What happens when you show up to your first big audition... and completely bomb?
In this episode, I'm joined by actor, model, and new Actors Audition Club coach Sahil Zirvi, who shares the painful (and powerful) story of the audition that could have broken him... and why it turned out to be the wake-up call that changed everything.
We talk about:
-
The one mistake that ruined Sahil's shot at a major role — and why he never made it again
-
The harsh reality of being judged by casting in your first 30 seconds (or less)
-
What makes a "professional" audition — and why most actors still don’t rehearse enough
-
Why it's not about memorizing lines (and what to do instead)
-
How coaching others actually helped Sahil level up his own acting process
-
The mindset shift that turns rejection into a badge of honour (instead of a reason to quit)
Plus, we go behind-the-scenes of what it’s really like to:
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Book an international commercial that flies you business class to Europe
-
Get invited to join Actors Audition Club as a coach
-
Be in the room with casting and see an actor lose a role over one single word
You’ll walk away from this one with a renewed commitment to preparation, a few laughs, and a massive boost of inspiration to show up like a pro every single time.
-----------------------------------------------------------------
🌟 Want to land more auditions and book your next lead role? Join the Monologue of the Month Club: https://www.monologueclub.com — Turn a single monologue into your most powerful marketing tool and get expert coaching every month.
🔹 New to Inside the Audition? Grab your FREE toolkit:
-
Audition Success Checklist: https://www.actorsauditionclub.com/checklist.com — Discover how to find a “Made-for-You” monologue that finally feels like you.
-
Lead Role Tracker: https://www.actorsauditionclub.com/tracker — Track your auditions like a pro and start seeing real progress.
💬 Ready to connect with other actors? Join our free Monologue Jam community on FB HERE — Collaborate, ask questions, and stay inspired with working actors around the world.
🎥 Binge more episodes and get your weekly dose of audition wisdom: Inside the Audition Podcast: ht
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Another day, another rejection.So make sure you love it,
(00:02):
because it's not easy in terms ofhow you how they make you feel.
You know, you may think you're rightfor something you killed and you
smashed in the room, but they didn'tpick you over the smallest detail.
And you have to be okay with that.Welcome back to Inside the Audition
Podcast, the podcast that helpsactors master the art and science
of auditions so that you can standout for all the right reasons
(00:26):
and none of the wrong reasons,and book your next lead role.
I'm your host Joey Freddy Larsen.Make sure to connect with me on
the old IG at Joey Freddy Larsen.You can slip into my DMs, you can
ask questions, you can suggest atopic for a future episode, or you
can apply to be our next guest.And remember that in each
(00:48):
episode of Inside the Audition,we dive deep into the audition
experience, advice, strategies,industry insights, inspiring
stories from actors, directors,producers, casting directors,
film and theatre industry pros.So whether you're an emerging
actor or maybe you're a longtime professional, seasoned vet.
Inside the audition is yourbackstage pass to audition success.
(01:12):
And remember that Inside theAudition is sponsored by the
monologue of the Month Club,which is your ultimate resource
for professional and emergingactors who want to attract agents,
attract casting directors andproducers, build your audience,
and ultimately book your nextlead role. How does it work?
Well, every month you choose anew made for you monologue from a
(01:35):
curated list delivered to your inbox.Then you join our weekly
Monologue Jams monthly workshops.You get professional coaching,
personalized feedback, and you cancollaborate with an international
community of growth minded actors.Every month, you'll have a brand new,
polished monologue that you canuse to attract an audience.
Agents. Casting directors.The monologue of the Month Club is
(01:56):
your golden ticket to your next leadrole. Roll roll roll. Ooh! Yes!
Now to start your journey and, uh, beon your way to your next lead role,
you can head over to Monologue Club.That's monologue club.
And just in case you don't knowhow to spell monologue,
(02:17):
it's mono log l o g u e. Club.Club. That's monologue club.
You can join the monologue of theMonth club. Now today's episode.
We got a fun one here.Uh, our guest today is an experienced
performer. He's a working actor.He's based in Toronto,
but he's also a graduate of theTom Todorov Conservatory,
(02:40):
which is based in New York City.And fun fact he graduated in my
conservatory class or ourconservatory class.
E10 for life baby.Uh, where he, uh,
in that conservatory he trainedwith renowned acting,
voice and speech casting And coaches.And he's thrilled to be able to
provide those teachings to otherperformers.
Inside Actor's Audition Club asone of our coaches.
(03:03):
I also works as a professional model.He's a big B baller.
He's a fitness and theater lover.So please welcome Sawhill Zahavi
to the podcast. Sawhill.What a great intro.
That was fantastic. Wow. Thank you.I appreciate that. Welcome.
Welcome to Inside the Audition.Uh, welcome also.
(03:25):
This is a little belated welcomefor giving you the formal welcome.
But welcome.You are now one of our new guest
coaches here at Actor's AuditionClub, where you have the opportunity
to work with other actors and helpthem shoot standout auditions.
So we'll get into that a littlelater,
but I want to jump right into it.I want you to tell me about a
memorable audition experienceand a lesson that you learned.
(03:46):
So tell me an audition story andsomething that you learned from
that situation.Wow, there are so many of those,
I don't even know where to start.Um, okay.
Well, there's one audition thatI will never forget.
It was early on,like three years ago when I just
started out, and it was like, I.I totally flopped that audition.
(04:09):
I made a bad impression.I never heard from this casting
director or this job or likethat company ever again in these
three years. So I'll start.I'll start there.
So like three years ago when Iwas first starting out,
I'm still starting out.But when I first started auditioning,
um, it was during Covid.It was like in 2021, um, like,
(04:32):
right when when me and youstarted class for drama school.
And so what was happening was theyweren't calling people to the studio,
as you as you know, rightfully so.Everything was through zoom,
callbacks, everything.So this particular company, um,
they wanted me to audition.And the first audition that they
wanted me to do was over zoom.It wasn't a self-tape.
(04:56):
Like I was, I was supposed to meet,um, the director and the casting
director and the producer in theroom over zoom like this.
And, um, so, of course, me notknowing anything about the craft,
I didn't know about how to prepare,how to how to audition,
how to how to, like,be ready for that opportunity.
(05:17):
And, um,I remember it was like ten minutes
up until the time we had to shoot.Uh, or like, we had to, uh, meet for
the meeting, and I got sidetracked.I totally lost track of time.
I didn't know what was going on.I was slightly nervous.
And then, um, all of a sudden,I turned to my computer because
(05:39):
it was already set up,and the camera came on, and the.
And the director of the cast came on,on the screen, and I was just like,
oh, wait, uh, hey, uh,one second asked to prepare for one
second and they're like, wait, what?Like they were so confused and
they gave me a minute or.Yeah, sure. No problem.
You know how they take a minuteor two and. Wow.
(06:00):
Like, it took me like 2 or 3 minutesto, like, catch my breath because I
was so nervous and now intimidatedthat the fact that yo, they saw me
not prepared. I asked for extra.And then they wanted me to do
the scene.So it at that point came and I
forgot everything, man.I had like two lines.
(06:25):
I had a few nonverbal gesturesto make and I forgot all of it.
All of it.Like I literally went blank.
They were like, okay, look,we gave you a chance.
We have to move on to the nextperson because, like, you know,
we don't have that much time.So thanks so much for coming in.
They sent my agent an email saying,yo, how can you guys represent
(06:49):
this guy? This guy wasn't ready.He's he's he's still.
He's not trained, I can tell.This is embarrassing.
Please don't submit people like that.That was one story that I vowed
to myself.That that would be the last time
that that would ever happen.Because it was. It was.
It was embarrassing, you know, it washumiliating. You know, because I.
(07:11):
I'm not usually late for thingslike that.
You know, and I just realizedhow unprepared I truly was.
And that was like the start of, like,okay, now I'm going to approach
this stuff really differently.I really need to take this serious.
And that was the one and onlytime I was ever late.
And I was unprepared for,for in three years. So that's one.
(07:34):
That's one that was prettyembarrassing.
And yes, I haven't heard fromthem since then because usually
with the company, you know,they may request you to audition
the next year or like six months,you may hear from the same companies,
but never again. Like I've never.It was quite strained, right?
I love that, I love that man.Thank you for sharing that.
Yeah, a lot of times people wouldn'tshare the quote unquote negative
(07:57):
ones or the the loss or the bomb,but it's like we all we all
learn more from mistakes andfrom failures than we learn from
when everything goes perfect.And that's such a great example
of like, you knew it.I mean, you're kind of like quote
unquote caught caught with yourpants down kind of thing. Yeah.
(08:18):
Maybe you weren't wearing pantson zoom. That was part of it.
Um, but, um, yeah, it's it's.And not only that, you learn the
lessons, you recognize it like,you could have.
You could have thrown it back tothem and be like, oh,
like this or that, or you could havecomplained about that up or, um,
but you recognized, oh, if I wantto be a professional, this is a,
(08:40):
this is a whole other league. Yeah.Um, to to not give that experience.
So that's great.And that's that a lot of the
times to people, especially whenthey're starting to coach and help
others think there's a fallacythat you need to be perfect or
you need to be an A-lister.You need to be the absolute best
in the world, and you've never,ever made a mistake, ever.
(09:00):
But that does that. Actually.Those people don't make the best
coaches.The best coaches are the people
who have who have fucked up, hadsome ups and downs. Learn from it.
Because now your experience youyou can speak to that experience
to someone new.And this is where your prep
needs to be.This is how it's going to work
on zoom.This is what you need to be ready
(09:20):
for. Sure. You're a professional.Make sure you give them a great
first impression. Uh, over.Rehearse it until you know it inside
out and backwards and upside down.And so you could wake up in the
middle of your sleep and do it,um, because that experience of
just everything disappears.That that is kind of a rookie.
It's a it's a rookie experience.For sure, man.
(09:43):
Yeah, one for the books for sure.I'll be talking about that years
from now, you know. Yeah.So from that I mean obviously a
devastating experience, man.Just don't underestimate how much
you have to prepare for something.You know, you really have to know
your line, like, know what you'retalking about. And just be ready.
(10:06):
Be ready for that moment.Don't do anything up until that.
That's leading you up to theaudition.
