I was told in college that when I audition I should never make eye contact with the people assessing me. Since this was my first time taking any kind of theatrical class and I was an impressionable 19 year old, I believed it. I also carried this nasty habit with me through graduation and I finally rid myself of it about a year ago.
Who was the first person to make this "rule"? This falsehood is accepted by so many people in show business, usually the people on my side of the lens. People are so averse to looking a CD in the eye that I think they are afraid of being turned into stone, or as I call it.... "getting Medusa'd".
It's bullshit. Complete and utter lies. Acting (and admittedly I'm painting with a broad brush here) is about making a connection. You either make a connection with your scene partner, or you make a connection with the people viewing your work. You want them to feel with you and, in the lamest way possible.......buy that Hyundai*.
It's impossible to make a connection with someone if you are staring at something. It doesn't matter if it's the most specific and tiniest crack on the wall, no one buys it. No one will believe your dead mannequin eyes. No one. Make is easier on yourself and make a connection with a sentient being, and guess what....there's one standing right next to the camera.
My acting coach told the class something yesterday that I thought was so wise. "The whole thing [acting] is phony, they just keep calling it the truth." When you talk to someone in real life, do you stare off into space? Nope, of course not. You look them in the eye and speak like a human being.
Do yourself a favor and be an actual human being when you audition.
*Sorry Jeff Bridges, nothing personal.
Showing posts with label acting class. Show all posts
Showing posts with label acting class. Show all posts
Thursday, February 10, 2011
Tuesday, January 11, 2011
Class etc.
My acting class has been on hiatus since a few days before Christmas. We return tomorrow. I have a scene in the works with a talented actress named Stacy. We are putting up (for the second time) Clifford Odets' "Waiting for Lefty". I really enjoy the scene, because a voice like Odets' is missing in today's playwright world. Clifford captured the essence of the great depression in this play. Stacy told me during rehearsal that "It makes her sad when she sees a family on the subway and I can just tell that the husband can't provide for them." I believe I am paraphrasing a bit, but that's basically what it was about.
Not being able to provide is a huge fear of mine, and I'm sure that I'm not alone. I've had a few bad months here and there with regards to real estate or acting and when the rent is due, it's due. So I try to channel those feelings and ride with that emotion. "That" emotion for me is a mix of panic, self doubt, self loathing, perhaps some depression and general rage. Few things in the world are worse then when I bust my hump the whole week and Friday, when checks are cut....I have nothing to show for it. That is one long and slow train ride home, let me tell you.
The character in the scene is "Joe". Joe is a cabby, he has a wife and two children. He arrives home to find his wife in the apartment, but all of the furniture is gone. All of their possessions have been repossessed. His wife put the kids to bed "so that they wouldn't know they missed dinner." Then, of course, fireworks ensue between Joe and his wife, Edna. Joe threatens domestic violence. Edna calls Joe a "four star loser" and tells him that she is going to pay a visit to an old flame of hers, who is prospering. "He still keeps a picture of me in a locket on his chain!"
Emasculated, robbed and cuckolded; Joe's back is up against the wall. This is just the second scene of the play, and the first time the audience sees these two characters! We are set to rehearse today for about an hour. Those are two benefits of being a rental agent: an open schedule and access to empty apartments. I haven't had to pay for rehearsal space in years! Last time we put up the scene, it was lacking conflict, and that was my mistake. Today and tomorrow night during class, I'm going to let it rip. I'm going to toss technique out of the window and allow the scene to take me wherever it does. It's going to be visceral and I will lose myself in it.
More to come: Black Swan and 8 rounds of boxing sparring. Today, tomorrow, or the day after....stay tuned.
Not being able to provide is a huge fear of mine, and I'm sure that I'm not alone. I've had a few bad months here and there with regards to real estate or acting and when the rent is due, it's due. So I try to channel those feelings and ride with that emotion. "That" emotion for me is a mix of panic, self doubt, self loathing, perhaps some depression and general rage. Few things in the world are worse then when I bust my hump the whole week and Friday, when checks are cut....I have nothing to show for it. That is one long and slow train ride home, let me tell you.
The character in the scene is "Joe". Joe is a cabby, he has a wife and two children. He arrives home to find his wife in the apartment, but all of the furniture is gone. All of their possessions have been repossessed. His wife put the kids to bed "so that they wouldn't know they missed dinner." Then, of course, fireworks ensue between Joe and his wife, Edna. Joe threatens domestic violence. Edna calls Joe a "four star loser" and tells him that she is going to pay a visit to an old flame of hers, who is prospering. "He still keeps a picture of me in a locket on his chain!"
Emasculated, robbed and cuckolded; Joe's back is up against the wall. This is just the second scene of the play, and the first time the audience sees these two characters! We are set to rehearse today for about an hour. Those are two benefits of being a rental agent: an open schedule and access to empty apartments. I haven't had to pay for rehearsal space in years! Last time we put up the scene, it was lacking conflict, and that was my mistake. Today and tomorrow night during class, I'm going to let it rip. I'm going to toss technique out of the window and allow the scene to take me wherever it does. It's going to be visceral and I will lose myself in it.
More to come: Black Swan and 8 rounds of boxing sparring. Today, tomorrow, or the day after....stay tuned.
Monday, November 8, 2010
Audition a-la minute! [UPDATED]
Earlier today, I mentioned how my work ethic and unflappable good faith got me a commercial audition. Well, I just came back from it and I feel very good. Here is a recap.
The audition was for "Chobani" a Greek style yogurt sold here in the states. Whenever I shop and pass by the dairy section, the product catches my eye because it is very similar to my last name, Chorba. BTW, there is a Bulgarian woman who sits next to me at work; she has a working knowledge of Turkish and tells me that Chobani is Turkish for shepherd. Makes sense...anywho.
The storyboard went like this...Stephanie, a real Chobani enjoyer brings them to her work so she can enjoy them during the day time, but someone pilfers her yogurt. OH, THE HUMANITY! She launches an investigation around the workplace and questions a "large man by the copier". Guess which role I went out for.
If you guessed Stephanie, you are wrong.
Stephanie says "You look like you eat a lot of protein." I was supposed to give two reactions of the CD's choosing. We were told to first react in a positive way and say something back, almost thanking her for the compliment. Then on the other take I was supposed to be really confused and walk away. Almost as if to be like "I don't know you or what your angle is, but I am leaving" But do this only through movements etc.
I improvised my first take like this......
"Hey Phillip, you look like you eat a lot of protein."
(look up from copier, facial change from confused to delighted/confident)
"200 grams a day."
The CD howled with laughter, and then told me to take it again but not as confident, same line in a different way. This is when my acting coach's training is paying dividends. I chose to use: relationship, location and mischief. BOOM! Nailed that.
Now time for the second take.....the confused-and-walk-away-sans-words take.....
"Hey Phillip, you look like you eat a lot of protein."
(look up from copier, facial change from confused to a bit angry about this slight...take one pace away and turn again back to Stephanie for a quick "button" on the take if you will.)
