The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers.Key elements of the course include: - Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts. - Active Analysis: The course emphasizes practical, hands-on approaches to play analysis. - Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production. - Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum. - Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line. The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text. The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments. Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning. For more detailed information and application procedures, you can visit the NIPAI website: https://www.nipai.org/the-director-and-play-course
The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of working with unfamiliar performers and aims to develop a welcoming and creative atmosphere.Key aspects of the course include: - Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion. - Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration. - Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers. - Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes. - Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills. - Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach. - Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage. The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing. For more detailed information about the course, you can visit the NIPAI website at https://www.nipai.org/the-director-and-ensemble-building .
Hope you're all well. I'd like for to check this 1 min video short out. It's my rendition of an Iconic scene from 'Breaking Bad'. https://m.youtube.com/watch?v=6dbpfoeh7cY Hope all is well with you. Thanks appreciate the support.
Alright, alright, alright... he is cerebral and I love it:https://www.youtube.com/watch?v=fWIB_Iymgg0
Ayerswood Films is now available at the Amazon Fire TV App Store, still streams for free with no commercials. Also at AyerswoodFilms.com, and Chromecast enabled, for those that don't have access to Amazon Fire TV. If you have a film that you would like added let me know. Be seen! Features, Shorts, Documentaries, even Music videos welcome.https://www.amazon.com/Wolfgang-Schuler-Ayerswood-Films/dp/B0CLKVTM8T/
These People Angered Me - No More https://youtu.be/6lvtAZ5wud0 How do you deal with industry people who make you angry? Share it with others.
Here are some examples of how stunt liabilities can impact: Personal Injury:Example: Tom Cruise broke his ankle while performing a rooftop jump stunt for the movie "Mission: Impossible – Fallout." See: https://www.youtube.com/watch?v=Sjn3ELLcy2UProduction Delays:Example: The filming of "The Matrix Reloaded" faced delays when Keanu Reeves sustained an injury during a wire stunt, pushing back the release date.Insurance Issues:Example: Production insurance costs for a film may increase if an A-list actor insists on performing risky stunts, potentially impacting the overall budget.Reputation and Public Perception:Example: After Jackie Chan suffered multiple injuries throughout his career, there was increased public admiration for his dedication to performing his own stunts, enhancing his reputation. Positive or Negative. Legal Issues:Example: An actor performing a stunt without proper safety measures may face legal repercussions if injuries occur, leading to potential lawsuits against the production. This can take down a production. Expertise and Training:Example: Chris Hemsworth underwent extensive physical training to perform his own stunts as Thor in the Marvel Cinematic Universe, showcasing expertise in combat scenes.Impact on Other Crew Members:Example: A poorly executed car stunt by an actor may endanger the safety of the stunt coordinator, camera operators, and other crew members involved in the scene.Psychological Impact:Example: After filming intense war scenes in "American Sniper," Bradley Cooper discussed the psychological impact of the role and the toll it took on his mental well-being.The Armorer:Baldwin and Hannah Gutierrez-Reed, the armorer who oversaw firearms on the set, were each charged with involuntary manslaughter in January 2023. It is the Armorer's job to check the weapon before handing it to the actor. When people decide to cut cost and use Non-Union people they can run a high risk. I believe during covid- 19 there was a lot of cost cutting and Union worker cutting in the name of cutting costs. The armorer on a movie set is responsible for handling and overseeing all aspects related to firearms and weapons used during filming. Their role is crucial in maintaining safety on set while ensuring that the production achieves the desired authenticity for scenes involving firearms. Here are some key responsibilities of an armorer:Weapon SelectionWeapon PreparationSafety BriefingsTraining ActorsCoordination with Stunt CoordinatorSupervision on SetAmmunition ControlCompliance with RegulationsEmergency ResponseMaintaining RecordsEquipment MaintenanceA big responsibility...as you can see. This is why more and more people are doing gun stuff in post for safety.
