There are a couple of things every actor should know about auditioning. The main tool besides their body of an actor is their voice.
Get involved as much as you can in live performing to discover how your character ingredients come across to others. The deeper you go with a character the more believable the experience becomes for both the audience and yourself. Since ancient times men and women have practiced the art of acting- playing the role of a character in a story, for the entertainment of an audience.
Acting schools are the perfect forum to enhance and embrace people who have what it takes to become an actor/actress. Many acting schools have differing programs that allows the student both choice and flexibility when choosing the class to suit their requirements. Acting Schools can be found in many fine arts departments in colleges and universities across the country. Four-year degrees through intensive professional study in Acting Schools are common, however, some specialized acting schools provide programs that last just weeks.
People who are just getting into the acting business have quite a few misconceptions about how the casting process works. Many agents and casting directors go to these small theaters looking for talent.
By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. In getting the audition in the first place, you or your agent are going to have to submit a photo and resume to the casting director. Understanding these issues will make it much easier for you to decide which agent best fits your ambitions and talents. Research is the key to finding an agent that suits your needs. Yes sometimes the casting agent will have them there for you but why rely on them to determine you success. Take some classes, work on some student projects and then keep knocking till you find an acting agent that is genuine.
Before you leave your home, make sure you have your headshot/resume neatly stapled together, the address and a map of where the audition is, and the phone number of the auditors in case you get lost. If you're young, audition for some graduate or undergraduate programs even if you probably wouldn't go.
Good acoustics were designed into theater halls to help performers to be heard differently and to have more subtle and natural reflections.
Join a theater group or company -- this will inevitably keep you on your toes.
Being a good actor is a skill that you can learn.
Showing posts with label tips. Show all posts
Showing posts with label tips. Show all posts
Saturday, April 24, 2010
Saturday, April 17, 2010
Acting: How to Get Your Children Into Acting
With the success of such films as "Harry Potter", "Spy Kids" and "Chronicles of Narnia", more and more youngsters are turning to their parents and asking if they can make movies like the kids they see on the screen. Becoming a child actor or actress is not something to be taken lightly, and there is a lot for the children - and their parents - to learn.
As a parent, your first duty is to make sure your child is happy and well-adjusted. You have probably heard the horror stories of over-zealous stage parents hoarding all of their child's money, or even the stereotypical "child star" terrorizing the set. While some parents and children fail to handle success very well, the parents who are informed and never stop learning about the profession very often do succeed.
If your child is serious about becoming an actor or actress, there are several steps you can take to get them started right their in your home town.
First, sit down with your child and make sure they know that becoming an actor or actress is a commitment that will take months and probably years before they see any real results. There are a lot of actors, but very few "stars" in the entertainment industry.
Once it is clear your child understands their commitment, go ahead and contact the local community theatre to find out what shows are coming up and when the auditions are. Community theatres are great opportunities to get young people started in acting. You should also contact your state film office to find out where the nearest acting workshops are located and schedule a time to audit one or more of the classes.
Your child should build up some theatre credits before trying to get their first professional talent agent. Once you think your child is ready, do your homework and find the agencies near you. Search the Internet for what people say about the agency. When you approach an agency, you will need to send a picture and resume along with a short letter explaining your child is seeking representation. The photo you provide at this point in your child's career does not have to be professional, but it does have to actually look like your child. The agent may or may not contact you to arrange an interview.
Becoming a young performer like your child sees on TV and in movies is a long process filled with pitfalls, scams, and yes, even some very satisfying moments. Take the time to read books on child actors and other books in the field so you can be as prepared as you can when presented with the challenges facing parents of young performers.
As a parent, your first duty is to make sure your child is happy and well-adjusted. You have probably heard the horror stories of over-zealous stage parents hoarding all of their child's money, or even the stereotypical "child star" terrorizing the set. While some parents and children fail to handle success very well, the parents who are informed and never stop learning about the profession very often do succeed.
If your child is serious about becoming an actor or actress, there are several steps you can take to get them started right their in your home town.
First, sit down with your child and make sure they know that becoming an actor or actress is a commitment that will take months and probably years before they see any real results. There are a lot of actors, but very few "stars" in the entertainment industry.
Once it is clear your child understands their commitment, go ahead and contact the local community theatre to find out what shows are coming up and when the auditions are. Community theatres are great opportunities to get young people started in acting. You should also contact your state film office to find out where the nearest acting workshops are located and schedule a time to audit one or more of the classes.
Your child should build up some theatre credits before trying to get their first professional talent agent. Once you think your child is ready, do your homework and find the agencies near you. Search the Internet for what people say about the agency. When you approach an agency, you will need to send a picture and resume along with a short letter explaining your child is seeking representation. The photo you provide at this point in your child's career does not have to be professional, but it does have to actually look like your child. The agent may or may not contact you to arrange an interview.
Becoming a young performer like your child sees on TV and in movies is a long process filled with pitfalls, scams, and yes, even some very satisfying moments. Take the time to read books on child actors and other books in the field so you can be as prepared as you can when presented with the challenges facing parents of young performers.
Friday, April 16, 2010
All About Acting
Acting has found its origins in the religious rituals of the primitive times and the persons first to perform were the religious leaders of the tribes. The development of theater is largely attributed to the Greeks.
Start you child out early with acting, giving them an early peak while they are young will increase the odds of them catching on to it and becoming immersed in the art, this will increase the chances of success. Many people think that acting is all about glamour and living the good life. Everywhere you look today you see actors from TV, radio, theatre and even in street performances you see them. Yet acting is not easy in fact, like playing music, it is almost impossible to master.
There are acting schools and lessons and training. Sheer determination and natural skill are prerequisites that a wannabe actor cannot be without. Acting is one of the most brutal and challenging careers to pursue, but also one of the most rewarding.
When an actor finally reaches their potential they can convey the emotions needed to produce the acting needed in his/her performance. To many people acting is an exciting and rewarding career. A good actor can become anything he or she wants to be. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. The actor needs to concentrate and get inspired if they are going to emulate and believe they are the character they need to portray. The Main tool besides their body of an actor is their voice.
To define acting it is a person who can portray someone else either on the big screen or on stage. When actors play characters they can be fictional, or they can be people who are alive or a person who once lived. The goal of acting is what the character is going after.
The acting business is very similar to any other that provides a service. The problem is that a lot of actors will just sit at home waiting to be discovered. Actors are constantly subjected to auditions as part of any job interview. This is where your breakdown of the work performed and the associated prices can help you determine this. Multi talented actors are skilled in dancing, singing, improvisation, accents and mime.
If you think you are going to nail each part think again, just go out there and give it your all, this is best train of thought. Listen everyone would like to nail the audition, but let's be realistic you will receive more rejections in the beginning then call backs, but don't be discouraged keep at it.
By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. Love 'em or hate 'em, agents are impossible to live without. It's vital that you put your thoughts to the side for a moment and simply listen and be present with what the casting agent.
Start you child out early with acting, giving them an early peak while they are young will increase the odds of them catching on to it and becoming immersed in the art, this will increase the chances of success. Many people think that acting is all about glamour and living the good life. Everywhere you look today you see actors from TV, radio, theatre and even in street performances you see them. Yet acting is not easy in fact, like playing music, it is almost impossible to master.
There are acting schools and lessons and training. Sheer determination and natural skill are prerequisites that a wannabe actor cannot be without. Acting is one of the most brutal and challenging careers to pursue, but also one of the most rewarding.
When an actor finally reaches their potential they can convey the emotions needed to produce the acting needed in his/her performance. To many people acting is an exciting and rewarding career. A good actor can become anything he or she wants to be. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. The actor needs to concentrate and get inspired if they are going to emulate and believe they are the character they need to portray. The Main tool besides their body of an actor is their voice.
To define acting it is a person who can portray someone else either on the big screen or on stage. When actors play characters they can be fictional, or they can be people who are alive or a person who once lived. The goal of acting is what the character is going after.
The acting business is very similar to any other that provides a service. The problem is that a lot of actors will just sit at home waiting to be discovered. Actors are constantly subjected to auditions as part of any job interview. This is where your breakdown of the work performed and the associated prices can help you determine this. Multi talented actors are skilled in dancing, singing, improvisation, accents and mime.
If you think you are going to nail each part think again, just go out there and give it your all, this is best train of thought. Listen everyone would like to nail the audition, but let's be realistic you will receive more rejections in the beginning then call backs, but don't be discouraged keep at it.
By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. Love 'em or hate 'em, agents are impossible to live without. It's vital that you put your thoughts to the side for a moment and simply listen and be present with what the casting agent.
Thursday, April 15, 2010
Acting: How to Create Opportunities
Here are a few ideas on maximizing any acting opportunities that might come your way, or creating the opportunities in the first place.
HAVING AN AGENT
An agent can get your face seen in places that you alone could not. This increases the likelihood of you getting work. The more swings you make, the more balls you hit! But there are many acting opportunities to be found without an agent. Though nearly all Film, TV, Broadway and Off Broadway productions will exclusively use agent submissions, you can still find work without an agent. Community and Dinner Theatre, student and some indie films will take unrepresented actors.
The more experience and skills you have the more likely it is that an agent will take you on. An agent makes money when you work, so they will be keen to sign you up if you can show what an asset you will be to them. There is nothing wrong with sending a resume and headshot (more on those later), but it's essential that you send follow-up cards letting the agent know where and when you will be working, so they can see for themselves what a good actor you are.
RESUMES
Resumes help, they help in getting an agent but once you have one, your agent will use it to get you auditions. There are some rules for resumes, here are are the major ones.
Keep it to one page (8.5 x 11), if its more than one page the pages might get separated and details lost.
Make it neat. People have been known to get around the above restriction by using a small font size, its a judgment call but if the type is too small it will be hard to read.