She chuckled this time ever so slightly and told me it was OK, but she wanted to see me not angry "It's like you are the nice guy in the office, so you wouldn't get mad." I can do that, totally. I AM THE NICE GUY IN THE OFFICE, I thought.
This time my reaction was....look up from copier, eyes widened a bit then I pursed my lips, by bringing them in, sucked in my belly slightly, silently nodded and walked away. This whole reaction was 4 seconds long, tops.
She howled again. It feels really good to use techniques that I practice day in and day out. It feels excellent to receive a positive reaction to choices that you make during an audition. I really enjoyed auditioning for this particular CD and the office itself was clean, and finely tuned in its operation.
It is also a nice feeling when you look at the character you are auditioning for and you look exactly like it. I know its' hard to tell, but trust me it's legit. Yes, I unbuttoned my tie like the guy in the storyboard. :-)
The audition was for "Chobani" a Greek style yogurt sold here in the states. Whenever I shop and pass by the dairy section, the product catches my eye because it is very similar to my last name, Chorba. BTW, there is a Bulgarian woman who sits next to me at work; she has a working knowledge of Turkish and tells me that Chobani is Turkish for shepherd. Makes sense...anywho.
The storyboard went like this...Stephanie, a real Chobani enjoyer brings them to her work so she can enjoy them during the day time, but someone pilfers her yogurt. OH, THE HUMANITY! She launches an investigation around the workplace and questions a "large man by the copier". Guess which role I went out for.
If you guessed Stephanie, you are wrong.
Stephanie says "You look like you eat a lot of protein." I was supposed to give two reactions of the CD's choosing. We were told to first react in a positive way and say something back, almost thanking her for the compliment. Then on the other take I was supposed to be really confused and walk away. Almost as if to be like "I don't know you or what your angle is, but I am leaving" But do this only through movements etc.
I improvised my first take like this......
"Hey Phillip, you look like you eat a lot of protein."
(look up from copier, facial change from confused to delighted/confident)
"200 grams a day."
The CD howled with laughter, and then told me to take it again but not as confident, same line in a different way. This is when my acting coach's training is paying dividends. I chose to use: relationship, location and mischief. BOOM! Nailed that.
Now time for the second take.....the confused-and-walk-away-sans-words take.....
"Hey Phillip, you look like you eat a lot of protein."
(look up from copier, facial change from confused to a bit angry about this slight...take one pace away and turn again back to Stephanie for a quick "button" on the take if you will.)
She chuckled this time ever so slightly and told me it was OK, but she wanted to see me not angry "It's like you are the nice guy in the office, so you wouldn't get mad." I can do that, totally. I AM THE NICE GUY IN THE OFFICE, I thought.
This time my reaction was....look up from copier, eyes widened a bit then I pursed my lips, by bringing them in, sucked in my belly slightly, silently nodded and walked away. This whole reaction was 4 seconds long, tops.
She howled again. It feels really good to use techniques that I practice day in and day out. It feels excellent to receive a positive reaction to choices that you make during an audition. I really enjoyed auditioning for this particular CD and the office itself was clean, and finely tuned in its operation.
It is also a nice feeling when you look at the character you are auditioning for and you look exactly like it. I know its' hard to tell, but trust me it's legit. Yes, I unbuttoned my tie like the guy in the storyboard. :-)
[UPDATE: I have another audition tomorrow, for AT&T. 2 auditions in 2 days hasn't happened since.......ever?]
Friday, September 24, 2010
An actor should establish "Relationship" to get the focus off them
Before I get into how to establish relationship, a quick tale. Wednesday, during a 10 minute break from acting class I went to get a bag of chips. I saw a Dorito bag with cool graphics all over it. It was an advertisement for the latest version of "Halo" an awesome video game that people go nuts over. I snagged that bag because I didn't realize that it was promotional advertising, I thought that Doritos now came in a new flavor, a "Halo" inspired flavor. Perhaps they are remarketing my beloved and ne'er to be seen again spicy sweet chili? Nope. It was nacho cheesier. Damnit! Watch out consumers, those bags are tricky.
There are a few ways to establish relationship and by doing so, get the focus of of yourself. I will talk about two ways: one is more suited for rehearsal and one is more suited for performance.
For the rehearsal tip, taken an object and stare at it, play with it, manipulate that object in your hand. When you're doing that, run your lines and you'll see how much better you will sound. Your rate, inflection, pitch and dynamic will become greatly varied. Don't just pick up the "Papermate" brand blue ball point pen and go about your lines. Study that bitch. Notice how the prong from the cap eventually pulls away from the pen when it is sheated? Notice how there are two hearts on top of each other in between the words paper and mate? Notice how the end of the cap is thinner than at the beginning of the cap, where the pen first enters? This is how specific I needed to get to get the focus off of myself. You may not need to get this specific, but you'll only know by trying.
Watch an old Marlon Brando flick and notice how he constantly plays with objects. He was a very tactile actor. He was doing that to get the focus off of himself and put the focus back into the scene, and it works wonders.
For the performance tip, I suggest focusing all of your gaze onto your scene partner. This will put the focus on the other actor and will therefore give you less to worry about. When you have less to worry about, your work will succeed. Often times, a film director will tell the actors to take the scene again "just as a throw-away, this one doesn't count." And wouldn't ya know, that is usually the best take. Why? Because the actors are relaxed and therefore have all the focus off of them.
There are a few ways to establish relationship and by doing so, get the focus of of yourself. I will talk about two ways: one is more suited for rehearsal and one is more suited for performance.
For the rehearsal tip, taken an object and stare at it, play with it, manipulate that object in your hand. When you're doing that, run your lines and you'll see how much better you will sound. Your rate, inflection, pitch and dynamic will become greatly varied. Don't just pick up the "Papermate" brand blue ball point pen and go about your lines. Study that bitch. Notice how the prong from the cap eventually pulls away from the pen when it is sheated? Notice how there are two hearts on top of each other in between the words paper and mate? Notice how the end of the cap is thinner than at the beginning of the cap, where the pen first enters? This is how specific I needed to get to get the focus off of myself. You may not need to get this specific, but you'll only know by trying.
Watch an old Marlon Brando flick and notice how he constantly plays with objects. He was a very tactile actor. He was doing that to get the focus off of himself and put the focus back into the scene, and it works wonders.
For the performance tip, I suggest focusing all of your gaze onto your scene partner. This will put the focus on the other actor and will therefore give you less to worry about. When you have less to worry about, your work will succeed. Often times, a film director will tell the actors to take the scene again "just as a throw-away, this one doesn't count." And wouldn't ya know, that is usually the best take. Why? Because the actors are relaxed and therefore have all the focus off of them.
Thursday, September 23, 2010
An actor should utilize all 88 keys of the piano
Not literally, unless you are a quadruple threat actor like Jason Segel. Gets me every time. Honestly, I do indeed tear every time he mutters "how I love youuuuu" at the end. That and the end of Adam Sandler's "Wedding Singer", when he serenades Drew Barrymore on the airplane. Those are the two times I cried during movies - the only times. When funny guys get all vulnerable and pour their guts out over serio-comic love songs.
