Ivana Chubbuck is the Hollywood acting coach behind some of the most acclaimed, Oscar-winning performances of our time. Here is what she teaches actors about auditions.
Many actors think the casting director, director, or producer is there to judge them. But the reality is the opposite: they are just people looking for the best actor, because your success is their success — they want you to be the one.
So the real question is how to present your best work. These are the principles Ivana Chubbuck teaches in The Power of the Actor, and the way I prepare actors to use them.
Ivana Chubbuck's advice for actors, from The Power of the Actor.
Following the twelve steps of the Chubbuck Technique, do script analysis with enough detail to trigger an organic performance. Don't be lazy. Prepare! Hard work pays off in every aspect of your life.
Paper-pleasing is like people-pleasing, but it's about pleasing the script. It means following the instructions written on the page, or making choices based on how you think the casting director wants to see you perform it. It rarely works — it comes off as needy and uninteresting, and lacks the specialness that your authentic self can bring.
The actors who bring their authentic selves to their choices and go after their objectives in an effective way generally get the job. Be yourself. You are unique — there's no one else out there like you.
As an artist, you have the freedom to cross boundaries, take risks and think outside the box. Speaking of which…
Physicalize. Choose highly triggering inner work when doing your script analysis. Take chances; don't play it safe. Feel comfortable to physicalize — not miming the behaviour described in the script, but don't be afraid to be visually expressive. When you listen, make strong choices so that behaviour is allowed to emerge.
When directors or producers show me the tapes of the choices they've made for casting, they almost always explain why they chose those people by telling me to watch their behaviour, or to watch how they listen with strong inner monologue (which creates behaviour). It's rare that they mention how the actors said a line.
As an artist, you have the freedom to cross boundaries, take risks and think outside the box. Charlize Theron's career is a perfect example — when she auditioned for The Devil's Advocate, she was too young, too pretty, and not the typical American type, with thin credits and stronger competition. But she made bold, personal choices that made her a force that could not be denied — and she got the part. Her career has been filled with bold choices, and that's part of the reason for her iconic success. Don't be afraid to take risks.
A last thought encourages casting directors, producers and directors wanting to see what you'll do next — which they will find out only if they cast you. They stop believing you're the character if you just drop out at the end of the scene, generally when the dialogue is over.
The last thought enables you to continue the character's journey from a strong inner monologue point of view. It helps the people who have the power continue to believe you are the character, and thus they will be more likely to want to cast you.
This is exactly the work I do with actors in private audition coaching. Below is how I prepare you, step by step.
This is the work we do together, step by step.
We start with the character's story. What does this character need? Why do they need it — what is the motivation behind that need? Before anything else, we get clear on what is driving this person.
Next, we find what is getting in the way. We identify the internal and external forces working against the character — and what they must overcome to get what they need.
I help you find what you can specifically use from your own life. You choose someone from your life from whom you have the same need, and a similar struggle as the character. Most actors are not aware of what to use until they are guided to it. I take you through an exercise that lets you arrive at a real, personal choice within minutes — and genuinely get in touch with your pain — so you can bring it into the scene and fight to win with it.
We then make specific choices for every word on the page. First, what each line means to the character on an emotional level — a real analysis. Then a personal choice: bringing something you feel in a similar way, so nothing is ever generic.
I help you connect with the reader and create chemistry — even across a self-tape. And I give you exercises to start the scene already connected: a way to get to what you need in about a minute, so you do not have to sit in that feeling all day.
Finally, I direct you through the performance itself — guiding you on how to stay empowered by your pain rather than crushed by it. The pain becomes the fuel for helping you to fight to get your objective. And that is what makes a performance unforgettable.
Private audition coaching in person in Barcelona or online, wherever you are. Whether it is a self-tape, a callback, or a role you have already booked, I will guide you through the full process so you walk in ready.