The headshot should be recent, but use a photograph that shows you at your absolute best.
Make sure that all your contact information is correct, its also an idea to set up an email address specifically for your acting correspondence, this may stop you deleting essential emails.
The biggest tip for resumes is: DON'T LIE! We have all exaggerated something on an application form at some time, but you should be very careful about what you say you can do on your resume. Future opportunities could be endangered if you lie and you will look foolish if you've put motorcycle riding down as a skill and on your first day on set you have to admit you did it just to get the part.
LOCAL COMMERCIALS
The majority of acting opportunities are focused around the major cities like New York and L.A. But other opportunities crop up all over the country, some of which I mentioned in the opening paragraph. The most lucrative can be commercials for local car dealerships, restaurants and large local stores. These are usually produced by local agencies who will normally use local talent because it's easier and cheaper than flying in someone from L.A. The director will still only hire actors with the relevant skill and look, but you can improve your opportunities if you have a diverse or "ethnically ambiguous" look, i.e. if you can pass for more than one type of race.
These are just some of the ways you can improve your chances of getting an acting part.
HAVING AN AGENT
An agent can get your face seen in places that you alone could not. This increases the likelihood of you getting work. The more swings you make, the more balls you hit! But there are many acting opportunities to be found without an agent. Though nearly all Film, TV, Broadway and Off Broadway productions will exclusively use agent submissions, you can still find work without an agent. Community and Dinner Theatre, student and some indie films will take unrepresented actors.
The more experience and skills you have the more likely it is that an agent will take you on. An agent makes money when you work, so they will be keen to sign you up if you can show what an asset you will be to them. There is nothing wrong with sending a resume and headshot (more on those later), but it's essential that you send follow-up cards letting the agent know where and when you will be working, so they can see for themselves what a good actor you are.
RESUMES
Resumes help, they help in getting an agent but once you have one, your agent will use it to get you auditions. There are some rules for resumes, here are are the major ones.
Keep it to one page (8.5 x 11), if its more than one page the pages might get separated and details lost.
Make it neat. People have been known to get around the above restriction by using a small font size, its a judgment call but if the type is too small it will be hard to read.
The headshot should be recent, but use a photograph that shows you at your absolute best.
Make sure that all your contact information is correct, its also an idea to set up an email address specifically for your acting correspondence, this may stop you deleting essential emails.
The biggest tip for resumes is: DON'T LIE! We have all exaggerated something on an application form at some time, but you should be very careful about what you say you can do on your resume. Future opportunities could be endangered if you lie and you will look foolish if you've put motorcycle riding down as a skill and on your first day on set you have to admit you did it just to get the part.
LOCAL COMMERCIALS
The majority of acting opportunities are focused around the major cities like New York and L.A. But other opportunities crop up all over the country, some of which I mentioned in the opening paragraph. The most lucrative can be commercials for local car dealerships, restaurants and large local stores. These are usually produced by local agencies who will normally use local talent because it's easier and cheaper than flying in someone from L.A. The director will still only hire actors with the relevant skill and look, but you can improve your opportunities if you have a diverse or "ethnically ambiguous" look, i.e. if you can pass for more than one type of race.
These are just some of the ways you can improve your chances of getting an acting part.
Wednesday, April 14, 2010
Acting: Five Tips for Aspiring Stars
1. Be on time.
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
2. Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
3. Well groomed and clean.
You are not necessarily the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
4. No complaints
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
5. Good value from you
When you habitually give 100% of your energy to the work - you will get more work in the end.
Follow these five tips to be successful on-screen!
On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only a bit less. If you are ten minutes late for a job that pays five hundred bucks - you will be very disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you are late for a job, that casting director will also have people screaming at her. And further more there is no such thing as an eight-hour day in show business. If you cannot work a long day, you are unsuited for success in show business.
2. Be an early riser.
If you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in this industry you would do well to make early rising a lifelong habit. The early starts and long hours mean that you will be spending about half your life with co-workers. If you are a pain in the butt - you will be heartily disliked by other people who are also working 12 hour days. Word will get around and it will be harder to get work. Therefore be nice to people no matter what. You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being on for 12 hours is impossible.
3. Well groomed and clean.
You are not necessarily the part. Even the guys who play bikers and bums wear deodorant and have clean teeth. Your breath must be pleasant. A co-worker who literally stinks will get a reputation and lose opportunities because of it.
4. No complaints
Those actors on sets who do complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script and pretty much anything. They are labelled as complainers and are rarely appreciated or tolerated for very long.
5. Good value from you
When you habitually give 100% of your energy to the work - you will get more work in the end.
Follow these five tips to be successful on-screen!
Tuesday, April 13, 2010
Acting: The Life of an Extra
Would you like to be rich and famous? Most of us would be happy with just one of these, but acting extras usually end up neither! Having said that it can be fun and also a foot in the door of the film and TV world. Here are a few things to bear in mind.
Be Aware Of The Con Tricks.
There are many scams and cons that take advantage of peoples desire to be acting extras. The most cons common usually involve very high fees to sign up to an acting extras agency. These fees can be in $100s and usually entitle you to composites or head shots that are at best pointless and at worst misleading, or the promise a series of acting classes which, if they materialize, are of no real benefit.
To avoid these traps, look for a well established reputable agency. There will be a one off registration fee $20 or $30 to pay for the initial admin. But after that they make money when you do - thats their job! They will work to find you auditions that suit your skills and physical type.If you have a specific skill or physical attribute you may get paid more. Its worth pointing out that if you have an agent and get a job yourself, without their input, you still have to pay them. If you are with an agent and they don't get you any work at all you can move to another by giving them 30 days notice of the cancellation of the contract in writing.
Behave On Set.
As an acting extra bad on-set behavior can have a massive affect how much work you get.
Some good rules are:
--Arrive early
--If you are new, watch and learn from your more experienced colleagues
--It's worth bringing a book because you can be on set with nothing to do for hours, be patient
--But when you are asked to do something do it straight away
--Treat the cast and crew with courtesy and respect
--Food is provided, but know your place in the pecking order - the bottom
--Never bother to the stars! If they initiate a conversation then reply, but you are there to do a job, you are not being paid to be a fan or to fill up your autograph book
On set misbehavior will endanger your chances of being asked back or even sent from set there and then.
Keep Your Eyes And Ears Open.
This not only applies to taking advice from more experienced extras on set as mentioned above, but it also applies to finding work. Adverts, films and TV shows are filmed all over the country and when an outdoor scene is shot then locals can get work as extras. The adverts for these jobs can be found in the local press and though they are at the lower end of the pay-scale, they could be the start of something bigger or just a good experience.
Get A SAG Card.
There are two types of extras, those with a Screen Actors Guild card (SAG) and those without. The Screen Actors Guild was set up to improve the working condition of actors. A SAG card means you get paid more and hopefully your career develops more quickly. Every extra starts without the card then as they do more and more work their chances of getting one improve. The basic rule is the more work you get the more more likely it is you'll get the card, once you get the card the more money you get paid. Easy!
I hope that this brief article has helped. Acting as an extra can be fun, it probably won't make you rich and famous, but you might make some good friends and have some excellent diner party stories!
Be Aware Of The Con Tricks.
There are many scams and cons that take advantage of peoples desire to be acting extras. The most cons common usually involve very high fees to sign up to an acting extras agency. These fees can be in $100s and usually entitle you to composites or head shots that are at best pointless and at worst misleading, or the promise a series of acting classes which, if they materialize, are of no real benefit.
To avoid these traps, look for a well established reputable agency. There will be a one off registration fee $20 or $30 to pay for the initial admin. But after that they make money when you do - thats their job! They will work to find you auditions that suit your skills and physical type.If you have a specific skill or physical attribute you may get paid more. Its worth pointing out that if you have an agent and get a job yourself, without their input, you still have to pay them. If you are with an agent and they don't get you any work at all you can move to another by giving them 30 days notice of the cancellation of the contract in writing.
Behave On Set.
As an acting extra bad on-set behavior can have a massive affect how much work you get.
Some good rules are:
--Arrive early
--If you are new, watch and learn from your more experienced colleagues
--It's worth bringing a book because you can be on set with nothing to do for hours, be patient
--But when you are asked to do something do it straight away
--Treat the cast and crew with courtesy and respect
--Food is provided, but know your place in the pecking order - the bottom
--Never bother to the stars! If they initiate a conversation then reply, but you are there to do a job, you are not being paid to be a fan or to fill up your autograph book
On set misbehavior will endanger your chances of being asked back or even sent from set there and then.
Keep Your Eyes And Ears Open.
This not only applies to taking advice from more experienced extras on set as mentioned above, but it also applies to finding work. Adverts, films and TV shows are filmed all over the country and when an outdoor scene is shot then locals can get work as extras. The adverts for these jobs can be found in the local press and though they are at the lower end of the pay-scale, they could be the start of something bigger or just a good experience.
Get A SAG Card.
There are two types of extras, those with a Screen Actors Guild card (SAG) and those without. The Screen Actors Guild was set up to improve the working condition of actors. A SAG card means you get paid more and hopefully your career develops more quickly. Every extra starts without the card then as they do more and more work their chances of getting one improve. The basic rule is the more work you get the more more likely it is you'll get the card, once you get the card the more money you get paid. Easy!
I hope that this brief article has helped. Acting as an extra can be fun, it probably won't make you rich and famous, but you might make some good friends and have some excellent diner party stories!
Monday, April 12, 2010
What You Need to Know About Acting Courses
Acting courses come in various shapes, sizes and most importantly costs. How do you know which is a good one?