WHAT IS WRONG WITH ME?!?!?!?
Schindlers List? Nope. When Haley Joel Osment's parents leave him in the woods in A.I.? Not once. When Bambi's mother died? Surely, you jest. "Forgetting Sarah Marshall" and "The Wedding Singer"? Yup, every time. Like a schoolgirl with a skinned knee. Oh my sweet savior, I literally just got misty eyed thinking about Adam Sandler singing "I wanna grow old with you."
Anyway, by utilizing all the keys of the piano I mean using all of your tools in a monologue, using all of your training all the time, being the best possible actor you can be at any given time. One way you can do this is by varying up your speech patterns by tweaking a combination of four things. I've mentioned rate, inflection, pitch and dynamic before on this blog. I've even given a video demonstration. Varying RIPD is so important. Sure, you can have a hamburger on a cold potato bun and it would be, OK I suppose. Maybe even passable. But if you toast that bun, add some fresh lettuce, tomato and raw red onion and some Heinz, its ethereal.
Additionally there are 16 ways to say a line. You can even combine those ways to utilize your skill sets.
Next blog I will talk about exploring "Relationship: getting the focus off of you". That's one of the sixteen ways. We'll talk about how I use that to free up my RIPD. I spoke about entering "the matrix" a few posts ago, I used "relationship" to get to that point - read it if you haven't yet.
WHAT IS WRONG WITH ME?!?!?!?
Schindlers List? Nope. When Haley Joel Osment's parents leave him in the woods in A.I.? Not once. When Bambi's mother died? Surely, you jest. "Forgetting Sarah Marshall" and "The Wedding Singer"? Yup, every time. Like a schoolgirl with a skinned knee. Oh my sweet savior, I literally just got misty eyed thinking about Adam Sandler singing "I wanna grow old with you."
Anyway, by utilizing all the keys of the piano I mean using all of your tools in a monologue, using all of your training all the time, being the best possible actor you can be at any given time. One way you can do this is by varying up your speech patterns by tweaking a combination of four things. I've mentioned rate, inflection, pitch and dynamic before on this blog. I've even given a video demonstration. Varying RIPD is so important. Sure, you can have a hamburger on a cold potato bun and it would be, OK I suppose. Maybe even passable. But if you toast that bun, add some fresh lettuce, tomato and raw red onion and some Heinz, its ethereal.
Additionally there are 16 ways to say a line. You can even combine those ways to utilize your skill sets.
Next blog I will talk about exploring "Relationship: getting the focus off of you". That's one of the sixteen ways. We'll talk about how I use that to free up my RIPD. I spoke about entering "the matrix" a few posts ago, I used "relationship" to get to that point - read it if you haven't yet.
Friday, September 17, 2010
Actors need to have momentum
A working actor in my class told me that while there is no such thing as a big break, most of his work can be traced back to one original job. Hmmm, that is a very interesting thought. You do one job, and the DP likes what you did, or you caught the producers eye and he remembers you for a future project. I can see how this can be true. I can actually trace back my securing of a ultra-spacious rent stabilized one bedroom in Astoria Queens to an off-off Broadway production of "Merchant of Venice" in June 2005. That was 5 years ago, we moved into the aforementioned apartment last year. I am not shitting you. I am so not shitting you.
In June 2005, a mere 2 weeks after I graduated from Union College with a theater degree I saw in Backstage an audition notice for a non-union (but paying) production of Merchant. Great, I will audition for this I thought. I went to the audition on Manhattan's lower east side. It was held in a former middle school turned performance center on Suffolk Street. It was about 100 degrees outside and around 110 inside the waiting hall, and man oh man there were many many people there to audition. Merchant boasts many male roles and three EXCELLENT female roles, including the highly coveted role of Portia.
I came in with my "tennis balls" speech from "Henry V". I had a callback about a week later, and bombed on the cold read for Graziano. Either other people previously offered the role of Solanio turned it down, or Tim saw something in me. I was cast. I was elated. From the audition I met an excellent actor, Ben Curns. Turns out I saw Ben in a play the year before. I thought he was awesome then, and I still think that today.
Through Ben, I met his friend Mike Burdick. Mike is an excellent playwright. I did a bunch of shows with/for Mike. Through Ben I also met his girlfriend at the time Synge. Synge directed me in a show written by Mike. Then Mike put on a showcase of a few of his plays. One of the actors was a talented gent named Skid, he is Synge's sister.
The next year when I helped start up Fire Island Shakespeare company, we ended up firing our director and an actor quit due to this. We needed a third actor and a director. We brought in Mike Burdick and Mike recommended Skid. I saw Skid act, and thought he would be great. So the cast was myself, Rob Brown and Skid Maher for "The Complete Works of William Shakespeare: Abridged". The three of us enjoyed about 50 performances together and the next year we continued the trend with "I Hate Hamlet!"
The next winter, Skid was in a show that an actor dropped out of. The show was to go up in less than 2 weeks and they needed someone who was a quick read and not a quitter. That's me. On that show I met Laura Jo Schuster and Dee Beider, two very talented comedic actresses.
The next summer I brought in Dee and LJ to act in "I Hate Hamlet". LJ, Dee and I needed to run lines, and we went to LJ's apartment, which was only 3+ blocks away from where I lived. I walked in the apartment and totally went apeshit. I loved the place, I needed to live there. It was HUGE.
I hounded the super and management company with phone calls until a one bedroom came available. It was a mirror image of LJ's place and just one floor higher. Our old apartment could fit in the living room of this place. It was also 200 less than our old place and with laundry in the building.
Ha.
I hope that in 5 years, I can post something like this that traces back big money to Tuesday's Onion job. :-)
In June 2005, a mere 2 weeks after I graduated from Union College with a theater degree I saw in Backstage an audition notice for a non-union (but paying) production of Merchant. Great, I will audition for this I thought. I went to the audition on Manhattan's lower east side. It was held in a former middle school turned performance center on Suffolk Street. It was about 100 degrees outside and around 110 inside the waiting hall, and man oh man there were many many people there to audition. Merchant boasts many male roles and three EXCELLENT female roles, including the highly coveted role of Portia.
I came in with my "tennis balls" speech from "Henry V". I had a callback about a week later, and bombed on the cold read for Graziano. Either other people previously offered the role of Solanio turned it down, or Tim saw something in me. I was cast. I was elated. From the audition I met an excellent actor, Ben Curns. Turns out I saw Ben in a play the year before. I thought he was awesome then, and I still think that today.
Through Ben, I met his friend Mike Burdick. Mike is an excellent playwright. I did a bunch of shows with/for Mike. Through Ben I also met his girlfriend at the time Synge. Synge directed me in a show written by Mike. Then Mike put on a showcase of a few of his plays. One of the actors was a talented gent named Skid, he is Synge's sister.
