Creating an Acting Journal
I’m working on my acting journal. It’s an important tool for recording all things related to acting. Tips, techniques, character ideas, observations, people, everything. An actor’s journal is the repository for ephemera uncovered, for whimsy, magic, delight and all things that go bump in the night.
I am really excited to get this ball rolling as I’ve already encountered a number of excellent tools, techniques and ideas that are worthy of recording. I also recently read this note taking article by Tim Ferriss. (You may know of him from his best selling book The Four Hour Work Week.) It’s a great article and I’m looking forward to employing the indexing technique he outlines.
The hiccup is that I am having trouble settling on a notebook to use. I have one that I would love to use, but it is no longer available. I could use the one I have, but once it’s filled I’ll have to use another style of notebook. It may seem silly, but if I absolutely love the notebook I’m using and then have to replace it with something I am less thrilled with I know that I will be frustrated and sad. I’m solving this problem by going with another notebook that I know I will be happy to replace with a different style when it’s filled up.
This works well for me in a couple of ways. I have something of a perfectionist streak and starting with a notebook that is less than perfect gives me permission to play with it, to be less than perfect. I’m going to be learning in so many ways, pressuring myself to be perfect will get in my way. And when I am ready to replace it, I won’t stress myself out looking for an exact replica.
In other news, The Big Bang Theory has proven to be a delightful way to practice identifying The Eight Characters of Comedy. If you have a geeky side or are close to people who are in touch with their inner geek I highly recommend The Big Bang Theory.
The Eight Characters of Comedy
I recently read The Eight Characters of Comedy: A Guide to Sitcom Acting and Writing by Scott Sedita. (I am taking classes at the Scott Sedita Acting Studio, remember?). It’s a great book and gives a fascinating window into the characters commonly found in sitcoms. Since I finished reading it I have been putting its lessons to work.
I know that I am going to read it again soon. Right now I am practicing spotting the eight characters and the nuances that make each incarnation different. I’ll be reporting back with more once I’ve had a bit more practice. In the meantime, if you are interested in sitcoms at all, I definitely recommend picking up a copy of this book.
In any artistic pursuit the question of talent always comes up. What is talent? How important is it? Do I have talent? How much? Is it enough? Does it matter what other people think? What I think? Is believing in my talent enough? And ultimately, does it matter at all?
Watching American Idol (or pick your favorite talent competition on TV) makes it clear that believing you have talent it not the same thing as having it. But not every person who is paid step in front of a camera or on a stage is particularly talented. Since talent is something you’re born with, what do you do about it as an aspiring actor? I have been thinking about this a lot as the topic of talent comes up over and over again in everything I do related to acting. I believe I have talent. And I have come to the conclusion that this belief is good and important. It is not, however, enough.
I was delighted to find this quote early in my readings:
The thing that leads you here, at this moment, is that you have talent. Take my word for it. The thing that makes you say, “I want to do something” — that is the beginning of talent. — Stella Adler
It’s wonderful quote in that it is affirming. Those of us who are drawn to acting have a talent for it. Thankfully, it doesn’t stop there. Stella Adler reminds us that wanting to do something is the beginning of talent. Meaning that simply wanting to act doesn’t make you good at it. Wanting is the beginning of talent. That begs the question, what makes talent bloom? In a word, dedication.
No matter how talented you are, the only way to see your acting career flourish (long term) is to be dedicated to strengthening your talent. Building your craft. The best are not always the most talented, but they are always the most dedicated. This is true in every arena known to man. The only way to the top is to be dedicated to becoming the very best you can be. Be committed to doing everything you can to build on what you have and it will show. What talent you have will shine and people will notice.
Just yesterday I found this video made of clips of Will Smith talking about talent and dedication:
Clearly his dedication has paid off. I know that mine will too. It is impossible to say when, but I know that so long as I continue dedicate myself to this craft every day I will make it.
The Monologue Question
I’m on the look out for monologues. Perusing various plays and other potential sources. I’m lucky to have my roommate and her mother giving me suggestions because they have experience with auditioning and theater. I haven’t put a lot of pressure on myself in this area because I am focused on film and television. In most auditions for F&TV you are given “sides”, a scene or two from the actual script. But you never know when someone will ask to see a monologue, or even just something more/different to get an idea of your range. Being able to do one on the spot speaks volumes about your professionalism and dedication. I’d like to share the best advice I’ve received about monologues.