How can the Fight Choreographer (People like myself) help the actors.Actors can gain valuable skills and insights into the art of performing action scenes by actively engaging with fight choreographers. I love choreographing slaps to the face.... They tend to make me laugh.Attending workshops or classes led by experienced choreographers provides actors with fundamental techniques, safety protocols, and hands-on experience. Collaborating directly with choreographers during rehearsals allows for personalized guidance and correction in real-time. It provides a different layer of experience. Yes, some want a stunt double I get it. Things you can do:Observing rehearsals and studying well-executed fight scenes in film and television enhances understanding of choreographic processes and techniques. Seeking individual training, enrolling in martial arts classes, and practicing choreography regularly contribute to building proficiency and muscle memory. Actors should actively ask questions about choreography, safety protocols, and emotional expression through physical actions. Attending industry events, networking with choreographers, and embracing constructive feedback foster continuous learning and potential future collaborations. This multifaceted approach enables actors to master the skills necessary for convincingly performing fight scenes on screen. I love what I do, yet working with actors who take good safety instruction is crucial.
Stage 32’s founder and CEO, Richard “RB” Botto, shares two great videos in today’s blog.In the first video, the SAG-AFTRA Foundation interviews Tom Hiddleston, and he breaks down his experience working on the MCU series LOKI and nearly 15 years playing as Loki.In the second video, screenwriter and studio executive Steve Douglas-Craig discusses the three "worst" ways to start a story.Grab your coffee/tea/water/juice/pumpkin spice latte and jump in!www.stage32.com/blog/coffee-content-tom-hiddleston-qa-for-loki-3566
Matthew Cornwell tells you how you can master the art of the self tape in today’s blog. Matthew is an actor, editor, producer, screenwriter, and co-founder of Get Taped! (an audition taping services in the Atlanta area that he founded with his wife). www.stage32.com/blog/mastering-the-art-of-the-self-tape-3574
A great watch. Instead of actors going after each other for box office sales they helped boost each other up - https://m.youtube.com/watch?v=MecVr3Bz4o0
Hi all, I would love to know which agents based in the US are willing to work with US actors based abroad. Appreciate very much any recommendations
https://www.youtube.com/watch?v=hmzkuBWr9oE
What exactly does it mean to be a local hire? A local hire means that you are able to work in the shooting location without the need for travel expenses. If you consider yourself to be a local hire, it means you are willing to: fly yourself to the shooting location, put yourself up at a hotel or other residence, and get yourself to/from set without any reimbursement. Is it worth it? That’s a question you’ll want to ask yourself and your agent. If you have an offer for a weekly scale but you have to be a local hire in another state, the cost of airfare, accommodations & rental car/Uber will have you barely come out even (taxes & agency fees are other contributing factors). At the end of the day, it’s important to prioritize what it is that you consider valuable to your career. Will this job be your first credit? Will it give you career-changing footage for your reel? If so, it might be worth it. It’s important to know the facts & rules when it comes to being a local hire. Just saying you can be a local hire and having some friends/family in that region may not be enough to fully qualify as a “local hire.” Productions are going out of state due to the many tax incentives offered there and lower cost of shooting. However, in order to qualify for these incentives, they must hire a certain percentage of local cast & crew. Many times, for cast, the percentage that can be out-of-state is reserved for the larger, leading roles. This means that some states will require either a state ID, or a document proving you are resident within a certain number of miles from the shooting location. (these requirements differ by state) #actor #actorslife
In 2013, I was a casting director, and I cast the horror feature film "Axeman At Cutter's Creek". One of the actors I promoted to the producer/writer/director was Stephen Eith. I previously cast him in a UC Irvine student TV studio project, and I thought he'd be great for "Axeman". From time to time, I like checking in on my actor. It is a source of pride for me to see them on the screen, because I helped put them there. But something seems to have happened to Stephen Eith. Either he completely quit the acting profession and all social media, he died (maybe Covid-19), or he was placed in witness protection for some reason. After "Axeman" I got Stephen his first agent here in Hollywood. He eventually moved back east and signed with an east coast talent agent. He was getting plenty of auditions for shows in Atlanta (e.g. "Nashville"). I was happy for him. He had other things going for him too. He was working in real estate and involved in ice hockey. I see his and scream queen Elissa Dowling's images are featured in the Amazon.com link to "Axeman", Moreover, someone is trying to sell Stephen's "celebrity" headshots on Ebay. He just vanished. He has a profile here on Stage32, and it says he was last on 2 weeks ago; however, it has said that for more than a year. I'd just like to know that he is all right, happy. He is a promising actor. In fact, the character he portrayed in "Axeman" seems to have been based on me.