The next year when I helped start up Fire Island Shakespeare company, we ended up firing our director and an actor quit due to this. We needed a third actor and a director. We brought in Mike Burdick and Mike recommended Skid. I saw Skid act, and thought he would be great. So the cast was myself, Rob Brown and Skid Maher for "The Complete Works of William Shakespeare: Abridged". The three of us enjoyed about 50 performances together and the next year we continued the trend with "I Hate Hamlet!"
The next winter, Skid was in a show that an actor dropped out of. The show was to go up in less than 2 weeks and they needed someone who was a quick read and not a quitter. That's me. On that show I met Laura Jo Schuster and Dee Beider, two very talented comedic actresses.
The next summer I brought in Dee and LJ to act in "I Hate Hamlet". LJ, Dee and I needed to run lines, and we went to LJ's apartment, which was only 3+ blocks away from where I lived. I walked in the apartment and totally went apeshit. I loved the place, I needed to live there. It was HUGE.
I hounded the super and management company with phone calls until a one bedroom came available. It was a mirror image of LJ's place and just one floor higher. Our old apartment could fit in the living room of this place. It was also 200 less than our old place and with laundry in the building.
Ha.
I hope that in 5 years, I can post something like this that traces back big money to Tuesday's Onion job. :-)
Thursday, September 16, 2010
Audition for the 39 Steps
I worked on the sides last night in acting class. Steve asked "How do you think you did?"
"This is a really hard piece." I non-answered.
"Well I hated it, and I rarely say that, but I truly did hate it. When is the audition?"
"Tomorrow at ten thirty in the morning."
Steve chuckled "OK you're pretty much fucked."
I went up again later in the night after Steve gave me some pointers and ideas/tips etc. The class laughed, Steve laughed. It was a grand ole time.
The piece requires a Scottish accent and I spent yesterday before class and last night after class and the wee hours of this morning working on said accent. I used a technique that Steve taught me. You say a line in your regular voice, repeat it in an accent, repeat it in your regular voice, then back in the accent. You get the point, here. You can't have the piece be about the accent, the piece has to be about whatever the lines are, the intentions are etc. So I did a lot of that. And I gotta tell ya, the audition went ok. Not amazingly well. But I don't think that I bombed either. I think I saw the CD crack a smile, which is promising. This theater is based in Sarasota, Florida and they put up about 16 shows a year. This would be a good group to get in with.
If I am what they need, then they will cast me. If not, they won't. It's as simple and as cold as that. That is a mantra that all thick skinned actors should repeat over and over again.
"This is a really hard piece." I non-answered.
"Well I hated it, and I rarely say that, but I truly did hate it. When is the audition?"
"Tomorrow at ten thirty in the morning."
Steve chuckled "OK you're pretty much fucked."
I went up again later in the night after Steve gave me some pointers and ideas/tips etc. The class laughed, Steve laughed. It was a grand ole time.
The piece requires a Scottish accent and I spent yesterday before class and last night after class and the wee hours of this morning working on said accent. I used a technique that Steve taught me. You say a line in your regular voice, repeat it in an accent, repeat it in your regular voice, then back in the accent. You get the point, here. You can't have the piece be about the accent, the piece has to be about whatever the lines are, the intentions are etc. So I did a lot of that. And I gotta tell ya, the audition went ok. Not amazingly well. But I don't think that I bombed either. I think I saw the CD crack a smile, which is promising. This theater is based in Sarasota, Florida and they put up about 16 shows a year. This would be a good group to get in with.
If I am what they need, then they will cast me. If not, they won't. It's as simple and as cold as that. That is a mantra that all thick skinned actors should repeat over and over again.
Thursday, September 9, 2010
Acting Class, a breakthrough of sorts. Another Dr Phil video too.
So last night in acting class I had a bit of a breakthrough. I put up my "Breaking Bad" monologue again, loyal readers will know which one I am talking about here. It went pretty well, better than last time even. But Steve told me that he could tell that I was still acting. He could see the technique being applied and he could tell that I was processing information and putting it to work etc. Normally this is a good thing, it shows that I am applying my craft, that I am doing my homework so to speak. For someone at my level, it's not really that good of a thing. I need to get past that threshold and enter the realm where no one...not even me, knows where I am going next.
Got it?
Think about it for a second, when you talk to your friends you don't know where the conversation will lead or what your reaction will be, your friend's reactions will be etc. You just talk. It's so natural, its the most natural. Ubernatural. Au Naturale. It's almost like Keanu Reeves in the Matrix when he finally sees how he can manipulate the system, and he sees nothing but code. The breakthrough is equally dramatic.
In many ways I am very close to acting in the matrix, to put it crudely. We did a simple exercise where I performed my monologue but played with a pen and studied the pen and put all of my focus on the pen. The trick here, is getting the focus off of yourself. By doing so, I was completely surprised by where I went vocally and physically.....and I gotta tell ya, I wasn't even thinking about doing those things. Like the first kiss in a romantic comedy starring Freddie Prinze Jr, it just happened.
But how can I achieve this? How? All actors want to get to this level. The only way is through technique. Steve tells us that there are only 16 ways to say a line. You just have to work on those ways. It's practice. Do you think that Michael Jordan practiced dribbling and free throws? You bet your ass he did. Do you think that Nadal practices his serve? Damn straight he does. Do you think that the guy from Bravo's "Flipping Out" practices being sassy and botoxed out of his grill? Yes, he does. Without question.
This is a a good thing. In many ways, I.AM.RIGHT.THERE. And I also have a lot of work to do, but each time that you practice working on technique, the session time gets shorter and shorter because it's deeper into your bones.
End piece.
Got it?
Think about it for a second, when you talk to your friends you don't know where the conversation will lead or what your reaction will be, your friend's reactions will be etc. You just talk. It's so natural, its the most natural. Ubernatural. Au Naturale. It's almost like Keanu Reeves in the Matrix when he finally sees how he can manipulate the system, and he sees nothing but code. The breakthrough is equally dramatic.
In many ways I am very close to acting in the matrix, to put it crudely. We did a simple exercise where I performed my monologue but played with a pen and studied the pen and put all of my focus on the pen. The trick here, is getting the focus off of yourself. By doing so, I was completely surprised by where I went vocally and physically.....and I gotta tell ya, I wasn't even thinking about doing those things. Like the first kiss in a romantic comedy starring Freddie Prinze Jr, it just happened.
But how can I achieve this? How? All actors want to get to this level. The only way is through technique. Steve tells us that there are only 16 ways to say a line. You just have to work on those ways. It's practice. Do you think that Michael Jordan practiced dribbling and free throws? You bet your ass he did. Do you think that Nadal practices his serve? Damn straight he does. Do you think that the guy from Bravo's "Flipping Out" practices being sassy and botoxed out of his grill? Yes, he does. Without question.
This is a a good thing. In many ways, I.AM.RIGHT.THERE. And I also have a lot of work to do, but each time that you practice working on technique, the session time gets shorter and shorter because it's deeper into your bones.
