"IS 'BEAUTIFUL' THE NEW 'UGLY'?" BY SIMI HORWITZ (BACKSTAGE, SEPT. 10, 2009)

The CD for "Ugly Betty" and "The Beautiful Life" reveals what he is looking for:

"The headshot is the passport into the casting director's office. It has to say something about who the actor is... let us know what we can cast him in... The picture has to make me feel that the actor could be part of the show's world. But I don't need the actor to write a cover letter telling me what he thinks he'd be good for" (Geoffrey Soffer).

"Acting experience on a resume grabs me. If it's a New York actor, I like to see that he's working in the theatre, has studied with solid acting teachers, or comes from a great school-- or great agency" (G. Soffer).

"I don't look at self-submitted reels. I may look at a reel if if comes from an actor I've met or an agent. A reel shouldn't be more than three or four minutes, and it's production values as well as the level of acting on it should be high" (G. Soffer).

"For any audition, you have to have a clear idea of who you are and what it is you bring to the story... The truth is, the casting director, the writer, the producer are hoping the actor will bring something to the role... have a vision of the character, even if it's the wrong vision. The only wrong choice is not making one" (G. Soffer).

"Preparation is so important. Know the line. Know the character. Know the show's style" (G. Soffer).

" Actors have to be able to see where they are, know where they want to be , and acknowledge the steps that have to be taken. It's a journey, and if you're able to accept that idea, that takes the pressure off what you're doing now" (G. Soffer).

"Following an audition, some actors like to send thank-you notes. It's doesn't hurt, but it's not necessary and it doesn't guarantee that you'll be brought in for the next audition... Still, postcards are a great informational tool if you've booked a film, for example. It keeps you in our minds. But it's not imperative" (G. Soffer).