Neil Hopkins is best known for his recurring role on Lost, playing Liam, the heroin-addicted rockstar brother of Charlie (Dominic Monaghan). Other TV credits include recurring roles on the Emmy-Award Nominated Big Love and the Paul Haggis series, Crash; as well as a wide variety of guest starring roles on My Name Is Earl, The Ghost Whisperer, CSI: NY, Criminal Minds and NCIS, to name a few. A classically trained theater actor and singer, Neil is also well known for his Christopher Walken impression, for which he received rave reviews in both The New York Times and The Hollywood Reporter (for My Big Fat Independent Movie). In 2008, he starred opposite Academy Award Nominated actor James Cromwell in Hit Factor, a pilot that Neil co-wrote and executive produced. Hit Factor won “Best Drama” at the New York Television Festival in 2008. Most recently, Neil appeared on Nip/Tuck as the long-lost brother of Dr. McNamara (Dylan Walsh), and he will reprise his role of Liam on the final season of Lost. He is currently shooting the sci-fi feature film, Skyline, directed by Colin & Greg Strause. You can view his reel here.

In the grand tradition of comparing things to other things, I guess you could say that being a Guest Star is kind of like being a temp: you’re a stranger who shows up at a workplace where everyone already knows everyone; sometimes introductions are never made, which only adds to the awkwardness; you have to quickly acclimate yourself to the attitude, energy and pace of the other workers; and just when you start to feel more at ease, your job is done and it’s time to go home. I suppose the main difference is that being a Guest Star isn’t boring and it definitely doesn’t suck. But it’s also not as simple or easy as I used to think.

In the nearly thirty Guest Stars that I’ve done, I’ve developed a deep respect for this often-overlooked and undervalued role in television (and I include Co-Stars in this as well, since the difference between the two often comes down to lines, pay scale and how aggressively your representation negotiated for you). In years past, I have noticed some snobbery among actors toward reading for non-Series Regular roles, especially during pilot season. I’ve heard the phrase “it’s just a Guest Star” muttered in many a waiting room. But in the last two years, with our economy and our industry being reduced to a shambles, a lot of actors (myself included) have begun to appreciate the many necessities that Guest Starring roles can provide. These include a SAG card, experience on camera, footage for a reel, earnings toward health insurance and even possible future acting work. And, of course, who could forget those precious, life-sustaining residual checks. Two days of work as a trash-talkin’ perp on one of CSI’s twelve incarnations will pay out for years to come. Not too shabby.

But there’s a reason that Guest Star work is so rewarding: it’s not easy. Not easy to get, and not easy to do. In fact, it can actually be more difficult to work on a show as a Guest Star than as a Series Regular. I don’t say this to start a class war, or to attribute greater significance to the work I have done, but I have worked with several actors who are Series Regulars and have expressed my same belief, especially on procedural crime dramas where each week’s action is driven entirely by the actions of the Guest Stars. So I know I’m not the only one who respects that there is a pretty unique set of challenges that the Guest Star has to overcome to make the most of this increasingly precious opportunity. Get a few drinks in me and I could probably talk about this all night, but for the purposes of this article, I’ve narrowed it down to a few points that I wish I had known when I first started.

Know The Show

When reading for a Guest Starring role, it’s essential to know the show you are auditioning for. Since you only get the sides for your character, and not the episode script, you have to learn as much as you can about the show as a whole. I don’t just mean looking it up on IMDB, but doing whatever you can to get familiar with its tone, style and rhythm. This can only be achieved by watching it. It may sound obvious, but you’d be surprised how many actors think “acting is acting” and it shouldn’t matter what show it is; it does. I won’t pretend this is something that I always do, but when I do, it always helps my audition. At the very least it saves me the time and energy of going in the wrong direction with a character.