End piece.
Wednesday, September 8, 2010
Acting is slow this week, so I shift focus
When acting slows down there are two things to do. One is, you pine and sob that things aren't going your way. That works, if you consider "working" crying into a glass of Canadian Club. You are quite tasty Canadian Club, but you are a terrible psychiatrist. Another way is, you focus on other things that will have a positive effect on you, your life, your relationships or your career.
I have my Wednesday acting class with Beauchamp, that's great. It's a great place to focus on sharpening my skills and working on other skills that I have yet to acquire.
I also focus on getting better at boxing. It's a lot of fun, boxing. I also enjoy that I can kick a little ass, if need be. I find that when rehearsing a monologue or a scene and I do something physical, even if it's just walking around the apartment - its really beneficial. I learn the text faster and for some reason, the time flies by. I also focus on general exercise. Like yesterday, I went for a 5+ mile run around 11102. Surprisingly, I am not sore today and I finished the run in just under an hour. Hopefully, everything will fall into place.
After all, John Lennon once said "Life is what happens to you while you're busy making other plans." That's cool, I can get behind that.
He also said that he was a walrus. Goo goo ga joo.
What about you, loyal reader(s) - What do you do to ease tension and stress when things aren't going how you want them to?
I have my Wednesday acting class with Beauchamp, that's great. It's a great place to focus on sharpening my skills and working on other skills that I have yet to acquire.
I also focus on getting better at boxing. It's a lot of fun, boxing. I also enjoy that I can kick a little ass, if need be. I find that when rehearsing a monologue or a scene and I do something physical, even if it's just walking around the apartment - its really beneficial. I learn the text faster and for some reason, the time flies by. I also focus on general exercise. Like yesterday, I went for a 5+ mile run around 11102. Surprisingly, I am not sore today and I finished the run in just under an hour. Hopefully, everything will fall into place.
After all, John Lennon once said "Life is what happens to you while you're busy making other plans." That's cool, I can get behind that.
He also said that he was a walrus. Goo goo ga joo.
What about you, loyal reader(s) - What do you do to ease tension and stress when things aren't going how you want them to?
Thursday, September 2, 2010
Acting class recap and production tonight
Happy 90210 everyone. I am blogging from the Peach Pit today. For the past 2 weeks or so I have been growing sideburns in an ode to Dylan.
Something tells me that Luke Perry pulled them off a tad better when he was my age. But can YOU PULL IT OFF BETTER THAN LUKE PERRY? Post your pictures in the comments. The winner get a paisley necktie! I'm tots serious.
Anyway.....acting class went well last night. Really well, in fact. I feel as if Steve and I have figured out what I have to do. I have to attack each scene with a sense of mischief, confidentiality and it wouldn't hurt to add in some game-play role-play and vary up my rate, inflection, pitch and dynamic. I know that I mentioned the mischief revelation a few posts ago, but it came as a huge relief to hear Steve say so as well. Steve said that if I employ these tactics, I will attain a certain amount of "societal acceptability" with my work. If I am too big, too broad, too.......cartoonish, I won't get cast. (Unless the scene specifically calls for that.) I've only had one part that required me to be cartoonish, and that was for an actual cartoon on Spike.com - ha.
What do I mean by rate, inflection, pitch and dynamic? Rate is the speed at which you deliver your lines. Inflection is what word you choose to highlight. Pitch means is your voice low like a bass or high like a heavy guitar solo "whaaaaaa!!!!" Dynamic means the volume, like on a stereo. Hint: stereos are what people used to listen to their music on before iPods. Here is a demonstration:
So that's that.
Gut Punch is filming tonight for a new client. We are still figuring out all the nuts and bolts etc, this will be great. Filming from 7-12, so it'll be another long night. Last night I didn't get home till around 1130 and I was out the door at 845am. Class is back in session now, so I have to get used to peeling and pulling myself out of bed at 8am. If I put water on the stove to boil for coffee and hop in the shower, it forces me to get going, and I am generally fine. Besides, it's not like we have kids now, so I could theoretically sleep in on Saturdays and Sundays.
Speaking of Sundays, I am SO GLAD that football has returned. Nay, ELATED, BEJOYED. Bejoyed? I think I just made up a new word. I'm down with that. Like loved, beloved. Joy, bejoyed.
Coming soon: a re-creation of last nights monologue.
Anyway.....acting class went well last night. Really well, in fact. I feel as if Steve and I have figured out what I have to do. I have to attack each scene with a sense of mischief, confidentiality and it wouldn't hurt to add in some game-play role-play and vary up my rate, inflection, pitch and dynamic. I know that I mentioned the mischief revelation a few posts ago, but it came as a huge relief to hear Steve say so as well. Steve said that if I employ these tactics, I will attain a certain amount of "societal acceptability" with my work. If I am too big, too broad, too.......cartoonish, I won't get cast. (Unless the scene specifically calls for that.) I've only had one part that required me to be cartoonish, and that was for an actual cartoon on Spike.com - ha.
What do I mean by rate, inflection, pitch and dynamic? Rate is the speed at which you deliver your lines. Inflection is what word you choose to highlight. Pitch means is your voice low like a bass or high like a heavy guitar solo "whaaaaaa!!!!" Dynamic means the volume, like on a stereo. Hint: stereos are what people used to listen to their music on before iPods. Here is a demonstration:
So that's that.
Gut Punch is filming tonight for a new client. We are still figuring out all the nuts and bolts etc, this will be great. Filming from 7-12, so it'll be another long night. Last night I didn't get home till around 1130 and I was out the door at 845am. Class is back in session now, so I have to get used to peeling and pulling myself out of bed at 8am. If I put water on the stove to boil for coffee and hop in the shower, it forces me to get going, and I am generally fine. Besides, it's not like we have kids now, so I could theoretically sleep in on Saturdays and Sundays.
Speaking of Sundays, I am SO GLAD that football has returned. Nay, ELATED, BEJOYED. Bejoyed? I think I just made up a new word. I'm down with that. Like loved, beloved. Joy, bejoyed.
Coming soon: a re-creation of last nights monologue.
Tuesday, August 31, 2010
New Gut Punch content coming soon and UPDATE
Gut Punch is scouting locations today for a Thursday shoot for our new client. We are very excited about this new client and their business model. I think that they will really take off and become the next big thing in social media. When it's finished you can bet your ascot that I will tell you where to go. Typically, I would have told you more about it, but we did sign a NDA. Word. We are also waiting on the finished product for the Jersey Shore Incredible Hulk parody. That's gonna be pretty hilarious.
Oh also, this is my 100th post. I feel pretty good about it. The blog is just a year old, and most of my posts have been, err, posted since March. That's a pretty good frequency I think. Tomorrow my acting class starts up again after a much needed 4 week break. I love the class, but its also good to step away and digest what I've learned and try to apply it.
