in getting The Dana Carvey Show on the air and why a show that could have survived, died a certain death. It also teaches us about the people involved and we get to hear their thoughts. It makes it a more human process and helps to light the fire in all of us.
We spend a good portion of our careers thinking that the executives and the stars are above us. So far that they are out of reach. Reading articles like this one will help to assure you that everyone started somewhere. Did you know that Steven Colbert was Steve Carell’s understudy at Second City? Did you know that Saturday Night Live often holds auditions for their show in the Summer?
This information is important to read. You get to see that some of the famous comedians that did make it also went through periods where they didn’t make it. They got passed on for roles. You get to understand that it happens to everyone. That’s all part of how to be a famous comedian. Try then fail. Back to work. Try then fail again. Back to work. Try, then succeed.
When you read the article, make notes. Learn from the article. Learn the names. These are important people to be familiar with. You should do this with every article you read. It will help in your journey to learn how to be a famous comedian. Or have fun and success trying.