Some requirements are obvious, some not, so when you are looking for a course the more of these boxes they tick the better. Some points may not be as relevant as others, but all are, to some degree, valid and worth considering. The order is no indication of importance - that's up to you.
A good acting course will give you a thorough appreciation of the filmmaking process. This will allow you to access and develop so many vital tools. It will give you understanding of how to create a character which is rounded and believable on screen. Understanding the technical process will hopefully help develop your confidence in front of the camera -- if you know what a director wants, it should be easier to give it to them. Therefore, any knowledge regarding the technical aspects of filmmaking will be to your advantage.
Any acting course should have a positive learning environment. The classroom should be a forum for ideas and criticism, where no one is afraid to open up and enthusiasm encouraged. Large class sizes are not always a bad thing -- they give you the opportunity to network and make a few friends too.
Look for acting courses that provide script analysis and understanding as part of the curriculum. The script is your starting point and being able to see which characters work better than others or are more believable and three-dimensional, will enable you to work more efficiently with the director or writer.
The course should also highlight the difference between stage and film scripts, being good at understanding one doesn't automatically mean you'll be as competent with the other.
Even a film acting course can contain information and techniques for stage acting, they are quite different, but some aspects of stage craft can prove useful in front of the camera.
All of the above training and coaching will hopefully be provided by industry veterans or experienced professionals. Most courses will provide a resume for their instructors, but if no information is provided about the people who will be coaching you then the internet can provide quick and easy access to a persons professional background.
A good acting course will be able to supply you with plenty of testimonials from previous students to help you decide if its the right one for you. Don't be blinded by one famous alumni, better a school produces a lot of good working actors than one superstar.
If you are to get a thorough understanding of the life of an actor your course should give guidance on auditions, including such aspects as monologues, casting call requirements and even details on agents. They should be realistic and give you insight into how to survive the arduous life of an actor.
Acting courses are well worth the money spent, if you choose the right one.
Some requirements are obvious, some not, so when you are looking for a course the more of these boxes they tick the better. Some points may not be as relevant as others, but all are, to some degree, valid and worth considering. The order is no indication of importance - that's up to you.
A good acting course will give you a thorough appreciation of the filmmaking process. This will allow you to access and develop so many vital tools. It will give you understanding of how to create a character which is rounded and believable on screen. Understanding the technical process will hopefully help develop your confidence in front of the camera -- if you know what a director wants, it should be easier to give it to them. Therefore, any knowledge regarding the technical aspects of filmmaking will be to your advantage.
Any acting course should have a positive learning environment. The classroom should be a forum for ideas and criticism, where no one is afraid to open up and enthusiasm encouraged. Large class sizes are not always a bad thing -- they give you the opportunity to network and make a few friends too.
Look for acting courses that provide script analysis and understanding as part of the curriculum. The script is your starting point and being able to see which characters work better than others or are more believable and three-dimensional, will enable you to work more efficiently with the director or writer.
The course should also highlight the difference between stage and film scripts, being good at understanding one doesn't automatically mean you'll be as competent with the other.
Even a film acting course can contain information and techniques for stage acting, they are quite different, but some aspects of stage craft can prove useful in front of the camera.
All of the above training and coaching will hopefully be provided by industry veterans or experienced professionals. Most courses will provide a resume for their instructors, but if no information is provided about the people who will be coaching you then the internet can provide quick and easy access to a persons professional background.
A good acting course will be able to supply you with plenty of testimonials from previous students to help you decide if its the right one for you. Don't be blinded by one famous alumni, better a school produces a lot of good working actors than one superstar.
If you are to get a thorough understanding of the life of an actor your course should give guidance on auditions, including such aspects as monologues, casting call requirements and even details on agents. They should be realistic and give you insight into how to survive the arduous life of an actor.
Acting courses are well worth the money spent, if you choose the right one.
Sunday, April 11, 2010
Acting Confidently
Acting confidently can go a long way to teach us how to feel and be more confident. If you practice acting confident for at least part of your day every day, you will notice a difference in a month.
How does a confident person stand, sit, and walk? How do they look at a person? A confident person will look you directly in the eyes, won't they? How do they speak? They don't use a small voice, do they? A confident person is not afraid to ask for things, or to speak with strangers.
If you have somewhere to go like an audition, take a few minutes before you go to daydream how a confident person would do it. Do you have a role model? Perhaps there is someone in the movies or life that you wish you were more like. How would they handle the situation? Have fun in the privacy of your home play-acting.
Sometimes you can rehearse situations with a friend to help you with your confidence. This is great for becoming comfortable with job interviews or dealing with customers. Practice and familiarity makes us feel confident.
If you would like to become good at auditions, you could apply for as many as possible, even ones you don't want. At first you may feel nervous, but your purpose is not to get a role, it is to get more comfortable and better at impressing others favorably. The more auditions you do, the less they will intimidate you and the more confident you will be. With practice, before long, you will be able to improve the number of role offers you get.
A great deal of how we appear to others, including hiring managers, consists of how we appear to ourselves. When we are nervous or not confident in ourselves, it often causes others to have less faith in us as well. If we believe we are beautiful, others will see our beauty. If we believe we are valuable to them, others will see our value. Always remind yourself of your qualities and the good you have to offer.
How does a confident person stand, sit, and walk? How do they look at a person? A confident person will look you directly in the eyes, won't they? How do they speak? They don't use a small voice, do they? A confident person is not afraid to ask for things, or to speak with strangers.
If you have somewhere to go like an audition, take a few minutes before you go to daydream how a confident person would do it. Do you have a role model? Perhaps there is someone in the movies or life that you wish you were more like. How would they handle the situation? Have fun in the privacy of your home play-acting.
Sometimes you can rehearse situations with a friend to help you with your confidence. This is great for becoming comfortable with job interviews or dealing with customers. Practice and familiarity makes us feel confident.
If you would like to become good at auditions, you could apply for as many as possible, even ones you don't want. At first you may feel nervous, but your purpose is not to get a role, it is to get more comfortable and better at impressing others favorably. The more auditions you do, the less they will intimidate you and the more confident you will be. With practice, before long, you will be able to improve the number of role offers you get.
A great deal of how we appear to others, including hiring managers, consists of how we appear to ourselves. When we are nervous or not confident in ourselves, it often causes others to have less faith in us as well. If we believe we are beautiful, others will see our beauty. If we believe we are valuable to them, others will see our value. Always remind yourself of your qualities and the good you have to offer.
Saturday, April 10, 2010
Acting Camps: A Way to Prepare Your Young Actor or Actress for Industry Success
Helping your young acting hopeful prepare for a successful acting career can be an incredibly rewarding experience for the parent. All parents like seeing their children being creative, expressing themselves, and, most importantly, having fun.
It should be stated, however, that forcing a child to participate in any pursuit they don't like is not just counterproductive but harmful to the child. Your role, as the acting hopeful's parent, is to caringly nurture your children's expressed interests and not force them into a pursuit in order to live vicariously through them. One would have to be born under a rock to have missed some of the more public examples of what can happen when children are forced into an acting career they never wanted.
That being said, there are some very simple pointers you can follow that will have a powerful impact in the immediate sense and create long-term opportunities for the professional acting success of your son or daughter.
Start Early: Human beings, it would seem, are all natural born actors. Early in their lives, they often spend entire afternoons play-acting imaginary scenarios. Sadly, as many of us get older, we forget how much fun acting can be. By exposing your youngsters, at an early age, to the concept of acting, you are, in effect, introducing them to something at which they are already. Regardless of whether it's soccer, football, chess, or acting, childhood pursuits should always be fun. By giving your children an early glimpse of acting while they are young and predisposed to the concept, you dramatically increase the odds of their long-term success. Acting Camps provide the perfect vehicle for your children to immerse themselves in the creative fun acting can provide. What they gain from the camp experience has as much to do with you, the parent, as it does the camp itself. With the internet woven into the fabric of our lives, there is simply no excuse for parents not doing due-diligence research on any acting camp they are considering. A little research time, up front, can save you a lot of money, effort, and disappointment later.
After your children have started their first camp, make sure that they are having fun. If not, first try finding a better-suited program and see if that resolves the issue. If not, you may need to consider the fact that acting may not be of interest to them at that point in their lives. If that is the case, and the situation is handled carefully, it may well become one as they get older. Forcing the issue now will virtually guarantee that your child will never enjoy the art. If there isn't a fit, back off and give them some time. Find out what it was about the camp experience they didn't like. More importantly, find out what things (even if only a few) they actually did like about the camp. Pay attention to these answers. There is a good chance that, armed with this information, you can research other camps that may be better suited to your child's tastes and artistic needs. Find a different camp, try again next year, and until then don't push or make a big deal out of it.
Be Involved: Acting is a passion and, like flame, it needs fuel in order to burn. A parent's support and involvement has no equal as that fuel. Acting Camp is about far more than just what happens during the time your child attends. What happens before and after camp is as important as the camp itself. Furthermore, if you have an uninterested attitude towards your children's pursuits then their attitude will soon follow your own. Help them prepare for the camp experience beforehand. If you have done your research, then you are well-versed in what your children will be learning and doing. Help them feel prepared for it and they will have the kind of fun that only self-confidence brings. After Camp is over, spend a lot of time revisiting what they experienced and learned. Often, there are exercises and drama games that can be fun for the whole family to recreate. Children look to their parents for validation. Be that validation for your young actor or actress and you have armed them well for success.
Be Selective: Acting Camps are as varied as the children who attend them. Take the time to research, research, research. If your children are new to the art, look for fun-filled camps that focus more on the enjoyment of the experience than the knowledge gained. As your children progress, they will want, as well as need, more challenges for their minds. Complacency destroys drive, and an unchallenged mind can hardly avoid becoming complacent. Acting Camp should always be fun, but as your children grow they will develop a sense of pride in their craft and will be eager to take the challenge to the next level. Do your homework and be prepared to provide that challenge in their next camp.
