1st A.D.: The right hand person to the Director. Assists by coordinating all production activity and supervising the cast and crew.
2nd A.D.: The right hand person to the 1st A.D. Prepares the 'Call Sheet' each day and supervises Actors and Crew. Is responsible for Actors being where they need to be.
4-A’s: Associated Actors and Artistes of America; umbrella organization for SAG, AFTRA, Equity and other performers’ Unions.
8×10: Commonly used size of a performer’s photos, usually in black and white.
18-TO-PLAY-YOUNGER: A performer, legally 18 years old, who can convincingly be cast as a younger age.
A
A-LIST: Usually refers to top-tier Actors. This can also refer to Producers, Directors and Writers who can be guaranteed to have a film made and released.
ACTION!: The command from the Director for the scene to begin. It also means that the camera is rolling.
ACTORS REEL: Video footage of on-camera productions in which the Actor has been cast. Can be footage from films, TV shows & commercials.
A.D.: The Assistant Director.
AD LIB: Improvised delivery without relying on a prepared script.
ADJUSTMENT: A direction or modification an Actor makes in the playing of material. They are often instructions given by the Director.
ADR: Automated Dialogue Replacement. Dialogue added to a scene in post production. Also called “looping”.
ADVANCE: An amount of money paid before work has started to secure a professional’s place on a production.
AEA: Actors’ Equity Association; also called “Equity”. SAG’s sister Union which represents stage Actors. See also BAE, CAE and MEAA.
AFI: American Film Institute
A.C.C.T.: Association of Canadian Craftspeople
ACTRA: Alliance of Canadian Cinema Television and Radio Artists
AFFECTIVE MEMORY: (Or “Remembered Emotion”) Memory that involves the Actor personally, so that deeply rooted emotional experiences begin to respond.
AFTRA: American Federation of Television and Radio Artists. Represents radio artists and news broadcasters, and, in earlier times, television performers. In more recent times, television performers may be represented by either AFTRA or SAG, depending on the Producer’s contract.
AGENT: A person responsible for the professional business dealings of an Actor, Director, or other artist. An agent typically negotiates the contracts on behalf of the Actor or Director, and often has some part in selecting or recommending roles for their client.
AGMA: American Guild of Musical Artists
AGVA: American Guild of Variety Artists
AMPTP: Alliance of Motion Picture and Television Producers
ANTAGONIST: The main character, person, group, society, nature, force, spirit world, bad guy, or villain of a film or script who is in adversarial conflict with the film’s hero, lead character or protagonist. Can also be termed "Heavy".
ARCHETYPE: A character, place, or thing, that is repeatedly presented in films with a particular style or characterization. An archetype usually applies to a specific genre or type classification.
ART DIRECTOR: Person who conceives and designs the sets.
ASIDE: A part of dialogue that is directed to the audience or away from your scene partner as an internal thought. Very common in restoration comedies and Shakespeare.
ATA: Association of Talent Agents
AUDITION: A tryout for a film, TV, or stage role. Usually auditions involve reading from the script, but can also require improvisation.
AVAIL/AVAILABILITY: A courtesy situation extended by performer or agent to a producer indicating availability to work a certain job. Avails have no legal or contractual status.
B
BACK TO ONE!: The verbal cue for performers to return to the mark where they started the scene.
BACKGROUND: The "Extra" performers. On the set, “Background!” is a verbal cue for the Extras to start their action.
BACKGROUND CASTING DIRECTOR: The person responsible for booking all of the background/extra performers, stand-ins, and photo doubles.
BACKSTAGE: The area behind the stage in a production or unseen by the audience.
BAE: British Actors Equity
BANANA: Instructing the Actor to move in to a scene in a slight arc or curved path, versus a straight line.
BEAT: A deliberate and slight pause (short on long) in dialogue or an action. Most normally in dialogue to emphasize emotion or thought.
BEAUTY SHOT: On TV soaps, the shot over which the credits are rolled.
BEST BOY: The assistant to the Chief Electrician, or Head Gaffer.
BIG HEAD CLOSE UP: Face and head fills the screen or lens. From the bottom of the chin to forehead.
BILLING: The order of the names in the title of opening credits of a film or TV show.
BIO: Short for “biography”. A resume in narrative form, usually for a printed program or press release.
BIT PART: A role in which there is direct interaction with the Principal Actors, but no more than five lines of dialogue.
BLACK OUT: When all stage lights are shut down.
BLOCKING: The movement of the performance. Where you walk, sit, cross the stage, enter, exit, etc. A Director will usually ‘block’ a scene early in the rehearsal process. Blocking can range from being very general (enter here, exit there) to very specific (pick the pen up on this line, sit on the sofa at this line, etc.)
BLUE/GREEN SCREEN: Shooting in a studio against a large blue or green backdrop, which allows a background to be superimposed later on the final image. The Actors must imagine the set they are on and be aware of the limitations of their movements.
BOLLYWOOD: Refers to the burgeoning film industry of India, the world’s biggest film industry, centered in Bombay (now Mumbai). The etymology of the word is from Bo(mbay) + (Ho)llywood. Unlike Hollywood, Bollywood is a non-existent place.
BOOKING: The job. You will be ‘booked’ for a job, meaning you are hired. Usually refers to on-camera work.
BOOM: An overhead microphone, usually on an extended pole. The Boom Operator is the member of the sound department responsible for holding the boom pole, with mic attached, over and sometimes under the Actors. Also usually responsible for placing radio mics on Actors.