Like, really just focus on thatone meeting that you have and to
be distracted moments before itactually starts.
You're setting yourself up forfailure and it's like,
just don't do that, man. Stay ready.And, um, you know, once it's over,
(10:29):
you can indulge in other activities,but just be ready for the moment
and and seize the opportunity.That's it. Always.
You always want to seize theopportunity because you never know,
um, what that job could do for you.So I love that. Yeah.
And I think we've in our training,we've we've heard it like,
(10:49):
treat those auditions like the onthe day on the set performance.
Like prepare so well that theycould hit they say action.
They could say cut.And that performance could be
the one. Obviously it's not.It's an audition.
Uh, but prepare like it's openingnight in a theater show or prepare
like it's the day rather than somepeople have the attitude of like,
(11:12):
oh, it's just an audition,or I'm still learning the lines,
or I got my signs in hand.That's the word.
When, yeah, when you're upagainst a hundred other people,
someone's at you, someone's outprepared you, someone's found beats
and moments that you haven't.And it's one of those, you know,
this is one of the craziestindustries where like 500 people
audition for something and one getsit. There's no second place prize.
(11:35):
Maybe you get on the list of thecasting director.
They give you a callback forsomething else, and obviously you
want to always work and thereshould be gains and wins even
when you don't book the role.But still, only one person books
the role. That's it, that's it.And like, who wants it more?
Like, your preparation will dictate.You know, how they see you in
(11:55):
the room. You know, so 100%.I mean,
your preparation is everything.And I'm learning that now more than
ever, because now you know more jobs.I'm auditioning much more for
different things.And it's like, you know,
to do 4 or 5 tapes a week.I mean, you have to be you have
to know what you're doing to somedegree. So it's like, prepare man.
(12:19):
Like if you if you got if you gotthe, if you got the opportunity
to audition for something.Don't take it lightly.
If you do someone like me or someonelike you, I will be there to seize
that job because we want that job.So it's like, just do the work,
man, you know? Yeah, I love that.The idea of not taking it,
not taking the opportunity becausethere's so many actors out there
(12:43):
that don't even like they they'retrying to find an agent. Uh, 100%.
And they get an agent and they'renot getting the audition.
So just the fact that you have thatopportunity and really treating that
opportunity as an opportunity to, uh,present your artistry and to present
your work and to showcase yourself.Uh, can you tell me how did you
get started into all of this?Like, what was your first foray into
(13:06):
acting? Did you do it as a kid?Is this a later in life thing?
Not at all.I mean, I had no idea that I
would be in this world now.Um, you know, I think there's
always moments in your life thatlead you to where you are.
And I've recently started to, like,realize that, um, but it started
off like, through modeling.To be honest, that was like my that
(13:29):
was like my start for everything.Um, after I was playing basketball
for York, and I kind of took a break.Um, I started to model, like, um,
a few brands would reach out to mesaying, hey, we like your look.
We want you to be part of ourcampaign.
And then my cousin started abrand called Committee Members.
That was huge.I mean, that really put me on the
map in terms of like, exposure,like my face was exposed to so many
(13:54):
different markets and communities.And then I was working with them
for like three straight years.And I was in all their cookbooks,
all their campaigns.Um, and then from there I remember
I had um, so from there Istarted to book, like real jobs,
like real modeling jobs,like they're paying me to be on set.
(14:15):
I was working with, like,all these different companies Nomad,
cotton, Simons Canada.Um, and it keeps going on and on.
And then I remember this one,um, job I had, uh, it was for,
I think it was for Simons Canada,I think, but either way,
they wanted me to say a line.And like this one little,
(14:37):
you know, spec commercial thatthey were shooting and, um,
I just, I remember I was like,whoa, this is interesting.
You know, this is a differentside of the camera.
You know, as a model, your jobis to create that relationship
with the camera aesthetically,with your with your luck, with your
eyes and just your body languageand your energy. That's what it is.
(14:59):
And, um, I just remember thatexperience being for me being like,
oh, wow. Like, this is kind of cool.And then, you know, I got lucky,
man, I, I self submitted to someagents in Toronto, um, because I
had acquired like a portfolio,I had all this content that I did
just for free, like free work thatI've done for different companies,
(15:20):
or it was paid jobs as well.And then I submitted to like,
all these top agencies and then, um,you know, Bella, shout out to Bella,
the best agent ever.Um, she reached out and she's like,
hey, I like this stuff. Call me.I want to talk to you more.
I want to learn more about you.And then I signed with her, and then
(15:42):
I just started to audition fromthere and just kept going up. Cool.
And for those people who are justlistening to the podcast right now,
you got to flip over to thevideo version so that you can
see Saw Hills, tall,dark and handsomeness here.
See that jawline? Where's the jaw?Let's see the jawline.
The jawline. Yeah, yeah. Yeah.You could cut somebody with that
jawline. Very sharp. Yeah. Oh.That's sweet.
(16:04):
Um, I mean, what was your, uh, whatwas one of your first experiences on
set after I saw you land the agent?Uh, and you start auditioning.
Tell me about some of yourfavorite actual projects that
you've been on set for. Oh, man.Well, 2024 last year was, like,
one of the best years I've everhad in my life.
(16:25):
I mean, I got the opportunity togo to Montreal to go to New York.
I was in Slovenia.I mean, I filmed a commercial.
A worldwide commercial that's airingright now. Um, we filmed in Slovenia.
I was there for eight nights.You know, that wasn't incredible.
I mean, there were so many.Last year was a great year, man.
(16:45):
But, uh. Yeah, I was in Slovenia.It was for a commercial we shot
out there.Um, it was funny because they called
me back three times for that job.Three times. Right.
So I self taped for that.They're like, hey, we like this.
Come to the studio, do it again.I'm right.
(17:06):
I go to the studio, I do it,I killed it, I felt great.
And, uh, they're like, hey, okay,you know, that was great, but can
you come back next week again?We just want to see you one more
time. I'm like, uh. Yeah, sure.No problem.
So I go back the next week and,uh, they were like,
I do my thing, I do my thing.I feel great, you know,
(17:27):
I added like, more to it.You know, as they say,
do do what you do the first time,but also add to a different
dynamic to it. They loved it.And they're like, yeah, um,
you know what?Uh, so just come back in a
couple of days.I want to see you one more time.
And, uh.Yeah, that'd be highly appreciated.
(17:48):
Come back again.I do my thing, and, like, I was like,
this is a lot, like, three times for.For me, that was a lot, man.
Because it's like,what more do you want to see?
It's like, just use your imaginationat this point, you know?
But, uh, after that, yeah, they, uh,you know, I, my agent called me.
Hey, congrats. You booked it.You're leaving in, like, two weeks.
(18:10):
Get ready. And, uh, that was insane.That was incredible, for sure. Yeah.
Those experiences are the best.Where you're like, yeah, get the
driver. You get the plane. Oh my God.Yeah, they booked the hotel.
And just like that's a it's.It was like. It was like next level.
Like I'm talking five star hotel.They flew me out.
Premium, which is one level underfirst class, like, oh my God.
(18:33):
It was like spending money per day.Like it was just it was that like
once you get a taste of the extremeLA's, it's so hard to go back.
You know, like that was an extrememoment for me where I was like, yo,
this is really happening right now,right? You know? Yeah, yeah.
It's those next level momentswhere you're like, oh, this now,
(18:55):
instead of being the outliermoment needs to be the new norm.
This is how I want my life to goall the time. Yeah, yeah.
I've had that experience goingto Dubai, where I went to Dubai
and I was like, oh yeah,this is a whole level of lifestyle,
of wealth, of opulence, of conciergeand technology and finance and money.
And it's just like, oh, this is thisis a whole other level of, of living
(19:19):
here. Um, but yeah, we can talk.I won't talk about Dubai, but I
could talk about Dubai for I should.I should do a full episode just
on my trip to Dubai.It was very inspiring. Good.
So let's get back to you, though.Um, I want to talk a little bit
about process.So, um, obviously auditions are
the way most of us land those gigsuntil you're at the point where
(19:41):
either you're creating your ownmaterial or getting direct offers.
So being able to execute andturn around and shoot a standout
audition in a short amount oftime under a tight deadline where
you present fantastic work isthe key to booking these jobs.
So an email lens in your inbox.What does Sawhill do?
What's your operation?What's your your SOP,
(20:01):
your checklist when you go intoaudition mode? Tell us about that.
Well, um, so it's, you know,it's always the same approach,
you know, to the tape and to,to the audition in terms of I go
through my checklist of what I do.I mean, not everybody learned
(20:23):
the craft of how to audition.Me and you did.
We have the formal training.So, you know, for me,
it's a little bit.I follow a checklist of what I need
to do for that particular audition.And as you know,
each one is completely different. So.But even though it's different,
you still like the mechanics of whatyou're doing is still the same,
(20:45):
you know, so I think I think for me,it's, you know, you receive it,
you obviously read it,you read it forwards and backwards,
understand it.And yeah,
you go through the guidepost, ifanyone knows what the what they are,
there's the 12 guide post thatwe go through, uh, which is the
totter off technique that we use.Um, and we yeah, we use a guidepost
(21:07):
and just, you know, see. Okay.Who am I talking to? What do I want?
What's getting in the way ofwhat I want?
And how am I going to go get it rightregardless of what's the obstacle is.
And when you ask those questions,I think that's really important
because in every scene,as most actors know well,
every actor should know this,but you should always want something
(21:29):
in this scene urgently now, right?You always want something you're
fighting that.You're fighting to get something
right.You're fighting to get the girl
you're fighting to for yourparent's approval.
You're fighting to get that job,or you're fighting to to get your
brother to prove that he loves you.Anything in the scene that it
requires, um, you know, that's whatthat's how you want to approach it,
(21:52):
or that's how you want to see it.Because when you're fighting for
something in the scene that createsthe relationship, it creates a
conflict, it creates the importance,and it just shows that, okay,
you're fighting,you're competing for in the scene.
Um, but uh, that's yeah,that's like a start.
That's how I would start like this,uh, approaching the scene.
(22:16):
But it goes deeper than that.But yeah.
We can go a little deeper, though.The one thing I just do want to
highlight is just the importanceof who am I talking to and what
do I want? AKA why am I talking?Like those two things.
