calling

How Can Actors Be Discovered?

Can actors be discovered? Yes, but you have the same chances as winning the Powerball. Possibly less. To be “discovered” is to not have to do any work; it’s an inherently lazy concept as it places the onus of launching your career on someone else’s desk and relinquishes you of responsibility. In this fairytale, your success or failure becomes someone else’s duty. Thinking that one day you’ll finally be discovered is truly magical thinking as it conveniently releases you from having to do the heavy lifting of building and guiding your own career and destiny as an actor.

To launch a successful acting career in today’s environment, actors have to put something exciting on the table: make themselves visible, have a clear grip on their branding and wow factor (not to be confused with niche/type—the lowbrow version of this), create original content, and build and maintain game-changing relationships with writers, directors, and producers (the people who actually cast you).

If you’re at a point in your career where you’ve truly done this work—either through booking work without representation, creating your own content, etc.—then these great industry people will surely find you.

Check out my recent article to see how we help actors launch their careers on their own terms: “6 Ways to Get Noticed Faster.”

 

This article was originally posted on Backstage

3 Insider Secrets to Memorize Faster With Less Effort

Actors often treat memorization as one of the more onerous part of the business, and for good reason: it can be a real bitch. If the acting industry is like Disneyland, memorization can be viewed as all the long lines of people you have to endure before you get to ride Space Mountain.

Here’s a secret: memorization is not about remembering the words. The way you memorize the script can directly impact your performance. A good process of memorization allows you to absorb the words so that you don’t hesitate or have to think about what comes next—similar to how you don’t have to think when you’re reciting the alphabet. You know what letter comes after L. You don’t even need a split-second to check with your brain cells on that one.

Furthermore, you don’t have a pre-selected emotional reaction or line delivery when you recite the alphabet. I know actors who have tried and tested methods of memorization, but they get stuck on delivering a certain line-read: they start to memorize their lines in terms of a pre-determined performance, and frankly that’s rookie-style. This can create rote delivery and an overall less malleable actor.

Your lines need to be down cold and flow unfettered, still allowing you torespond organically and freely to the very real, yet imagined circumstances of the script.

Here’s how I help my clients to use memorization as a launch pad to help them create their strongest, most nuanced and responsive performances ever.

1. Find a quiet place. Read all dialogue out loud—your lines and your partner’s too. You do not want to act out or emotionalize the text as you're reading it. Read the lines in neutral, seeing what you're saying as you're saying it. Read your individual sides or the entire script all the way through.

Those of you who have been fortunate enough to enjoy an extended run of a play know that by the 10th, 20th, or 60th performance, realizations emerge within the text, enriching your performance. The same is true here.

Anthony Hopkins is known to read every script two hundred times aloud for these precise reasons. If your mind starts to wander, gently redirect it to the words in front of you.

2. When you're finished reading the piece out loud, draw a small line somewhere on your script to delineate that you have read the entire piece all the way through once. Read the piece out loud in the same way once more. After you have done so, draw a line to cross the original line that you drew. It will look like a plus sign. This signifies that you have read the entire piece out loud, with full awareness, two times. Read it aloud a third and fourth time making horizontal bisecting lines to mark those reads. After the fifth reading, draw a circle around the bisecting lines to create your first pinwheel (see diagram below).

The goal is to get as many pinwheels as possible every day until the piece is memorized cold. Like the stars on one of Van Gogh’s canvases, these pinwheels assist by giving you a visual sign of the work you’re doing and the steady progress you’re making. Memorization is not a boring step you need in order to get to the real craft of acting. Memorizing properly is a crucial component of the craft; your words will automatically start to shape and create your reality when you adopt them as your own.

3. Final test for cold. A simple ball toss exercise is an undeniable way to determine if all the lines are memorized cold and if you can recite them under pressure.

With a partner or on your own, take a tennis ball or any other easily tossable object, and throw it back and forth with your partner (or up and down if you’re working alone) while keeping the ball in control. So you don’t get stuck in a rhythm, start to move around the room in a random pattern. When you get into a good throwing groove, rapidly speak the text in neutral so you’re not “acting” it. If at any point, your hand starts to hold onto the ball (unable to toss it to your partner), mark your script accordingly because those lines are not cold.

I like this exercise because it helps to create a pressurized environment that can at times mimic the pressure inherent in the audition room. 

You cannot be searching for your next line while also delivering a great performance—solid memorization allows you to seamlessly tune your heartbeat to the character's heartbeat to create Oscar level acting.

 

This article was originally posted on Backstage

 

 

Should Actors Have Tattoos?

