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 technique. Show all posts
Showing posts with label technique. Show all posts
Thursday, February 10, 2011
Wednesday, December 22, 2010
New Year's Revolutions
Yes, reVolutions, not resolutions. I have never been known as a half-attacker. I'm talking all cylinders, my friends. I got to thinking last night when I was trying to fall asleep. Perhaps it was the chilequiles I consumed that was keeping me up, or perhaps it was a nagging feeling that I wasn't attacking life as much as I could.
I remember when I was a junior in high school and my English teacher asked us to write a one page paper on what we thought the meaning of life was. Yes, my high school education was a bit of a joke. Most of the time, this teacher would read the local sports section and we'd all tell jokes and wrestle each other, throw spitballs etc. Oh, we also read Siddhartha. But that was about it.
Anyway, I went home and I put the pen to the paper and I drew a blank. Of course, this was extremely frustrating at the time, but looking back on it, it's pretty funny. What does a 16 year old kid know about life, let alone its meaning? What a crap assignment! I finally asked my Dad what he thought the meaning of life was. Without a split second of hesitation he looked up from his desk and blurted, "To attack each day and task with vigor and enthusiasm." He almost gave me a look as to say "What the heck did you think it was?" Then he turned back to his desk and continued to plug away. Wow. All this time, I thought I would put down some bull about "peacefully coexisting with others" or "love", or something that would be sure to get me a B+ or A-.
I ended up mailing it in and saying "peacefully coexisting with others" and extrapolating from that point*. But I didn't believe it. I knew I didn't, but I also didn't feel like pushing myself. 2011 will be the year of me pushing myself.
I will continue to exercise with vigor and lose more weight. I've already lost 50 pounds or so, so the next 30 pounds could be tough.
I will enthusiastically work on my acting technique, specifically cold reading, and rate/inflection/pitch dynamic.
I will pick 4 other guideposts to work on and master them. This way, I can attain a specific acting "style" if you will, with the hopes of being more marketable etc.
I will stop swearing. I swear way too much. It's uncouth and makes me look dumb.
I will land a national commercial, and 4 principle roles this coming year.
I will qualify for the high end SAG based health insurance.
-----
* as much as you can in 250 words.
I remember when I was a junior in high school and my English teacher asked us to write a one page paper on what we thought the meaning of life was. Yes, my high school education was a bit of a joke. Most of the time, this teacher would read the local sports section and we'd all tell jokes and wrestle each other, throw spitballs etc. Oh, we also read Siddhartha. But that was about it.
Anyway, I went home and I put the pen to the paper and I drew a blank. Of course, this was extremely frustrating at the time, but looking back on it, it's pretty funny. What does a 16 year old kid know about life, let alone its meaning? What a crap assignment! I finally asked my Dad what he thought the meaning of life was. Without a split second of hesitation he looked up from his desk and blurted, "To attack each day and task with vigor and enthusiasm." He almost gave me a look as to say "What the heck did you think it was?" Then he turned back to his desk and continued to plug away. Wow. All this time, I thought I would put down some bull about "peacefully coexisting with others" or "love", or something that would be sure to get me a B+ or A-.
I ended up mailing it in and saying "peacefully coexisting with others" and extrapolating from that point*. But I didn't believe it. I knew I didn't, but I also didn't feel like pushing myself. 2011 will be the year of me pushing myself.
I will continue to exercise with vigor and lose more weight. I've already lost 50 pounds or so, so the next 30 pounds could be tough.
I will enthusiastically work on my acting technique, specifically cold reading, and rate/inflection/pitch dynamic.
I will pick 4 other guideposts to work on and master them. This way, I can attain a specific acting "style" if you will, with the hopes of being more marketable etc.
I will stop swearing. I swear way too much. It's uncouth and makes me look dumb.
I will land a national commercial, and 4 principle roles this coming year.
I will qualify for the high end SAG based health insurance.
-----
* as much as you can in 250 words.
Wednesday, December 8, 2010
"You love me, you really love me!"
This feels good. Really good, actually. "Persakis Towers" was chosen in the "Top 10 of 2010" for Vimeo.com I feel all warm and fuzzy inside.