Often when when I'm working withactors, a lot of the times they even
haven't asked those basic questions,or maybe they just haven't gotten
(22:37):
deeper enough where it's likethe answer, who am I talking to?
I'm talking to my wife.Well, yeah, pretty generic wife.
I'm talking to the love of my life.I'm talking to my high school
sweetheart. And she's also the child.She's the mother of five of my kids,
and she's my also my best friend.But right now, we're going
through a little bit of a bumpyroad and we've had some issues.
(23:01):
So she might be leaving, and thismight be my last chance to convince
her that divorce is the wrong.Like all of a sudden that is way
more informed than I'm talkingto my wife. Yeah.
So how can we infuse it withmore love, with more humor.
And then what am I?What are you actually fighting for?
And what's the strongest way thatyou can be fighting for people?
(23:22):
Ask those.Answer those two questions and
answer them deeply.And all of a sudden their
audition is is a lot strongerthan a surface level read.
Is there anything else that'spart of your audition, like
rituals or process? Um hmm. Yeah.So outside of that, I mean,
(23:44):
you know, it's a lot of it'sfollowing your instincts as well,
like following your gut.I think that really helps.
You know, um, it's really importantto follow your intuition because
sometimes you may make a choicein the moment, instinctively that
it's it's so truthful. It's you.Because you're being available to
(24:05):
the moment where, like us, choicescome out that are just so authentic
and they're so true to the to themoment that that might be a choice
that you might want to go with,right? Depending on how you feel.
So but rehearsal is important.You got to rehearse.
I mean, I'm talking like a pro uphere, but I mean, it's a craft.
I mean, this is what you got to do.Um, yeah. You got to rehearse.
(24:27):
I mean,we're rehearsing is so important.
Like, it's it's so important.I I'm shocked at how, like,
I work with actors on stuff and just.They don't rehearse like,
they do it, like, 2 or 3 times,and, you know, they think
they're ready to to shoot it.And it's like that may I mean,
that may work sometimes, but I thinkit's important to really know what
(24:49):
you're talking about. Not memorizing.You're not memorizing your lines.
When people say that I cringe atthat every time, like, yeah,
I'm memorizing lines.It's like, you're not memorizing
anything. You're understanding.You're learning.
You're you're you're learningwhat the what the text is. Right?
It's like you're not memorizing.It's you're you want to do it,
(25:12):
you're doing the text likeyou're understanding the text.
You know the text. So yeah, rehearse.Still like rehearse.
Really work on it. Like play.Play different ways, you know?
You know, do it.You know I if I have.
Like 2 or 3 lines I have, I haveto work on. I'm brushing my teeth.
I'm working the lines.I'm doing push ups.
I'm working on the lines.If I'm at the gym, I'm lifting
(25:33):
weights. I'm working on the lines.It can be like anything, right?
It's like you want to get the linesin you so that when the camera comes
on, it's, it's it comes out as it's,you know. Yeah. Yeah.
I want to highlight two thingsyou said there just for,
for our audience.One is just, it's it's part of the
reason that I really love acting.And I love the craft and I love
(25:54):
the continual mastery of itbecause it is this like,
it's it's it can be a little elusive.It's a bit of a paradox too,
because it's on the one hand,rehearse, rehearse, rehearse,
rehearse, rehearse.And then on the other hand, then
when it comes time to performance,Let all the rehearsal go so that
it needs to be.The illusion of this is happening
for the first time, which we needto be present in that moment.
(26:17):
Speaking to what you said aboutbe open to your instincts,
little happy accidents,things that just are you surprise
yourself where you're like, oh,I wasn't even expecting.
I was so like in that in the now,like it was a real thing I was living
in rather than, this is number 500 ofof saying it exactly the same way,
(26:38):
which also speaks to what you saidabout the dangers of memorization and
that, that, um, that lends to ourtraining with Tom of memory being
a swear word because memorizationis all intellectual right there.
And being a human is not justyour head, it's your heart,
and it's your hips, and it's beingan actual full blown human being.
(27:01):
Uh, so I love that.Um, but it's the challenge.
It's like rehearse so much soyou know it inside and out,
so that then you can let it allgo away. Yeah. You can't.
I find where I get stuck sometimes isin that middle part of rehearsal
where if if it's fully improvised,then I feel free.
(27:22):
If I've rehearsed it a million times,then I feel free.
But if I'm in the middle where I'veonly rehearsed it a few times,
I'm not fully improvising andI'm not fully present.
Yeah, and I'm also not sorehearsed that it's in me.
So you get in,you get stuck in those traps of how
you're thinking about the lines,which is the last one I'm thinking
(27:44):
of while you're while you'resupposed to be just being a human
being under those circumstances.So that's what makes this craft
so challenging.Is sure, it does demand that that
amount of rehearsal and the peoplewho succeed are the people who
rehearse the shit out of things.And it's not just rehearsal like
saying it the same way over 500times.
(28:05):
It's asking all those questions.Doing your text analysis.
Uh, yeah. Different ways.Uh, so that you're really playing
and then eventually landing on,uh, an audition performance.
So thank you for bringing thatstuff up.
Anything else you want to say aboutpreparation process rehearsal?
(28:26):
Um, yeah. Just know your stuff, man.Don't be.
Don't walk in the room and getembarrassed and ruin an opportunity
that was meant for you,because that's just the worst.
And I shared my story earlier.I'm telling you, people,
if you're not prepared,like that can be the end of,
you know, the jobs that you getfrom that casting director.
(28:49):
You know, they'll remember you like,oh, well, this guy wasted our time.
This, this, this lady wasted ourtime just being here,
just not knowing what she was sayingand what she was doing. Um, yeah.
Don't put yourself in that position.Yeah. For sure. Don't do that. Yeah.
It's like I mean,in my intro I talk about standing
out for all the right reasons.You don't want to stand out for
(29:09):
the wrong reasons.It is first impressions.
Now, eventually that castingdirector may have you back,
but if their first impression ofyou is an under-prepared or what
they might lump in the amateur sideof things in a craft where there's
so many professionals and trainedpeople who take it so seriously,
then yeah, you don't want to getthat amateur pile.
(29:32):
And lastly, it's like,it's because it's so meticulous,
like every one little mistakecan cost you the job.
And I've seen situations where that'shappened, like I was, for example,
to a quick story, um, I have afriend who's a casting director
at Ground Glass Casting, which isI'm sure you've heard of them.
They're great. They book a book.They book a bunch of like,
(29:52):
TV network television series andlike, film, whatever.
So I just sat in with this oneaudition because my friend said,
hey, come in, come,come see our experience.
I was like, sure, I was flatteredto be invited in the room.
So they were casting for a playat the Bygone Theatre in Toronto.
And this, like, this girl camein and before she came in,
(30:14):
all the producers were saying,hey, look, we want like, we like
this girl. She's coming in, guys.She she might be the one.
Everyone watch closely and, you know,let's see what she could do. Right.
So she comes in the room and Icould see right away why they
were looking at her.Aesthetically. She looked great.
She her fit was amazing.Hair was done. Nice.
(30:37):
And, uh, there was one particularline that she had to say, um,
in this little monologue.And I remember the line was, um,
the Queen was moving swiftly on ourstage. Right. That was the line.
She came in saying the Queen wasmoving swiftly on our stage.
(30:59):
On our stage and then our.And then the CD was like, hey,
okay, so do it again.But it's the word is pronounced our.
So think of all the words that haveour and and our devour flowers.
Right? So say our, not our.So she's like all right cool.
So she comes in and she will notshe's there.
(31:21):
And then she says it again and shegoes, the Queen was moving swiftly on
our stage. She forgot the note again.As soon as it was over they were
like, okay Katrina, thanks so much.Have a nice day. All right?
And I knew that that was it.They were not going to call her back,
right. And they didn't.They went with someone
completely different.So it's like,
(31:44):
know what you're saying?If you mess up,
if you mess up even one word,they will remove your consideration
right then and there for that oneword that you mispronounce because
they don't have time to teach you.They want someone who's ready to
rock tomorrow night.You know what I'm saying?
Tomorrow. Maybe a couple of days.They can't hold your hand.
(32:04):
They'd be like, hey, um,can you rehearse more?
Work on the text a little more.Pronounce this properly.
They want someone who's ready to go.So it's like.
That's just an example of, like,why you should always be ready.
And that taught me a big lesson,too. One word. It was three letters.
She's supposed to say power. Yeah.She kept saying arm. It's like.
(32:25):
Well, and in that example, it reallywasn't the mistake initially.
It was the inability to incorporatethe note that that that was the doom.
That's what doomed. Yeah.Yeah, yeah, that's a great example.
I mean, it's so specific.And sometimes actors take that
for granted.They take their voice and speech
and diction, and everybody in theaudience needs to hear every word.
(32:47):
They can't press pause andrewind and be like,
what did she say there? Yeah, man.Looking around to the like,
I don't. I'm lost.I don't know what the hell is
going on. That's a great story.Thank you for sharing that now.
Um, I'm really excited because, uh,recently you've joined our team
here at Actor's Audition Club.Uh, as one of our coaches,
you've been helping people inthe studio here in Toronto and
(33:09):
also online virtually.Uh, tell me, first of all,
why you wanted to do that?I put out the call on social media
that we were looking for new coaches.You were the ones.
One of the ones who answered.I was pumped when I saw it.
But what's exciting you aboutdoing this?
And why did you choose to jointhe team? Yeah.
I mean, you know, as someone who'salways auditioning, like, a lot.
(33:33):
Gratefully. Um, I know, I love that.Like. Thank God.
I mean, I have no idea what elseI would be doing with my time,
but I'm always auditioning,so I have I mean,
I actually have the experience,and I've acquired the tools to
to audition and to do, you know,to do my best in, you know, for a
(33:54):
cell of tape or for an audition.I think that, um,
I feel like actors don't havethe same tools that I have.
They don't have the sameunderstanding.
So it's like, I want to help outif I can in some capacity.
And I'm still learning.I'm still growing.
I'm not like Denzel Washington.But, you know, I've been doing
this for like three years now.So I've acquired some experience and
(34:16):
some some, you know, like a craftwhere I think it'll be beneficial for
actors who are either up and coming,they're already working actors.