Preparing For the Next Step: Eventually your children (and I use that term loosely here) will be ready to move on to acting school. As you have watched and participated with your children in their acting youth, you'll no doubt have picked up on where their artistic talents and drive really lie. Research schools that have well-respected programs, and degrees, in those areas. This next step is an expensive one, so doing your research here actually does pay.
Just as acting camps have helped form your children's creative foundations, so acting schools will take it to that next, and this time, professional level.
It should be stated, however, that forcing a child to participate in any pursuit they don't like is not just counterproductive but harmful to the child. Your role, as the acting hopeful's parent, is to caringly nurture your children's expressed interests and not force them into a pursuit in order to live vicariously through them. One would have to be born under a rock to have missed some of the more public examples of what can happen when children are forced into an acting career they never wanted.
That being said, there are some very simple pointers you can follow that will have a powerful impact in the immediate sense and create long-term opportunities for the professional acting success of your son or daughter.
Start Early: Human beings, it would seem, are all natural born actors. Early in their lives, they often spend entire afternoons play-acting imaginary scenarios. Sadly, as many of us get older, we forget how much fun acting can be. By exposing your youngsters, at an early age, to the concept of acting, you are, in effect, introducing them to something at which they are already. Regardless of whether it's soccer, football, chess, or acting, childhood pursuits should always be fun. By giving your children an early glimpse of acting while they are young and predisposed to the concept, you dramatically increase the odds of their long-term success. Acting Camps provide the perfect vehicle for your children to immerse themselves in the creative fun acting can provide. What they gain from the camp experience has as much to do with you, the parent, as it does the camp itself. With the internet woven into the fabric of our lives, there is simply no excuse for parents not doing due-diligence research on any acting camp they are considering. A little research time, up front, can save you a lot of money, effort, and disappointment later.
After your children have started their first camp, make sure that they are having fun. If not, first try finding a better-suited program and see if that resolves the issue. If not, you may need to consider the fact that acting may not be of interest to them at that point in their lives. If that is the case, and the situation is handled carefully, it may well become one as they get older. Forcing the issue now will virtually guarantee that your child will never enjoy the art. If there isn't a fit, back off and give them some time. Find out what it was about the camp experience they didn't like. More importantly, find out what things (even if only a few) they actually did like about the camp. Pay attention to these answers. There is a good chance that, armed with this information, you can research other camps that may be better suited to your child's tastes and artistic needs. Find a different camp, try again next year, and until then don't push or make a big deal out of it.
Be Involved: Acting is a passion and, like flame, it needs fuel in order to burn. A parent's support and involvement has no equal as that fuel. Acting Camp is about far more than just what happens during the time your child attends. What happens before and after camp is as important as the camp itself. Furthermore, if you have an uninterested attitude towards your children's pursuits then their attitude will soon follow your own. Help them prepare for the camp experience beforehand. If you have done your research, then you are well-versed in what your children will be learning and doing. Help them feel prepared for it and they will have the kind of fun that only self-confidence brings. After Camp is over, spend a lot of time revisiting what they experienced and learned. Often, there are exercises and drama games that can be fun for the whole family to recreate. Children look to their parents for validation. Be that validation for your young actor or actress and you have armed them well for success.
Be Selective: Acting Camps are as varied as the children who attend them. Take the time to research, research, research. If your children are new to the art, look for fun-filled camps that focus more on the enjoyment of the experience than the knowledge gained. As your children progress, they will want, as well as need, more challenges for their minds. Complacency destroys drive, and an unchallenged mind can hardly avoid becoming complacent. Acting Camp should always be fun, but as your children grow they will develop a sense of pride in their craft and will be eager to take the challenge to the next level. Do your homework and be prepared to provide that challenge in their next camp.
Preparing For the Next Step: Eventually your children (and I use that term loosely here) will be ready to move on to acting school. As you have watched and participated with your children in their acting youth, you'll no doubt have picked up on where their artistic talents and drive really lie. Research schools that have well-respected programs, and degrees, in those areas. This next step is an expensive one, so doing your research here actually does pay.
Just as acting camps have helped form your children's creative foundations, so acting schools will take it to that next, and this time, professional level.
Friday, April 9, 2010
Acting: Tips for Auditions
If you're looking for acting audition tips this is a good place to start. It'll give you a few things to consider, but think of this a starting point as there are many factors involved in a good audition.
Acting auditions can broken down into roughly three sections, The Preparation, The Performance and The Result. We'll look at all three which will give you enough ideas to make you a little more relaxed about the whole process.
THE PREPARATION
Preparation, as any job interview book will tell you, is essential. Firstly, do as much research as you can, be it the character you're going to play, the director, the company or even the writer. It will show thoroughness and dedication that could be the deciding factor in your favor.
Secondly, make sure you know your monologues. You should have practiced them out loud in front of a variety of people to get as many opinions as possible. If you can't get a wide range of opinions you may find it useful to record yourself (using video or audio), which gives you the chance to evaluate your own performance from a slightly different perspective.
Thirdly, know exactly where the location of the interview is, how long it takes to get there and arrive early. This allows you to relax and find somewhere to warm up.
You could be hanging around for a long time, so take a book, some water and food or something like an iPod to keep you relaxed and occupied.
When in the audition environment, it pays dividends to be nice to everyone, because remember, today's rival actor could be tomorrows hot new director. Don't be intimidated by the other actors auditioning with you, they will be just as nervous as you are. Even if they appear cocky that doesn't make them a better actor than you!
THE PERFORMANCE
First impressions count, so upon entering the acting audition room be confident, positive and friendly. It may be helpful to remind yourself that these people in front of you are on your side, they actually want you to be great! Its good to be as open and personable as possible because you want the director to want to work with you personally as well as professionally and any advantage is an advantage.
Try to keep any questions you may have to a minimum, these are busy people and too many questions can seem overly ingratiating.
Your initial monologue should not really be more than two minutes long, have others prepared, these should show your range and diversity, and also have a longer monologue prepared, just in case the Director requests it.
The director may ask you to reread after direction, so good listening skills are important, at this point its better to ask questions than to assume that you know what the director wants, accepting direction also requires flexibility, so don't stick too tightly to the same old way you've done the reading in the past.
THE RESULT
No article on acting audition tips would be complete without a word or two about rejection.
As you have read, there are many ways that you can improve your chances of getting a role, but most actors will get turned down for most jobs most of the time. You could do all of the above and more and still be overlooked, but you should not take this as a comment on your ability. It just indicates that the casting panel thought that someone else was more suitable to that particular role at that particular time.
If you do get called back for a second audition then well done!
Acting auditions can broken down into roughly three sections, The Preparation, The Performance and The Result. We'll look at all three which will give you enough ideas to make you a little more relaxed about the whole process.
THE PREPARATION
Preparation, as any job interview book will tell you, is essential. Firstly, do as much research as you can, be it the character you're going to play, the director, the company or even the writer. It will show thoroughness and dedication that could be the deciding factor in your favor.
Secondly, make sure you know your monologues. You should have practiced them out loud in front of a variety of people to get as many opinions as possible. If you can't get a wide range of opinions you may find it useful to record yourself (using video or audio), which gives you the chance to evaluate your own performance from a slightly different perspective.
Thirdly, know exactly where the location of the interview is, how long it takes to get there and arrive early. This allows you to relax and find somewhere to warm up.
You could be hanging around for a long time, so take a book, some water and food or something like an iPod to keep you relaxed and occupied.
When in the audition environment, it pays dividends to be nice to everyone, because remember, today's rival actor could be tomorrows hot new director. Don't be intimidated by the other actors auditioning with you, they will be just as nervous as you are. Even if they appear cocky that doesn't make them a better actor than you!
THE PERFORMANCE
First impressions count, so upon entering the acting audition room be confident, positive and friendly. It may be helpful to remind yourself that these people in front of you are on your side, they actually want you to be great! Its good to be as open and personable as possible because you want the director to want to work with you personally as well as professionally and any advantage is an advantage.
Try to keep any questions you may have to a minimum, these are busy people and too many questions can seem overly ingratiating.
Your initial monologue should not really be more than two minutes long, have others prepared, these should show your range and diversity, and also have a longer monologue prepared, just in case the Director requests it.
The director may ask you to reread after direction, so good listening skills are important, at this point its better to ask questions than to assume that you know what the director wants, accepting direction also requires flexibility, so don't stick too tightly to the same old way you've done the reading in the past.
THE RESULT
No article on acting audition tips would be complete without a word or two about rejection.
As you have read, there are many ways that you can improve your chances of getting a role, but most actors will get turned down for most jobs most of the time. You could do all of the above and more and still be overlooked, but you should not take this as a comment on your ability. It just indicates that the casting panel thought that someone else was more suitable to that particular role at that particular time.
If you do get called back for a second audition then well done!
Wednesday, April 7, 2010
Acting: Who's Who in the Biz
In the course of an actor's life he is going to meet a lot of people. Many of these people will have a direct or indirect effect on his career. Some, more so than others.
Probably the person who will have the biggest effect on the career of an actor is his agent. Love 'em or hate 'em, agents are impossible to live without. By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. An agent is the actor's mouthpiece. He's the one who tries to display the actor in the best possible light through his own charm. Agents have to be very good talkers and have personalities that are easy to get along with. As an agent they will have an extensive list of contacts from producers to directors. They use this list to get an actor every chance that they possibly can. And then after the actor gets the job the agent works on the terms of ther contract to make sure that he gets the best deal possible. A good agent will have the actor's best interests at heart, knowing that the better the deal he makes, the better he makes out as well.