BOOTH: The area in the theatre with the light and sound boards. Usually in the back of the theatre facing the stage.
BREAKAWAY: Specially designed prop or set piece that looks solid but shatters easily.
BREAKING CHARACTER: When an Actor stops acting and steps out of their role.
BREAKDOWN: A summary description of a script prepared by or for the Casting Director often including the names of the Director, Producer, network or studio, together with audition location and times, storyline and roles available for casting in a production.
BRIEF: The Australian equivalent to the term"Breakdown".
BROMANCE: Showbiz slang for a ‘Buddy Film’.
BUMP: Added money, but different from an adjusted pay rate. A bump is a one time payment for additional services or items. If, for example, you are asked to change clothing, you may receive a bump. This additional money is meant to compensate for your additional wardrobe or dry-cleaning costs. Another common example is when Extras receive a bump for the use of their vehicle. For example, if your car appears in a shot, you may receive a bump.
C
CABARET: Entertainment held in a nightclub or restaurant while the audience eats or drinks at tables.
CAEA: Canadian Actors Equity Association
CACHE: Your web browser’s cache, which contains the most recent web files that you have downloaded and is physically located on your hard disk.
CALLBACK: Any follow-up interview or audition.
CALL SHEET: A sheet containing the cast and crew call times for a specific day’s shooting. Scene numbers, the expected day’s total pages, locations, and production needs are also included.
CALL TIME: For on-camera and theatre. This is the time that you are called to be either at the theatre or on the set.
CAMERA CREW: With the D.P./D.O.P (Director of Photography) as its chief, this team consists of the camera operator, the first assistant camera operator (focus puller), the second assistant camera operator (film loader and clap stick clapper), and the dolly grip.
CAMERA LEFT: Actors or subjects are positioned (or asked to move) to the left side of the camera frame (from the operators view/perspective). Screen direction is the opposite of stage direction. To move camera left, the actor would move to his/her right side. Whereas on stage, an actor would move to his left for stage left.
CAMERA OPERATOR: The member of the camera crew who actually looks through the lens during a take. Responsible for panning, tilting and keeping the action within the frame.
CAMERA READY: Definition for anyone who is ready to appear in front of the camera. Actors are sometimes instructed to arrive on set "Camera Ready.” This means you should arrive completely dressed, with your hair and makeup done, and ready to begin for the day.
CAMERA RIGHT: Opposite of camera left. Actor moves to his/her left side.
CASTING: The process of selecting and hiring actors to play the roles and characters in a film production, and be brought under contract. The lead roles are typically cast or selected by the Director or a Producer, and the minor or supporting roles and bit parts by a Casting Director.
CASTING DIRECTOR: The Producer’s representative responsible for choosing performers for consideration by the Producer or Director.
CASTING FACILITY: A studio or space used by one or more Casting Directors for holding audition taping sessions. Many Casting Directors have their own casting facility and others rent facilities for their auditions as required.
CASTING NOTICE: Similar in format to a "Breakdown", the casting notice is not restricted to Agents only. They are distributed to Actors, Agents and the public, much the same as a posting in a newspaper.
CATERER: Responsible for breakfast, lunch and dinner on a set. Different from "Craft Services".
CATTLE CALL: An audition open to many actors at once.
CDS: The 'Casting Delivery Service' run by "Casting Workbook" in Toronto as a daily 5 point drop-off courier and package delivery augmenting the electronic service.
CENTRAL CONFLICT: The oppositional force between characters that directly affects or motivates the action of the plot.
CFTPA: Canadian Film & Television Production Association. A non-profit trade association representing almost 400 Canadian production companies involved in television, film and interactive media.
CHANGES: Outfits worn while performing.
CHARACTER ACTOR: An Actor who specializes in playing well-defined, stereotypical, archetypal, off-beat, humorous, or highly-recognizable, fictional roles of a particular physical, emotional, or behavioural type, in a supporting role.
CHARACTERIZATION: The Actor using their craft to explore and develop the specific qualities of a character.
CHEAT: The Actor’s adjustment of body position away from what might be absolutely “natural” in order to accommodate the camera. This can also mean looking in a different place from where the other Actor actually is.
CHECKING THE GATE!: A verbal command to check the lens on the camera. If the lens is OK, the cast and crew will move on to the next scene or shot.
‘CHICK FLICKS’: Refers to films popular with women, but also used in a derogatory sense to marginalize films with heavy, sappy emotion and numerous female characters; aka tearjerkers.
CHIEF ELECTRICIAN: Heads the electrician crew; also called the "Gaffer".
CINEMATOGRAPHER: The expert responsible for capturing, recording or photographing images for a film, through the selection of visual recording devices, camera angles, film stock, lenses, framing, and arrangement of lighting.
CLOSE-UP (CU): Camera term for tight shot of shoulders and face.
CLOSING OFF: When an Actor turns away from the audience.
COLD READING: For on-camera and theatre. Acting done with the script in your hand, unmemorized or partially memorized. Usually you will have less than one day to prepare.
COMMISSION: Percentage of a performer’s earnings paid to Agents or Managers for services rendered.
COMPOSITE: A series of photos on one sheet representing an Actor’s different looks.
COMPS: Complimentary tickets. Actors are usually given a number of comps to offer to their friends, agents and Casting Directors for the performances.
CONFLICT: An essential and vital element of acting that involves the obstacles and struggles (inner and outer) that a character must overcome to reach their objective.