Um, that's why, you know, and alsojust the setup that you guys have,
I think it's an amazing setup.You guys have the zoom option,
the in studio option.Um, and I was like, wow, you know,
(34:38):
this is perfect. Like, why not?I'm also I'm already helping out
actors pro bono, you know,on my own time. Actors.
I have so many friends, you know,who call me all the time saying,
hey, I need your reader.I need your reader.
Can you help me out?I'm like, yeah, sure.
So I was like, hey, why not?You know, do this, uh. For real?
Yeah, man.Um, can you you've you so you've
(34:59):
you've done a few.We just brought you on a couple
of weeks ago.Um, tell us some experiences and
and what you like.You don't need to mention any
projects or names, but, like, how doyou how do you specifically help an
actor or what's your mindset in.Okay, um, because our job is like,
oh, hang on one second. Yeah. Uh.My back. Yeah. Can you hear me?
(35:22):
Okay. Yeah, I can hear you.Why am I not hearing you keep
talking. Yeah, I can hear you.It's great.
So what I was saying is,as a coach, it's not our job to
help them reach perfection.We don't be the be all and end all.
It's just the actor comes in here,uh,
and I'm making a motion with my hand.Um, and we want to get them to hear.
(35:46):
And I'm making the motion of alittle higher. So it's.
how can we unlock something?How can we help them find a
moment that maybe they didn't seesomething in the text analysis?
Can we help them humor some love?Can we help them with a moment
before with a button?Can we help them with something
physical?Uh, what's what's your outlook
when you're working with an actor,how do you how do you help them?
(36:09):
Yeah, I mean, it's all those things.I mean, you know, and it's just
it depends on the coach, right?Like, the coach has a big has a
big deal on, um,how the audition will go,
because it's our job to see thingsthat the actor doesn't see. Right.
It's our job to see and tohonestly also like, um.
(36:31):
Yeah, to help them make thestrongest choice for that
particular piece of work.And I think, yeah, for me,
it all depends on how preparedthe actor is. Right?
With the actor's audition club,thankfully,
everyone is always 100% prepared.So in that case, I want to see
what choices they already have.What what how they're seeing
(36:53):
this scene, how they want to goabout this particular tape.
So I take that in considerationfirst because it's their job.
They want to book it.They may have an idea of what they
want to do. And that's important.So once I hear them out and I
understand how what directionthey want to go, um, yeah.
You know, we'll do that.And then I think, I think it's
(37:13):
important to just be just reallybe present with them. Right?
Like be in the room with them,not just physically.
Like, you really want to followwhat they're doing and see how it
could be stronger and that's it.That takes skill,
that takes doing auditions overand over and over again,
either as an actor or as a reader.So I think, I think that's the
(37:36):
most important thing.Like, you really have to be present
in the room with the other talentthat's there, because your job
is to help them book that role.And it's like you,
you want to find things that theypotentially may not have seen.
And if you can do that,that's a gratifying feeling
because they'll let you know.Oh, wow. I didn't think of that.
(37:56):
Oh, that's that's interesting.You know,
so I think that's important.That's the most that's one of
the most important things.But um,
it is deeper than that as well.But I think that's the biggest
takeaway.Like be present to what you're
saying and be available to themoment as much as they are.
Because if you're not,if you're coming in with, oh, yeah,
(38:16):
I'll make him do it like this,he should probably do it like this.
I mean, I don't know how effectivethat is as opposed to being more
open and just available. Right.Yeah. Right. Yeah.
At the end of the day, it's theiraudition. It's their choices.
And so it's how do we unlockthings that that they bring to
the table that are alreadyunique to them versus I think
(38:37):
you should do it this way.Like, I'm not the director, Joe,
or the director of the thing.I'm just helping them showcase as
much of themselves in a in a positiveway and as a strong way in the
audition so that they can increasetheir chances to book in the role.
Um, but that's not a right or wrong.It's like, you know, our training.
It's not right or wrong.It's weak or strong.
(38:57):
Uh, and clearly you can you can lookat two versions and be like, oh,
this second version is stronger.Is it right or wrong?
Is it what? Quote unquote.They want. Who the hell knows?
But you can watch something with atrained eye, uh, and be like that.
Take is stronger than that.It does a better job of telling the
(39:17):
story, or it's a stronger moment.Um. Love that. Uh. Anything else?
Um, any other advice toauditioning actors?
Any other things that you're excitedand looking forward to helping
them with? Um, you. Know. I.Just I'm just so it's so interesting
for me to just see how they prepare.You know, I,
(39:38):
I love I love seeing what actors,how they think about their actual
audition, you know, because for me,I'm always auditioning myself.
So it's like I want to get intothe minds of other actors as well
and see how they approach it.And that, for me, teaches me so much,
like, so much like now I sort ofunderstand how to work in terms
(40:01):
of for my own acting craft.It took me a while to get to this
point, but I have, you know,a system that I follow and it's like
it's it's cool to see what whatother actors do because that can
teach you like, what they like.They may say something or they
may talk about a particular, um,rehearsal technique that you may
(40:22):
not have known, and then you canincorporate that into your craft
and just things like that,but also just the impact.
I mean, like, like the last person Icoached with the, with the club,
um, like, he was so grateful,like he was like, oh my God,
I didn't see that choice.That was a great choice that you
that you like.Thanks for making that choice.
I was like, yeah man,no problem. That's why I'm here.
(40:42):
But that's a good feeling too.I really like that when they when
they see the value and what you haveto offer. Yeah, that's that's huge.
And and really the importance ofcoaching I want to make this clear to
all of our listeners is some again,sometimes people are like,
I can't pay to audition.You're not paying to audition.
You're paying for insight andcoaching outside your own brain.
(41:05):
And what coaching is in any industry,doesn't matter whether it is
sports or business or acting.Coaches help you see your blind
spots.They help you see things that
you didn't see.It's the idea of one plus one
equals three.A collaborative mind is going to
create things that that one personcouldn't create on their own.
(41:26):
So when you have that outside eye,especially when it's someone who's
trained not only as a trained actor,but their their training as a coach
and improving their coaching skills,that's so different than your
untrained neighbor,or your spouse or your or your uncle.
You're like, I just this is mymy plea to actors out there,
(41:49):
and don't listen to this.If you don't want to listen to
this and just let other peoplebook the roles.
But if you're always relying onsomeone who has untrained,
and if you're taking any kind ofnotes from someone who has no acting
training, no directorial training,no storytelling training,
I think you're you're leavingpotentially a lot on the table.
You're leaving so much on the table.I'm worried about the table.
(42:11):
The table might fall down andthe legs are going to collapse.
Versus when you work withsomeone who's like, if your
spouse is a is a trained actor,then great, keep doing that.
However, sometimes the issue isam I getting a note here?
Is this an actor or director noteor is this a boyfriend girlfriend
wife husband note that I'm getting?Uh, so sometimes, even when they
(42:32):
are a trained actor, it's tough todecipher, but just the importance
of investing and and again,to invest in a coach for an audition.
You're not paying to audition.You're paying and investing in
yourself to unlock things inyourself, much in the same way that
you get better results when you go tothe gym, when you have a trainer
pushing you a little harder andgiving you that the actual technique
(42:55):
and the proper way to do things.Biomechanically or do you get better
results when you just do it on yourown and you watch some free YouTube
videos? Um, everybody can do that.So, um, that's why we exist,
that Actors Audition club.That's why we've since 2017 helped.
I think I think we're up to,like, nearly 6000 auditions that
(43:16):
we've helped run, um,helping actors book lead roles in TV,
film, theater, voiceover,commercials, all those things.
So, uh, the final words for, uh,for actors out there.
Uh, final words for them.Some aspiration.
By the way, I just want to say Ilove your last name.
It's one of my favorite last names.Your own name? Doll Hill 000.
(43:40):
I love in my head.You don't know this? Maybe.
But in my head,I'm always saying. This is Irv.
Stir. This is Irving, 800.It's so funny. Yeah, man.
It's like. Yeah, it's actually my.Our family is the only family
who has that last name.Uh, and to be honest,
it's because my grandfather,he was a singer in Punjab,
(44:02):
where I'm from, a classical singer,and he's from a city called Zaira.
Zaira?So they just call, oh, there's oh,
the Xabi, the Xabi guys here.So like it just became like a thing.
So that's how we got that name.But anyways, um, advice for actors.
That's so funny. Yeah.Tips, inspiration and the way
(44:24):
you tell your younger self toknowing what you know now. Yeah.
I mean, I'm still learning every day.I don't know everything. Anything.
Um, you know, I'm still.I love this craft so much.
So I'm still working and learning.But I would just say just just,
you know, make sure you love it.Make sure you love it.
(44:44):
There's a lot of rejection, man.You know, another day,
another rejection.So make sure you love it because
it's not easy in terms of, uh,how you how they make you feel.
You know, you may think you're rightfor something and you killed that.
You smashed it in the room,but they didn't pick you over
the smallest detail.And you have to be okay with that.
So I think that's the biggestthing if you if you're if you're
(45:06):
good with that,like that's going to help you a lot.
But you know, it took me it tookme like a year to learn that.
Like the first year I was like,damn, I'm not booking.
What if you stay with it and like,you believe in yourself and you love
the craft, you love auditioning,then you'll be then it'll it gets it
gets more, uh, rewarding. Well said.All right, we're going to wrap it up.
(45:30):
We're going to bring this, uh,podcast ship back into harbor here.
I want to thank Sawhill for joiningus today, sharing his unique
audition experience and his journeyand valuable insights with us.
Make sure you can connect withSawhill as Instagram.
The best place? Yeah for. Sure.That's s v, that's S dot,
(45:50):
Z or Z depending on where you are.Z I r v I z.
We'll also link it up in theshow notes.
If you are a professional oremerging film and theater actor,
maybe your director,a casting director, a producer
making bold moves in the industry.We do interview industry pros at
every stage in their journey soyou can share your practical tips,
(46:14):
your wisdom, your inspiration,and you can actually apply to be
a guest on a future episode byvisiting inside the audition.com.
Once again,that's inside the audition.