Another reason it’s important to know the show that you’re reading for has nothing to do with acting. It’s not uncommon at an audition to have the Casting Director ask if you watch their show. I’ve been asked this many times and the answer is always yes, though a few times I’m sure it was obvious I was lying. It may seem silly to us, but the reality is that some Casting Directors take it very personally if you’ve never watched their show. I’m not saying it will cost you the role if you answer no, but auditions are hard enough without getting caught in that awkward position.

The reality is, we can’t be expected to watch every TV show all the time and I certainly don’t—the critics don’t even have the time for that. Fortunately, though, it’s become a lot easier to catch up on a TV series using DVR, On Demand, Netflix and, of course, the Internet. Between Hulu, Youtube, iTunes and Netflix, there aren’t a whole lot of shows you can’t find online. I find it surprising that there are still a lot of people who haven’t yet discovered Netflix’s “Watch Instantly” feature on their website, which streams thousands of titles in both movies and TV shows. Not all shows are available on the site, but many are (and they add new titles every week), and with their most basic subscription at less than $10/month, it’s an inexpensive and indispensable acting resource. That totally sounded like a commercial, I know, but sadly I will not be getting paid for that plug. I also use both Netflix and Youtube to help prepare for certain roles by finding relevant documentaries and/or movies to use as research materials or inspiration for finding a certain character or dialect.

So whenever I get an audition for a show that I’m not familiar with, I try to watch at least one episode, especially if it’s a new show. This can greatly inform how the character fits into the show’s formula, especially with procedural dramas (crime/medical/legal), where there is really only ever a handful of character types. Are you the guilty-as-sin suspect who turns out to be innocent on NUMB3RS? Are you the grieving wife who weeps for her missing husband only to later be exposed as his murderer on Without a Trace? Understanding how the show works and how you fit into the story will save a lot of time, energy and confusion in your preparation and increase your chances of having a successful audition. By “successful” I don’t necessarily mean you got the part, since that is ultimately out of your hands. Successful to me means a smart, informed and personalized reading of the character that was consistent with the show. The rest has a way of taking care of itself.

Some Sets Suck

As actors we learn that relaxation is essential to good acting, but it can be very difficult to relax when you’ve just walked onto a grumpy set at 5 am and don’t know anyone or feel comfortable or even welcome. Like any workplace, some sets are healthier environments than others. Some run like clockwork and abound with goodwill and humor, and some are a miserable clusterf**k. I’ve been very fortunate to have worked mainly on the former, but both can be distracting because being too comfortable and loose on the set can also work against you. Just because everyone’s chatting and joking and goofing around, doesn’t mean it’s easy place for you to step in and do what they’re paying you to do. I’ve been on sets where my performance suffered because I let myself to get distracted by the “fun” that the lead actors were having during my close up. Do I wish I could have told them to shut their holes and let me do the scene? Of course, but I was a guest on their show and ultimately it’s on me to show up and nail my part, regardless of what’s going on around me.

The best remedy for this kind of workplace unfamiliarity and uncertainty is to know thyself. If you know that your environment easily distracts you then you need to find the tools that will help you to relax and concentrate on the task at hand. Without this concentration, the quality of your performance will always hinge on the vibe of the set, which can be a real bummer. So whether it’s meditating, doing crossword puzzles, reading or just running your lines over and over, it’s essential to have a touchstone that keeps you grounded, relaxed and focused, no matter what show you’re on.

When I have emotional (crying) scenes to perform, I bring my iPod and I keep to myself as much as possible before the scene. This could be all day. I’m not unfriendly, but I don’t invite distraction either. On a good set, people will understand this and leave you space to brood, but if that’s not the case then tell the 2nd Assistant Director or a PA that you need a place to sit and stay focused for the upcoming scene. Or ask if you can stay in your trailer until they actually need you–whatever will keep you where you need to be mentally and emotionally for the scene. You’ve already gone through a lot just to get the part, but at the end of the day, the only thing that matters is how well you are able to perform when the camera is rolling. So don’t let yourself get distracted by the energy and activity of the set; it will rarely be an ideal place to work.

