Michael Gordin Shore
Actor - Teacher - Coach

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How is C.A.S.T. Different From Other Actor Training


H
ow is C.A.S.T. Different From Other Acting Training:

 
According to Michael Gordin Shore, creator and developer of the Chameleon Audition Survival Training system, "C.A.S.T. is different because it incorporates critical information, perspective, and technique that have not previously been included in the training of film and television actors.  C.A.S.T. is different because it is designed not only to teach actors how to act really, really well for the camera, but also to teach them how to prepare for auditions, to book acting jobs, to prepare for set once those jobs are booked, how to work on set and to understand how it’s different than working in the vacuum of the studio, how the on set rehearsal process works, how to survive the day, the business, how to endure long term, and most importantly how to work and to behave like a professional both on set and off. 
 
"C.A.S.T. is different because I am different, my methodology, my training and my experiences are a blend of traditional and highly non-traditional, and because half of what I’ve put into the system has nothing to do with acting yet has everything to do with acting. It's very hard for the actor to learn from traditional training, how to apply his craft in the real world. Everyone tells the actor what he has to do, and yet hardly anyone seems to be able to teach him how to do it. C.A.S.T. is different. C.A.S.T. is specific, providing the actor with the tools and techniques he needs to deal with many issues that fall into the general category of “yeah I know what I have to do, but how do I actually do that”, like how to prepare for an audition, how to memorize huge chunks of dialogue, how to play scenes which have a ton of physical action in them, how to make the scene camera and Audition friendly, how to make choices about props, how to shift cleanly and instantly between scenes which require drastically different emotional states, how commercial Auditions are different than Film/TV Auditions, how to know when you are supposed to look at the camera and when you are not, how to choose eyelines for the scenes, how much you are allowed to move around the space, how ‘big’ you can be without being too big for the camera, how to handle the questions they throw at you when you’re on the mark so you don’t blow the deal, how to handle yourself in the room, how to deal with nerves, how to be repeatable both emotionally and physically, how to own the room, how to nail auditions, how to prepare for set once you book the job, how preparing for and acting on set will be different than acting in the studio, there’s no end to the list of things the actor must learn how to do on top of how to deliver the scene convincingly. Hardly anyone teaches this stuff, and I don’t understand why because it’s some of the most important stuff in our business. You can’t be a professional actor if you never book jobs and make it to set, and you won’t last long as a professional actor if you don’t know how to work on set once you get there. Hardly anyone teaches this stuff, and yet it’s exactly what every actor needs to learn if he wants to become or remain a working actor. C.A.S.T. is all of this stuff in one place, it’s everything I’ve learned from everything I’ve done in 40 years of studying and application. 
 
“An enthusiastic attitude and an extraordinary work ethic are prerequisites, yet that’s just the beginning. Even knowing what to do is easy, it’s the knowing how and when to do it where the actor needs skills and critical information. Anyone can tell you what you have to do in the audition room, that doesn’t mean they can tell you how to do it. I can. I can teach you how to own the room in ways you never thought possible, using craft, using technique. Your confidence in the room will skyrocket, deservedly, because you will understand the Audition process and know how to play the game well; you will be making strong choices, executing them with conviction, and adjusting effortlessly. And you will be breathing, something most actors forget to do in the audition room. When an actor works with me, they get more than a simple coaching, they get the full meal deal. They get a global perspective, and they get to walk away from every session with new and tangible acting and communication skills that will help them in a multitude of acting and real life situations. If you know an actor that needs me, tell them I said this: Stop wandering around in the dark.  I can turn you into an acting machine.  Let me demystify the audition process for you and I will start you on the road to owning your auditions and your career, learn to clarify your choices and you will clarify your story.  Empower yourself with knowledge and technique.  Learn how to control your body and you will learn to control your work.  Let me arm you with the tools, the craft, and let me teach you how use them.  You will learn to turn on a dime, to make adjustments with confidence, and you will lose your fear of the camera.  You will walk out after the first training wondering how you survived so far as an actor without this information.  Anyone can tell you that you have to own the room, I can actually teach you how to do it.  Learn from me and you are learning from a working theatre, film, and television actor with almost 40 years of experience, degrees from two of the top practical conservatory theatre acting training programs in Canada and who then spent almost ten years studying acting for the camera with almost every teacher and casting director in Vancouver and who is still studying and continuing to learn every day, learn from me and you are learning from an experienced and highly trained director, designer, and technician who understands how the whole process works, from a casting insider who has read for thousands of other actors’ auditions and been behind the camera for thousands more, from someone who has worked as a casting director on a number of independent projects, and from one of the Producers of two large independent projects, a miniseries and a feature film, from someone who has read, coached, and auditioned tens of thousands of actors and scenes, and who has already helped hundreds of actors and non-actors to book jobs and to improve their careers.  I try as hard as I can to make sure everyone gets much, much more than they expect from me.”
 
Michael has studied and continues to study many different acting systems, including Method, Meisner, Practical Aesthetic, Grotowski, Authentic Movement and many others, and is a big fan of Uta Hagen’s books on acting.  Nevertheless, he doesn’t subscribe exclusively to or claim to represent any particular school.  Old school and new school mix in the Chameleon System.  Different tools for different jobs. Absorb what works for you, discard the rest.
 
Chameleon Audition Survival Training has at its core the belief that almost any actor can play almost any role, given the right preparation, tools, and training.  Michael has absorbed and adapted techniques and exercises from half a dozen acting training systems, and as well he has created and developed many original tools, techniques, and theories.  He has an almost unlimited number of solutions to any given acting challenge, which is useful for training, as different actors need different solutions at different times given the same situation. 


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How is C.A.S.T. Different From Other Actor Training
Audition Tapings and Demo Reels
Online Audition Coaching
Educational Consulting and Standardized Patient Work - The Third Dimension of C.A.S.T.