Com and one more time, I want tojust, uh, really Reiterate that
mastering powerful monologues isthe most effective way to showcase
your talent, to attract audiences,to attract agents,
(46:36):
casting directors, and ultimatelyland your next lead role.
And you can get started with themonologue of the Month Club by
going to Monologue Club. Com.All the information on how to start
there, and remember that everysingle audition is an opportunity
to showcase your unique talent tothe world, and it may land you
your next life changing role.So when you want professional
(47:00):
coaching available seven days aweek from anywhere in the world,
you can visit Actors audition.com.Sawhill is one of her coaches.
I'm one of the coaches.We've got a whole team of coaches
pretty much on standby to help youwith your TV, film, commercials,
voiceovers, theater roles.We'll help you shoot a standout
audition in less time and ultimatelybook your next lead role.
(47:22):
Thanks for tuning in.We'll see you next time on Inside the
Audition. Goodbye. Goodbye. Goodbye.
Another day, another rejection.So make sure you love it,
(00:02):
because it's not easy in terms ofhow you how they make you feel.
You know, you may think you're rightfor something you killed and you
smashed in the room, but they didn'tpick you over the smallest detail.
And you have to be okay with that.Welcome back to Inside the Audition
Podcast, the podcast that helpsactors master the art and science
of auditions so that you can standout for all the right reasons
(00:26):
and none of the wrong reasons,and book your next lead role.
I'm your host Joey Freddy Larsen.Make sure to connect with me on
the old IG at Joey Freddy Larsen.You can slip into my DMs, you can
ask questions, you can suggest atopic for a future episode, or you
can apply to be our next guest.And remember that in each
(00:48):
episode of Inside the Audition,we dive deep into the audition
experience, advice, strategies,industry insights, inspiring
stories from actors, directors,producers, casting directors,
film and theatre industry pros.So whether you're an emerging
actor or maybe you're a longtime professional, seasoned vet.
Inside the audition is yourbackstage pass to audition success.
(01:12):
And remember that Inside theAudition is sponsored by the
monologue of the Month Club,which is your ultimate resource
for professional and emergingactors who want to attract agents,
attract casting directors andproducers, build your audience,
and ultimately book your nextlead role. How does it work?
Well, every month you choose anew made for you monologue from a
(01:35):
curated list delivered to your inbox.Then you join our weekly
Monologue Jams monthly workshops.You get professional coaching,
personalized feedback, and you cancollaborate with an international
community of growth minded actors.Every month, you'll have a brand new,
polished monologue that you canuse to attract an audience.
Agents. Casting directors.The monologue of the Month Club is
(01:56):
your golden ticket to your next leadrole. Roll roll roll. Ooh! Yes!
Now to start your journey and, uh, beon your way to your next lead role,
you can head over to Monologue Club.That's monologue club.
And just in case you don't knowhow to spell monologue,
(02:17):
it's mono log l o g u e. Club.Club. That's monologue club.
You can join the monologue of theMonth club. Now today's episode.
We got a fun one here.Uh, our guest today is an experienced
performer. He's a working actor.He's based in Toronto,
but he's also a graduate of theTom Todorov Conservatory,
(02:40):
which is based in New York City.And fun fact he graduated in my
conservatory class or ourconservatory class.
E10 for life baby.Uh, where he, uh,
in that conservatory he trainedwith renowned acting,
voice and speech casting And coaches.And he's thrilled to be able to
provide those teachings to otherperformers.
Inside Actor's Audition Club asone of our coaches.
(03:03):
I also works as a professional model.He's a big B baller.
He's a fitness and theater lover.So please welcome Sawhill Zahavi
to the podcast. Sawhill.What a great intro.
That was fantastic. Wow. Thank you.I appreciate that. Welcome.
Welcome to Inside the Audition.Uh, welcome also.
(03:25):
This is a little belated welcomefor giving you the formal welcome.
But welcome.You are now one of our new guest
coaches here at Actor's AuditionClub, where you have the opportunity
to work with other actors and helpthem shoot standout auditions.
So we'll get into that a littlelater,
but I want to jump right into it.I want you to tell me about a
memorable audition experienceand a lesson that you learned.
(03:46):
So tell me an audition story andsomething that you learned from
that situation.Wow, there are so many of those,
I don't even know where to start.Um, okay.
Well, there's one audition thatI will never forget.
It was early on,like three years ago when I just
started out, and it was like, I.I totally flopped that audition.
(04:09):
I made a bad impression.I never heard from this casting
director or this job or likethat company ever again in these
three years. So I'll start.I'll start there.
So like three years ago when Iwas first starting out,
I'm still starting out.But when I first started auditioning,
um, it was during Covid.It was like in 2021, um, like,
(04:32):
right when when me and youstarted class for drama school.
And so what was happening was theyweren't calling people to the studio,
as you as you know, rightfully so.Everything was through zoom,
callbacks, everything.So this particular company, um,
they wanted me to audition.And the first audition that they
wanted me to do was over zoom.It wasn't a self-tape.
(04:56):
Like I was, I was supposed to meet,um, the director and the casting
director and the producer in theroom over zoom like this.
And, um, so, of course, me notknowing anything about the craft,
I didn't know about how to prepare,how to how to audition,
how to how to, like,be ready for that opportunity.
(05:17):
And, um,I remember it was like ten minutes
up until the time we had to shoot.Uh, or like, we had to, uh, meet for
the meeting, and I got sidetracked.I totally lost track of time.
I didn't know what was going on.I was slightly nervous.
And then, um, all of a sudden,I turned to my computer because
(05:39):
it was already set up,and the camera came on, and the.
And the director of the cast came on,on the screen, and I was just like,
oh, wait, uh, hey, uh,one second asked to prepare for one
second and they're like, wait, what?Like they were so confused and
they gave me a minute or.Yeah, sure. No problem.
You know how they take a minuteor two and. Wow.
(06:00):
Like, it took me like 2 or 3 minutesto, like, catch my breath because I
was so nervous and now intimidatedthat the fact that yo, they saw me
not prepared. I asked for extra.And then they wanted me to do
the scene.So it at that point came and I
forgot everything, man.I had like two lines.
(06:25):
I had a few nonverbal gesturesto make and I forgot all of it.
All of it.Like I literally went blank.
They were like, okay, look,we gave you a chance.
We have to move on to the nextperson because, like, you know,
we don't have that much time.So thanks so much for coming in.
They sent my agent an email saying,yo, how can you guys represent
(06:49):
this guy? This guy wasn't ready.He's he's he's still.
He's not trained, I can tell.This is embarrassing.
Please don't submit people like that.That was one story that I vowed
to myself.That that would be the last time
that that would ever happen.Because it was. It was.
It was embarrassing, you know, it washumiliating. You know, because I.
(07:11):
I'm not usually late for thingslike that.
You know, and I just realizedhow unprepared I truly was.
And that was like the start of, like,okay, now I'm going to approach
this stuff really differently.I really need to take this serious.
And that was the one and onlytime I was ever late.
And I was unprepared for,for in three years. So that's one.
(07:34):
That's one that was prettyembarrassing.
And yes, I haven't heard fromthem since then because usually
with the company, you know,they may request you to audition
the next year or like six months,you may hear from the same companies,
but never again. Like I've never.It was quite strained, right?
I love that, I love that man.Thank you for sharing that.
Yeah, a lot of times people wouldn'tshare the quote unquote negative
(07:57):
ones or the the loss or the bomb,but it's like we all we all
learn more from mistakes andfrom failures than we learn from
when everything goes perfect.And that's such a great example
of like, you knew it.I mean, you're kind of like quote
unquote caught caught with yourpants down kind of thing. Yeah.
(08:18):
Maybe you weren't wearing pantson zoom. That was part of it.
Um, but, um, yeah, it's it's.And not only that, you learn the
lessons, you recognize it like,you could have.
You could have thrown it back tothem and be like, oh,
like this or that, or you could havecomplained about that up or, um,
but you recognized, oh, if I wantto be a professional, this is a,
(08:40):
this is a whole other league. Yeah.Um, to to not give that experience.
So that's great.And that's that a lot of the
times to people, especially whenthey're starting to coach and help
others think there's a fallacythat you need to be perfect or
you need to be an A-lister.You need to be the absolute best
in the world, and you've never,ever made a mistake, ever.
(09:00):
But that does that. Actually.Those people don't make the best
coaches.The best coaches are the people
who have who have fucked up, hadsome ups and downs. Learn from it.
Because now your experience youyou can speak to that experience
to someone new.And this is where your prep
needs to be.This is how it's going to work
on zoom.This is what you need to be ready
(09:20):
for. Sure. You're a professional.Make sure you give them a great
first impression. Uh, over.Rehearse it until you know it inside
out and backwards and upside down.And so you could wake up in the
middle of your sleep and do it,um, because that experience of
just everything disappears.That that is kind of a rookie.
It's a it's a rookie experience.For sure, man.
(09:43):
Yeah, one for the books for sure.I'll be talking about that years
from now, you know. Yeah.So from that I mean obviously a
devastating experience, man.Just don't underestimate how much
you have to prepare for something.You know, you really have to know
your line, like, know what you'retalking about. And just be ready.
(10:06):
Be ready for that moment.Don't do anything up until that.
That's leading you up to theaudition.
Like, really just focus on thatone meeting that you have and to
be distracted moments before itactually starts.
You're setting yourself up forfailure and it's like,
just don't do that, man. Stay ready.And, um, you know, once it's over,
(10:29):
you can indulge in other activities,but just be ready for the moment
and and seize the opportunity.That's it. Always.
You always want to seize theopportunity because you never know,
um, what that job could do for you.So I love that. Yeah.
And I think we've in our training,we've we've heard it like,
(10:49):
treat those auditions like the onthe day on the set performance.
Like prepare so well that theycould hit they say action.
They could say cut.And that performance could be
the one. Obviously it's not.It's an audition.
Uh, but prepare like it's openingnight in a theater show or prepare
like it's the day rather than somepeople have the attitude of like,
(11:12):
oh, it's just an audition,or I'm still learning the lines,
or I got my signs in hand.That's the word.