This advice comes from one of the teachers at the New York Film Academy (Universal Studios branch), I didn’t catch her name and they have no faculty listed on the website (that I can find). So, if you read this and know who it is, please share. I went to a open house they were having and ended up in a room with two of the acting teachers there. They shared info about the program and why they felt the various aspects were important. It was fun and informative, but the piece that stands out in my mind is what the lady said about monologues. These are the points she made (and my elaborations on them):
1. Pick monologues you love. If the monologue doesn’t move you, it’s unlikely you’re going to move your audience performing it.
2. Know how the whole play (movie, episode) goes. Monologues do not exist in isolation, they are parts of a bigger work. If you don’t know the larger work and how your monologue fits into it your performance may ring false to people (the ones you are auditioning for) who do know the larger work. And if you’re doing something from a television show it would be good to be familiar with more than just the one episode because that episode is just one small piece of a larger work.
3. Know your monologue inside and out. Don’t perform a monologue you haven’t studied, broken down, analyzed, and pumped for every ounce of emotion that it offers. If you haven’t spent the time with the monologue to really get inside it and work it frontwards and backwards reciting it can easily fall flat. You won’t do it justice and it won’t serve you as showcase for your talent.
4. Know four or five monologues. Break it down like this: two classical monologues – Shakespeare, Sophocles – one comedic and one dramatic. Two contemporary – take your pick – again one comedic and one dramatic. And the fifth one? If you want find something that speaks to you, that showcases you and your strengths. It never hurts to have a little something extra in your pocket.
This is the advice I have banging around in my head as I look for monologues. Got anything to add? Or maybe you know a great monologue…
Resume, headshot, website
I have finally put my resume together. I had been dragging my feet a bit because I don’t have a whole lot to put on it. But now that I have an official ongoing acting class I have a little something to put on there. Yay! A small win for me. It has gotten me thinking about the tools actors use to market themselves. Traditionally the headshot and resume. And sometimes a reel. Now we have websites/social networking/etc.
These tools are used to help an actor get jobs, find an agent, a manager and generally get their face out there. And I now have the two main tools in place. I have plans for starting my reel, although they have to wait until I have the money for that. The web side of things I’m handling myself because I am a geek and have a lot of knowledge in this area. I’m wondering about the best ways to use these tools. There are a number of standard practices for the traditional tools, but the newer web based tools are still in their infancy.
I don’t think anyone quite knows how to fully leverage personal sites for actors. The ones I’ve seen that appear to be geared toward landing jobs are often polished but feel vacant. I rarely feel connected to the actor or like they even care that much about their website as a place to express themselves and connect with others. Mind you, I don’t really know how casting directors, agents, and managers respond to these sites. I just know that I find them hollow. I also wonder how likely it is that anyone from the industry will come across an actor’s website while randomly browsing the web. It seems to me that if a casting director (or someone similar) is at your website it is because they have already had some contact with you. And their visit to your site is to get to know you better.
This all leads me to believe that the most important thing you can do with your website is to make it come alive. Really find a way to connect with the people who visit. Welcome them into your world and give them a reason to keep coming back. Entertain them, offer them something of value, and keep updating. It doesn’t have to be every day, but offer them something of interest, something to check out. Even if it’s just to share some discovery you made recently. Some website or video that inspired you, or gave good advice or simply entertained you. But don’t make your only updates be when you have a new credit to add to your resume.
A slick design, fancy graphics and a flash interface do not make a good website. These things can enhance your site. They can even be fun. But they do not replace having your heart and soul at the center of your website. If you’ve already got a thriving career there probably isn’t much need for a personal website (Meryl Streep, Angelina Jolie, George Clooney – these people don’t need a website to support their career). But if you’re just getting started, I’m willing to bet that a website or at least some web presence is going to become increasingly necessary. And the best site are ones that help people connect. So build your online empire with your heart. Start with easy free tools like facebook, twitter, and flickr.