Vimeo as I've mentioned before, is a video hosting and sharing website of the utmost quality. Gut Punch's fearless director, Crandall Miller says that it "looks how directors want things to look." I'd have to agree with the experts on that one. They have a great business model as the quality of the productions tend to be higher than what you'd see on say....youtube. This is due to the fact that it costs money to be on vimeo (above a certain data usage). It separates the wheat from the chaff.
It feel great to be one of the wheatiest bits of wheat.
Vimeo as I've mentioned before, is a video hosting and sharing website of the utmost quality. Gut Punch's fearless director, Crandall Miller says that it "looks how directors want things to look." I'd have to agree with the experts on that one. They have a great business model as the quality of the productions tend to be higher than what you'd see on say....youtube. This is due to the fact that it costs money to be on vimeo (above a certain data usage). It separates the wheat from the chaff.
It feel great to be one of the wheatiest bits of wheat.
Friday, December 3, 2010
An Actors tool: Charming the pants off the viewer.
Dean Winters is absolutely killing it with these All-State "Mayhem" commercials. He is charming and irresistable in them. Winters employs many tools during these spots, but his charm is the strongest move I see him make. He also employs mystery/secret/confidentiality, relationship, opposite, game-play and importance. This one is my favorite:
"My scent? Like making love to a lumberjack." That kills me every time. This guy must be raking it in right now, it's a series of national commercials. A conservative estimate is $250k this year.
Here is one excellent example of Winters mixing it up with the rate, inflection, pitch and dynamic and the line...."Because that's what I do" is especially nailed. Check it out:
Oh and one more thing, see how he works the frame starting at the :22 mark? Ha! This guy is excellent.
"My scent? Like making love to a lumberjack." That kills me every time. This guy must be raking it in right now, it's a series of national commercials. A conservative estimate is $250k this year.
Here is one excellent example of Winters mixing it up with the rate, inflection, pitch and dynamic and the line...."Because that's what I do" is especially nailed. Check it out:
Oh and one more thing, see how he works the frame starting at the :22 mark? Ha! This guy is excellent.
Wednesday, November 24, 2010
Future Projects, boxing update etc
There is a Shakespearean monologue in Henry IV, in which Falstaff sings the virtues of sherry. Of course, in his time, it was known as "sherrisack". Nonetheless, this monologue is essentially a commercial, touting the benefits of drinking fortified wines, and pinpointing the fine qualities of a well made sherrisack.
I want to film this monologue as a commercial in black and white and use these videos/clips as reference points:
Marvelous.
As much as I'd love to do the whole piece as a faux commercial, it would simply be too long. So I have to make cuts and shorten the length to 60 seconds.
So that's what is down the pike for me.
Additionally, boxing is going really well. I am finally able to throw a jab, right cross combo without lunging forward on the cross when I spar. "Lunging forward" can just mean an inch or two. If you expose your face just a little bit for a split second, that can means lights out, taking a canvas nap etc.
Of course, when you are just hitting the heavy bag or hand pads, it's easy not to lunge....but in the heat of a sparring session it's a challenge to keep cool and maintain solid technique. I attribute keeping cool to years of playing football and the fact that I don't freak out when I take a hit. I attribute the technique to improved foot work/coordination and I attribute this to jump rope. I'm a skipping machine these days. I can skip 5 different ways interchangeably. It's fun to do 100 one way and then switch back and forth. Man oh man, skipping rope can be an exhausting workout when done right and long enough.
I can now see some abs poking through my belly. At first I assumed it was smaller rolls, as opposed to larger belly rolls, but upon further inspection, they are indeed abs. So that's cool. It has definitely inspired me to put boxing and fitness in high gear.
I want to film this monologue as a commercial in black and white and use these videos/clips as reference points:
http://www.youtube.com/watch?
I suppose the product will be a fake one, called "Sherrisack".
I suppose the product will be a fake one, called "Sherrisack".
One of my acting heroes, Orson Welles, tackled this monologue on the "Dean Martin" show. Here is that video, fast fwd to 3:52 to see the actual piece (before that he waxes poetic about Falstaff, and you will also see an excellent example of old school stage makeup application)
Marvelous.
As much as I'd love to do the whole piece as a faux commercial, it would simply be too long. So I have to make cuts and shorten the length to 60 seconds.
