Cold Reading Guide for Actors

Even veteran actors get excited when reading new material. Below are some important reminders for actors, things you probably know already but should review so you won't forget in the excitement of the moment.

1. Sit Together. Sit next to the actor you will be speaking to the most. The narrator should sit at one end of the line of readers. Next to the narrator should be the leads. Then the actors with smaller roles. The actor with the least lines should be at the opposite end from the narrator. This layout avoids collisions when actors rise to read and interract.
2. Name Your Fame. Just before the reading we have the actors introduce themselves to the audience. This is your chance to give yourself a little self-promtion. Briefly give your name, the name of your character(s), and your fame. Be prepared with some positive news about your acting career. Your fame could be a role you played or are about to play. It could be that a television program, a film or play you are in that is opening. Or, you can describe a great audition you had, a class and teacher you really liked, a specific type of role you're currently looking for, a passionate insight you had recently as an actor, or anything else that sets you apart as an actor. Don't talk about your personal life unless it's huge news such as announcement of your engagement or a new child. The goal in naming your fame is to be remembered as an actor, to gain opportunities.
3. Stand and Deliver. Stand when you say your lines if that's what the character would be doing. Don't stay in the chair unless the character is supposed to be seated. The narrator remains seated.
4. Heads Up. Deliver your line to your scene partner. Don't speak it into the page. Think, "ready, aim, fire". Look at the page, memorize the line, look at your scene partner, say your line. If it's a long line it's ok that you have to pause to look at the page to memorize the next phrase. If your character would be looking the other person in the eye that's how to deliver the line. It's ok that it takes time for you to pause to get the next line.
5. More Pauses. One minute of screen time per script page is the industry standard. We time the readings at ScreenplayLab. Actors are reading 20% faster on-the-page than when they would speaking the same material memorized. Resist the natural tendency to try to speak as fast as you can read. When performing off-the-page actors will pause for effect. Don't forget to pause for effect when reading. Going too fast can throw off comedic timing. And, don't let your timing get thrown off if another actor is reading faster. Speak at your pace, not in a race. If you trip over your words or skip words that's a clear indication you're going way too fast. Take a breath. Slow down.
6. Action. Do some action in the pause. Touch your hand to your face in thought, point, scratch your arm, touch the arm of an actor you're interacting with, look at other actors in the scene as though deciding who to speak to next. Don't just read the lines unless it's V.O.
7. Don't Just Act, React. Get outside your own head. React to your scene partners. Believe them. Be in the moment.
8. Be Funny, But Not a Comedian. We do a lot of comedy readings, and even dramas have comedic moments. Comedy can be particularly challenging for actors. The difference between an comedic actor and a comedian is that an actor is funny and believable, but a comedian is funny and unbelievable. Be believable. Be funny because the script is funny and you're true to it. If you need to prove that you are funnier than the script then (with permission beforehand) add some clever ad lib. Don't mug your lines by going "over the top". The audience may laugh at your clowning, but you won't be remembered as a good actor.
9. Stay Focused. It's the director's job to direct you. If he has a suggestion he thinks will help he should interrupt you to tell you. Don't let it throw you if the director stops you during reading. It isn't intended as criticism. The director is trying to help you give your best performance.
10. Read. Writers are rarely as concerned as acting teachers are that your reading be verbatim, but if you're sloppy or try to rewrite the script the writer and director will get annoyed. If you make a mistake reading a line that would confuse the audience then go back and get the words right. If it doesn't really matter, continue on as though it didn't happen.
11. Call Me. If you character speaks on a telephone (and you don't have a prop phone) simply hold you hand in a fist as though holding an invisible phone. Don't stick out your index finger and thumb in the shape of a phone as though doing shadow puppets. If you do something funny with your hand it's distracting to watch.
12. Teamwork. A screenplay is a collaborative art form. Don't unilaterally make a "bold choice" in how you interpret a part. If you want to "go for it" then tell the director first that you're going to try something a bit out there and to please stop you if it isn't working. If you're really funny and would like the freedom to improv some ad lib ask ahead of time.
13. Merci Buttercups. Give yourself an escape clause on character accents. Unless you know an accent cold (for instance, the character has a French accent and you speak fluent French), you should ask the director ahead of time to stop you if your accent doesn't quite work and to have you read it straight.
14. One Sharp Cookie. Always try to ask just one insightful question before starting. It can be as minor as asking how a particular word is pronounced. The director will think you're on the ball, a professional. Don't ask a bunch of questions (unless the script has lots of foreign words). The director will think you're unprepared or a high maintenance actor too inside your head.
15. Be Ready. Arrive 15 minutes before the reading starts. You aren't expected to have printed or memorized the script. If you need a printed script ask for it as soon as you arrive. We always print a script for every actor whether you need it or not. Do bring your own highlighter (someone else will need it if you don't) or your copy of the script if you highlighted it already. If you're delayed or suspect you could be delayed call the casting director to say where you are. Doublecheck our start time, make sure it hasn't changed from the last time you read for us.

Tips for Narrators

1. You're Important. The narrator reads the non-dialog part of the script -- the description and camera direction -- but you still need to be an actor. The narrator sets the pace and tone. Like the drummer in a band, the whole group depends on you. And like a drummer, you remain seated although others stand. Narration is an opportunity to demonstrate poise.
2. Tell Me a Story. Keep it conversational and story-telling. Don't read the scene headings word-for-word. They're camera directions that will never be heard spoken in the film. For example, instead of saying, "Interior, warehouse, night", say "We're inside the warehouse at night".
3. Have Fun! The narrator has the most flexibility in reading because unlike character dialog you aren't expected to read word-for-word. Tedious narration can bog down everyone. If there's excessive description (because the writer wasn't concise) then condense it the best you can as you read it. However, as with any bold choice, check with the director beforehand.