COOGAN’s LAW: Refers to landmark legislation in the late 1930's designed to protect a child Actor’s earnings, by depositing some of the earnings in court-administered trust funds that the child receives when he/she reaches the age of majority. Named after child actor Jackie Coogan.
COPY: Usually refers to the script for commercials and voice over auditions. May sometimes only be one or two lines.
COSTUME FITTING: Just like it sounds. You will be fitted for your costume by the Costume Designer or assistant. Usually, you will be measured early in the rehearsal process and fitted with your costume later. This can be an especially long process for period costumes.
COSTUME PARADE: At some point in the rehearsal process the Actors will all ‘model’ their costumes or costume for the Director. They will then either approve or discuss changes with the Costume Designer.
COVERAGE: All camera shots other than the master shot. The coverage might include two-shots and close-ups.
COVER SHOT: An additional or extra shot of a scene, shot in addition to the master shot. Shot from a different angle, lighting, etc., and used to enhance the master shot, or to better establish a scene or setting.
CRAFT SERVICES: Your all purpose snacking table. Usually consists of junk food and your basic 'munchies'. Sometimes known simply as “Crafty.”
CRAWL: Usually the end credits in a film or TV shot which “crawl” up the screen.
CREDITS: Opening names in a film or TV show. Also refers to a one’s performance experience listed on a resume or in a program.
CRANE SHOT: A camera shot raised over or above the set or the action.
C.S.A.: The Casting Society of America is a professional organization of Casting Directors working in theatre, film, and television. The C.S.A. is not a Union or a Guild, therefore every Casting Director working in these mediums is not necessarily a member of this organization.
CUE: The action, line, or phrase of dialogue that signals your character to move or speak. Hand signal by the Stage Manager.
CUE-TO-CUE: A tech rehearsal where to save time, action and text is cut out between cues.
CUT!: The verbal cue for the action of the scene to stop. At no time, may an actor call, “cut!”.
CUTAWAY: A short scene between two shots of the same person, showing something other than that person.
CUT!: The verbal cue for the action of the scene to stop. At no time, may an actor call, “cut!”.
CUTAWAY: A short scene between two shots of the same person, showing something other than that person.
D
DAILIES: The prints of footage shot the previous day, often viewed by the Director and Producers at the end of each day to monitor progress. Also known as “rushes”. Can cause side-effects ranging from nervous breakdowns to over-confidence back at the studio.
DAY PLAYER: A “Day Player” is a category that the Screen Actors Guild uses for an Actor who is contracted to perform for a single day only, as opposed to a longer-term contract.
DAYTIME DRAMA: Soap Opera.
DEADPAN: A specific type of comedic device in which the performer assumes an expressionless (deadpan) quality to his/her face demonstrating absolutely no emotion or feeling.
DEMO REEL/TAPE: An Actor’s audio or videotape that agents use for audition purposes. These are now going digital and are being uploaded to the Casting Workbook, saving duplication and shipping costs for Agents and their Actors.
DGA: Directors Guild of America
DGC: Directors Guild of Canada
DIALECT: A distinctly regional or linguistic speech pattern.
DIALOGUE: The scripted words exchanged by performers.
DIGITIZING: The process of converting something into a form for use with a computer.
DIRECTOR: The coordinator of all artistic and technical aspects of any production.
DIRECTOR OF PHOTOGRAPHY (D.P. or D.O.P.): Supervises all decisions regarding lighting, camera lenses, colour and filters, camera angle set-ups, camera crew and film processing.
DIRECTOR’S CUT: A rough cut (the first completely-edited version) of a film without studio interference as the Director would like it to be viewed, before the final cut (the last version of the film that is released) is made by the studio.
DOLLY: A piece of equipment that the camera sits on to allow mobility of the camera.
DOLLY GRIP: The crew member who moves the dolly.
DOUBLE: A performer who appears in place of another performer, for example, in a stunt.
DOWNSCALE: Term for Actors and Extras who appear dressed in regular nondescript or casual clothing. The opposite of 'Downscale' is 'Upscale'.
DOWNSTAGE: The front of the stage, towards the audience. Theatre stages used to be raked on an angle tilting towards the audience. That is where the term originates.
D.P / D.O.P.: Director of Photography or "Cinematographer".
DRAMATURGE: A profession in theatre that deals mainly with the research and development of plays. The dramaturge often assists the Director in the preparation of a production.
DRESS REHEARSAL: Rehearsal with all technical aspects and costumes and makeup.
DRESS THE SET: Add such items to the set as curtains, furniture, props, etc.
DRIVE-ON PASS: In Los Angeles, this is a pass to drive onto and park on a studio lot.
DRY TECH: A rehearsal, usually without Actors, when the Director, Stage Manager and Designers work out all the light and sound cues.
DUPE: A duplicate copy of a film or tape, also known as a “dub”.
E
E.I.C.: Entertainment Industry Coalition
ELECTRICIAN: In film, crew members who place lighting instruments, focus, gel and maneuver the lights.
EMOTIONAL RECALL (EMOTIONAL MEMORY): The emotions from an Actor’s memory (long or short term) of personal experiences that are used to connect the Actor to the character, and meet the emotional needs of the situation in the play or film.
EMPLOYER OF RECORD (EOR): The company responsible for employment taxes, unemployment benefits and workers compensation coverage.
ENCODING: Converting a digital file, usually audio or video, into a specific format. For example, MP3, AVI, MOV etc.
ENSEMBLE ACTING: An approach to acting that aims for a unified effect achieved by all members of a cast working together on behalf of the play, rather than emphasizing individual performances.
