One-Liner Parts and How I Deal With Them (Without Losing My Mind)
Let’s talk about those one-liner auditions.
You’ve seen them. You’ve taped for them. You’ve probably sighed at them. It’s the dreaded self-tape request:
"Here’s your drink, Mr. Bond."
That’s it. One or two lines. And you’re left wondering — why am I, a working actor with screen credits, taping for a part that could literally go to a coat rack with a good voice?
Should We Even Be Auditioning for These?
Here’s my honest take — no, we shouldn’t. If you’ve got screen credits, you’ve proven your ability to deliver on set. These parts should be straight offers. Period. If anything, I think one-liner roles should go to actors with no credits. Let them get their foot in the door. That makes sense.
But this industry doesn’t always run on logic, and hey, it is what it is. So rather than rant, let’s talk strategy.
What’s the Purpose of This Character?
Even if you only have a line or two, you still have a job to do. Ask yourself:
Is your character just moving the plot along?
Are they revealing something about the lead?
Are they background flavour or a subtle clue?
Sometimes it’s obvious. Sometimes it’s not. When it’s not — here’s my go-to strategy:
Send two takes.
Even if they didn’t ask for two.
Why? Because casting directors want choices. Good Casting Director’s don’t just want to fill a slot, they want to present solid, layered work to the team making final decisions.
The Safe Take vs. The Bold Choice
Here’s how I break it down:
Take One: The “In and Out”
Keep it neutral, natural, and clean. You’re the bartender. You deliver the martini. No fuss. You’re there and gone. Think: fly on the wall.
Take Two: The Storytelling Moment
Now — you make a choice.
Maybe you admire Mr. Bond. You’re trying to impress him.
Maybe you’re scared. You overheard something in the next room.
Maybe you are the villain and that martini is laced with danger.
Whatever you choose, make it SUBTLE but go all in. Don’t play it safe. If it’s too much, the casting director can always fall back on the neutral take.
Prep Like a Pro, Tape Like a Ninja
Here's the golden rule:
Do your prep. Make your choices. Then hit record.
Max 1–2 takes per version. And then — walk away.
No obsessing. No spiraling. No rewatching it 47 times.
What If You Don’t Book It?
Let’s talk about the email we all hate:
“The CD loved your tape but they decided to go another direction.”
If that line haunts you, consider this tip: Ask your agent not to tell you when you don’t book.
Seriously. Let it go. It was never your role to begin with.
Sounds airy-fairy? Maybe. But it’s true.
Final Thoughts
Self-taping for one-liner parts can feel like a waste of time, but it doesn’t have to be. It’s a chance to show your range, flex your choices, and practice non-attachment.
Make the tape. Do the work. Own the moment. And move on.
Big hug,
Natalia