Unless it’s a face tattoo, having tattoos or not having tattoos has zero bearing on your success potential as an actor, as they can easily be masked by makeup or wardrobe. The way you present yourself, both on set and in the audition room, should always be an attempt to magnify your inner beauty and charisma, not distract from it. When auditioning, with regards to appearance, you must present a clean canvas so as not to distract from what is most important: your personality and your inspired acting choices. Ultimately, you must decide to either showcase or hide your tattoos. 

For some actors like Lena Dunham, tattoos are a part of their singularity—what makes them an original and sets them apart from the crowd.

Your personality is your secret weapon—your most valuable asset as an actor. Tattoos or no tattoos, your personality should always be the brightest light emanating from your work. Finally, ask yourself this: How many Oscar or Emmy-winning performances have you seen where an actor’s personal tattoos were on display? Very few.

Read my article here for tips on how to win the role using your personality. 

 

This article was originally posted on Backstage

The First Thing Every Brand New Actor Should Do

The first thing every new actor should do is to assess whether you truly love acting. Ask yourself if you have a passion for the process of breaking down text and constructing a character, or whether you’re just doing it to win some kind of perverse lottery.

I have many clients who truly love the craft and process of acting. These are actors who will perform to audiences of six, and will accept one-line roles in student projects and thank the director genuinely for the opportunity.

Then, there are actors who refuse to audition for small parts because they have it stuck in their heads that being a star is their top priority. Grandstanding is their only concern. Money and fame are always the most important goals for these types, and it trumps everything else for them.

If you’re new to acting, I invite you to thoughtfully consider which type of actor you are, and examine whether or not you truly love acting before throwing yourself into the thorny field of this industry.

Read more to see which category you fall into: here.

 

This article was originally posted on Backstage

5 Red Flags When Selecting a Kids & Teens Class

Kids and teens have natural and intuitive abilities when it comes to acting. Overtraining, the wrong kind of training, or abusive techniques can destroy a young performer's delicate acting sensibilities. It can wreck their chances of a career and can drastically stunt and undermine God-given talents.

Can you imagine what might have happened to the fragile but flourishing abilities of Wolfgang Amadeus Mozart, composing his first symphony at age eight, had he been met with eye-rolling and criticism which sought to steer his natural talents in the direction of the more rote symphonies of the era?

Or consider little Shirley Temple—who danced and dimpled her way into the hearts of Americans during the Great Depression—she definitely didn’t have some acting coach around that squelched her singular personality. This freedom allowed her to eventually spread her wings and take on meatier roles like “The Little Princess,” later in her youth.

The tragedy (and no, I’m not being overdramatic here) is that by the time so many kids come to our studio, they’ve had their prodigious talents trampled upon and undermined by so-called industry ‘gurus.’ These gurus try to mold them into being what they think might be marketable now, without any thought to the child’s natural and often blessed instincts. It’s gotten to the point where if I meet a kid who hasn’t received any formal training, I want to make an offering of thanks to the gods.  

I’ve been working with child and teen actors for years to help them launch their careers, and doing so in a careful/strategic manner that allows their precious gifts to thrive. So the next time you’re shopping for a potential class for your talented young person, make certain the teacher meets the bulk of these criteria:

  1. The teacher encourages their natural physicality. Too often, I see kids who work with coaches who train them in the most dehumanizing fashion. These teachers regard their young actors as if they’re trained monkeys at a zoo, checking their natural instincts, and telling them what physical gestures to do, line-by line, like sad circus animals. Such ‘instruction’ is unacceptable and if you ever witness it, it is your duty to call the teacher out on it.

  2. The teacher lets their imagination run free. The imagination of young kids and teens is still intact and largely unfettered. Many adult clients are trying to get back to that purer, more concentrated level of imagination that kids and teens have naturally. You can either stifle that imagination, or let kids go with it! The best teachers use the young actor’s imagination as a tool for advancement.

  3. The teacher makes use of the natural abilities of young actors. Kids who gravitate towards acting generally come with all these innate gifts and respond to the character and the craft as a whole with a high level of intuition. The teacher needs to have enough sense to notice and help these young actors hone these gifts.

  4. The teacher makes the class fun. Let adult actors wallow in their own misery and whip themselves into the bread and water existence of ‘serious acting.’ If an acting coach can’t figure out how to make a class fun for kids and teens, they need to start pursuing another career. And no, it should not be all fluff—useful pillars of technique do need to be covered, but it has to be done in an engaging and thoroughly enjoyable manner for the young mind.