EPILOGUE: A speech or short scene that sometimes follows the main action of a play.
ETHNIC TYPES: Referring to the race, nationality, or creed of the talent. Most often describes individuals that are not Caucasian.
ETHNICALLY AMBIGUOUS: Meaning a person's race is not easily defined by appearance.
EQUITY: Short for "Actors Equity Association". The Union representing Stage Actors.
EQUITY WAIVER: In Los Angeles, 99-seat (or less) theatres which were otherwise professional, over which Equity waived contract provisions under certain circumstances. Now officially called “Showcase Code”, the term “Equity Waiver” is still used informally.
EXECUTIVE PRODUCER: A Producer who is not involved in any technical aspects of the filmmaking process, but who is still responsible for the overall production. Typically, an Executive Producer handles business and legal issues.
EXIT: A stage direction indicating an Actor should leave the stage.
EXT. (Exterior): A scene shot outside.
EXTRA: Background performer, used only in non-principal roles.
EYE LINE: Eye line is the direction an Actor should look off-screen to match a reverse angle or a P.O.V. (Point of View) shot. It is best to give the Actor an actual thing or spot to look at rather than a blank spot on an empty wall or an empty space in mid air.
F
FEATURE: A full-length film.
FEATURED EXTRA: When an Extra is clearly visible on camera and not just a blur in the background.
FI-CORE: ‘Financial Core’ status is an option within the Screen Actors Guild (SAG-AFTRA) allowing Actors to work both Union and Non-Union jobs.
FICA: Social Security taxes (Federal Insurance Corporation of America).
FIELD REP: Union staff member who ensures contractual compliance on sets.
FIRST A.D.: First Assistant Director; the person responsible for the running of the set. Gives instructions to crew and talent, including calling for “first team”, “quiet”, “rehearsal”, and “take five”.
FIRST ASS’T. CAMERA OP: First Assistant Camera Operator is responsible for focusing the camera lens during the shooting of a scene. Also known as the "Focus Puller".
FIRST TEAM: The production term for the Principal Actors in a scene.
FORCED CALL: A call to work less than 12 hours after dismissal on the previous day.
FOREGROUND CROSS: Action in a scene in which an Extra Performer passes between the camera and the Principal Actors; sometimes called a “wipe”.
FOURTH WALL: Refers to the imaginary, illusory, invisible plane through which the film viewer or audience is thought to look through toward the action. The "Fourth Wall" that separates the audience from the characters is ‘broken’ when the barrier between the fictional world of the film’s story and the “real world” of the audience is shattered – when an actor speaks directly to the viewers by making an aside.
FX (EFFECTS): Special effects.
G
GAFFER: The Chief Electrician.
GOLDEN TIME: Contractually called '16 Hour Rule Violation for Extra Performers', is overtime after the 16th hour, paid in units of one full day per hour.
GREENROOM: The Actors’ lounge. Either in a theatre or production studio.
GRIPS: Members of the film crew who are responsible for moving set pieces, lighting equipment, dolly track, and other physical movement of equipment.
H
HAND MODEL: A performer whose hands are used to double for others.
HALF HOUR: Actors will usually be given a ‘half hour’ call by the Stage Manager, meaning there is a half hour before the show will begin.
HERO (BOY, GIRL, MAN, WOMAN): Un-assumed Lead in a commercial where the lead isn’t prominent, but most important.
HIATUS: Time during which a TV series is not in production
HOLDING: The designated area to which the Extra performers report and stay while waiting to go on set.
HONEY WAGON: A towed vehicle containing one or more dressing rooms, as well as crew bathrooms.
HOT SET: Any set or location that is being used for filming or taping. Even if the cameras are not rolling, a location can be considered “hot” if all the props, lights, and camera arrangements are set up and ready. It is important to not disturb anything on a Hot Set as to maintain continuity.
I
IATSE: International Alliance of Theatrical Stage Employees; the union which represents most off-camera crew members.
IMPULSE: A natural response that an actor responds to in the moment.
IMPROVISATION: Setting out to do a scene with no pre-planned or written idea. A process leading to spontaneous discovery that allows the actor to find real, organic impulses within themselves.
INDICATING: Showing what your character is feeling or doing without really feeling or doing, leading to a false and shallow performance.
INDUSTRIALS: An industrial film, referring to films made for corporations. Training films, product education, Human Resource training, etc. Work on industrials often involves memorizing a lot of technical writing.
INT. (INTERIOR): A scene shot indoors.
‘IN’ TIME: The actual call time or start time. Also the return time from a break.
INNER ACTION: A physical action verb chosen by the Actor in the pursuit of an objective. It always begins with the word “to”, i.e. to attack, to soothe, to tickle, etc.
INNER MONOLOGUE: A character’s active, imaginative inner thoughts while the Actor is playing a role.
INSERTS: Shots, usually close-ups of hands or close business, inserted into previously shot footage.
INSTINCT: A compelling or powerful impulse.
INSTRUMENT: The Actor’s collective working of the body, voice, mind, and imagination.
INT. (INTERIOR): A scene shot indoors.
L
LEAD ACTOR: The main protagonist in the production. It is typically the largest role.
LEGIT ACTING: Refers to acting for theatre, film, and TV only. Not commercials.
LIGHT BOARD: Either manual or computer operated. Operates the stage lights.
LIGHT CUES: A change in the stage lighting.
LINE PRODUCER: The producer responsible for keeping the Director on time and budget. Generally the most visible producer actually on the set.