Like a lot of mom‘s, I put my career and my dreams on hold when I got pregnant. My son is the most precious person in the world to me, so I don‘t regret it but I‘m not gonna lie… when he became a teenager and didn‘t feel like hanging out with me anymore (weird, right?) I realized that things were going to change.All of a sudden, I had time to consider what I wanted and the answer was pretty unsettling to everyone — including myself. At 47, with a gaping 16 year gap in my resume, I wanted to give my dreams one more chance. But how? I didn‘t have any industry contacts and had no current showreel material. I had no idea where or how to start.When I was younger I had been able to work enough to join SAG/Aftra and was working on my equity card. But none of that was repeatable. I didn‘t have a plan or a strategy I just kind of… got lucky. I knew that wasn‘t going to work this time around - not at my age. I needed to figure out how to show agents and casting directors my value even though I physically had no „proof.“That was 10 years ago. Today you can see me on screens big and small around the world. If you have the Hallmark channel, you can catch me in the current Christmas movie, A Heidelberg Holiday, and this week I‘ve got a callback for a national beer commercial shooting for 10 days in South Africa.Am I a big star? — definitely not (obviously), but I am a working actor. I don’t say any of this to brag, but so that whoever reads this will know that your dreams are worth pursuing but you need a plan and a strategy. There is no age limit on success. Actors are the most resilient, empathetic people on this planet and I truly believe that there is room for anyone who wants to fill it.If you have your own journey to share, I'd love to hear from you. This is obviously a subject that is near to my heart. I’m actually working on a project that dives into all the challenges second-act actors face when trying to get their careers off the ground. If my story resonated with you I’d love to jump on a Zoom and hear about your experiences. Your insights would be incredibly valuable to my research and could even potentially help other actors who are also facing similar challenges. Just DM me and I’ll send you all the details.P.S. That’s my sister pointing to me on the TV - I couldn’t resist.
- Cindy Tolan (The Marvelous Mrs. Maisel, Straight Outta Compton, Unbreakable Kimmy Schmidt, Aladdin, If Beale Street Could Talk)“I give adjustments. I want to find the person for the part, so if there is something that is right about you for the role, but your choice wasn’t going to best tell the story the director or writer wants, then you make an adjustment. Then maybe it’s almost there and you make another adjustment. I work with actors. There is also so much that goes into casting. You as an actor cannot be everything. You cannot twist yourself into a pretzel and say, “I could have been this.” There are so many factors that go into casting that the actor is not privy to. They just have to feel good about what they did in the room and then leave it there.”- Meg Morman & Sunday Boiling of Morman Boiling Casting (The Baxters, In The Vault, Hello My Name is Dorris, Betrayed, Man With A Van, The Dead Girls Detective Agency)Meg: “When we audition actors (with or without the director present), our rule is that the actor reads all of the pages they prepared at least once. If nothing else, just out of basic respect for them. We’ve given them specific material and they took the time to prepare. You’re showing them that you respect that time they’ve put into their craft. After that, if we want to redirect, we do but redirection is not always given.”Sunday: “We never interrupt an audition. We’ve heard of directors doing this and it’s horrible. If you encounter this we’ll say, ‘Let them finish this scene and then we’ll go back.’ Auditioning is a very nerve-wracking process for people. You’ll get better performances if you are respectful of that.” #actor #castingdirector
Do you know exactly what equipment is needed and the costto shoot great self-tapes? You might be surprised. Watchthe video and learn.https://youtu.be/PufWkDyHzOAWhat equipment are you using and how much did it cost?