So that's what is down the pike for me.
Additionally, boxing is going really well. I am finally able to throw a jab, right cross combo without lunging forward on the cross when I spar. "Lunging forward" can just mean an inch or two. If you expose your face just a little bit for a split second, that can means lights out, taking a canvas nap etc.
Of course, when you are just hitting the heavy bag or hand pads, it's easy not to lunge....but in the heat of a sparring session it's a challenge to keep cool and maintain solid technique. I attribute keeping cool to years of playing football and the fact that I don't freak out when I take a hit. I attribute the technique to improved foot work/coordination and I attribute this to jump rope. I'm a skipping machine these days. I can skip 5 different ways interchangeably. It's fun to do 100 one way and then switch back and forth. Man oh man, skipping rope can be an exhausting workout when done right and long enough.
I can now see some abs poking through my belly. At first I assumed it was smaller rolls, as opposed to larger belly rolls, but upon further inspection, they are indeed abs. So that's cool. It has definitely inspired me to put boxing and fitness in high gear.
Tuesday, November 9, 2010
AT&T audition today and dramatic video reenactment
This was a lot of fun, I am not sure how well I did so here is the rundown....
I arrived at the audition location and signed in, filled out a size card and had a digital picture taken. I looked at the script and the commercial went down like this:
Extreme close-up: We see a man in a dentist chair with various tubes, tools and other apparati in his mouth. His mouth is wide open and his speech is impaired. He gives distressed looks as the tools file, zing and gurgle. He looks more and more distressed until his general rage gives way to tears of joy and it is revealed that he is not in pain at all (!), but rather he was watching a movie on his smart phone on the AT&T network. The storyboard specified "offbeat is OK, but keep it natural." I saw this as a carte-blanche of sorts for my expressive face.
So we had to mimic this for the camera. I went in, slated my name, opened my mouth to the point of pain and gave the CD my most distressed and pained looks and gave way to tears of joy. Yes folks, real honest to goodness tears.
"That was excellent." The CD said..."I could really sense that you were in pain there, and then at one point it could have gone another way.....so do it again but with more tears of joy. Go."
My ducts were tapped. I couldn't bring anymore tears, it didn't matter how I breathed or for how long, they just weren't coming on the second take.
Will this matter in the end? No one knows. I'd like to think that my first take should be adequate enough for a call-back. But like my coach says "If you are what they need, they will call you. If you aren't they won't."
And that's that. But honestly, I do not envy this CD at all, because he now has to sift through hours of people doing this....
I arrived at the audition location and signed in, filled out a size card and had a digital picture taken. I looked at the script and the commercial went down like this:
Extreme close-up: We see a man in a dentist chair with various tubes, tools and other apparati in his mouth. His mouth is wide open and his speech is impaired. He gives distressed looks as the tools file, zing and gurgle. He looks more and more distressed until his general rage gives way to tears of joy and it is revealed that he is not in pain at all (!), but rather he was watching a movie on his smart phone on the AT&T network. The storyboard specified "offbeat is OK, but keep it natural." I saw this as a carte-blanche of sorts for my expressive face.
So we had to mimic this for the camera. I went in, slated my name, opened my mouth to the point of pain and gave the CD my most distressed and pained looks and gave way to tears of joy. Yes folks, real honest to goodness tears.
"That was excellent." The CD said..."I could really sense that you were in pain there, and then at one point it could have gone another way.....so do it again but with more tears of joy. Go."
My ducts were tapped. I couldn't bring anymore tears, it didn't matter how I breathed or for how long, they just weren't coming on the second take.
Will this matter in the end? No one knows. I'd like to think that my first take should be adequate enough for a call-back. But like my coach says "If you are what they need, they will call you. If you aren't they won't."
And that's that. But honestly, I do not envy this CD at all, because he now has to sift through hours of people doing this....
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?]
Keep chugging, keep plugging. [UPDATE]
As an actor, you are up against thousands of other people who want to do exactly what you want to do. We've all heard various "success stories" and have been regaled with tales of big breaks etc etc. I have debunked the myth of the big break and I will continue to do so. You don't get a "big break" - you get a thousand little breaks over your whole career. I forgot who said that first, but it certainly was not me.