I'm going to work on a monologue from last season of "Breaking Bad". For those who watch the show, it's Mike the Cleaner's monologue at the end of the "Half Measures" episode where he tells Walter about his regret of not killing a wife-beater back in the days when he was a beat cop. The wife-beater predictably killed his wife two weeks later. "...of course", the monologue goes. It will be a great exercise and challenge for me to keep the tone down and tell a story and keep the tempo flowing.
UPDATE: Well, its about boxing last night, not Gut Punch. Boxing went pretty well, I came home drenched as well. I'm up to the point where I am instinctively throwing counter-punches and following that up with a combo. I used to think "Ok, here comes his left hook so dip and counter with a left hook to his body." Now, I just do it. I'm not saying that I am at Keanu in The Matrix kind of levels, but I can see th ings coming around.
My footwork is improving too. I think that has a lot to do with the jump rope I've been doing. I begin and end a workout session with 300 jumps, varying up the speed and way that I do it. Double rotations, single foot jumps etc. I still cant do the cross, that's when my arms are crossed and I jump and I bring my arms back to the regular position and continue the jump. Got what I mean? I think that when that comes around I will be considerably more nimble and quick.
We had a light sparring session last night. Who I went against dictated what I could and couldn't throw. Against a 3 year boxer I could throw everytyhing but no hard rights to the head. Agaisnt a woman or someone new I could only throw a super light jab to the body to keep my distance.
Oh also, this is my 100th post. I feel pretty good about it. The blog is just a year old, and most of my posts have been, err, posted since March. That's a pretty good frequency I think. Tomorrow my acting class starts up again after a much needed 4 week break. I love the class, but its also good to step away and digest what I've learned and try to apply it.
I'm going to work on a monologue from last season of "Breaking Bad". For those who watch the show, it's Mike the Cleaner's monologue at the end of the "Half Measures" episode where he tells Walter about his regret of not killing a wife-beater back in the days when he was a beat cop. The wife-beater predictably killed his wife two weeks later. "...of course", the monologue goes. It will be a great exercise and challenge for me to keep the tone down and tell a story and keep the tempo flowing.
UPDATE: Well, its about boxing last night, not Gut Punch. Boxing went pretty well, I came home drenched as well. I'm up to the point where I am instinctively throwing counter-punches and following that up with a combo. I used to think "Ok, here comes his left hook so dip and counter with a left hook to his body." Now, I just do it. I'm not saying that I am at Keanu in The Matrix kind of levels, but I can see th ings coming around.
My footwork is improving too. I think that has a lot to do with the jump rope I've been doing. I begin and end a workout session with 300 jumps, varying up the speed and way that I do it. Double rotations, single foot jumps etc. I still cant do the cross, that's when my arms are crossed and I jump and I bring my arms back to the regular position and continue the jump. Got what I mean? I think that when that comes around I will be considerably more nimble and quick.
We had a light sparring session last night. Who I went against dictated what I could and couldn't throw. Against a 3 year boxer I could throw everytyhing but no hard rights to the head. Agaisnt a woman or someone new I could only throw a super light jab to the body to keep my distance.
Friday, July 23, 2010
Thoughts on Acting
So, as I mentioned here, I am in the middle of a transformation. Both in terms of appearance and in terms of acting....style, if you were to allow me to put it crudely.
The weight loss was not only for health reasons, it was also for my career. It's not like I was exactly booking work left and right as a big big guy. Something had to change.
Regarding acting styles. It was brought up in Wednesdays acting class by my sensei/avuncular figure Steve, that when I play a scene with elements of mischief/charm/confidentiality I am a lot more engaging than when I don't. Hmmmm. I will take that advice. I'm in the class to drink the kool-aid, so I will gulp it down. We'll see what happens. That could be my niche. I'd be cool with that. For sure.
Countdown to episode 4 release for Gut Punch! ASAP, you will see this guy......
STRAY THOUGHTS: I'm getting pretty big in Asia. Recently, I've had blog visitors from Kuala Lampur, Malaysia.....Davao, Philippines......and one visitor from (drumroll) Kathmandu. Welcome Asian blog readers!
The weight loss was not only for health reasons, it was also for my career. It's not like I was exactly booking work left and right as a big big guy. Something had to change.
Regarding acting styles. It was brought up in Wednesdays acting class by my sensei/avuncular figure Steve, that when I play a scene with elements of mischief/charm/confidentiality I am a lot more engaging than when I don't. Hmmmm. I will take that advice. I'm in the class to drink the kool-aid, so I will gulp it down. We'll see what happens. That could be my niche. I'd be cool with that. For sure.
Countdown to episode 4 release for Gut Punch! ASAP, you will see this guy......
STRAY THOUGHTS: I'm getting pretty big in Asia. Recently, I've had blog visitors from Kuala Lampur, Malaysia.....Davao, Philippines......and one visitor from (drumroll) Kathmandu. Welcome Asian blog readers!
Thursday, July 1, 2010
Kafkaesque
"You are going through a transformation and I want everyone to take note." This is what my acting coach told the class about me yesterday. It's true. Externally, I've lost 50 pounds and I am sporting a shorter hair cut and a goatee. My acting style has also changed - not for 100% of time time, of course. But I do have another way to perform if need be. I used to boast a certain largess up there in the footlights. It worked for me, I was castable and cast pretty often as that. My coach believes, and I believe too, that while that centurion way of performing does have value at times, at other times I will be called upon to act in an underplayed way, for lack of a better term. I've been working on that, and I feel comfortable in that "place".
I know. Saying "place" in that way made me cringe too, but it is correct.
I plan on losing more weight. I'm not sure how much more. 30? Who knows. What I do know is that yesterday I had an audition for The Onion's TV show on IFC. This audition was a landmark because it was the first one I had since graduating college where the role wasn't a big guy specific casting need. All of my auditions have been for "big" men, "burly" men or just plain old "heavy" men. Some times the break down is a bit coded, and it reads that the CD's want "nervous" men, "sweaty" men or "exerted" men. Sometimes it's not very coded at all and they call for a "fat" man. This was my first audition when no size was specified.
I consider this to be a good thing. Now I am seen as a "____" man. I know that I will always be considered a "character" actor, and that's totally cool; my wife thinks I am handsome and that's all the assurance I need. Besides there are only two routes to getting a camera lens on you for 2 minutes in a movie - 2 minutes is an eternity on film. You can either be a high billing leading man, like Clooney or Butler, or Pitt. Or you can be a character actor aka an actor's actor who directors love and DP's love too, such as Stephen Tobolowsky or Brendan Gleeson or Luis Guzman.
I know. Saying "place" in that way made me cringe too, but it is correct.
I plan on losing more weight. I'm not sure how much more. 30? Who knows. What I do know is that yesterday I had an audition for The Onion's TV show on IFC. This audition was a landmark because it was the first one I had since graduating college where the role wasn't a big guy specific casting need. All of my auditions have been for "big" men, "burly" men or just plain old "heavy" men. Some times the break down is a bit coded, and it reads that the CD's want "nervous" men, "sweaty" men or "exerted" men. Sometimes it's not very coded at all and they call for a "fat" man. This was my first audition when no size was specified.