You May Not Get A Second Take

As Michael Caine says in his terrific book ACTING IN FILM, “In some ways, the small parts are the hardest. It’s terrifying to have to just say one line.” Truer words were never written. The Series Regulars are on the show every week. If they leave the set feeling like they missed a moment for their character, they will have many opportunities to redeem themselves because in most cases, they know they’re coming back for at least the rest of the season. The Guest Star doesn’t have that luxury, and I’ve learned the hard way that if you aren’t prepared to really “bring it” on your first take, then that very well may be what ends up on national television.

On most shows, they are often working with new Directors (new to that show), and trust me–they are being watched much more closely than you. So as nervous as you feel about making a good impression with the cast/crew, imagine the Director’s anxiety at having eight days to shoot 40 pages that match the aesthetic of the series while showing off their own personal flare. The Director’s main concern is to please the Showrunners, Producers and the Network, so they’re not worried about whether you got enough takes to feel good about your acting. So never expect to get more than one take, especially on a close-up. You may get more than one take, but you have no control over which one they use, so when you’re a Guest Star, treat every take as if it it’s your last.

The key to overcoming this challenge is preparation. Every one has their own method, so whatever preparation you need to give a full performance on your first take, do it. Every time. There is no worse feeling than walking back to your trailer knowing you blew a scene because you were timid or distracted or, worse–unprepared. I’ve been there and it’s not fun. You can blame the Director for not giving you any direction, but it’s not their job to coach a good performance out of you. They saw your audition and chose you for the role, so they like you, but in some cases they won’t give you anything beyond technical direction (hitting your marks, etc.). So don’t expect to be coddled and you won’t be disappointed. That may sound harsh, but understanding this dynamic helps us to let go of our dependence on Director feedback and take full responsibility for our own performance, which is quite empowering.

You’re On Your Own

You prepare the audition, you book the part, you shoot your scenes and you wrap. That’s it. No watching dailies at the director’s house, no cast party at The Standard, and no red carpet premiere. You just steal whatever you can from craft services and you go home. You’re on your own. And unless it was a recurring role, the odds are that you won’t be back, no matter how well you did. This can be a relief if you had a horrible experience, but it can be a bummer if you had fun and got along with everyone. It’s anti-climactic, to be sure, but for better or for worse, it’s the nature of being a Guest Star. For a brief period you feel what it’s like to work on a show and be a part of the cast, but when it’s over it’s over, and you’ll have to wait for it to air to enjoy the fruits of your labor. This can take anywhere from three weeks to over a year, depending on the show.

If you’re fortunate enough to book a Guest Star on a “hit” show that industry folk actually watch (or say they watch, which is more often the case), then with no further effort on your part, your appearance can get you some great exposure. For a brief period this can help your agent/manager get you more auditions and/or meetings, which is fantastic. In most cases, though, the people who will see your performance are your family, your friends and the millions of viewers who think you’re great but can’t really do anything to help your career. So it’s up to you to make sure the right people see it.

Some actors do mailings to Casting Directors and/or Producers to create awareness for their upcoming appearance. These are postcards with the actor’s picture and the information (show, channel, date, time) and maybe a brief personal note. I’ve never done this, so I have no idea how effective it is. I do know that most mailings to Casting Directors are quickly filed in the recycling bin. Some are actually read, though, so I can’t imagine it could hurt and–who knows–it might even help. So if you have the money and are smart about the people you mail to, then go for it. Others use email, Facebook and Twitter to get the word out. These are free and can be very effective, especially if you have Casting Directors/Producers among your contacts. This is what I do (minus Twitter, which I think is dumb, but would actually be perfect for this kind of posting).

I suppose the best way to look at a Guest Starring role is as an opportunity–to make some money; to develop relationships with other industry professionals; to hone your on-camera skills; and to add new characters to your reel. Most importantly, though, it is a rare opportunity to show off your work to the people who can give you your next job. For most actors–myself included–working as a Guest Star is a means to an end, and not an end in itself. But I’ve done enough of them to learn that it’s a huge mistake to take this kind of work for granted.