When, yeah, when you're upagainst a hundred other people,
someone's at you, someone's outprepared you, someone's found beats
and moments that you haven't.And it's one of those, you know,
this is one of the craziestindustries where like 500 people
audition for something and one getsit. There's no second place prize.
(11:35):
Maybe you get on the list of thecasting director.
They give you a callback forsomething else, and obviously you
want to always work and thereshould be gains and wins even
when you don't book the role.But still, only one person books
the role. That's it, that's it.And like, who wants it more?
Like, your preparation will dictate.You know, how they see you in
(11:55):
the room. You know, so 100%.I mean,
your preparation is everything.And I'm learning that now more than
ever, because now you know more jobs.I'm auditioning much more for
different things.And it's like, you know,
to do 4 or 5 tapes a week.I mean, you have to be you have
to know what you're doing to somedegree. So it's like, prepare man.
(12:19):
Like if you if you got if you gotthe, if you got the opportunity
to audition for something.Don't take it lightly.
If you do someone like me or someonelike you, I will be there to seize
that job because we want that job.So it's like, just do the work,
man, you know? Yeah, I love that.The idea of not taking it,
not taking the opportunity becausethere's so many actors out there
(12:43):
that don't even like they they'retrying to find an agent. Uh, 100%.
And they get an agent and they'renot getting the audition.
So just the fact that you have thatopportunity and really treating that
opportunity as an opportunity to, uh,present your artistry and to present
your work and to showcase yourself.Uh, can you tell me how did you
get started into all of this?Like, what was your first foray into
(13:06):
acting? Did you do it as a kid?Is this a later in life thing?
Not at all.I mean, I had no idea that I
would be in this world now.Um, you know, I think there's
always moments in your life thatlead you to where you are.
And I've recently started to, like,realize that, um, but it started
off like, through modeling.To be honest, that was like my that
(13:29):
was like my start for everything.Um, after I was playing basketball
for York, and I kind of took a break.Um, I started to model, like, um,
a few brands would reach out to mesaying, hey, we like your look.
We want you to be part of ourcampaign.
And then my cousin started abrand called Committee Members.
That was huge.I mean, that really put me on the
map in terms of like, exposure,like my face was exposed to so many
(13:54):
different markets and communities.And then I was working with them
for like three straight years.And I was in all their cookbooks,
all their campaigns.Um, and then from there I remember
I had um, so from there Istarted to book, like real jobs,
like real modeling jobs,like they're paying me to be on set.
(14:15):
I was working with, like,all these different companies Nomad,
cotton, Simons Canada.Um, and it keeps going on and on.
And then I remember this one,um, job I had, uh, it was for,
I think it was for Simons Canada,I think, but either way,
they wanted me to say a line.And like this one little,
(14:37):
you know, spec commercial thatthey were shooting and, um,
I just, I remember I was like,whoa, this is interesting.
You know, this is a differentside of the camera.
You know, as a model, your jobis to create that relationship
with the camera aesthetically,with your with your luck, with your
eyes and just your body languageand your energy. That's what it is.
(14:59):
And, um, I just remember thatexperience being for me being like,
oh, wow. Like, this is kind of cool.And then, you know, I got lucky,
man, I, I self submitted to someagents in Toronto, um, because I
had acquired like a portfolio,I had all this content that I did
just for free, like free work thatI've done for different companies,
(15:20):
or it was paid jobs as well.And then I submitted to like,
all these top agencies and then, um,you know, Bella, shout out to Bella,
the best agent ever.Um, she reached out and she's like,
hey, I like this stuff. Call me.I want to talk to you more.
I want to learn more about you.And then I signed with her, and then
(15:42):
I just started to audition fromthere and just kept going up. Cool.
And for those people who are justlistening to the podcast right now,
you got to flip over to thevideo version so that you can
see Saw Hills, tall,dark and handsomeness here.
See that jawline? Where's the jaw?Let's see the jawline.
The jawline. Yeah, yeah. Yeah.You could cut somebody with that
jawline. Very sharp. Yeah. Oh.That's sweet.
(16:04):
Um, I mean, what was your, uh, whatwas one of your first experiences on
set after I saw you land the agent?Uh, and you start auditioning.
Tell me about some of yourfavorite actual projects that
you've been on set for. Oh, man.Well, 2024 last year was, like,
one of the best years I've everhad in my life.
(16:25):
I mean, I got the opportunity togo to Montreal to go to New York.
I was in Slovenia.I mean, I filmed a commercial.
A worldwide commercial that's airingright now. Um, we filmed in Slovenia.
I was there for eight nights.You know, that wasn't incredible.
I mean, there were so many.Last year was a great year, man.
(16:45):
But, uh. Yeah, I was in Slovenia.It was for a commercial we shot
out there.Um, it was funny because they called
me back three times for that job.Three times. Right.
So I self taped for that.They're like, hey, we like this.
Come to the studio, do it again.I'm right.
(17:06):
I go to the studio, I do it,I killed it, I felt great.
And, uh, they're like, hey, okay,you know, that was great, but can
you come back next week again?We just want to see you one more
time. I'm like, uh. Yeah, sure.No problem.
So I go back the next week and,uh, they were like,
I do my thing, I do my thing.I feel great, you know,
(17:27):
I added like, more to it.You know, as they say,
do do what you do the first time,but also add to a different
dynamic to it. They loved it.And they're like, yeah, um,
you know what?Uh, so just come back in a
couple of days.I want to see you one more time.
And, uh.Yeah, that'd be highly appreciated.
(17:48):
Come back again.I do my thing, and, like, I was like,
this is a lot, like, three times for.For me, that was a lot, man.
Because it's like,what more do you want to see?
It's like, just use your imaginationat this point, you know?
But, uh, after that, yeah, they, uh,you know, I, my agent called me.
Hey, congrats. You booked it.You're leaving in, like, two weeks.
(18:10):
Get ready. And, uh, that was insane.That was incredible, for sure. Yeah.
Those experiences are the best.Where you're like, yeah, get the
driver. You get the plane. Oh my God.Yeah, they booked the hotel.
And just like that's a it's.It was like. It was like next level.
Like I'm talking five star hotel.They flew me out.
Premium, which is one level underfirst class, like, oh my God.
(18:33):
It was like spending money per day.Like it was just it was that like
once you get a taste of the extremeLA's, it's so hard to go back.
You know, like that was an extrememoment for me where I was like, yo,
this is really happening right now,right? You know? Yeah, yeah.
It's those next level momentswhere you're like, oh, this now,
(18:55):
instead of being the outliermoment needs to be the new norm.
This is how I want my life to goall the time. Yeah, yeah.
I've had that experience goingto Dubai, where I went to Dubai
and I was like, oh yeah,this is a whole level of lifestyle,
of wealth, of opulence, of conciergeand technology and finance and money.
And it's just like, oh, this is thisis a whole other level of, of living
(19:19):
here. Um, but yeah, we can talk.I won't talk about Dubai, but I
could talk about Dubai for I should.I should do a full episode just
on my trip to Dubai.It was very inspiring. Good.
So let's get back to you, though.Um, I want to talk a little bit
about process.So, um, obviously auditions are
the way most of us land those gigsuntil you're at the point where
(19:41):
either you're creating your ownmaterial or getting direct offers.
So being able to execute andturn around and shoot a standout
audition in a short amount oftime under a tight deadline where
you present fantastic work isthe key to booking these jobs.
So an email lens in your inbox.What does Sawhill do?
What's your operation?What's your your SOP,
(20:01):
your checklist when you go intoaudition mode? Tell us about that.
Well, um, so it's, you know,it's always the same approach,
you know, to the tape and to,to the audition in terms of I go
through my checklist of what I do.I mean, not everybody learned
(20:23):
the craft of how to audition.Me and you did.
We have the formal training.So, you know, for me,
it's a little bit.I follow a checklist of what I need
to do for that particular audition.And as you know,
each one is completely different. So.But even though it's different,
you still like the mechanics of whatyou're doing is still the same,
(20:45):
you know, so I think I think for me,it's, you know, you receive it,
you obviously read it,you read it forwards and backwards,
understand it.And yeah,
you go through the guidepost, ifanyone knows what the what they are,
there's the 12 guide post thatwe go through, uh, which is the
totter off technique that we use.Um, and we yeah, we use a guidepost
(21:07):
and just, you know, see. Okay.Who am I talking to? What do I want?
What's getting in the way ofwhat I want?
And how am I going to go get it rightregardless of what's the obstacle is.
And when you ask those questions,I think that's really important
because in every scene,as most actors know well,
every actor should know this,but you should always want something
(21:29):
in this scene urgently now, right?You always want something you're
fighting that.You're fighting to get something
right.You're fighting to get the girl
you're fighting to for yourparent's approval.
You're fighting to get that job,or you're fighting to to get your
brother to prove that he loves you.Anything in the scene that it
requires, um, you know, that's whatthat's how you want to approach it,
(21:52):
or that's how you want to see it.Because when you're fighting for
something in the scene that createsthe relationship, it creates a
conflict, it creates the importance,and it just shows that, okay,
you're fighting,you're competing for in the scene.
Um, but uh, that's yeah,that's like a start.
That's how I would start like this,uh, approaching the scene.
(22:16):
But it goes deeper than that.But yeah.
We can go a little deeper, though.The one thing I just do want to
highlight is just the importanceof who am I talking to and what
do I want? AKA why am I talking?Like those two things.
Often when when I'm working withactors, a lot of the times they even
haven't asked those basic questions,or maybe they just haven't gotten
(22:37):
deeper enough where it's likethe answer, who am I talking to?
I'm talking to my wife.Well, yeah, pretty generic wife.
I'm talking to the love of my life.I'm talking to my high school
sweetheart. And she's also the child.She's the mother of five of my kids,
and she's my also my best friend.But right now, we're going
through a little bit of a bumpyroad and we've had some issues.
(23:01):
So she might be leaving, and thismight be my last chance to convince
her that divorce is the wrong.Like all of a sudden that is way
more informed than I'm talkingto my wife. Yeah.
So how can we infuse it withmore love, with more humor.
And then what am I?What are you actually fighting for?
And what's the strongest way thatyou can be fighting for people?
(23:22):
Ask those.Answer those two questions and
answer them deeply.And all of a sudden their
audition is is a lot strongerthan a surface level read.