As we sat at tables arranged around the room and the Lecturer sat in the centre. I felt the nerves set in. You know, the dry mouth and sweaty palms. We had all taken a character each in a Shakespeare Play in my "A" level English Lit classes. The girls were natural and one girl performed with such gusto that my feeble delivery seemed all the more timid. I knew I would never be an actor but I did love stories. The irony is I did in some ways become an actor. An "Actor with a pencil". I became a Lead Animator for Walt Disney Feature Animation. With a pencil I could hide behind I could become anyone or anything....................... https://www.linkedin.com/pulse/art-acting-richard-bazley-fpbse%3FtrackingId=bb4oSwLvRi64Qv7BC7I%252Byg%253D%253D/?trackingId=bb4oSwLvRi64Qv7BC7I%2Byg%3D%3D
Hey everyone - Matt Bierman, Producer, Studio Executive, and Stage 32 Educator is hosting a 24-hour Ask Me Anything ("AMA") in the Writer's Room Lounge today, focused on Writing and Selling Your Holiday Rom-Com. Here is the link to his AMA so you can hop in and ask Matt your questions: https://www.stage32.com/lounge/vip/Writing-and-Selling-Your-Holiday-romcomMatt is also teaching a lab where you will create all the tools you need to actually sell your original holiday romantic comedy starting tomorrow - here's a link so you can grab one of the last spots: https://www.stage32.com/classes/Stage-32-8-Part-Lab-Create-All-The-Tools-You-Need-To-Sell-Your-Holiday-Romantic-Comedy-Nov-2023Also, If you aren't yet a member of the Stage 32 Writer's Room you can get a first month by signing up here: https://www.stage32.com/writers-room/plans-vip
I am not an actor, but I did find this interesting, and it seemed to fit here in this lounge. Stone challenges not only the pay structure, but the opportunity for women in America. How interesting that Saudi Arabia is more open than the U.S.What she has to say is fascinating.https://deadline.com/video/sharon-stone-gender-pay-gap/
First things first: actors must be ready for a manager before seeking a manager. What do I mean by that? Actors, you must have a career to manage before you pursue management. Managers don’t want to develop a career for you from scratch—it’s more time than we have in the day. At a minimum, you must have professional headshots, training by an actual industry professional, and enough solid acting experience that you have at least a few credits on your resume.You should also be knowledgeable about the business of acting and have an attitude that is professional to this career path you have chosen. You are the business; you are the product you’re selling. Actors, please understand that managers absolutely must have clients that want to work as hard as they do for you. This means we will not tolerate you expecting us to do everything for you with no willingness to get out there and try to find work as well. Whether it be a student film, background work to gain experience on set, or helping out a creative friend for free on their project—show us that you are willing to put in the work and we will reciprocate in kind.We also want to get along with you. Over the course of my career as a talent manager, I’ve experienced various levels of professional and personal conflicts at the beginning of a relationship with an actor. That’s a red flag for me. Difficulty at the beginning almost always guarantees difficulty throughout. When we offer you advice, take it. Know that we put massive amounts of effort into your career but that still doesn’t mean we have the power to create miracles. So when we suggest that you take classes, recut your demo reel, step out of your comfort zone, etc., please listen.We love working with actors who are always prepared. The actors who know their lines. The actors who show up on time to auditions and callbacks with whatever was requested of them. Those are the actors we want to help succeed.We want someone who likes the creative process of thinking about and planning their careers. #actor #management #work
I'll go first - I watched KILLERS OF THE FLOWER MOON ***spoiler alert**** and I love the scene at the end when Leonardo DiCaprio is talking with his wife and fighting with his feelings on poisoning her. I couldn't believe the range of emotions he let run through his face in that moment, and the way he delivered his lines still haunts me.
Hi, folks. I'm seeking out a local publicist who can interview me about my three topics that are based on soap operas and music, and I'm struggling.:( Also, my main concerns are the bill and the cost, because those are the last things that I want to be stuck with. If anyone knows a local(Chicago) publicist, please let me know. Thank you very much.
I once attended an acting school, I found it to be very interesting, I also found that it is real work. I have a great appreciation for actors and their skills, It can take sometime to become a pro.
An Actor's Greatest Competitor? Will Surprise You Use the link below to watch the video https://youtu.be/IZ0ZsUMwB2I Have you ever experienced competitiveness from others? If so, share your experience so we can all learn from each other.
Today is Cyber Monday! Remember that all day long today you get 20% off any Stage 32 on-demand education. If there's anything you've had your eye on today is the day to jump in and take it. You can check out all of our courses here: https://www.stage32.com/educationHave a great and creative day!