I consider this to be a good thing. Now I am seen as a "____" man. I know that I will always be considered a "character" actor, and that's totally cool; my wife thinks I am handsome and that's all the assurance I need. Besides there are only two routes to getting a camera lens on you for 2 minutes in a movie - 2 minutes is an eternity on film. You can either be a high billing leading man, like Clooney or Butler, or Pitt. Or you can be a character actor aka an actor's actor who directors love and DP's love too, such as Stephen Tobolowsky or Brendan Gleeson or Luis Guzman.
Thursday, June 17, 2010
What a thin margin of error!
Last night went OK. There wasn't enough time to do the Shakespeare monologue, but I did perform the "Knocked Up" scene and the other scene from "One Life to Live". Overall Steve was not totally pleased. However, he and I were both pleased that I was able to see myself on camera and pick out tiny problems here and there. And how tiny these problems are! It is such a crazy small margin of error.
It does bring to light possible reasons why I haven't really gotten any legit work. I've had a lot of call backs but nothing booked - which is eternally frustrating.
Such tiny mistakes are: on an opening line I did a bit too much with my right eyebrow. I said the line, "Hello, Abby." In between the two words I raised my eyebrow a little bit - and that was too much too soon - especially when you consider that this shot was a close up (it was just my face). There is a video demonstration at the end of this entry.
Weight loss related side note: I was very pleased with how I looked on camera, relatively speaking. When we had camera class two months ago, it was a huge difference with how I looked. That was about 15 pounds ago, after all. On Tuesday I weighed in at 257, which is a massive accomplishment. I was only 5 pounds lighter when I graduated HS, and I do have most of my strength back since then too!
OK that was more than a side note, ha.
Another tiny mistake was when I said the line "How's about we go inside and talk about it?" I said it with a blend of sinister and sexual undertones. Not appropriate for the scene and the text in no way substantiates such choices. I was a police officer asking a young woman questions at her door step about her involvement in an attempted murder.
The "Knocked Up" scene went a little bit better, perhaps because I was more loose, being the second time I went up there. Steve gave me a nice tip: "Chorbatski, before you go up on camera....take a deep breath and relax, when you don't do that you are tense and when you are tense you aren't as effective as you could be." OK I can do that. My tiny mistake in this scene was I gave a question way too much weight/importance. I did feel that the question needed weight/importance. The question was asking if the two guys' wife and girlfriend would accept them again into their lives. Seems big to me. The line was "Do you think they'll take us back?" Steve just wanted me to simply ask the question, like, in the same way that you would ask someone to pass the ketchup. "Hey man, can ya pass the ketchup over here?" Imagine how you would ask that question. Got it? Good. Now ask it the same way but with these words: "Do you think they'll take us back?"
Ha. Big difference eh? Or rather....a tiny difference that makes all the difference in the world of the cast and the tragically uncast.
It does bring to light possible reasons why I haven't really gotten any legit work. I've had a lot of call backs but nothing booked - which is eternally frustrating.
Such tiny mistakes are: on an opening line I did a bit too much with my right eyebrow. I said the line, "Hello, Abby." In between the two words I raised my eyebrow a little bit - and that was too much too soon - especially when you consider that this shot was a close up (it was just my face). There is a video demonstration at the end of this entry.
Weight loss related side note: I was very pleased with how I looked on camera, relatively speaking. When we had camera class two months ago, it was a huge difference with how I looked. That was about 15 pounds ago, after all. On Tuesday I weighed in at 257, which is a massive accomplishment. I was only 5 pounds lighter when I graduated HS, and I do have most of my strength back since then too!
OK that was more than a side note, ha.
Another tiny mistake was when I said the line "How's about we go inside and talk about it?" I said it with a blend of sinister and sexual undertones. Not appropriate for the scene and the text in no way substantiates such choices. I was a police officer asking a young woman questions at her door step about her involvement in an attempted murder.
The "Knocked Up" scene went a little bit better, perhaps because I was more loose, being the second time I went up there. Steve gave me a nice tip: "Chorbatski, before you go up on camera....take a deep breath and relax, when you don't do that you are tense and when you are tense you aren't as effective as you could be." OK I can do that. My tiny mistake in this scene was I gave a question way too much weight/importance. I did feel that the question needed weight/importance. The question was asking if the two guys' wife and girlfriend would accept them again into their lives. Seems big to me. The line was "Do you think they'll take us back?" Steve just wanted me to simply ask the question, like, in the same way that you would ask someone to pass the ketchup. "Hey man, can ya pass the ketchup over here?" Imagine how you would ask that question. Got it? Good. Now ask it the same way but with these words: "Do you think they'll take us back?"
Ha. Big difference eh? Or rather....a tiny difference that makes all the difference in the world of the cast and the tragically uncast.
Wednesday, June 16, 2010
Anticipation of class tonight
Last weeks camera class was postponed due to technical difficulties, so we are doing it tonight. I have three pieces tonight. One is a scene from the sempiternal soap "One Life to Live". I was pimped into working on this scene, and at first was a bit put off about having to do it. Eventually, I realized that as an actor, you do have to go out for parts or projects that you may not like - and "A professional...(as the late great Charleton Heston said) ...does his best even when he doesn't feel like it." I may or may not be paraphrasing there.
Another scene is from a multiple Academy Award winning film. A truly watershed film. I am talking of course about "Knocked Up" by Judd Apatow. I, of course am playing the Seth Rogan character. It's the scene after he and Paul Rudd take mushrooms, trip their balls off, go see Cirque Du Soleil, freak out and find themselves back in their hotel room. There are five different kinds of chairs in this room!!!!!!!!!!!
And finally, for my opus I will perform the final version of the Lancelot Gobbo monologue from "The Merchant of Venice". It's a bit different from my previous version on this site, because the voice of the fiend is modeled after Macho Man Randy Savage.
And.I.Will.Make.Sure.That.The.Placement.Of.The.Conscience.Doesn't.Move.
Another scene is from a multiple Academy Award winning film. A truly watershed film. I am talking of course about "Knocked Up" by Judd Apatow. I, of course am playing the Seth Rogan character. It's the scene after he and Paul Rudd take mushrooms, trip their balls off, go see Cirque Du Soleil, freak out and find themselves back in their hotel room. There are five different kinds of chairs in this room!!!!!!!!!!!
And finally, for my opus I will perform the final version of the Lancelot Gobbo monologue from "The Merchant of Venice". It's a bit different from my previous version on this site, because the voice of the fiend is modeled after Macho Man Randy Savage.
And.I.Will.Make.Sure.That.The.Placement.Of.The.Conscience.Doesn't.Move.
Thursday, June 10, 2010
...about last night.
For the second week in a row I got chewed out a bit in acting class. This time I was informed that, in essence, I was underplaying too much. When I first came to the class, I was overplaying, showing off my largess etc; now I am too underplayed - everything is too toned down.