  5. The teacher doesn’t give kids the answers all the time. A really good teacher isn’t going to spoon-feed kids everything they need to learn, but will guide kids to their own breakthroughs. It’s beneficial for kids to struggle—a little bit, within reason—that’s how they grow the most, and a good teacher will make sure they discover these more elusive answers on their own.

Many of the raw talents that young actors bring to class are so innate and subconscious, they’re functions that are akin to breathing. We’re all born knowing how to breathe—this doesn’t need to be taught. Incompetent teachers will clumsily reteach something to young actors—something that these actors already do perfectly well—forcing them to overthink the most natural of instincts, causing them to suffocate and choke.

At our studio, we help kids and teens to launch their careers—on their own terms—and empower them to be the creators of their own acting techniques. Every student leaves every class having experienced an undeniable acting breakthrough and transformation.


Register here for our Kids & Teens "Audition Success" Class (limited spaces available).

 

This article was originally posted on Backstage

 

 

Race and the Realities of Showbiz

“Oh. She’s Hispanic.” A client of mine looked down at her phone, her face tinged with no slight amount of bitterness. My client had been on hold for a supporting role in a Brie Larsen film. She had been in frequent contact with her reps, who at that point didn’t know any more than she did about where casting was going with the role. She had been constantly checking the film’s IMDbPro page, watching as production attached more actors to various roles. The character she was on hold for had been blank for days—until now. My client is a pretty sassy Caucasian actor. The woman who ultimately booked the role was a pretty, sassy Hispanic actress.

Another client, who is half Japanese and half German, is regularly called into auditions seeking “mixed ethnicity” actors, only to discover—at the casting office—they’re really looking for half black and half white. When she’s called in for white roles, she’s often labeled as “too exotic.” And, when called in for Asian roles, she gets the note that she’s “not Asian enough.”

As an acting coach, I hear all of it. Caucasian actors complaining about how ethnic or mixed ethnicity actors are so highly desired that they can often leap frog to the front of the line, securing better agents and managers, cool network diversity showcases etc. The ethnic actors that I coach complain that there are fewer series regular roles available to them, and how they tire of going out for stock characters. Hispanic actresses are tired of going out for nannies and cleaning ladies. Hispanic actors are tired of going out for gang members. Asian actors are tired of reading for math geniuses, doctors, computer whizzes, and fresh off the boat non-English-speaking un-couth strangers. Will Smith remains the only black actor to save the world.

Do ethnic actors have an advantage over white actors? Yes and no.

Do white actors have an advantage over ethnic actors? Yes and no.

As recent events have shown, race is a highly charged subject in America. Period. It’s equally as charged in show business. However, that doesn’t mean we can’t and shouldn’t discuss it. 

Let’s speak frankly. This business isn’t fair. Anyone who contests that needs to wake up, pack up and move to Vermont and open a candy shop. Sometimes the part goes to the actor banging one of the producers. Sometimes the part goes to the girl whose mom went to summer camp with the writer’s sister. Sometimes the part goes to the actor whose agent plays golf with the director. Sometimes the part goes to the actor with the most Twitter followers. And sometimes, the part goes to the most talented actor. The point is that depending on one’s perspective, the playing field can look skewed for some and not for others.

It’s the same with race. Does the part sometimes go to the actor who’s ethnic simply because the producers think the cast looks too damn white, and they need to add a token Asian or black guy? Yes. Sometimes that happens. Are other ethnicities—not just African Americans under represented in film? Absolutely.

What’s truly disturbing is the fact that we keep reaching the point where we’re making these last minute afterthought casting decisions. Why weren’t all ethnicities considered and treated equally from the very beginning? Why racism is alive and well and at a boiling point, is because we keep treating the symptoms of it, rather than the root cause—ignorance.

The reality is, it’s hard to pinpoint who has the advantage in the business; it's so goddamn hard. When you point at an ethnicity that is not your own and you say, “they have an easier time than me” really you’re just absolving yourself from a certain amount of responsibility for your own destiny.

Race relations in America are worse than ever, despite slavery having existed for over 200 years. Segregation in the south was a real thing just 50 years ago or so. How far have we moved forward or backwards? Seems like it should be a lot further. The skewed playing field of ethnicity in show business is a reflection of our damaged race relations in America and our attempts to fix them.

Take it upon yourself to make it in part your mission to be among the generation of conscious and compassionate artists that help to abandon stereotypes and to expand the current limitations put upon all ethnic groups. As always, you’re accountable and responsible for creating your own success. It’s never enough to only be a great actor without also being a decent human being. At our studio, we believe in helping the actor to discover their best self, while simultaneously helping them to reach Oscar potential.