Hello all, Can anyone recommend me and agent based in the U.S. who works with U.S. citizen actors who live abroad?
Please donate on Giving Tuesday to The Rebuilding, a timely feature project set in 2050 America. Given the craziness that surrounds us, this just makes sense. Plus due to our fiscal sponsorship through The Gotham Film and Media Insititute, all donations are tax-deductible. But we can't make it happen without you - thanks in advance for your support!
Casting director Laurie Records talks about #socialmedia and what advice she would give to #actors who are trying to build out their social media:"If you hate it, I would say then let it go. You do you. But if you have interest in it, be willing to put in the time, and that means daily or every other day. You need to be active. I would put it on my to-do list. Dedicate a half an hour of your time to cultivating that. I think that consistency is key. Just make it part of what you are doing for your acting career today. It will take time. You are not going to be on everybody’s radar from the get-go. But if you enjoy it, it should be a little bit of fun for you and [it] can absolutely be helpful in some situations. So, take the time, put in the effort and think about what you’re doing. Be careful, don’t slap things up that you might regret later. Be thoughtful. Keep your actor social media account pristine and with a focus that is going to serve you as an actor.""As far as red flags I look for, clients care about offensive content. Stay away from extreme anything, whether it’s provocative photos, extreme political posts. I think that you can express how you feel politically, but it's a danger zone. Staying civil is a good idea, and just staying away from crass, rude, crude stuff. You’re representing the brand in the end, that is how they’re looking at you. If you’re a known jerk online, that’s not going to work out for the brand.""Eventually, it will help you down the line. I think it’s worth the time.I would say, if social media is not your bag, stay off! Don’t have an Instagram account. It’s all right! But I believe that if you have interest in it, you will be rewarded. Follow other actors. Look and see what they are doing. That’s a great way to get some content ideas. Some people do it very well, so watch and mimic them. You’ll be different because you are you, but that way you’re not reinventing the wheel. Actors have come before you and done this social media thing quite well. Be a student of theirs, get some great ideas, and have fun. But keep it focused. Keep it focused on the acting stuff and enjoy it as a fun break you have in the day."
"On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor’s contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she’s willing to travel to go to set."https://teamdeakins.libsyn.com/ellen-lewis-casting-director
Stage 32 is excited to welcome Ryan back! Learn how to do your best scene work - whether you have one hour or one month to prep - with esteemed actor Ryan Cartwright who has starred on numerous television series including BONES, MAD MEN, THE BIG BANG THEORY, KEVIN CAN WAIT and ALPHAS!You will walk away from this class with the tools you need to successfully approach your character, dialogue, and action steps to properly utilize on your self tapes, callbacks and on-set performances for maximum success!PLUS! Ryan will provide you with exclusive handouts to help you hone your acting process. Downloads include:The Audition Process Beat SheetFilming Day Checklisthttps://www.stage32.com/classes/Acting-Workshop-Build-Your-Successful-Preparation-Process
Hello everyone. So I have been thinking which is better for a kids animated series. Child actors the same age as the characters? Child actors a little older so they still sound like kids but have a better understanding of the script or adults who can sound convincing as a child?On one hand I have heard child actors can be hard to work with and they can only work for a limited amount of hours straight or and limited amount of hours for the day, and they take longer to get their lines sometimes forcing the shoot to be longer. There is also the issue of the child aging out and voice changing, forcing you to find new child actors that sound alike.On another hand while adults can definitely work longer, they might not sound like a child. Is it a huge concern if they character playing kids in an animated series, is actually an adult?
Important New Self Tape Rules SAG-AFTRA Negotiated that affects both Union and non-union actors. https://youtu.be/fdVdYQBaAqM If you know about some new rules, share them here.
Hello everyone have a question how do you know as an Actor that your working with an amateur Director?
https://deadline.com/2023/11/justine-bateman-sag-aftra-deal-ai-1235616848/
hi all located in los angeleslooking for seasoned acting coaches
Hi Superstars! How's everyone feeling now that the strike is over? To be quite honest, I feel so inspired by SAG-AFTRA's negotiating committees effort and the support of the W.G.A. to defend all union actors around the world. They helped us get more funds with a fresh business model that can sustain our careers for way longer than before. What an amazing victory for actors everywhere! May the auditions start rolling in for all of us!! Let's go!!!
