The Equity Magazine

Inspiration & Information — For & By Performers.

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COMMERCIAL BREAKS

Equity
The Equity Magazine
4 min readDec 18, 2024
Nicola Coughlan and Julian Curtis in a Bridgerton themed Uber Eats ad

Let’s be real — making a commercial self-tape is a chore. Tight turnarounds, pages and pages of copy, video instructions that straitjacket creativity and wide call-outs make it feel more like a lottery than a serious opportunity. But I’m here to tell you: do not lose sight of the upsides.

Firstly, these are some of the most lucrative opportunities in the business, genuinely valuable as residuals disappear along with network television. Secondly, they can be gateways, with many local casting directors also in charge of your favourite shows. Finally, the right performance in the right commercial will not only appear on TV but also in print, on billboards, TikTok, IG. On my last campaign, I came across myself on a tram! Hit commercials will have you seen by a far wider audience than your dream state theatre role or a juicy guest part in that prestige series.

Understanding the product
Before you launch into the copy, you need to understand the brand you’re being asked to represent. An appreciation of the context in which your campaign exists might improve your success rate, too. Is this advertisement intended to break a new audience? Is it a social justice campaign? Is the brand upgrading itself in the public eye? In the internet age, this information isn’t difficult to find, especially for larger brands.

On a more superficial level, what are the colours, is there a consistent performance tone running through previous campaigns and what type of actor does the brand tend to choose to represent it?

Function + story
Once you understand the purpose of the campaign, knowing how the story and your function within that is the next step. For instance, a mid-range car is debuting a high-end model. The hero is likely doing the heavy lifting in terms of adding prestige or sexiness. That’s a hint on how you need to present yourself and energetically interpret the copy.

Another example: that same car company is releasing a new feature, aimed at solving a specific consumer issue. In that case, you should pitch yourself at the traditional customer whose life improves over the course of the 30-second spot. Just like your film and television work, you must start the spot differently to how you’re going to finish. Hunt for the turning point and make sure you interpret it in concert with the campaign’s focus.

The decision makers
Yes, the CD and the spot director have a say in your casting, but it is ultimately in the hands of the advertising company and the brand representative. If you have been on set for a commercial, you will know there is a tent set up wherein the director and producer regularly report. The casting process is the same.

Remember when you are putting together your tape, you are pitching to those who don’t necessarily live and breathe this stuff. The more you can bring it to life and show the team exactly what they are going to get when they hire you, the better your chance of making an impression. For example, if you are auditioning for cycling instructor in a spot, you are more likely to get a callback if you can get your hands on a stationary bike. This is especially important when you see that pesky “looking for real people” note.

US market
I have had a lot of experience in the US market and been part of many major campaigns. The traditional passage for international actors is to start by getting a manager, but I would argue you should find a commercial agent first. It is the easiest representation to obtain — sometimes you don’t even need a reel — and one SAG network commercial can pay between $40K and $60K. That’s certainly a lot of freedom in what is a very expensive market to navigate.

Julian Curtis is an actor and acting coach. As a coach, he has been staffed by NIDA, QUT, Toni Higginbotham Casting and AAFTA. Julian’s private clients have booked work for Netflix, ABC, CBS, Lionsgate, Screen Australia and Sydney Theatre Company. Contact him via Instagram @coachmeJC where you will also find open calls in stories.

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The Equity Magazine
The Equity Magazine

Published in The Equity Magazine

Inspiration & Information — For & By Performers.

Equity
Equity

Written by Equity

The largest and most established union and industry advocate for Aus & NZ performers. Professional development program via The Equity Foundation.

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