LIVE INDUSTRIAL: Live performances for corporations, usually about products or services.
LOAD-IN: The process of bringing the set into the theatre, or building set pieces.
LONG SHOT (LS): A camera shot which captures the performer’s full body.
LOOPING: The recording or re-recording of dialogue for a previously filmed scene.
M
MARK: The exact position(s) given to an Actor on a set to ensure that he/she is in the proper light and camera angle. Generally marked on the ground with tape or chalk.
MARKER!: A verbal cue that the take has been identified on camera both verbally and with the slate board.
MASTER SHOT: A camera shot that includes the Principal Actors and relevant background activity. Generally used as a reference shot to record the scene from beginning to end before shooting close-ups, over-the-shoulders, etc.
MATCHING ACTIONS: The requirement that the Actor match the same physical movements in a scene from take to take in order to preserve the visual continuity.
MEAA: Media Entertainment and Arts Alliance (Australia)
MEAL PENALTY: All film productions should break at least once every six hours to allow for cast and crew meals. If production does not halt for meals at least once every six hours, then Union Actors and Extras are entitled to a “meal penalty” payment for every half hour over the six hours you are not fed.
MEISNER TECHNIQUE: An acting program that uses (among other things) repetitive and in-the-moment exercises first devised by Sanford Meisner of the Group Theatre. The technique emphasizes “moment-to-moment” spontaneity through communication with other Actors to generate behaviour that is “truthful under imaginary circumstances.” Meisner also emphasized using the Actor’s imagination to create emotional reality—the creative “as-if”— over the personal, emotional experience philosophy championed by fellow Group Theatre member Lee Strasberg.
METHOD ACTING: A generic term used to describe the acting philosophy of using personal emotional experiences in acting, as first introduced to the Western world by Stanislavsky and furthered by members of America’s Group Theatre in the 1930’s. When used today, “The Method” most often refers to the deeply personal emotional work taught by followers of Lee Strasberg, one of the Group Theatre members, and can
be summed up as: “Training the subconscious to behave spontaneously”.
MIXER: Chief of the sound crew, responsible for the quality of the sound recording on a shoot.
MOCUMENTARY: A fictional, farcical film that has the style and ‘look and feel’ of a documentary, with irreverent humour, parody, or slapstick, that is deliberately designed to ‘mock’ the documentary or subject that it features.
MONITOR: Usually for theatre only. This is the person in charge of checking Actors in, giving them sides and deciding the order that Actors will read.
MONOLOGUE: A scene or a portion of a script in which an Actor gives a lengthy, unbroken speech without interruption by another character.
MOS (Mit Out Sound/Motion Only Shot): Any shot without dialogue or sound recording. Also called S.O.C. , 'silent on-camera'.
MOTIVATION: The "Why?" a character pursues a particular objective or super objective.
M.O.W.: The"Movie of the Week".
MND MEAL (NON-DEDUCTIBLE MEAL): A 15-minute meal break provided to Actors by the production company to bring Actors in sync with crew break time. It must be completed within 2 hours of the performers call time.
N
N.A.B.E.T.: National Association of Broadcasting Employees & Technicians
NCOPM: The National Conference of Personal Managers Inc. is the nation’s oldest trade association of personal managers who provide professional management of talent engaged in entertainment, media and performing arts.
‘NAME TALENT ONLY': Meaning only celebrity Actors.
ND MEAL (NON-DEDUCTIBLE MEAL): A 15-minute meal break provided to Actors by the production company to bring Actors in sync with crew break time. It must be completed within 2-hours of performer call time.
NETWORK: In the most generic sense, a group of computers connected to each other allowing communication and a sharing of information. Also may refer to a Television Network such as Fox, ABC etc.
NIGHT PREMIUM: A surcharge for certain work performed after 8:00 p.m.
O
OBJECTIVE: A character’s pursuit of a specific goal in a scene. Also referred to as the intention or driving question.
OBSTACLE: The conflict and stumbling blocks to a character’s struggle in pursuit of an action or objective.
OFF BOOK: You have your character's lines completely memorized. Usually you will have a deadline by which you need to be memorized or ‘off book’.
ON BOOK: With the script in your hand. Usually refers to the time you are working with the script but not yet memorized.
ON / OFF / OFF-OFF BROADWAY: On-Broadway productions are staged in New York City’s official theater district, between Sixth to Eighth Avenues and 41st to 54th Streets. These theatres have 500 or more seats. Off-Broadway designates professional theatres with 100 to 499 seats, and off-off Broadway is one with less than 100 seats.
ON-CAMERA: Refers to anything on camera – tv, film, commercials, industrial film, etc.
ON HOLD: A Casting Director will put you ‘on hold’ when you are wanted by the client for the job but not formally hired yet. You may not take other jobs that would conflict with the production dates during this time.
OFF-CAMERA (OC or OS): Dialogue delivered without being on screen.
OPEN CALL: A day for auditions open to anyone.
OPENING UP: When an Actor turns toward the audience
OUT OF FRAME: An Actor outside the camera range.
“OUT” TIME: The actual time when you are released after you have changed out of wardrobe and make- up.
OVER-THE-SHOULDER: A shot over the shoulder of one Actor, focusing entirely on the face and upper torso of the other Actor in a scene. These are generally shot in pairs so both Actors' expressions can later be edited together.
OVERDUBBING: In studio singing or voice work, the process of laying one soundtrack over another.
OVERTIME (OT): Work extending beyond the contractual work day.
P
P.A.: The Production Assistant.
