I have had the great pleasure of witnessing three of the best auditions I’ve ever seen, all within the past two months. Well, technically, two were auditions and one was a pitch, but still, some amazing choices, great work. I was talking about the common element (beyond excellent acting, of course) and realized it came down to physical choices. Subtle, but specific, physical choices took great auditions to the level of exceptional.

The first actor was doing sides in which he would have to remind another character of his character’s name. A two-syllable name. The actor gave the reader time to struggle with remembering the name, as all auditioning actors did, but then, when this actor said his line, reminding the other character his name, he matched the rhythm of his two verbalized syllables with a tiny little bob of his hands. The pace was the same, the physical emphasis matched the inflection, and it was absolutely something this character would do, without thinking.

The second actor walked into the room for the audition and his belt buckle was off to the side by a half-inch. I know this actor, and I know he would never NOT line up his belt buckle with his fly. The line of buttons on his shirt, the fly of his pants, the belt buckle, they would all be lined up. Because he’s that kind of guy. But this character was not. And this brilliant actor made a tiny — imperceptible to most observers — choice. It was something this character would do. It was exactly right for him, and the actor chose it.

The third actor is a friend who has a very successful acting career, and who has recently been invited to teach — like I have — at colleges and universities. He asked if he could take my five-week seminar in Self-Management for Actors and soak up as much as possible about the curriculum, for his forthcoming teaching gigs. “Of course,” I said. He’s going to bring some wonderful things to these college kids — and from a point of view I do not have, that of a very well-known working actor — so, of course, I will share my toys.

While he spent time in class making notes about the topics so that he could teach them, he also participated in all of the exercises, as an actor, and that was very cool for him, for me, and for the other creatives enrolled in the seminar. So, when it came time for Pitch Clinic, he took the stage and began his minute on, “So, tell me about yourself.”

It was funny. It was real. It was — as you’d expect from someone who works a ton in this town — brilliant and confident and filled with exactly the essence of “how to cast me” that we’re all hoping our personal logline delivers. But there was this moment within the first few seconds that the actor took, at a very small pause, to reach up and scratch his chest clumsily and lazily, seemingly without thought, using his middle finger. It was slow, weird, and 100% on-brand for the exact characters he always plays.

The move was on purpose. The move was NINJA.

Most actors have tics or tricks or little things they do that are personal habits they don’t even realize they’re doing. The difference in those and the mindful, chosen physicality elements that make up a character is a detail that may not feel like it makes a big deal, but it’s seriously bookable.

What are your ninja moves, when it comes to on-brand physical choices? How have you worked out your unconscious tics (or, better yet, empowered yourself to USE them, smartly)? Comments are open below! Weigh on in, y’all. 😀

Bonnie Gillespie is living her dreams by helping others figure out how to live theirs. Wanna work with Bon? Start here. Thanks!

Originally published by Actors Access at http://more.showfax.com/columns/avoice/archives/001422.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.