So -----------Did you ever think when you walk into someone's studio, classroom, workshop, office, theater, etc., for an interview, audit, audition etc.; that YOU are being appraised as a potential client? Yes, client. For I consider the people I choose to work with, clients, not students, clients. I am a peer who, through training and experience, has achieved a level of knowledge that, for a price, I will share with you. Just like a doctor, lawyer, accountant or any other professional. And I am just as concerned that you will eventually be representative of me to the agents, casting directors and directors who will see my name on your inflated resume and call me for my opinion of you. So, here are a few things I look for when you come to me for help.

1. BE ON TIME! In fact, BE EARLY! Nothing, nothing, nothing, nothing, nothing is more insulting than being late to an appointment, audition, interview, etc. It's basically saying to that person, "You are not important. I am so self-involved that I don't have to consider the fact that you may have another appointment or even a class to teach," as one woman found out and went away miffed when I couldn't deal with her and chose not to keep the 20 people who paid for my time waiting. Unless you're a big, big star, if you're late to rehearsal, performance or to the set when they need the light, you'll be dismissed. Or, as I unfortunately found out when I was 15 minutes late for a national commercial callback and didn't have the sense to call the casting director, THE CLIENT WENT HOME!! This attitude transfers itself to that person's dealings with the other members in the class, workshop, cast, etc. Eventually, nobody wants to work with them because they hang you up and waste your money.

The message you send is you're 'undependable.'
The message you send is you're 'unreliable.'
The message you send is you're 'unprofessional.'
THAT is the message you send.

2. When you call for an appointment, leave your name and phone number slowly and clearly. Spell your name if it's unusual. 'Mary Ann' has a dozen spellings. And leave your last name. This is not a bar, nobody's trying to pick you up. Since you want to become famous, use your whole name, numbers and when the person might find you in.

3. At the initial interview I will ask, "What do you expect from a teacher?" It's amazing how many respond with, "I've never thought about it." Some will say, "Support." I tell them, "That's what you get from a parent." "Inspiration." "That's what you get from a priest." "Motivation." "That's what you get from yourself." When I see that a person has been to 4 or 5 different known teachers, I sense that they might not be clear about their needs. And you don't have to like your teacher. I didn't at first, but I liked what he taught and it was what I needed. End of story. Have you taken the time to figure out what's missing in your technique or looked up the background of your teacher? Best answer so far, "To know what you know."

4. I then ask (even older actors), "Why do you want to act?" "Why do you want to be in, or continue in, a field where 85% of the people are out of work at any one given time?" I don't expect a specific answer, but I expect an answer. I want to hear that you have at least 'thought' about it. Do you like 'acting' or do you just like the 'idea of being an actor'? While every interviewer has their own techniques for evaluating potential clients, these four tell me more about you than you realize: your work ethic, your expectations, your motivations and whether you're approaching this as a business or a hobby.

Ed Kovens Artistic Director, The Professional Workshop Former Founding Staff Teacher, Lee Strasberg Theatre Institute Member of AEA, SAG, AFTRA and Society of Stage Directors and Choreographers