Then there is the casting director. This person can make or break an actor's career. If an actor can't get past the casting director he has no chance. Casting directors are specifically hired to find talent for the movie, show or play, whichever the case may be. This is the agent's first line of contact. These are the people the agent sends photos and resumÈs to. These are the people the actor auditions for. Without passing the audition with the casting director, an actor has no chance to meet the next people in line who will determine whether or not he's going to get the job.
After that we have the actor's manager. A manager has a slightly different role than the actor's agent, though there are some similarities in the duties they perform. Both work for the actor with the actor's best interests in mind. A manager will basically try to find the actor work, give him advice and try to guide his career. He may encourage the actor to try for certain roles and tell him to avoid others. An agent may also do the same, but he is more concerned with getting the contract. Managers look more at the big picture and long term career than the day to day operations. Managers are the ones who give the actor their face that they will show to the public.
Finally, there is the producer. A producer is the one who handles all the behind the scenes details of a production. They bring together the directors, actors and writers and try to make it all work, in spite of the many different personalities involved. It is important that the actor is able to work well with the producer or he can find himself out of work very fast, contract or no contract.
In the world and life of an actor there are indeed many people who he will count on to make sure his career gets off the ground and hopefully makes it to the heights he aspires to.
Probably the person who will have the biggest effect on the career of an actor is his agent. Love 'em or hate 'em, agents are impossible to live without. By definition an agent is someone who finds work for an actor at a fee of about 10 to 15% of whatever he earns for that job. But an agent is much more than that in reality. An agent is the actor's mouthpiece. He's the one who tries to display the actor in the best possible light through his own charm. Agents have to be very good talkers and have personalities that are easy to get along with. As an agent they will have an extensive list of contacts from producers to directors. They use this list to get an actor every chance that they possibly can. And then after the actor gets the job the agent works on the terms of ther contract to make sure that he gets the best deal possible. A good agent will have the actor's best interests at heart, knowing that the better the deal he makes, the better he makes out as well.
Then there is the casting director. This person can make or break an actor's career. If an actor can't get past the casting director he has no chance. Casting directors are specifically hired to find talent for the movie, show or play, whichever the case may be. This is the agent's first line of contact. These are the people the agent sends photos and resumÈs to. These are the people the actor auditions for. Without passing the audition with the casting director, an actor has no chance to meet the next people in line who will determine whether or not he's going to get the job.
After that we have the actor's manager. A manager has a slightly different role than the actor's agent, though there are some similarities in the duties they perform. Both work for the actor with the actor's best interests in mind. A manager will basically try to find the actor work, give him advice and try to guide his career. He may encourage the actor to try for certain roles and tell him to avoid others. An agent may also do the same, but he is more concerned with getting the contract. Managers look more at the big picture and long term career than the day to day operations. Managers are the ones who give the actor their face that they will show to the public.
Finally, there is the producer. A producer is the one who handles all the behind the scenes details of a production. They bring together the directors, actors and writers and try to make it all work, in spite of the many different personalities involved. It is important that the actor is able to work well with the producer or he can find himself out of work very fast, contract or no contract.
In the world and life of an actor there are indeed many people who he will count on to make sure his career gets off the ground and hopefully makes it to the heights he aspires to.
Tuesday, April 6, 2010
Acting: The Casting Process
People who are just getting into the acting business have quite a few misconceptions about how the casting process works. The best way to illustrate this is with a hypothetical example giving a fictional show.
Let's say the producers of a daytime soap called "Sullivan Street" have just gotten a script for one of next month's episodes. In this episode there is a new character by the name of "Tara." She is a real schemer who is going to seduce the show's star.
The first thing the producers do is call the casting director they have used for many years and describe the character, Tara, to him. Immediately the casting director will already have several people in mind who he has worked with in the past but he will still submit a description to Breakdown Services. This is a company that serves as a link between casting directors and agents.
The next morning all the agents read the "breakdown" sheets to see what parts are being cast. The agent will then look through his files to see if he has anyone who fits the description. He'll select several photos and send them to the casting director.
The casting director then receives all these envelopes from all these agents, and there are tons of them. A casting director will have to go through hundreds, maybe even thousands of photos looking for "Tara." And then even if the photo looks great the casting director will look at the attached resume to see what body of work the actress has done. Finally the casting director will narrow these hundreds of photos down to about 30 or so and will call these agents up for auditions.
The agents will then call their clients up and tell them about the audition, the time and place. He may send them sample scripts or have them come to his office to pick them up.
After this the actress goes to the audition, probably nervous as heck. She'll dress up the way she thinks Tara should dress. She wants to get the character just right. While waiting for her audition she takes the time to go over her lines.
Finally, she makes it into the casting director's office and does her reading for the part. She does well, but is not too hopeful since she has had other readings during the week for other parts that she didn't get.
After the audition is over the goes home and waits. In a day or so she gets a call from her agent that they liked her audition and they want her to come back for a second one. She's all excited.
She goes back for a second audition, reads the same part again and does even better than the first time. She is positive that she is going to get the part. Then, at the last minute, the producers, who are at the second audition, decide that Tara should be a blonde instead of a brunette.
Yes, that is the way it goes. Sometimes you'll lose a part because you are the wrong height or hair color or something really stupid. Then a month later they'll call you back in to read for the starring role of a new series they're putting together. That is the way careers are made and broken in this business and there is just no logical reason to the madness. All you can do is go with the flow and hope for the best.
Let's say the producers of a daytime soap called "Sullivan Street" have just gotten a script for one of next month's episodes. In this episode there is a new character by the name of "Tara." She is a real schemer who is going to seduce the show's star.
The first thing the producers do is call the casting director they have used for many years and describe the character, Tara, to him. Immediately the casting director will already have several people in mind who he has worked with in the past but he will still submit a description to Breakdown Services. This is a company that serves as a link between casting directors and agents.
The next morning all the agents read the "breakdown" sheets to see what parts are being cast. The agent will then look through his files to see if he has anyone who fits the description. He'll select several photos and send them to the casting director.
The casting director then receives all these envelopes from all these agents, and there are tons of them. A casting director will have to go through hundreds, maybe even thousands of photos looking for "Tara." And then even if the photo looks great the casting director will look at the attached resume to see what body of work the actress has done. Finally the casting director will narrow these hundreds of photos down to about 30 or so and will call these agents up for auditions.
The agents will then call their clients up and tell them about the audition, the time and place. He may send them sample scripts or have them come to his office to pick them up.
After this the actress goes to the audition, probably nervous as heck. She'll dress up the way she thinks Tara should dress. She wants to get the character just right. While waiting for her audition she takes the time to go over her lines.
Finally, she makes it into the casting director's office and does her reading for the part. She does well, but is not too hopeful since she has had other readings during the week for other parts that she didn't get.
After the audition is over the goes home and waits. In a day or so she gets a call from her agent that they liked her audition and they want her to come back for a second one. She's all excited.
She goes back for a second audition, reads the same part again and does even better than the first time. She is positive that she is going to get the part. Then, at the last minute, the producers, who are at the second audition, decide that Tara should be a blonde instead of a brunette.
Yes, that is the way it goes. Sometimes you'll lose a part because you are the wrong height or hair color or something really stupid. Then a month later they'll call you back in to read for the starring role of a new series they're putting together. That is the way careers are made and broken in this business and there is just no logical reason to the madness. All you can do is go with the flow and hope for the best.
Monday, April 5, 2010
Acting: How to Handle the Agent Interview
"So, tell me about yourself."
You're in the interview with a potential agent, and he just said this.
This can be quite a frightening question. Somebody is asking about you and you're confronted with such a broad and general opening line. How on Earth do you reply?
When you finally get that all important interview with an agent, you want to be as prepared as you possibly can be. You've probably brought copies of your best headshot along with your resumé. Maybe you've even brought a couple of monologues with you in case the agent wants to hear you read something by asking you to "show him what you can do." But before it even gets to that, the first part of the interview is usually very awkward. The truth is, the agent at this time has probably already seen your headshot and resumé and has probably even seen you in some production, maybe a local play. But at this time the agent wants to get to know you personally. Hw wants to know how you present yourself to people in a business setting. Since you will be working with the agent in getting you work, he wants to make sure that you handle yourself professionally in a such a setting.
So the agent asks you to tell him something about yourself. What do you say to him? Actually, you should prepare ahead of time for this question. You don't want to be taken off guard. Just as you have prepared everything else, your headshots, resumé, and monologue, you want to prepare for this question. This is the opportunity to get some experience as a writer. Here you will create the exact monologue that you want to describe yourself. You should memorize it and practice it just as you would a movie script until you have complete confidence in reciting it.
To do this, think about what you want the agent to know about you. Don't just spit back your resumé. The agent has already seen that. You can, however, mention a few highlights. If you have good training with a well known school, mention this. Your agent is going to want to know what you've been doing. Tell him about any lead roles you've done. If not a lead, pick a role you've played that you particularly enjoyed playing, even if it was a small part. Talk about what excites you about being an actor. Tell him what you love about theater or television or whatever medium you're most interested in. Tell him about any interesting hobbies that you have. Agents want to see that you're well rounded and not just one dimensional. Well rounded people usually make good actors. Tell the agent what you feel is unique about yourself. Keep your monologue to under a minute. Agents don't have a lot of time and want to get right to the point.
Finally, remember one thing. If an agent has invited you to an interview he is already interested in you so don't push it. Act natural and be yourself. You will find that by not acting you will have your best chance at getting this agent to represent you.
You're in the interview with a potential agent, and he just said this.
This can be quite a frightening question. Somebody is asking about you and you're confronted with such a broad and general opening line. How on Earth do you reply?