So what's going to separate you from other actors? The only things that I can control that I also believe can separate me from the rest of the pack are:
1) Effort - no one will out work me. Ever. This doesn't only mean working on technique, monologues or what-have-you. It also means checking in with your agents if you have them. Before I started working with agents, I saw them as a magic bullet of sorts. Sign with them and you are off to the races. Well what really happens is you sign with them or freelance with them and they don't send you out so much. Who knows why.....maybe there isn't enough work? Maybe they have 5 other actors exactly like you? Maybe they straight up don't think about you enough.
2) Punctuality - practicing the art of showing up. Always. I am proud to say that I have NEVER been late for a single event in my entire life. In fact, I am almost always 15+ plus early. It's show BUSINESS, and the business world runs on time. I forgot who said that first, but it wasn't me (yet again). UPS maybe?
3) Unflappable faith. If you are easily discouraged, or have thin skin, get out of this business right now. No one will "out-guts" me for lack of a better term. Besides, I'm 27.7 years old and it is now officially too late to start some other career.
4) Pleasant Demeanor. I heard that you have a .500 batting average when it comes to people liking you when they first meet you. I like to think that my BA is a bit higher than that. If producers/directors don't like you - they don't want to see you at 4am on set 5 days a week. Of course, there is a thin line between likability* and being plain old annoying and artificial. I hope that I am never those things....annoying and artificial that is.
So basically, this business is a funny funny thing. You can only control what you do when you walk in the audition room, the rest is up to other people. You have to be the best possible actor/professional you can be, and everything will fall together.
*I will be the Bud Light of NYC actors: Phillip's difference is likability.
[UPDATE: I shit you not, 15 minutes after I posted this I got an audition for later today, a yogurt commercial......see what happens when you check in regularly?]
So what's going to separate you from other actors? The only things that I can control that I also believe can separate me from the rest of the pack are:
1) Effort - no one will out work me. Ever. This doesn't only mean working on technique, monologues or what-have-you. It also means checking in with your agents if you have them. Before I started working with agents, I saw them as a magic bullet of sorts. Sign with them and you are off to the races. Well what really happens is you sign with them or freelance with them and they don't send you out so much. Who knows why.....maybe there isn't enough work? Maybe they have 5 other actors exactly like you? Maybe they straight up don't think about you enough.
2) Punctuality - practicing the art of showing up. Always. I am proud to say that I have NEVER been late for a single event in my entire life. In fact, I am almost always 15+ plus early. It's show BUSINESS, and the business world runs on time. I forgot who said that first, but it wasn't me (yet again). UPS maybe?
3) Unflappable faith. If you are easily discouraged, or have thin skin, get out of this business right now. No one will "out-guts" me for lack of a better term. Besides, I'm 27.7 years old and it is now officially too late to start some other career.
4) Pleasant Demeanor. I heard that you have a .500 batting average when it comes to people liking you when they first meet you. I like to think that my BA is a bit higher than that. If producers/directors don't like you - they don't want to see you at 4am on set 5 days a week. Of course, there is a thin line between likability* and being plain old annoying and artificial. I hope that I am never those things....annoying and artificial that is.
So basically, this business is a funny funny thing. You can only control what you do when you walk in the audition room, the rest is up to other people. You have to be the best possible actor/professional you can be, and everything will fall together.
*I will be the Bud Light of NYC actors: Phillip's difference is likability.
[UPDATE: I shit you not, 15 minutes after I posted this I got an audition for later today, a yogurt commercial......see what happens when you check in regularly?]
Friday, October 22, 2010
An Actor's Familiar Feeling: Waiting it out
So I had that audition yesterday for "Dark Fields". I can't tell how it went to tell you the truth. Which could be a bad sign. Then again, I (uncharacteristically so) felt that I did a crummy job for The Onion callback - and I landed the job. My coach's words rang true: you either match their needs or you don't. Hmm. So so true. I'm also waiting to hear the final word on that modeling job for Gold's. Oh yeah, turns out my agent spoke too soon, read the update about 3 posts ago. Hey, people make mistakes and I am not angry in any way.