No doubt in the TOP 10 of actor auditions is this emotional delivery by Henry Thomas for a film that needs no introduction. You can hear Steven Spielberg at the end give the boy the role on the spot. The flushed redness face, water-filled eyes, uncontrollable cascading tears, hurried-huffing breath and the swallowing bolus are all in play. It is said Thomas tapped into the memory of when his dog died for inspiration.Watch the audition, here: https://www.youtube.com/watch?app=desktop&v=tA5giyG8E7g
Please take a look here. Our new company will be live in early December .Please take a look at this link. Let's have some fun and maybe make some money. https://www.stage32.com/jobs/811262/Actors-or-Comics
Hey everyone - excited to share this...Suzanne Corso, NYT Bestselling Author, Journalist, TV/Film Correspondent to THE TODAY SHOW, Stage 32 Thought Leader & Educator, is hosting a 24-Hour Ask Me Anything ("AMA") in the Authoring Lounge today, focused on "How to Write and Publish Your True Story". I've known Suzanne for a while and she is brilliant and generous so hop in and ask her your questions. Here is the link to Suzanne's AMA: https://www.stage32.com/lounge/playwriting/Ask-Me-Anything-AMA-11-15-to-11-16-How-do-you-write-and-publish-your-true-storySuzanne is also teaching an upcoming 4-part Stage 32 class on this exact subject that will help you get your own story's book written and published. Here's a link so you can check out her class: https://www.stage32.com/classes/Write-Your-Autobiographical-Novel
Took A Bad Acting Class - Next Time Ask This Question https://youtu.be/43xwDZvaNVQ If this happened to you, share what happened. And, if you did something that helped get you into a better class next time.
Just this week, I can't begin to tell you how many people I see asking for handouts without wanting to learn acting or screenwriting. They just wanna wake up and get a job like they're looking for a free prize with their happy meal.This topic has been boiling up inside of me for quite some time, but my last straw is people asking which AI software they can use to do all the work for them. Especially we just had TWO strikes to fight against the damage AI can do to the industry.To me, this just screams in a thousand different ways that you don't respect the industry. You just wanna wake up and be famous. Nobody wants to put in the work. I can't tell you how many times I've given bullet points for an actor on exactly how they can start getting real work. Only 1% of the actually follow through with putting in the work. Most of them (99%) just wanna go to an audition and wing it. Not willing to take acting classes. Not willing to get a professional headshot. Not willing to put together a portfolio. Nothing. They just wanna ask "How can I get a job on a TV show". To me, this is a huge slap in the face for me and everyone else that loves this business and is willing to put in the work to study!There's a big difference between asking for genuine advice on how to improve and asking someone to just give you a job without wanting to get experience for that job!Respect goes a long way in this industry and if you can't be bothered to put in the tiniest bit of work then it's probably not for you.
For those who don't have time to read the full article, I've created a 3-minute video highlighting the main takeaways.https://youtu.be/zYycXKzbvK8?si=i5VQjadaPtkzMC-h This video is an excerpt from a longer article. To read the full article, please visit: https://www.reflectionscareercoaching.co.uk/post/mastering-the-art-of-self-taping
A first for me. I recently auditioned for a tv commercial where the brief for hero male was 50-60 and ‘wife’ a similar age. Just seen the finished commercial and the roles were filled by mid-30’s actors. I know briefs change in this world, but the ‘wife’ was played by the casting director on the commercial. I’ve seen casting directors and assistants on commercials; nothing unusual in that, but never on one where the CD I submitted the self tape to got the casting themselves. is this unusual? I thought I did a really good audition too.
It is good to determine intent as a Director and as an Actor. How do we determine Intent?By asking questions to ourselves:What does the character want, or what goal are they trying to achieve in the scene?Define each scene by what the character wants:Is it physical or tangible?is it information?Is it emotional?The Secondary Gain intent - When a person is trying to make others "think" that their own motives are different from what they say they are.Could be expressing ulterior motives for example.What does the character want other people to think they want?
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