When you finally get that all important interview with an agent, you want to be as prepared as you possibly can be. You've probably brought copies of your best headshot along with your resumé. Maybe you've even brought a couple of monologues with you in case the agent wants to hear you read something by asking you to "show him what you can do." But before it even gets to that, the first part of the interview is usually very awkward. The truth is, the agent at this time has probably already seen your headshot and resumé and has probably even seen you in some production, maybe a local play. But at this time the agent wants to get to know you personally. Hw wants to know how you present yourself to people in a business setting. Since you will be working with the agent in getting you work, he wants to make sure that you handle yourself professionally in a such a setting.
So the agent asks you to tell him something about yourself. What do you say to him? Actually, you should prepare ahead of time for this question. You don't want to be taken off guard. Just as you have prepared everything else, your headshots, resumé, and monologue, you want to prepare for this question. This is the opportunity to get some experience as a writer. Here you will create the exact monologue that you want to describe yourself. You should memorize it and practice it just as you would a movie script until you have complete confidence in reciting it.
To do this, think about what you want the agent to know about you. Don't just spit back your resumé. The agent has already seen that. You can, however, mention a few highlights. If you have good training with a well known school, mention this. Your agent is going to want to know what you've been doing. Tell him about any lead roles you've done. If not a lead, pick a role you've played that you particularly enjoyed playing, even if it was a small part. Talk about what excites you about being an actor. Tell him what you love about theater or television or whatever medium you're most interested in. Tell him about any interesting hobbies that you have. Agents want to see that you're well rounded and not just one dimensional. Well rounded people usually make good actors. Tell the agent what you feel is unique about yourself. Keep your monologue to under a minute. Agents don't have a lot of time and want to get right to the point.
Finally, remember one thing. If an agent has invited you to an interview he is already interested in you so don't push it. Act natural and be yourself. You will find that by not acting you will have your best chance at getting this agent to represent you.
Sunday, April 4, 2010
Acting: Life on the Job
Many people think that acting is all about glamour and living the good life. Maybe you get some fancy limo and a ton of other perks and that's all there is to it. Unfortunately, the real work of being an actor is not glamorous. There's actual work involved. Here is a typical day on the set of a major motion picture.
You're up at about 5:30 in the morning. Why? Because most likely you have a call time of 7 AM and the shoot is in Pasadena. You're on your own as far as getting there so you have to shower and shave early and hop in your own car and drive to the shoot. Traffic in LA is awful so you better get an early start. After you arrive and park your own car, a teamster shuffles you off to the film set. At the set you check in with the second director and then get in line at the food truck for a quick breakfast. No fancy meals.
Before you even get a chance to finish your bagel, a girl from wardrobe comes over to you and says they need to measure you for a new jacket that they picked out for your scene. After you get fitted they then ship you off to makeup. After about an hour of having your face tortured you're out of the makeup trailer with toilet paper stuck to your collar in order to keep makeup off your clothes. It's now time to head to the set.
The director and the whole crew, lighting, cameras, etc., are already all there setting up the scene. At this point the director will have a brief chat with you to inform you of the change in your lines that you spent half the night studying and memorizing. At this time you'll rehearse the new lines a couple of times on the set. Then they finish setting up the lights and whatever else is needed for the scene. This gives you some extra time to memorize your new lines. So you go to your trailer to do this. Yes, you actually get your own trailer. It's also the size of a walk in closet.
After about 20 minutes or so, the production assistant knocks on your trailer door and calls you back to the set. At this time they remove the tissue paper from your collar and you go to your mark on the set to begin the scene.
The scene begins. Your co-star approaches you and begins to say her lines. You then say yours and suddenly you hear the director say "cut!" You wonder what you did wrong. Actually, nothing. One of the lights on the set went out. The gaffer runs over, replaces the bulb, and then you start again from the beginning. They do a few more takes of the same scene from different angles. In the final cutting they'll decide which one to use.
You'll get about 2 shots done before it's time to change the set for the next scene. There's no applause or fanfare. You might get a "nice job" from the director, but that's about it. You then just sit around and wait for the next scene.
That is the truth about acting. Only about 10% of the time are you actually acting. The other 90% you spend waiting around for set changes and other things. So unless you have a major role that requires a lot of preparation, you better bring a deck of playing cards with you or you're going to be bored out of your skin.
At around noon you break for lunch. An hour later you come back, maybe do another scene and then get your sheets for tomorrow's shoot. You're done for the day and go home.
Not very glamorous is it? No, but when the film is released and you get to see what they've done with what seemed like pretty dull stuff, it simply amazes you. And knowing that people all over the world are going to be seeing you, well, that's what acting is all about.
You're up at about 5:30 in the morning. Why? Because most likely you have a call time of 7 AM and the shoot is in Pasadena. You're on your own as far as getting there so you have to shower and shave early and hop in your own car and drive to the shoot. Traffic in LA is awful so you better get an early start. After you arrive and park your own car, a teamster shuffles you off to the film set. At the set you check in with the second director and then get in line at the food truck for a quick breakfast. No fancy meals.
Before you even get a chance to finish your bagel, a girl from wardrobe comes over to you and says they need to measure you for a new jacket that they picked out for your scene. After you get fitted they then ship you off to makeup. After about an hour of having your face tortured you're out of the makeup trailer with toilet paper stuck to your collar in order to keep makeup off your clothes. It's now time to head to the set.
The director and the whole crew, lighting, cameras, etc., are already all there setting up the scene. At this point the director will have a brief chat with you to inform you of the change in your lines that you spent half the night studying and memorizing. At this time you'll rehearse the new lines a couple of times on the set. Then they finish setting up the lights and whatever else is needed for the scene. This gives you some extra time to memorize your new lines. So you go to your trailer to do this. Yes, you actually get your own trailer. It's also the size of a walk in closet.
After about 20 minutes or so, the production assistant knocks on your trailer door and calls you back to the set. At this time they remove the tissue paper from your collar and you go to your mark on the set to begin the scene.
The scene begins. Your co-star approaches you and begins to say her lines. You then say yours and suddenly you hear the director say "cut!" You wonder what you did wrong. Actually, nothing. One of the lights on the set went out. The gaffer runs over, replaces the bulb, and then you start again from the beginning. They do a few more takes of the same scene from different angles. In the final cutting they'll decide which one to use.
You'll get about 2 shots done before it's time to change the set for the next scene. There's no applause or fanfare. You might get a "nice job" from the director, but that's about it. You then just sit around and wait for the next scene.
That is the truth about acting. Only about 10% of the time are you actually acting. The other 90% you spend waiting around for set changes and other things. So unless you have a major role that requires a lot of preparation, you better bring a deck of playing cards with you or you're going to be bored out of your skin.
At around noon you break for lunch. An hour later you come back, maybe do another scene and then get your sheets for tomorrow's shoot. You're done for the day and go home.
Not very glamorous is it? No, but when the film is released and you get to see what they've done with what seemed like pretty dull stuff, it simply amazes you. And knowing that people all over the world are going to be seeing you, well, that's what acting is all about.
Saturday, April 3, 2010
Acting: Method Acting Tips
The art of method acting was made popular by Lee Strasberg at The Actors Studio and the Group Theatre in New York City during the 1940s and 1950s. It was actually derived from the Stanislavski System who pioneered similar ideas in his teachings, writings, and acting at the Moscow Art Theatre which was formed in 1897.
Some of Strasberg's students included some very famous actors such as Paul Newman, Al Pacino, James Dean and a ton of others. The list is endless.
Method acting is considered the most difficult to teach and to learn. Its main characteristic is that it lacks any specific or technical approach to acting. It is what the supporters of this type of acting refer to as the alternative to the clichéd, unrealistic, and so-called rubber-stamp acting. In other words, it is based in realism and realistic emotions.
Because there are many versions of method acting the exact approach depends on the particular version, which can include such practices as substitution acting or what is called emotional memory.
Sanford Meisner, who was another Group Theatre pioneer, taught a closely related form of method acting. He differed from Strasberg's emotional memory theory and taught one that revolved around "fully immersing oneself in the moment of a character, and experiencing all sensations as the character would."
Stella Adler had another approach to method acting. Her technique is based on the idea that an actor must not use memories from their own past to bring up emotion, but instead use circumstances from their own imagination. She also taught that action was very important. It wasn't so much what we said but what we did while we said it.
Contemporary acting teachers, names like Jason Bennett, combine many of the acting theories of the last generation of acting teachers. These methods utilize a number of devices such as using the actor's imagination, calling on his or her life experiences to dive into the part, and various forms of psychology where actors are taught to imagine what a person would psychologically do when confronted with the situation in the script. For example, how would a person truly react if another person pulled a gun on them and was ready to shoot them? What terror would they feel? From that the actor tries to convey that psychological terror in the performance.
Bennett also worked on what is called the use of human archetypes. Archetype work is rooted in Jungian Psychology and in the works of Michael Chekhov. Chekhov was very closely associated with Stanislavski. As Chekov's work evolved, he broke away from Stanislavski, Strasberg and the original members of The Group. Many believe that later in his life, Stanislavski began to recognize that Chekov's work was very important in developing modern acting theory.
Even though method acting is very hard to teach and even harder to learn, it is still regarded as the most realistic form of acting that there is.
Some of Strasberg's students included some very famous actors such as Paul Newman, Al Pacino, James Dean and a ton of others. The list is endless.
Method acting is considered the most difficult to teach and to learn. Its main characteristic is that it lacks any specific or technical approach to acting. It is what the supporters of this type of acting refer to as the alternative to the clichéd, unrealistic, and so-called rubber-stamp acting. In other words, it is based in realism and realistic emotions.
Because there are many versions of method acting the exact approach depends on the particular version, which can include such practices as substitution acting or what is called emotional memory.
