Jeneffa Soldatic: Acting for US Film and TV
Ahead of her upcoming masterclass High Stakes: Acting for American Film & TV, we spoke with Director Jeneffa Soldatic to get her perspective on how actors can prepare for the competitive American screen industry. A director of a number of award-winning short films, Jeneffa has also directed stage productions, and served as an on-set and private acting coach to accomplished international, award-winning actors on Emmy and BAFTA-nominated shows.
You’ve coached actors on Emmy and BAFTA-nominated productions, what separates a good performance from one that really stands out on camera?
A connection to “why” what is happening in the scene is important to your character. It is the difference between someone who has memorised lines and someone who is using the lines to get something that is important to them. When the “why” is completely embodied, the actor will then have the space to discover and play the nuance of the scene. This can be difficult to do when the audition material is minimal, which it usually is.
What’s something about the U.S. screen industry that might surprise Australian actors?
The most surprising thing I saw was on my first day at Paramount… An actor was fired by the studio before lunch. By the time lunch was over, they were replaced by new actor who was on set and ready to work. Totally wild! And all because the actor couldn’t take notes (there are a lot of notes when working on big budget studio shows), and therefore was holding up production.
What’s a common mistake you see actors make when auditioning for American film and television?
Forgetting that there’s more than just the words on the page. US auditions have a really fast turnaround. Actors who panic about the lack of time will focus and stress only on the words, and therefore forget to explore and discern what the scene is about. In the US you’re not expected to be word perfect, though it’s appreciated.
If you could give actors one piece of advice before walking into an American audition room, what would it be?
Relax. Connect to yourself, the piece and the casting agent. My old friend Phil used to say, the audition is the job. You’ve been hired for 5 minutes. Go in to do your job and do it well. If you’re called back, that’s another job. He worked a lot, not only because he was uber talented but I feel this attitude allowed him to relax and let his instrument “be” and perform.
This is an advanced, intensive two-day course. What kind of transformation can actors realistically expect by the end of it?
The depth of emotion, and the breadth of imagination, that you will access in the 2 days will surprise every actor who attends. With your talent, concentration and will get ready to be surprised by your work in preparing, and doing, difficult audition scenes in a very short amount of time.
What would you say to an actor who’s yet to enrol in this masterclass?
This masterclass will be a weekend that will stretch you and re-ignite your love of our craft, especially if you’re feeling a little sluggish. You will be reminded how amazing your instrument is, why you love this craft and how you are always ready to play when any audition comes your way. It will feel like a hard yet rewarding day at the gymnasium of acting.
Find out more about NIDA Open’s Masterclass with Jeneffa Soldatic, High Stakes: Acting for US Film & TV and enrol ASAP to secure your spot.