There are a number of websites out there that are designed to connect actors with auditions and casting directors. These are primarily membership sites. I will be trying many of them out as I am able to do so and I will let you know what I think. I am certain that these sites are just the beginning and as the web continues to alter the way we do just about every thing in life we will see some significant shifts in how actors use the internet to connect with jobs.
Acting class
I attended my first acting class yesterday. My first one in a long time, at any rate. I’m still buzzing.
For the record, the class I am taking is Scott Sedita’s Nuts & Bolts beginner class. Check out the Scott Sedita Studio.
I was nervous going in. It’s been so long since I’ve done anything. And I’ve recently come to question the quality of what little training I had before. Plus, class full of strangers, teacher I’ve only met once & only briefly, opening up and being vulnerable right out of the gate. I was excited for the unknown adventure, but also a bit scared that I would shut down or not be able to access my emotions. Which is probably a silly fear for me.
Thankfully, the class was small and filled with wonderful talented dedicated people. Patrick, our teacher, is very supportive and good at coaching in the moment. I found it easy to relax into the warm up exercises and let my emotions come up. Up and through me. Best of all, I was having fun.
This is what I came for. Acting! And once class started I found myself just slipping into the rhythms of the class. I did find myself getting nervous all over again towards the end of class. We were doing dramatic improv in pairs. Once I started thinking about it I felt myself get nervous all over again. And my partner and I ended up going last. Which given that there were only six of us and thus only three pairs, didn’t take that long, but it did let me get all kinds of knots tied up inside. But on stage, I dropped into the situation we had developed and found the emotions. The class dropped away and my scene partner and I went for quite the emotional ride.
After each scene Patrick discussed what happened with the performers. It was really fun to watch and learn from my classmates and try to apply the lessons in my own acting. It was inspiring to be part of a class where everyone was so open and willing. I also had a big takeaway: I need to work on getting really strong with my wants and intentions. Not just having them, but making strong active choices in pursuing them. I found the emotional core of our scene, but I did not move it forward in ways that I could have. Thinking back on it, there were multiple opportunities for me to move the scene with my want.
I have my focus for the next week, want. Right now I WANT to be back in class already. Since there is a week before that happens, I’ll be doing other acting activities, reading, scene breakdowns, exercising my want in other ways.
“Validation”
This is the kind of film making I want to be a part of:
It’s worth saying that all stories have the power to lift us, inspire us, challenge us. Some tellings work better than others. And in the film and television world it can be very hard to know how your telling will come out in the end. The only way to find out is to put your heart into it, do your best and support the rest of the team in doing their best however you can.
House Scene Analysis
Here it is, my first go at scene analysis. I’m including the scene in full so that my discussion of my choices will make sense. I am uncertain as to the copyright implications (I’m gonna have to look that up). But I am not using this scene from House for monetary gain, so I believe this is fine. I will also be using Margie Haber’s script analysis method from her book “How to get the Part Without Falling Apart”. You may find it helpful to get the book to better understand what I’m doing. I have quite enjoyed it. Since this is a very long post, you’ll have to click on the “read more” link to read it…
Happy New Year
This post is gonna be celebratory life fluff. The key point has already been covered in the title. So feel free to stop reading when ever.
I am very excited about this new year. I am directly pursuing my major life dream to be an A list actress. And I actually have a pretty clear idea of the steps I am going to be taking to move forward on this. I’ve started this blog and I’m excited about it. I even have lots of ideas for posts. I have a lot to learn, but I’m looking forward to the learning process and documenting it here. It is already an exciting journey.
I have selected a short scene to break down from House (fans may recognize it from the first season). I’ve been through it a few times and have the basic break down in my head. It’s gonna be fun typing it all up for Tuesday’s post. I’m getting excited just thinking about it!
The New Year has started off quite lovely for me. Spent New Year’s Eve day at Universal with my roomie taking advantage of our yearly passes (living in soCal has it’s advantages – like Universal’s buy a day get 2010 for free deal). Rode the tram tour which is always fun – we get to see the mule from Serenity!!! (fangirl squee). Saw the Waterworld show again. Yeah, the movie sucked, but the show at Universal is good fun. We even got our picture taken with our favorite actor from the cast (I’ll post it when I get it from E). We’re both sad that we still haven’t seen the “original” Deacon actor (the one we saw the first time, he was awesome).