Sanford Meisner, who was another Group Theatre pioneer, taught a closely related form of method acting. He differed from Strasberg's emotional memory theory and taught one that revolved around "fully immersing oneself in the moment of a character, and experiencing all sensations as the character would."
Stella Adler had another approach to method acting. Her technique is based on the idea that an actor must not use memories from their own past to bring up emotion, but instead use circumstances from their own imagination. She also taught that action was very important. It wasn't so much what we said but what we did while we said it.
Contemporary acting teachers, names like Jason Bennett, combine many of the acting theories of the last generation of acting teachers. These methods utilize a number of devices such as using the actor's imagination, calling on his or her life experiences to dive into the part, and various forms of psychology where actors are taught to imagine what a person would psychologically do when confronted with the situation in the script. For example, how would a person truly react if another person pulled a gun on them and was ready to shoot them? What terror would they feel? From that the actor tries to convey that psychological terror in the performance.
Bennett also worked on what is called the use of human archetypes. Archetype work is rooted in Jungian Psychology and in the works of Michael Chekhov. Chekhov was very closely associated with Stanislavski. As Chekov's work evolved, he broke away from Stanislavski, Strasberg and the original members of The Group. Many believe that later in his life, Stanislavski began to recognize that Chekov's work was very important in developing modern acting theory.
Even though method acting is very hard to teach and even harder to learn, it is still regarded as the most realistic form of acting that there is.
Friday, April 2, 2010
Acting: Do You Have What It Takes?
Acting is a big industry. There are actors everywhere from the theatre to films, from TV to radio, and even on the street in the form of mime. Yet acting is not easy; in fact, like playing music, it is almost impossible to master.
To be a good actor, you have to be able to get inside a character and literally live as them ñ to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it's a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will -- crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski's theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There's more to it than that, but that's the basic theory, and it can give a very convincing performance when done correctly.
To be a good actor, you have to be able to get inside a character and literally live as them ñ to convince your audience, and, for a moment, even yourself, that the character is who you are. Given that all you will probably have to work with is a few written words, perhaps costumes and a set, and your imagination, it's a difficult undertaking.
The range of skills that an actor must have to be effective is very wide. You need to have a mastery of your body for movement that can include fighting, dancing, or evocative expressions. Your voice, too, must be clear enough to be understood from a distance, and you might also need some talent in singing or putting on accents. The most difficult aspect by far, though, is the emotional one, as you must be able to assume different emotions at will -- crying on demand, for example, or being able to give an effective illusion of happiness or excitement.
One of the most widely-used means of portraying realistic emotions is Stanislavski's theory of method acting, which you would do well to study if you wish to become an actor. Basically, the idea is that when you are acting, you think of a time when you felt the emotion you wish to portray. For example, if your character is sad over the death of their mother, you might think of the time when you were small and your dog died, and so start crying. There's more to it than that, but that's the basic theory, and it can give a very convincing performance when done correctly.
Thursday, April 1, 2010
How to Handle Stardom
Well, here you are. You met with your agent, got the audition, got the part, made your first movie in a lead role, the movie is a huge success and you're an overnight success. (Yes, it's unlikely, but it does happen. Just look at the cast of "Harry Potter.")
So, you're a star. What next?
Unfortunately, not everyone can handle stardom. This has been sadly chronicled in the lives of such people as Freddie Prinze who took his life because he just couldn't handle the pressures of being a big star. So what can you do in order to avoid being a casualty of the movie, TV or stage business?
Everyone has their own theories of how to handle stardom. In this article we're just going to cover some generic ground as every person is different and ultimately what will work for one person may not work for another. For example, some people will really enjoy all the attention from fans and rag mags that they're going to get, good or bad. Others will shun it like the plague. But there are some things that seem to be the Achilles heel of most people who have made it big.
For starters, don't bite off more than you can chew. Once you become a star, everyone is going to want a piece of you for interviews, endorsements, whatever. Budget your time. Do only what you can do. You don't have to agree to every interview request. Don't worry that if you turn one down that these people are going to think of you as stuck up or unappreciative. Make them understand that your time is limited and your schedule just doesn't permit you doing that particular interview at this time but maybe in the future. Always keep the door open. That way you don't alienate anyone.
The next thing you want to do is not let stardom change your lifestyle beyond what you can afford. Mike Tyson, with all the millions he made boxing, is broke. Learn to live within your bounds. This is not to say that you can't have nice things. But if you're only taking in five million a year then you can't live as if you're taking in a hundred and five million. It will eventually catch up with you and you could lose everything.
Probably the most important thing you can do as a successful actor is not let it get to your head. In spite of what the fans have told you, you are not the almighty. You are still just a flesh and blood person and as quickly as you became a star, that is how fast it can all come crashing down on you. So many stars who are big one day are gone the next and this dose of reality is too much for them to handle. As a result, their lives are never the same, many taking to drugs and booze. So keep your head about things. Make sure you put your success into perspective.
Just by doing the above few things you'll have a very good chance of surviving the success that comes with being an actor.
So, you're a star. What next?
Unfortunately, not everyone can handle stardom. This has been sadly chronicled in the lives of such people as Freddie Prinze who took his life because he just couldn't handle the pressures of being a big star. So what can you do in order to avoid being a casualty of the movie, TV or stage business?
Everyone has their own theories of how to handle stardom. In this article we're just going to cover some generic ground as every person is different and ultimately what will work for one person may not work for another. For example, some people will really enjoy all the attention from fans and rag mags that they're going to get, good or bad. Others will shun it like the plague. But there are some things that seem to be the Achilles heel of most people who have made it big.
For starters, don't bite off more than you can chew. Once you become a star, everyone is going to want a piece of you for interviews, endorsements, whatever. Budget your time. Do only what you can do. You don't have to agree to every interview request. Don't worry that if you turn one down that these people are going to think of you as stuck up or unappreciative. Make them understand that your time is limited and your schedule just doesn't permit you doing that particular interview at this time but maybe in the future. Always keep the door open. That way you don't alienate anyone.
The next thing you want to do is not let stardom change your lifestyle beyond what you can afford. Mike Tyson, with all the millions he made boxing, is broke. Learn to live within your bounds. This is not to say that you can't have nice things. But if you're only taking in five million a year then you can't live as if you're taking in a hundred and five million. It will eventually catch up with you and you could lose everything.
Probably the most important thing you can do as a successful actor is not let it get to your head. In spite of what the fans have told you, you are not the almighty. You are still just a flesh and blood person and as quickly as you became a star, that is how fast it can all come crashing down on you. So many stars who are big one day are gone the next and this dose of reality is too much for them to handle. As a result, their lives are never the same, many taking to drugs and booze. So keep your head about things. Make sure you put your success into perspective.
Just by doing the above few things you'll have a very good chance of surviving the success that comes with being an actor.
Wednesday, March 31, 2010
Getting Started in Acting: Set Yourself Apart!
If you want to be an actor, the first thing you have to understand is that everyone and their grandmother thinks they can act and wants to be an actor. The competition you will face will be monumental. With that in mind, here are some tips on what to do if you want to have a career as an actor.
For starters, you must understand that there is no one way to become a successful actor. Some very famous actors were discovered while doing other jobs and just happened to be in the right place at the right time. Yes, there is a lot of luck involved in this business. In addition to that luck you'll need connections and a lot of determination. Here are a few ways to get your foot in the door.
Just about every town in the world has a small theater where they put on local amateur performances. Take advantage of this even if you're really only interested in film or television. The truth is, acting is acting and it doesn't change much just because you're on a stage instead of in a film or television studio. Any practice that you get is only going to improve your chances of getting the gig that you're looking for. Also, many agents and casting directors go to these small theaters looking for talent. There's always the chance that they're going to spot you.
Next there's student films. If there is a college in your hometown, most likely they have a performing arts program with students involved in doing their own films. Film students are always on the lookout for talented actors to appear in their films. You could very well be just what they're looking for. They probably won't be able to pay you anything and the film itself will probably be pretty bad but it will be good experience for you. Just make sure you get a video tape of your performance and keep in touch with the student director. You never know where this might lead.
Another way to get your foot in the door is to be an extra. Many times when a movie studio is filming on location shots they need extras such as people in a crowd. Go down there and tell them that you're interested in being an extra. You never know what this could lead to. The casting director may just like your looks and ask you to come in and read for a speaking part, if not for this film, for a future one. Plus, this will give you great experience as you will get to see what a professional film set looks like and how things run. Every little bit helps.
Then there are independent films. Many of these companies can't afford to hire experienced actors. This is a very good chance to get your foot in the door. Plus there is always the chance that one of these independent films will take off and be big hit. It has happened. You could very well be the next overnight success because of it.
After you've built up a bit of a resumé doing the things above, get yourself an agent and put together a portfolio for him to shop around. That's his job. He'll have more contacts than you and a much better chance of getting you something.
Most of all, be persistent. Don't give up. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. In many cases simply by not quitting you'll finally land the part that you've always dreamt of.
For starters, you must understand that there is no one way to become a successful actor. Some very famous actors were discovered while doing other jobs and just happened to be in the right place at the right time. Yes, there is a lot of luck involved in this business. In addition to that luck you'll need connections and a lot of determination. Here are a few ways to get your foot in the door.
Just about every town in the world has a small theater where they put on local amateur performances. Take advantage of this even if you're really only interested in film or television. The truth is, acting is acting and it doesn't change much just because you're on a stage instead of in a film or television studio. Any practice that you get is only going to improve your chances of getting the gig that you're looking for. Also, many agents and casting directors go to these small theaters looking for talent. There's always the chance that they're going to spot you.