So now I just have to chill out and think of other things. I've found that acting is a lot like renting apartments here in NYC. You can do everything exactly right technique wise, but if they don't "like the apartment" you aren't renting to them and if they don't "like your look or what-have-you" you aren't cast.
All that you can do is be prepared and do your best.
Loyal reader(s): what do you do to relax or to get the focus off of uncertainty? I exercise, or read a scene or work on a new monologue.
So now I just have to chill out and think of other things. I've found that acting is a lot like renting apartments here in NYC. You can do everything exactly right technique wise, but if they don't "like the apartment" you aren't renting to them and if they don't "like your look or what-have-you" you aren't cast.
All that you can do is be prepared and do your best.
Loyal reader(s): what do you do to relax or to get the focus off of uncertainty? I exercise, or read a scene or work on a new monologue.
Thursday, October 21, 2010
Audition today at 5:10pm
I received the sides yesterday around 6pm and took them to class. Where am I in my process now? I'm getting there, I just have to stick to my guideposts and prepare multiple variations. Here I am about 1/4 of the way through my process to nail this audition :-)
Wednesday, October 20, 2010
Actors need to have a "bullcrap meter" and a video demonstration
You need to know when you are faking it and when the emotion is real. One of the biggest things I continue to struggle with is the realization that I am already good enough. I don't have to create an emotion. I don't have to make an extra this or an extra that. If the emotion is there, great, just walk into it - so to speak. But it's been a challenge for me not to conjure up some kind of an emotion when I believe the scene calls for it. When you've been trained so long in a certain thought, it becomes hard to break such old habits.
Boo hoo, woe is me and all that bunk.
And frankly, casting directors know when you are faking it; they see acting all day and there is no fooling them. So don't fake it! That way, at least they can call you an honest performer.
One of the things that helps me rid this nasty habit is a recently installed "bullcrap meter". Whenever the needle moves, I stop and start over again from a few lines before. It's been hard to install said meter, because I naturally want to make progress and blast through the piece - but my coach has made it obvious when his needle moves. There I am, in the middle of a piece, in front of the intimate acting class. I'm just chillin', siting in a metal folding chair and then......
"Nope! Start again." says Steve
Ok, I'll start again, I think....
"Ap! Ap! Ap! Ap! Ap!" instructs Steve
Oh boy, I guess I'll take that again.
"No Phillip, again." Steve rebukes
Ok man, just breathe you can do this, just speak!
"Hot Damn! One more time just like that." Steve encourages (!)
Focus....and here it goes...
"Ha! You son-of-a-bitch you!"
So here is my bullcrap meter hard at work as I wrestle a Iago monologue from "Othello". Obviously, ones bullcrap meter is always subject to calibration. [UPDATE: I now realize that I left out a line '....mere prattle without practice is all his soldiership. but he sir, had the election] followed by: and i, whose eyes had seen the proof.... Oh well, I'm not embarassed, it's not like it's on the internet for the whole world to see.
Boo hoo, woe is me and all that bunk.
And frankly, casting directors know when you are faking it; they see acting all day and there is no fooling them. So don't fake it! That way, at least they can call you an honest performer.
One of the things that helps me rid this nasty habit is a recently installed "bullcrap meter". Whenever the needle moves, I stop and start over again from a few lines before. It's been hard to install said meter, because I naturally want to make progress and blast through the piece - but my coach has made it obvious when his needle moves. There I am, in the middle of a piece, in front of the intimate acting class. I'm just chillin', siting in a metal folding chair and then......
"Nope! Start again." says Steve
Ok, I'll start again, I think....
"Ap! Ap! Ap! Ap! Ap!" instructs Steve
Oh boy, I guess I'll take that again.
"No Phillip, again." Steve rebukes
Ok man, just breathe you can do this, just speak!
"Hot Damn! One more time just like that." Steve encourages (!)
Focus....and here it goes...
"Ha! You son-of-a-bitch you!"
So here is my bullcrap meter hard at work as I wrestle a Iago monologue from "Othello". Obviously, ones bullcrap meter is always subject to calibration. [UPDATE: I now realize that I left out a line '....mere prattle without practice is all his soldiership. but he sir, had the election] followed by: and i, whose eyes had seen the proof.... Oh well, I'm not embarassed, it's not like it's on the internet for the whole world to see.
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.
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