Is there anything else that'spart of your audition, like
rituals or process? Um hmm. Yeah.So outside of that, I mean,
(23:44):
you know, it's a lot of it'sfollowing your instincts as well,
like following your gut.I think that really helps.
You know, um, it's really importantto follow your intuition because
sometimes you may make a choicein the moment, instinctively that
it's it's so truthful. It's you.Because you're being available to
(24:05):
the moment where, like us, choicescome out that are just so authentic
and they're so true to the to themoment that that might be a choice
that you might want to go with,right? Depending on how you feel.
So but rehearsal is important.You got to rehearse.
I mean, I'm talking like a pro uphere, but I mean, it's a craft.
I mean, this is what you got to do.Um, yeah. You got to rehearse.
(24:27):
I mean,we're rehearsing is so important.
Like, it's it's so important.I I'm shocked at how, like,
I work with actors on stuff and just.They don't rehearse like,
they do it, like, 2 or 3 times,and, you know, they think
they're ready to to shoot it.And it's like that may I mean,
that may work sometimes, but I thinkit's important to really know what
(24:49):
you're talking about. Not memorizing.You're not memorizing your lines.
When people say that I cringe atthat every time, like, yeah,
I'm memorizing lines.It's like, you're not memorizing
anything. You're understanding.You're learning.
You're you're you're learningwhat the what the text is. Right?
It's like you're not memorizing.It's you're you want to do it,
(25:12):
you're doing the text likeyou're understanding the text.
You know the text. So yeah, rehearse.Still like rehearse.
Really work on it. Like play.Play different ways, you know?
You know, do it.You know I if I have.
Like 2 or 3 lines I have, I haveto work on. I'm brushing my teeth.
I'm working the lines.I'm doing push ups.
I'm working on the lines.If I'm at the gym, I'm lifting
(25:33):
weights. I'm working on the lines.It can be like anything, right?
It's like you want to get the linesin you so that when the camera comes
on, it's, it's it comes out as it's,you know. Yeah. Yeah.
I want to highlight two thingsyou said there just for,
for our audience.One is just, it's it's part of the
reason that I really love acting.And I love the craft and I love
(25:54):
the continual mastery of itbecause it is this like,
it's it's it can be a little elusive.It's a bit of a paradox too,
because it's on the one hand,rehearse, rehearse, rehearse,
rehearse, rehearse.And then on the other hand, then
when it comes time to performance,Let all the rehearsal go so that
it needs to be.The illusion of this is happening
for the first time, which we needto be present in that moment.
(26:17):
Speaking to what you said aboutbe open to your instincts,
little happy accidents,things that just are you surprise
yourself where you're like, oh,I wasn't even expecting.
I was so like in that in the now,like it was a real thing I was living
in rather than, this is number 500 ofof saying it exactly the same way,
(26:38):
which also speaks to what you saidabout the dangers of memorization and
that, that, um, that lends to ourtraining with Tom of memory being
a swear word because memorizationis all intellectual right there.
And being a human is not justyour head, it's your heart,
and it's your hips, and it's beingan actual full blown human being.
(27:01):
Uh, so I love that.Um, but it's the challenge.
It's like rehearse so much soyou know it inside and out,
so that then you can let it allgo away. Yeah. You can't.
I find where I get stuck sometimes isin that middle part of rehearsal
where if if it's fully improvised,then I feel free.
(27:22):
If I've rehearsed it a million times,then I feel free.
But if I'm in the middle where I'veonly rehearsed it a few times,
I'm not fully improvising andI'm not fully present.
Yeah, and I'm also not sorehearsed that it's in me.
So you get in,you get stuck in those traps of how
you're thinking about the lines,which is the last one I'm thinking
(27:44):
of while you're while you'resupposed to be just being a human
being under those circumstances.So that's what makes this craft
so challenging.Is sure, it does demand that that
amount of rehearsal and the peoplewho succeed are the people who
rehearse the shit out of things.And it's not just rehearsal like
saying it the same way over 500times.
(28:05):
It's asking all those questions.Doing your text analysis.
Uh, yeah. Different ways.Uh, so that you're really playing
and then eventually landing on,uh, an audition performance.
So thank you for bringing thatstuff up.
Anything else you want to say aboutpreparation process rehearsal?
(28:26):
Um, yeah. Just know your stuff, man.Don't be.
Don't walk in the room and getembarrassed and ruin an opportunity
that was meant for you,because that's just the worst.
And I shared my story earlier.I'm telling you, people,
if you're not prepared,like that can be the end of,
you know, the jobs that you getfrom that casting director.
(28:49):
You know, they'll remember you like,oh, well, this guy wasted our time.
This, this, this lady wasted ourtime just being here,
just not knowing what she was sayingand what she was doing. Um, yeah.
Don't put yourself in that position.Yeah. For sure. Don't do that. Yeah.
It's like I mean,in my intro I talk about standing
out for all the right reasons.You don't want to stand out for
(29:09):
the wrong reasons.It is first impressions.
Now, eventually that castingdirector may have you back,
but if their first impression ofyou is an under-prepared or what
they might lump in the amateur sideof things in a craft where there's
so many professionals and trainedpeople who take it so seriously,
then yeah, you don't want to getthat amateur pile.
(29:32):
And lastly, it's like,it's because it's so meticulous,
like every one little mistakecan cost you the job.
And I've seen situations where that'shappened, like I was, for example,
to a quick story, um, I have afriend who's a casting director
at Ground Glass Casting, which isI'm sure you've heard of them.
They're great. They book a book.They book a bunch of like,
(29:52):
TV network television series andlike, film, whatever.
So I just sat in with this oneaudition because my friend said,
hey, come in, come,come see our experience.
I was like, sure, I was flatteredto be invited in the room.
So they were casting for a playat the Bygone Theatre in Toronto.
And this, like, this girl camein and before she came in,
(30:14):
all the producers were saying,hey, look, we want like, we like
this girl. She's coming in, guys.She she might be the one.
Everyone watch closely and, you know,let's see what she could do. Right.
So she comes in the room and Icould see right away why they
were looking at her.Aesthetically. She looked great.
She her fit was amazing.Hair was done. Nice.
(30:37):
And, uh, there was one particularline that she had to say, um,
in this little monologue.And I remember the line was, um,
the Queen was moving swiftly on ourstage. Right. That was the line.
She came in saying the Queen wasmoving swiftly on our stage.
(30:59):
On our stage and then our.And then the CD was like, hey,
okay, so do it again.But it's the word is pronounced our.
So think of all the words that haveour and and our devour flowers.
Right? So say our, not our.So she's like all right cool.
So she comes in and she will notshe's there.
(31:21):
And then she says it again and shegoes, the Queen was moving swiftly on
our stage. She forgot the note again.As soon as it was over they were
like, okay Katrina, thanks so much.Have a nice day. All right?
And I knew that that was it.They were not going to call her back,
right. And they didn't.They went with someone
completely different.So it's like,
(31:44):
know what you're saying?If you mess up,
if you mess up even one word,they will remove your consideration
right then and there for that oneword that you mispronounce because
they don't have time to teach you.They want someone who's ready to
rock tomorrow night.You know what I'm saying?
Tomorrow. Maybe a couple of days.They can't hold your hand.
(32:04):
They'd be like, hey, um,can you rehearse more?
Work on the text a little more.Pronounce this properly.
They want someone who's ready to go.So it's like.
That's just an example of, like,why you should always be ready.
And that taught me a big lesson,too. One word. It was three letters.
She's supposed to say power. Yeah.She kept saying arm. It's like.
(32:25):
Well, and in that example, it reallywasn't the mistake initially.
It was the inability to incorporatethe note that that that was the doom.
That's what doomed. Yeah.Yeah, yeah, that's a great example.
I mean, it's so specific.And sometimes actors take that
for granted.They take their voice and speech
and diction, and everybody in theaudience needs to hear every word.
(32:47):
They can't press pause andrewind and be like,
what did she say there? Yeah, man.Looking around to the like,
I don't. I'm lost.I don't know what the hell is
going on. That's a great story.Thank you for sharing that now.
Um, I'm really excited because, uh,recently you've joined our team
here at Actor's Audition Club.Uh, as one of our coaches,
you've been helping people inthe studio here in Toronto and
(33:09):
also online virtually.Uh, tell me, first of all,
why you wanted to do that?I put out the call on social media
that we were looking for new coaches.You were the ones.
One of the ones who answered.I was pumped when I saw it.
But what's exciting you aboutdoing this?
And why did you choose to jointhe team? Yeah.
I mean, you know, as someone who'salways auditioning, like, a lot.
(33:33):
Gratefully. Um, I know, I love that.Like. Thank God.
I mean, I have no idea what elseI would be doing with my time,
but I'm always auditioning,so I have I mean,
I actually have the experience,and I've acquired the tools to
to audition and to do, you know,to do my best in, you know, for a
(33:54):
cell of tape or for an audition.I think that, um,
I feel like actors don't havethe same tools that I have.
They don't have the sameunderstanding.
So it's like, I want to help outif I can in some capacity.
And I'm still learning.I'm still growing.
I'm not like Denzel Washington.But, you know, I've been doing
this for like three years now.So I've acquired some experience and
(34:16):
some some, you know, like a craftwhere I think it'll be beneficial for
actors who are either up and coming,they're already working actors.
Um, that's why, you know, and alsojust the setup that you guys have,
I think it's an amazing setup.You guys have the zoom option,
the in studio option.Um, and I was like, wow, you know,
(34:38):
this is perfect. Like, why not?I'm also I'm already helping out
actors pro bono, you know,on my own time. Actors.
I have so many friends, you know,who call me all the time saying,
hey, I need your reader.I need your reader.
Can you help me out?I'm like, yeah, sure.
So I was like, hey, why not?You know, do this, uh. For real?
Yeah, man.Um, can you you've you so you've
(34:59):
you've done a few.We just brought you on a couple
of weeks ago.Um, tell us some experiences and
and what you like.You don't need to mention any
projects or names, but, like, how doyou how do you specifically help an
actor or what's your mindset in.Okay, um, because our job is like,
oh, hang on one second. Yeah. Uh.My back. Yeah. Can you hear me?