After Waterworld we took in one of the last lightings of the Whoville Grinchmas tree. It’s a lovely swooping thing – see above re pictures. We had skipped the tree lighting when we had come for the Grinchmas thing two weeks ago due to massive lines. But this time we were able to waltz in and find a very nice spot just before things got started. We both appreciated that.
The only thing we didn’t get to do was ride the Mummy ride. But when we were thinking about going, the sign said the wait would be 35 minutes and neither of us are fans of that kind of line. Once done with the tree lighting it was time to meet up with B who was joining us for NYE celebrations. On our way out we stopped in a shop and got donkey ears/tails for us and princess Fiona ear/tiara for B. Which we all wore.
We found B immediately upon exiting the park , which was good cause I was hungry. We had crepes at the lovely crepe place and discussed the options for the evening. B revealed that she had actually been hoping for a Supernatural marathon. We dallied in some of the shops for a bit and took in most of a talent contest. The contest was funny, and a bit disturbing. And the host guy sucked. He was clearly not okay with how the crowd was voting and so basically ignoring them. The crowd protested and the wrong was sort of righted. But we had had enough. Between the crowds and the lame hosting of the talent contest we decided that marathoning Supernatural was a fabulous alternative. Now if we could just get out of this damn pen!
The second episode ended just before midnight. It was perfect. We stepped out on our balcony and listened to fireworks going off in the distance. Occasionally we could even see flashes. And we definitely caught a whiff of the acrid gunpowder smoke on the air. All in all a lovely evening.
That morning I woke to good news and shortly thereafter won a blogging book through a contest I entered on twitter. It’s an auspicious beginning to new year and a new decade. Wishing you the best!
Craft
I’ve only been to a few workshops and the like. And I’ve learned that the term “workshop” can refer to events that don’t quite match how I would have defined “workshop” prior to my acting related explorations here in Lala Land. I’ve also found a theme that shouldn’t surprise anyone and yet it gets over looked far too often. I know I was somehow unprepared for this one. Even though I knew working on my craft would be a part of my journey (it’s the thing I’m most self conscious about for goodness sake), it’s importance somehow just escaped me.
Studying and practicing my craft is now front and center in my focus. I believe that part of my dismissal of the studying of craft comes from how little the acting classes I have taken offered. It certainly wasn’t helped by the long standing myths of people discovered in drug stores. And tales of “over night” success. But every book I’ve read and every workshop I’ve attended has stressed the importance of working on your craft. You could argue that the people behind these books and workshops are just trying to sell more and justify their existence. And I would be inclined to agree with you, on some level, if it weren’t for my gut telling me that this craft thing really is important. Not to mention all the tales of actors going to extremes researching and preparing for their roles.
I feel self conscious about my craft, remember? That tells me I need to work on it. Lucky for me there is wealth of information in books – “Intent to Live” by Larry Moss is a great place to start. And dozens of acting coaches in and around Los Angeles. I’ve already picked one I’m going to start with just as soon as they’re back from their holiday break. I am super excited, I keep wishing I could just be in class already. Luckily I have self study options. There are a great many wonderful exercises and activities in “Intent to Live”. And I’ve even dabbled a bit with a couple of them (gasp – there is hope for me yet (-; ). But the thing I’m feeling most drawn to is script analysis. The process of breaking down a script or a scene to really get inside the character. To know what’s motivating them and why at all times. To know the things they won’t even admit to themselves.
I’m not talking about memorizing lines, but learning where those lines are coming from. So this is my first task for myself, select a scene and break it down. I will be using the method Margie Haber outlines in her book “How to get the Part Without Falling Apart”. And possibly dipping into the questions Larry Moss outlines at the end of “Intent to Live”. I’m looking through scenes just as soon as I’m done here. As tempting as it is to start with a full movie script, or even a full television show script, I’m going to start with a scene. I want to get practice and the possibility for feed back quickly. Start small and work my way up. Also, when I’m auditioning I’ll be getting “sides” which is what they call the scene or scenes they give you to audition with. This means that being good at breaking down a scene quickly is an important skill for an actor.
So I’m picking out a scene and breaking it down. I’ll be posting my results here on the 5th. And then I’m doing it again. Its time I took my craft seriously.