PACE: The speed at which you pick up your cue and deliver the next line of your dialogue. Pace can also be the speed that creates a style for the piece.
PANTOMIME: An art form related to the dance. Not to be confused with “silent scenes” or a “scene without words.”
PAN: A camera shot which sweeps from side-to-side.
PANTOMIME: When Actors in a scene pretend to speak.
PAYMASTER: An independent talent payment service acting as the Employer of Record.
PENCILLED: To schedule or arrange something tentatively, with the understanding that it might be changed or confirmed later.
PER DIEM: Fee paid by a Producer on location shoots to compensate performers for meal expenditures not provided by the Producer.
PERIPHERAL: Any device that is optionally attached to a computer such as a mouse, keyboard, scanner, printer etc.
PHOTO CALL: Some Actors may need to appear in publicity photos for a show. This usually happens 2-3 weeks before opening and a photo call will be scheduled.
PHOTO DOUBLE: An Actor cast to perform on camera in place of another.
PICK UP: Starting a scene from a place other than the beginning.
PICTURE’S UP!: Warning that the sequence of cues to shoot a scene is about to begin.
PILOT: A sample of a television show that the producers then try to sell to the networks. If the pilot is picked up by the network, it will be put on the schedule and will air for a trial period of usually 13 episodes.
PLAYBILL: A program usually containing information about the play, cast, crew, supporters, and advertisers.
PLAYWRIGHT: A person who writes or adapts properties known as play; in most traditions, the first and most creative artist of all those who collaborate to make theatre. It is the playwright’s property that stimulates the impetus for a full-fledged production. In musicals, the writers include the writers of the music, the lyrics, and the book.
POST-PRODUCTION: The phase of filmmaking that begins after the film has been shot. Includes scoring, sound and picture editing, titling, dubbing, and releasing.
POV: A shot that shows the scene through the character’s eyes. We see the world from their point of view.
PRE-PRODUCTION: The phase of filmmaking before shooting begins. This includes writing, scouting locations, budgeting, casting, hiring crews, ordering equipment and creating a shooting schedule.
PRESS OPENING: Some theatres will have a special performance before opening night to which members of the press (critics) are invited. Usually, critics are invited for opening night.
PREVIEW: Performance with an audience. Before official opening night. Usually friends are invited. No press.
PRINCIPAL: A performer with lines.
“PRINT!”: A call from the Director at the end of a take that indicates the particular take is good enough to be printed.
PRODUCER: Often called the Line Producer. This person is responsible for the day-to-day decision making on a production.
PRODUCTION ASSISTANT (P.A.): Assists with all aspects of production. Some work in the production office and some on set.
PRODUCTION COMPANY: The company actually making the film or television show.
PROFILE: Often in auditions, the Casting Director will call for a profile. The Actor stands facing the camera in normal posture, picture taken or filmed, then to each side showing the Actor's profile from the front, right and left side.
PROJECTION: A Director may tell you to ‘project’ more. This means to speak so that you can be heard throughout the theatre. This does not necessarily mean more volume or shouting. It is a technique you will learn.
PROPS: Any objects used by Actors in a scene.
PSA: A Public Service Announcement.
R
REACTION SHOT: The camera shooting a character’s emotional or physical response or reaction to something that is happening in the scene.
READ THROUGH: For theatre and some on-camera. This is usually the first rehearsal when the Actors sit and read through the script with the Director.
REGIONAL THEATRE: Also called resident theatre. A term applied to permanent non-profit professional theatre companies that have established roots outside the major theatre centres. Besides bringing first-rate theatre to their region, they often have programs to nurture local talent and to encourage new plays of special regional interest.
RESIDUAL: The fee paid to performers for rebroadcast of a commercial, film, or TV program. Tracked by the Actors Unions.
RESUME: List of credits, usually attached to an 8×10 headshot.
REWRITE: Changes in the script, often using colour-coded pages to indicate the most current version.
‘RHUBARB’: Background conversation by Extras. So-called because Extras were often asked to mutter the word “rhubarb” to produce the effect of genuine conversation, with their mouths moving convincingly. Also known as “walla”.
ROLLING!: The verbal cue for the camera film and audio tape to start rolling.
ROLL OVER: The term “Roll Over” or “Turn Over” is the verbal cue given by the Director for the camera operator and audio tape to start rolling.
ROM-COM: Showbiz slang for a 'Romantic Comedy'.
ROOM TONE: A sound recording (sometimes made upon completion of a scene) to record existing noise at the location. Also called a “wild track”.
RUSH CALL: The last minute booking of an Actor or Extra. This usually occurs when another Actor or Extra cancels at the last minute.
S
SAG: Screen Actors Guild. The On-Camera Actors Union. Now SAG-AFTRA.
SCALE: Minimum payment for services under Union contracts.
SCENES: The Australian equivalent to "Sides". See below.
SCRIPT: The written form of a screenplay, teleplay, radio, or stage play.
SCRIPTY: The "Script Supervisor".
SCRIPT ANALYSIS: The close study of a play or screenplay. This incorporates all of the dialogue and stage directions to find the answers necessary to create a full and rich character, and to craft a performance that serves the script. The exploration of the script may include the questions of theme, story, character, and overall elements of the play and characters.
SCRIPT SUPERVISOR: The crew member assigned to record all changes or actions as the production proceeds.
SECOND ASSISTANT DIRECTOR: Often two or three on a set, they handle checking in on the talent, ensuring proper paperwork is filed, and the distribution of script revisions. Actors check in with the 2nd A.D. upon arrival on the set.