(35:22):
Okay. Yeah, I can hear you.Why am I not hearing you keep
talking. Yeah, I can hear you.It's great.
So what I was saying is,as a coach, it's not our job to
help them reach perfection.We don't be the be all and end all.
It's just the actor comes in here,uh,
and I'm making a motion with my hand.Um, and we want to get them to hear.
(35:46):
And I'm making the motion of alittle higher. So it's.
how can we unlock something?How can we help them find a
moment that maybe they didn't seesomething in the text analysis?
Can we help them humor some love?Can we help them with a moment
before with a button?Can we help them with something
physical?Uh, what's what's your outlook
when you're working with an actor,how do you how do you help them?
(36:09):
Yeah, I mean, it's all those things.I mean, you know, and it's just
it depends on the coach, right?Like, the coach has a big has a
big deal on, um,how the audition will go,
because it's our job to see thingsthat the actor doesn't see. Right.
It's our job to see and tohonestly also like, um.
(36:31):
Yeah, to help them make thestrongest choice for that
particular piece of work.And I think, yeah, for me,
it all depends on how preparedthe actor is. Right?
With the actor's audition club,thankfully,
everyone is always 100% prepared.So in that case, I want to see
what choices they already have.What what how they're seeing
(36:53):
this scene, how they want to goabout this particular tape.
So I take that in considerationfirst because it's their job.
They want to book it.They may have an idea of what they
want to do. And that's important.So once I hear them out and I
understand how what directionthey want to go, um, yeah.
You know, we'll do that.And then I think, I think it's
(37:13):
important to just be just reallybe present with them. Right?
Like be in the room with them,not just physically.
Like, you really want to followwhat they're doing and see how it
could be stronger and that's it.That takes skill,
that takes doing auditions overand over and over again,
either as an actor or as a reader.So I think, I think that's the
(37:36):
most important thing.Like, you really have to be present
in the room with the other talentthat's there, because your job
is to help them book that role.And it's like you,
you want to find things that theypotentially may not have seen.
And if you can do that,that's a gratifying feeling
because they'll let you know.Oh, wow. I didn't think of that.
(37:56):
Oh, that's that's interesting.You know,
so I think that's important.That's the most that's one of
the most important things.But um,
it is deeper than that as well.But I think that's the biggest
takeaway.Like be present to what you're
saying and be available to themoment as much as they are.
Because if you're not,if you're coming in with, oh, yeah,
(38:16):
I'll make him do it like this,he should probably do it like this.
I mean, I don't know how effectivethat is as opposed to being more
open and just available. Right.Yeah. Right. Yeah.
At the end of the day, it's theiraudition. It's their choices.
And so it's how do we unlockthings that that they bring to
the table that are alreadyunique to them versus I think
(38:37):
you should do it this way.Like, I'm not the director, Joe,
or the director of the thing.I'm just helping them showcase as
much of themselves in a in a positiveway and as a strong way in the
audition so that they can increasetheir chances to book in the role.
Um, but that's not a right or wrong.It's like, you know, our training.
It's not right or wrong.It's weak or strong.
(38:57):
Uh, and clearly you can you can lookat two versions and be like, oh,
this second version is stronger.Is it right or wrong?
Is it what? Quote unquote.They want. Who the hell knows?
But you can watch something with atrained eye, uh, and be like that.
Take is stronger than that.It does a better job of telling the
(39:17):
story, or it's a stronger moment.Um. Love that. Uh. Anything else?
Um, any other advice toauditioning actors?
Any other things that you're excitedand looking forward to helping
them with? Um, you. Know. I.Just I'm just so it's so interesting
for me to just see how they prepare.You know, I,
(39:38):
I love I love seeing what actors,how they think about their actual
audition, you know, because for me,I'm always auditioning myself.
So it's like I want to get intothe minds of other actors as well
and see how they approach it.And that, for me, teaches me so much,
like, so much like now I sort ofunderstand how to work in terms
(40:01):
of for my own acting craft.It took me a while to get to this
point, but I have, you know,a system that I follow and it's like
it's it's cool to see what whatother actors do because that can
teach you like, what they like.They may say something or they
may talk about a particular, um,rehearsal technique that you may
(40:22):
not have known, and then you canincorporate that into your craft
and just things like that,but also just the impact.
I mean, like, like the last person Icoached with the, with the club,
um, like, he was so grateful,like he was like, oh my God,
I didn't see that choice.That was a great choice that you
that you like.Thanks for making that choice.
I was like, yeah man,no problem. That's why I'm here.
(40:42):
But that's a good feeling too.I really like that when they when
they see the value and what you haveto offer. Yeah, that's that's huge.
And and really the importance ofcoaching I want to make this clear to
all of our listeners is some again,sometimes people are like,
I can't pay to audition.You're not paying to audition.
You're paying for insight andcoaching outside your own brain.
(41:05):
And what coaching is in any industry,doesn't matter whether it is
sports or business or acting.Coaches help you see your blind
spots.They help you see things that
you didn't see.It's the idea of one plus one
equals three.A collaborative mind is going to
create things that that one personcouldn't create on their own.
(41:26):
So when you have that outside eye,especially when it's someone who's
trained not only as a trained actor,but their their training as a coach
and improving their coaching skills,that's so different than your
untrained neighbor,or your spouse or your or your uncle.
You're like, I just this is mymy plea to actors out there,
(41:49):
and don't listen to this.If you don't want to listen to
this and just let other peoplebook the roles.
But if you're always relying onsomeone who has untrained,
and if you're taking any kind ofnotes from someone who has no acting
training, no directorial training,no storytelling training,
I think you're you're leavingpotentially a lot on the table.
You're leaving so much on the table.I'm worried about the table.
(42:11):
The table might fall down andthe legs are going to collapse.
Versus when you work withsomeone who's like, if your
spouse is a is a trained actor,then great, keep doing that.
However, sometimes the issue isam I getting a note here?
Is this an actor or director noteor is this a boyfriend girlfriend
wife husband note that I'm getting?Uh, so sometimes, even when they
(42:32):
are a trained actor, it's tough todecipher, but just the importance
of investing and and again,to invest in a coach for an audition.
You're not paying to audition.You're paying and investing in
yourself to unlock things inyourself, much in the same way that
you get better results when you go tothe gym, when you have a trainer
pushing you a little harder andgiving you that the actual technique
(42:55):
and the proper way to do things.Biomechanically or do you get better
results when you just do it on yourown and you watch some free YouTube
videos? Um, everybody can do that.So, um, that's why we exist,
that Actors Audition club.That's why we've since 2017 helped.
I think I think we're up to,like, nearly 6000 auditions that
(43:16):
we've helped run, um,helping actors book lead roles in TV,
film, theater, voiceover,commercials, all those things.
So, uh, the final words for, uh,for actors out there.
Uh, final words for them.Some aspiration.
By the way, I just want to say Ilove your last name.
It's one of my favorite last names.Your own name? Doll Hill 000.
(43:40):
I love in my head.You don't know this? Maybe.
But in my head,I'm always saying. This is Irv.
Stir. This is Irving, 800.It's so funny. Yeah, man.
It's like. Yeah, it's actually my.Our family is the only family
who has that last name.Uh, and to be honest,
it's because my grandfather,he was a singer in Punjab,
(44:02):
where I'm from, a classical singer,and he's from a city called Zaira.
Zaira?So they just call, oh, there's oh,
the Xabi, the Xabi guys here.So like it just became like a thing.
So that's how we got that name.But anyways, um, advice for actors.
That's so funny. Yeah.Tips, inspiration and the way
(44:24):
you tell your younger self toknowing what you know now. Yeah.
I mean, I'm still learning every day.I don't know everything. Anything.
Um, you know, I'm still.I love this craft so much.
So I'm still working and learning.But I would just say just just,
you know, make sure you love it.Make sure you love it.
(44:44):
There's a lot of rejection, man.You know, another day,
another rejection.So make sure you love it because
it's not easy in terms of, uh,how you how they make you feel.
You know, you may think you're rightfor something and you killed that.
You smashed it in the room,but they didn't pick you over
the smallest detail.And you have to be okay with that.
So I think that's the biggestthing if you if you're if you're
(45:06):
good with that,like that's going to help you a lot.
But you know, it took me it tookme like a year to learn that.
Like the first year I was like,damn, I'm not booking.
What if you stay with it and like,you believe in yourself and you love
the craft, you love auditioning,then you'll be then it'll it gets it
gets more, uh, rewarding. Well said.All right, we're going to wrap it up.
(45:30):
We're going to bring this, uh,podcast ship back into harbor here.
I want to thank Sawhill for joiningus today, sharing his unique
audition experience and his journeyand valuable insights with us.
Make sure you can connect withSawhill as Instagram.
The best place? Yeah for. Sure.That's s v, that's S dot,
(45:50):
Z or Z depending on where you are.Z I r v I z.
We'll also link it up in theshow notes.
If you are a professional oremerging film and theater actor,
maybe your director,a casting director, a producer
making bold moves in the industry.We do interview industry pros at
every stage in their journey soyou can share your practical tips,
(46:14):
your wisdom, your inspiration,and you can actually apply to be
a guest on a future episode byvisiting inside the audition.com.
Once again,that's inside the audition.
Com and one more time, I want tojust, uh, really Reiterate that
mastering powerful monologues isthe most effective way to showcase
your talent, to attract audiences,to attract agents,
(46:36):
casting directors, and ultimatelyland your next lead role.
And you can get started with themonologue of the Month Club by
going to Monologue Club. Com.All the information on how to start
there, and remember that everysingle audition is an opportunity
to showcase your unique talent tothe world, and it may land you
your next life changing role.So when you want professional
(47:00):
coaching available seven days aweek from anywhere in the world,
you can visit Actors audition.com.Sawhill is one of her coaches.
I'm one of the coaches.We've got a whole team of coaches
pretty much on standby to help youwith your TV, film, commercials,
voiceovers, theater roles.We'll help you shoot a standout
audition in less time and ultimatelybook your next lead role.
(47:22):
Thanks for tuning in.We'll see you next time on Inside the
Audition. Goodbye. Goodbye. Goodbye.
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