It's a bit frustrating. But when I sat down after class to ponder my lesson I realized that I just have to split the difference. Additionally, last night, Steve implored me to put more time into my preparation. He told me..."Know why you're saying what you're saying. That is the most important thing I have ever told you. If you take away even one tiny bit of wisdom from all of my teaching, let it be that."
Fair enough, I can do that. Next week, the underplaying/overplaying will reach an accord and every action will have a specific reason. Also, as per Steve's guidelines, I will let it rip and let him be my bullshit detector.
It's a bit frustrating. But when I sat down after class to ponder my lesson I realized that I just have to split the difference. Additionally, last night, Steve implored me to put more time into my preparation. He told me..."Know why you're saying what you're saying. That is the most important thing I have ever told you. If you take away even one tiny bit of wisdom from all of my teaching, let it be that."
Fair enough, I can do that. Next week, the underplaying/overplaying will reach an accord and every action will have a specific reason. Also, as per Steve's guidelines, I will let it rip and let him be my bullshit detector.
Friday, June 4, 2010
...about Wednesday night...
So I got chewed out a little bit on Wednesday night during my weekly acting class. I supposed I plateaued last class or even regressed a little bit. Things like this are bound to happen. Steve informed me that when I don't make a connection with the audience and by failing to do so I do not "literally talk to them" (not necessarily in a "breaking the fourth wall" sense) I become less of a performer and, dare he say it, and dare I agree, more of a bore. It's OK to make a connection with a specific square inch spot on the wall in front of me, but that is a lot harder to pull off than making a connection with a human beings eye ball. It's obviously more natural, and it stands to reason, a lot easier to do.
What's funny is this: it has never been directly told to me (or anyone else that I know for that matter) that making eye connection with an audition monitor/Casting Director/etc is a bad thing, but for some reason.....everyone believes this to be true.
While acting is a craft, it is also "the business of selling feelings and emotions". How can you successfully sell an emotion or a feeling if there is literally no connection? Right. You can't. A-DURRRRRR. :-)
Then it suddenly hit me this morning, on the ride into Penn Station (stayed with the in-laws last night).......while acting is defined as so many different things, like.....the reality of doing......behaving truthfully (with or without the mask).......BUT, for my intents and purposes....acting is nothing more than just talking to people. Just communicating to people. Cut out all of the unnecessary stuff. All the fluffernutters...as Steve calls them. Just talk to people. It was truly a Eureka moment.
This is going to be great.
UPDATE:
When I relayed this to Steve, here is his response:
it is that. it is also actually doing things and saying things 2 people, and not "demonstrating" or "showing" people those things u, the actor, r saying or doing. if u hold a cup, just hold the cup, don't show us that u r holding a cup...
What's funny is this: it has never been directly told to me (or anyone else that I know for that matter) that making eye connection with an audition monitor/Casting Director/etc is a bad thing, but for some reason.....everyone believes this to be true.
While acting is a craft, it is also "the business of selling feelings and emotions". How can you successfully sell an emotion or a feeling if there is literally no connection? Right. You can't. A-DURRRRRR. :-)
Then it suddenly hit me this morning, on the ride into Penn Station (stayed with the in-laws last night).......while acting is defined as so many different things, like.....the reality of doing......behaving truthfully (with or without the mask).......BUT, for my intents and purposes....acting is nothing more than just talking to people. Just communicating to people. Cut out all of the unnecessary stuff. All the fluffernutters...as Steve calls them. Just talk to people. It was truly a Eureka moment.
This is going to be great.
UPDATE:
When I relayed this to Steve, here is his response:
it is that. it is also actually doing things and saying things 2 people, and not "demonstrating" or "showing" people those things u, the actor, r saying or doing. if u hold a cup, just hold the cup, don't show us that u r holding a cup...
Friday, May 28, 2010
I'm really getting into the Gobbo monologue (maybe too much)
So the more I read over this monologue and the more I study the word play and work it on its feet the more I friggen love this monologue. Its so layered with different thoughts. There is a fine line however. Gobbo, more than most other Shakespeare clowns, is the most scatter brained (although Dogberry fans would be in the right to call foul). With scatter brained lines, like great power, comes great responsibility. As an actor, you really have to earn every "aside", every bit of "game play - role play" or the piece falls flat. Shit. It falls even more than flat, it would be terrible. I'm going to put it up again next week and have someone record it with my blackberry. I want to upload it on my computer and watch it. I want to kick my training into high gear. I remember when I was having trouble with my shooting form for basketball, I recorded my shot so I could see what was going wrong. It fixed my freethrow, it should also fix my monologue.....in theory.
Who knows, I may even upload it on the site and give yall modafuckaz a look-see.
Who knows, I may even upload it on the site and give yall modafuckaz a look-see.
Thursday, May 27, 2010
My acting Ph is now an even 7
Yesterday in acting class I had a bit of a breakthrough. My teacher, Steve, has been trying to make me realize that acting doesn't necessarily equate to a change in my being. For those of you who have never taken an acting class it basically translates into: "Just be yourself....and don't get caught 'acting'". Now, I LOVE to chew scenery, I LOVE to ham it up, I LOVE to "give" a performance and I LOVE to show of my largess up there.
But sometimes that is just not needed, and some other times, its just plain detrimental to the performance. I overcame my affectations by speaking to my wife in that manner. In a high falutin' way I would talk to hear about my day and ask her about hers, prancing around like a Shakespearean clown. (Totally true). And you know what? It was really really really weird. No one talks like that. I used that disconnect from reality as a baseline to know what I DON'T want to achieve.
If I can have that energy, that veracity simmering just below the surface but be loosey goosey (for lack of a more descriptive term) I can find some serious success. Nothing would make me feel better than if I found success as an actor.
Seriously.
So anyway, Steve told me that I have now "found my neutral". I can get to that place rather quickly and, if nothing else, people will never "catch me acting." Which is half of the struggle. He told me, and I have to agree (no, really, resistance is futile with this guy) that my natural self is expressive enough....it's engaging enough and I don't have to ham it up, I don't have to "comment on my lines" after I say them.
I feel really great about last night.
But sometimes that is just not needed, and some other times, its just plain detrimental to the performance. I overcame my affectations by speaking to my wife in that manner. In a high falutin' way I would talk to hear about my day and ask her about hers, prancing around like a Shakespearean clown. (Totally true). And you know what? It was really really really weird. No one talks like that. I used that disconnect from reality as a baseline to know what I DON'T want to achieve.
If I can have that energy, that veracity simmering just below the surface but be loosey goosey (for lack of a more descriptive term) I can find some serious success. Nothing would make me feel better than if I found success as an actor.
Seriously.
So anyway, Steve told me that I have now "found my neutral". I can get to that place rather quickly and, if nothing else, people will never "catch me acting." Which is half of the struggle. He told me, and I have to agree (no, really, resistance is futile with this guy) that my natural self is expressive enough....it's engaging enough and I don't have to ham it up, I don't have to "comment on my lines" after I say them.
I feel really great about last night.
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