SECOND TEAM!: The verbal cue for the stand-ins to come to the set and be ready to stand in.
SEGUE: In film or tape editing, a transition from one shot to another.
SENSE MEMORY (EMOTIONAL RECALL): The basis for Lee Strasberg’s Method Acting. “Sense memory” is used to refer to the recall of physical sensations: sight, touch, smell, and taste. These physical sensations surround an emotional event, instead of the emotions themselves.
SET: The immediate location where the scene is being filmed.
SET-UP: Each time the camera changes position.
SFX: Sound effects.
SIDES: Pages or scenes from a script, used in auditions or (if on a film set) those scenes being shot
that day. In Australia, "Sides" are called "Scenes".
SIGN-IN SHEET: A sheet at the casting office where talent will sign their name, agency, phone number, and time arrived to the casting office. The talent are generally called into the audition room based on the time they arrived.
SIGNATORY: An employer who has agreed to produce under the terms of a Union contract.
SLATE: A small chalkboard and clapper device, often electronic, used to mark and identify shots on film for editing. This is also the process of verbal identification by a performer in a taped audition (e.g., “Slate your name!”).
SOLILOQUY: A speech given directly to the audience, ordinarily with no one else on stage. Usually, played as a direct address to the audience, sometimes played as a character thinking aloud in the audience’s presence.
SOUND CUES: Sound effects (music, doorbell, a car door, dog barking, etc.).
SPEC: A speculative. Used most often to describe a speculative piece being pitched to others, i.e. Spec Short (film), Spec Commercial (many spec commercials are done by student filmmakers).
SPEED THROUGH: A rehearsal exclusively for lines. Actors recite their lines quickly without blocking. This is often to help the Actors with memorization.
SPEED!: A verbal cue that the audio tape is up to speed for recording.
SPIKING THE LENS: Looking directly into the lens during a scene. Since it destroys the illusion of realism, Actors should never spike the lens unless specifically directed to do so for particular effect.
STAGE DOOR: A back entrance to the theatre used by the cast and production crew. Want to catch a glimpse (or the autograph) of your favourite star after a show? This is where you want to be.
STAGE LEFT: Is to the performer’s left and the audience’s right. Stage directions are for Actors, not audiences, therefore they are always given from the Actor’s point of view to the audience.
STAGE MANAGER: The person who will become your best friend. This is the person who runs the rehearsals, sets the rehearsal schedule, and usually ‘calls’ the show (prompts the light and sound cues from the booth during performances). They are in charge of the production after opening night.
STAGE RIGHT: To the performer’s right side and to the audience’s left side.
STANDBY: The verbal indication that Actors should be ready and awaiting their cue.
STAND-INS: Extra Performers used as substitutes for featured players, for the purpose of setting lights, and rehearsing camera moves. Also known as the second team.
STANDARD UNION CONTRACT: The standard format/contract approved by the Unions and offered to performers prior to the job.
STANDARDS & PRACTICES: The network TV censorship departments.
STAGE WHISPER: Sounds like a whisper, but is loud enough for the audience to hear.
STAND-INS: Extra performers used as substitutes for featured players, for the purpose of setting lights and rehearsing camera moves. Also known as the second team.
“STICKS”: Slate or clapboard.
STRIKE: After the final performance, the set is taken apart, lighting instruments are taken down, and props and costumes are put away. This is called ‘strike’. Sometimes actors will be asked to volunteer to help. You are never obligated to help (unless you are a member of the theatre company), but it is a good idea to help if you can. Usually there’s good camaraderie, pizza and beer! This is not the case in larger Union theatres where there are paid technical crews to take care of strike.
STUDIO: A building, recording room, or sound stage which accommodates film or TV production.
STUNT COORDINATOR: The person in charge of designing and supervising the performance of stunts and hazardous activities.
STUNT DOUBLE: A stunt person who performs stunts for a principal.
STUNT PERSON: A specially trained performer who actually performs stunts.
SUBMISSION: An actor’s or agent’s suggestion to a Casting Director for a role in a certain production.
SUBPLOT: A secondary, subordinate, or auxiliary plotline, often complementary but independent from the main plot (the A story), and often involving supporting characters. Not the same as multiple plotlines; i.e. the B story or C story.
SUBTEXT: The character’s complex thoughts, feelings, motives, etc. created and layered under the actual words and actions of the character by the Actor.
SUPER OBJECTIVE: Stanislavsky developed the concept of the super- objective (referred to here as "The Happiness") that would carry the ‘through line of action,’ mapped out for the character through the entire play.
SUPPORTING ACTOR: A speaking role that is less than that of a lead Actor, but larger than a bit part.
SW: A notation on a call sheet that an Actor is starting and working on that day.
SWEETENING: In singing/recording, the process of adding additional voices to previously recorded work.
SWF: A notation on a call sheet that an Actor is starting, working, and finished on that day
SYNDICATION: Selling TV programs to individual stations rather than to networks.
T
T.A.M.A.C.: Talent Agents and Managers’ Association of Canada
TABLE-READ: A stage of film, television, and theatre production when an organized reading of the screenplay or script by the actors with speaking parts is conducted.
TAFT-HARTLEY: Refers to a legislative ruling also known as the National Labor Relations Act. Allows Non-Union actors to work their first Union job and any others within a 30-day period of the first booking without having to join the Union. They may not work any Union job after the 30-day period without joining the Union.