Next there's student films. If there is a college in your hometown, most likely they have a performing arts program with students involved in doing their own films. Film students are always on the lookout for talented actors to appear in their films. You could very well be just what they're looking for. They probably won't be able to pay you anything and the film itself will probably be pretty bad but it will be good experience for you. Just make sure you get a video tape of your performance and keep in touch with the student director. You never know where this might lead.
Another way to get your foot in the door is to be an extra. Many times when a movie studio is filming on location shots they need extras such as people in a crowd. Go down there and tell them that you're interested in being an extra. You never know what this could lead to. The casting director may just like your looks and ask you to come in and read for a speaking part, if not for this film, for a future one. Plus, this will give you great experience as you will get to see what a professional film set looks like and how things run. Every little bit helps.
Then there are independent films. Many of these companies can't afford to hire experienced actors. This is a very good chance to get your foot in the door. Plus there is always the chance that one of these independent films will take off and be big hit. It has happened. You could very well be the next overnight success because of it.
After you've built up a bit of a resumé doing the things above, get yourself an agent and put together a portfolio for him to shop around. That's his job. He'll have more contacts than you and a much better chance of getting you something.
Most of all, be persistent. Don't give up. Becoming a successful actor is one of the most difficult things that anyone could want to do but it is also one of the most rewarding. In many cases simply by not quitting you'll finally land the part that you've always dreamt of.
Tuesday, March 30, 2010
Acting: How to Cold Read a Script
In regular theater an actor may prepare a monologue that he has spent many hours memorizing, for a part that he will also perform at every audition. He's spent a lot of time on this and has perfected his art and delivery. When going for an audition he is quite comfortable with his prepared lines. However, in a film or commercial audition the actor is expected to perform a script given to him that he has never seen before. This is when the art of cold reading is very important and can be a life saver.
The technical definition of cold reading is the auditioning for a part with a script in hand, one the actor has never seen. The profession says that the actor is supposed to be given the script at least 24 hours before the audition but all too often this just doesn't happen. This is why cold reading is so important to actors who work in film or commercials.
So, how do you learn to cold read? Brute force. Pick up a script, read the first line, commit it to memory and then say the line without looking at the script. You've just done your first cold reading. At first you may only be able to memorize a few words at a time, but with a little practice you'll soon be memorizing several lines at a time. Being an actor is kind of like being an athlete. The more you work at it the better you'll get. After you feel comfortable doing cold reading by yourself try it with another actor. This is when it gets fun.
When you're at your audition it's very tempting to try to sneak a peak at your next line while the other actor is doing his lines. Don't do this. How you listen to your fellow actor is just as important as speaking your lines. Wait until it's time for you to respond and then look at your next line. Memorize as much of your line as you can in a few seconds. Then make eye contact with your partner and say your next line.
If you've got more to memorize than you can with just a glance, repeat the process until you have the line memorized. But keep your face out of your script. Never read your lines while looking at your script. This is a sure way to blow the audition. Make sure you stay in character while reading your lines.
When you're actually at your audition even if you don't get the script until you get there, try to read the script in its entirety at once and remember as much of it as you can. This way you'll at least have some idea what the scene is about, who the characters are and how the conversation should go. If you have more time try to memorize the first and last lines. This will give you a strong start and finish, which is what the person auditioning you will remember the most.
When holding your script, hold with your left hand if right handed and at chest level. Never have your head buried in the script. Don't wave the script around like it is a prop. Make believe it is just a natural extension of your body. The less attention you draw to the script itself the better.
A cold reading goes much slower and feels a lot more awkward than a normal reading. This is normal and there is no need to worry about it. The casting director knows this is the first time you've seen the script. He is more interested in what kind of personality you have as the character.
Sadly, you may be the greatest actor in the world, but without being able to cold read well you aren't going to get many parts as you'll never get past the first audition. So include cold reading in your training. You'll find you'll get more parts because of it.
The technical definition of cold reading is the auditioning for a part with a script in hand, one the actor has never seen. The profession says that the actor is supposed to be given the script at least 24 hours before the audition but all too often this just doesn't happen. This is why cold reading is so important to actors who work in film or commercials.
So, how do you learn to cold read? Brute force. Pick up a script, read the first line, commit it to memory and then say the line without looking at the script. You've just done your first cold reading. At first you may only be able to memorize a few words at a time, but with a little practice you'll soon be memorizing several lines at a time. Being an actor is kind of like being an athlete. The more you work at it the better you'll get. After you feel comfortable doing cold reading by yourself try it with another actor. This is when it gets fun.
When you're at your audition it's very tempting to try to sneak a peak at your next line while the other actor is doing his lines. Don't do this. How you listen to your fellow actor is just as important as speaking your lines. Wait until it's time for you to respond and then look at your next line. Memorize as much of your line as you can in a few seconds. Then make eye contact with your partner and say your next line.
If you've got more to memorize than you can with just a glance, repeat the process until you have the line memorized. But keep your face out of your script. Never read your lines while looking at your script. This is a sure way to blow the audition. Make sure you stay in character while reading your lines.
When you're actually at your audition even if you don't get the script until you get there, try to read the script in its entirety at once and remember as much of it as you can. This way you'll at least have some idea what the scene is about, who the characters are and how the conversation should go. If you have more time try to memorize the first and last lines. This will give you a strong start and finish, which is what the person auditioning you will remember the most.
When holding your script, hold with your left hand if right handed and at chest level. Never have your head buried in the script. Don't wave the script around like it is a prop. Make believe it is just a natural extension of your body. The less attention you draw to the script itself the better.
A cold reading goes much slower and feels a lot more awkward than a normal reading. This is normal and there is no need to worry about it. The casting director knows this is the first time you've seen the script. He is more interested in what kind of personality you have as the character.
Sadly, you may be the greatest actor in the world, but without being able to cold read well you aren't going to get many parts as you'll never get past the first audition. So include cold reading in your training. You'll find you'll get more parts because of it.
Monday, March 29, 2010
Acting: Tips On How To Raise Your Profile
These days, just simply being a good actor is not really enough to make it in this 'dog eat dog' profession. There are people out there who would literally give their right arm to get a break in show business. Well maybe that's a bit extreme but I think you can see the point I'm trying to make here.
If it's any consolation though, years ago there was even less opportunity to start a career as an actor. For a start, there was the equity loop hole. You couldn't get a job because you weren't a member of equity and you couldn't join equity unless you had a job!
Fortunately it is now possible to work on professional productions without the need to be an equity member. It is a big plus to be a member of equity, as there is much help and advice that the union can provide you with, so if you have the option to join you are well advised to take advantage of it.
Getting Exposure Is What It's All About
Certainly an easy way to get some top public exposure is to appear on a show like Wife Swap, Pop Idol, Big Brother, etc. Just about anybody can apply for these shows and they are not so difficult to actually get on. Once you have, make a name for yourself and use this to leverage your way into another role.
Do I Have To Be Good?
Not necessarily. Sometimes being bad at something can have a strange effect and actually get you further. Sounds crazy but it's true. Just look at some of the takes from X Factor for example.
The key here is personality. If you have a personality then you will be interesting and that's what the audience or public want to see. You gotta be interesting! Boring just ain't gonna work!
Make yourself stand out from the crowd if need be. Try different things and above all, be original. That's what will make you be remembered. If the public forget you, you're history!
Only you can make this happen and remember, unless you are mega talented then you will have to pull every resource you have to stand out and be noticed.
Get Started Now
Do a search on Google now and look for reality TV shows. Bookmark them and apply right away. This is a foot in the door -- the secret back door that you can use to get into acting! Of course, the information here is simply a guide on how you can get an edge into show business. To become great at your craft, and in particular, acting, you will need to practice and practice very hard.
But remember, with the amount of gateways available into the acting profession nowadays, there is every chance of you getting your break sooner rather than later. There are many different ways that you can start off with your campaign and your first point of call will be to check casting newspapers such as The Stage or even ring round some of the local television studios and ask to see if there is anything suitable that they are doing that may fit your profile.
Publicity will get you everywhere.
If it's any consolation though, years ago there was even less opportunity to start a career as an actor. For a start, there was the equity loop hole. You couldn't get a job because you weren't a member of equity and you couldn't join equity unless you had a job!
Fortunately it is now possible to work on professional productions without the need to be an equity member. It is a big plus to be a member of equity, as there is much help and advice that the union can provide you with, so if you have the option to join you are well advised to take advantage of it.
Getting Exposure Is What It's All About
Certainly an easy way to get some top public exposure is to appear on a show like Wife Swap, Pop Idol, Big Brother, etc. Just about anybody can apply for these shows and they are not so difficult to actually get on. Once you have, make a name for yourself and use this to leverage your way into another role.
Do I Have To Be Good?
Not necessarily. Sometimes being bad at something can have a strange effect and actually get you further. Sounds crazy but it's true. Just look at some of the takes from X Factor for example.
The key here is personality. If you have a personality then you will be interesting and that's what the audience or public want to see. You gotta be interesting! Boring just ain't gonna work!
Make yourself stand out from the crowd if need be. Try different things and above all, be original. That's what will make you be remembered. If the public forget you, you're history!
Only you can make this happen and remember, unless you are mega talented then you will have to pull every resource you have to stand out and be noticed.
Get Started Now
Do a search on Google now and look for reality TV shows. Bookmark them and apply right away. This is a foot in the door -- the secret back door that you can use to get into acting! Of course, the information here is simply a guide on how you can get an edge into show business. To become great at your craft, and in particular, acting, you will need to practice and practice very hard.
But remember, with the amount of gateways available into the acting profession nowadays, there is every chance of you getting your break sooner rather than later. There are many different ways that you can start off with your campaign and your first point of call will be to check casting newspapers such as The Stage or even ring round some of the local television studios and ask to see if there is anything suitable that they are doing that may fit your profile.
Publicity will get you everywhere.
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