TAG LINE: A clever phrase or short sentence to memorably characterize a film, and tease and attract potential viewers, or sell the movie. It also creates a catchy ‘soundbite’, often repeated or presented in a trailer or on a film’s poster, sometimes along with the film’s leitmotif.
TAKE: The clapboard indication of a shot “taken” or printed.
‘TAKE 5': The announcement of periodic 5-minute breaks.
TECH REHEARSAL: A technical rehearsal is when the Director will work the set, lights, and sound cues into the rehearsal process. This usually takes several days and is long and boring for the Actors. Tech is very important and Actors must stay focused and be patient during this process. The focus of the rehearsal is solely on the technical aspects of the show and ‘acting’ must take a back seat.
TELEPROMPTER: The brand name of a device which enables a broadcaster to read a script while looking into the camera lens.
TEMPO: The level of speed with which the scene or play is acted out. The general effect creates a specific mood or tone to the work.
THEATRICAL: TV shows or feature film work, as opposed to commercials.
THREE BELLS!: An audible warning for QUIET because a scene is about to be filmed.
TIGHT SHOT (GO IN TIGHT): Framing of a shot with little or no space around the central figure(s) of feature(s) — usually a close-up.
TILT: The up and down movement of a camera.
TIME-AND-A-HALF: Overtime payment of 1.5x times the hourly rate.
TMA: Talent Managers Association (based in Los Angeles)
TOURING COMPANY: A company of performers who travel with a show that they present in essentially the same way it was originally created in a theatre centre such as New York.
TRACKING SHOT: A shot taken while the camera is moving, either on a dolly, or mounted on a moving vehicle.
‘TRADES’: Short for “trade papers”. The newspapers and periodicals such as the 'Hollywood Reporter' and 'Variety' that specifically feature information on the entertainment industry.
TREATMENT: Longer version of a synopsis of a story for a film. A more detailed outline of the plot, characters, and high points of a film.
TRIGGER: An emotional or physical cue that signals or sparks a bonfire of emotion to break through to the surface.
TRIPLE THREAT: Refers to an Actor who can sing, dance and act skillfully and equally well on a consistent basis. Usually applicable to performers in the musicals genre, but it also could refer to a person who can act, direct, and write!
TURNAROUND: (a) The number of hours between dismissal one day and call time the next. (b) To shoot a scene from another direction.
TWO-SHOT: A camera framing two persons. A "three-shot" would be a 3 person shot.
TYPECAST: In television, film, and theatre, typecasting is the process by which an actor becomes strongly associated with a specific character, a particular type of role, or characters who share similar traits, social backgrounds, or ethnic origins. In some cases, an actor may become so closely identified with a role that it becomes challenging for them to secure work portraying different characters.
U
U5: An "under-five", also known as an "under-5", or a (U/5) is an SAG-AFTRA contract term for an American television or film Actor whose character has fewer than five lines of dialogue.
U.B.C.P.: Union of B.C. Performers
U.D.A.: Union des Artistes
UNDERSTUDY: Actor hired to perform in a show if the Actor originally cast in the role is sick or unable to perform that night. Often an understudy will never actually perform, but must be ready to go on with as little as 10-minutes notice. It is very common for an understudy to cover more than one role.
UNION: This indicates work for members of the particular Union concerned.
UPGRADE: Like getting a raise or promotion, an upgrade is when an individual is moved from being an Extra to a Stand In, Photo Double, or Principal Player. Upgrades also provide higher pay rates.
UPM: A "Unit Production Manager" oversees the crews, handles the scheduling, and all the technical responsibilities of the production.
UPSCALE: Term for Actors and Extras who appear clean and nicely dressed. Upscale often means Extras will appear wearing expensive and/or fancy looking clothing. The exact opposite of "Downscale".
UP STAGE: (a) The area located at the back of the stage "Down Stage" is the area in front of the performer. (b) To draw attention to oneself at the expense of a fellow performer.
V
V.O.: "Voice Over". An off-camera voice coming either from an Actor not in the frame, or from a secondary source such as a speakerphone or answering machine.
VIDEO VILLAGE: The area where all of the camera shots are fed into video monitors, allowing the Director to get an accurate view of every shot.
VOUCHER: Time slip with all pertinent information needed for getting paid properly.
W
W: A notation on the call sheet indicating that an actor is working that day.
WAIVERS: Union-approved permission for deviation from the terms of a contract.
WALK-ON: A minor role consisting of a single, brief appearance on the screen, usually not appearing in the credits and without dialogue. Contrasted with extras, bit parts, and non-speaking roles.
WALKAWAY: A meal break in which all cast and crew are on their own to get lunch.
WARDROBE: The clothing a performer wears on camera.
WARDROBE ALLOWANCE: A maintenance fee paid to on-camera talent for the use (and dry cleaning) of talent’s own clothing.
WARDROBE DEPARTMENT: This department handles all of the costuming for the Actors performing in the production. They hold fittings for performers to dress them specifically or give instructions as to what type of clothing and colours are acceptable for the Actors to wear.
WARDROBE FITTING: A session held prior to production to prepare a performer’s costumes.
WEATHER PERMIT CALL: Due to weather conditions, the production company has the option to release an Actor four hours after the call time (if the camera has not started to roll) with a reduced rate of pay for the day.
WGA: Writers Guild of America
WGC: Writers Guild of Canada
W/N: Signifies "Will Notify". A notation on a call sheet that tells the Actor that he/she will probably work that day, but the specific time has not yet been decided.
WRAP: The completion of a day’s filming or of the entire production.
WRAP PARTY: The end of the production party.