tag:blogger.com,1999:blog-3970122657423111962024-03-13T13:17:29.264-07:00Thoughts On ActingThe Journal of Actress Kathryn Browning
(See bottom of page to subscribe)Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.comBlogger285125tag:blogger.com,1999:blog-397012265742311196.post-69281216304933283942024-01-29T09:07:00.000-08:002024-02-06T07:08:13.098-08:00The Benefits of Filming on Location<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMHyRQnLwmpwfiLzzczkY-SWdrPY4YH-fbdLhMIy3jfCL35g2Qyc7gUFCgl3H9_azuP7vDbZSyLhU0fzuBXhoDqKvuB_l0OJk7v3ibV9DSoqHK04Z484S6PDJWOgcx_cH1ylxcoy06Sfhwy5KwA8Dr7bA3FbXQ_LlxiFm5Op7IT94CJGg4isNInksPUU/s1852/shane%20photo.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1126" data-original-width="1852" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMHyRQnLwmpwfiLzzczkY-SWdrPY4YH-fbdLhMIy3jfCL35g2Qyc7gUFCgl3H9_azuP7vDbZSyLhU0fzuBXhoDqKvuB_l0OJk7v3ibV9DSoqHK04Z484S6PDJWOgcx_cH1ylxcoy06Sfhwy5KwA8Dr7bA3FbXQ_LlxiFm5Op7IT94CJGg4isNInksPUU/w320-h195/shane%20photo.jpeg" width="320" /></a></div><br />The three years that saw much of the United States, and the world, under heavy restrictions due to Covid-19 fears prompted many people to examine ways of working remotely, including actors. The move to taping auditions opened up new opportunities for working actors, who figured that if U.S. studios can fly in British, Australian, and Canadian actors - and not just the big stars - they can certainly fly in American actors from Texas, Connecticut, Idaho, or any other state. At least that's the theory. Lots of talent out there.<br /><p></p><p>I've been thinking about this and the many benefits of filming on location, because an article turned up today in Cowboy State Daily that discussed the many classic Western films with stories set in the beautiful mountains of Wyoming, - <a href="https://www.imdb.com/title/tt0064115/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_Butch%2520Cassidy" target="_blank"><span style="color: #f6b26b;"><i><b>Butch Cassidy and the Sundance Kid</b></i></span></a> (1969), <a href="https://www.imdb.com/title/tt0059017/?ref_=nv_sr_srsg_0_tt_6_nm_2_q_Cat%2520Ballou" target="_blank"><span style="color: #f6b26b;"><i><b>Cat Ballou</b></i></span></a> (1965), <a href="https://www.imdb.com/title/tt0105695/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Unforgiven" target="_blank"><span style="color: #f6b26b;"><i><b>Unforgiven</b></i></span></a> (1992) and <a href="https://www.imdb.com/title/tt0046303/?ref_=nv_sr_srsg_0_tt_1_nm_7_q_shane" target="_blank"><span style="color: #f6b26b;"><i><b>Shane</b></i></span></a> (1953) to name a few. Wyoming history is full of people and events with dramatic potential: the <a href="https://en.wikipedia.org/wiki/Johnson_County_War" target="_blank"><span style="color: #f6b26b;"><b>Johnson County War</b></span></a>, the <a href="https://en.wikipedia.org/wiki/Wagon_Box_Fight" target="_blank"><span style="color: #f6b26b;"><b>Wagon Box Fight</b></span></a>, the building and impact of America's Transcontinental Railroad, the <a href="https://en.wikipedia.org/wiki/Hole-in-the-Wall_Gang" target="_blank"><span style="color: #f6b26b;"><b>Hole-in-the-Wall Gang</b></span></a>, and the more than 5,000 women ranchers at the time it was admitted to the Union in 1890. Still, only <i>Shane</i> was actually filmed in Wyoming. (See Andrew Rossi's full article at <a href="https://cowboystatedaily.com/2024/01/28/in-the-greatest-westerns-ever-made-wyoming-is-everywhere-and-nowhere/" target="_blank"><span style="color: #f6b26b;"><i><b>Cowboy State Daily</b></i></span></a>) </p><p>Understandably, it can be costly to haul cast and crew to a remote location (although that hasn't been a problem for New Zealand.) <a href="https://en.wikipedia.org/wiki/Hindi_cinema" target="_blank"><span style="color: #f6b26b;"><b>Bollywood</b></span></a> has found a way to significantly cut costs on Indian films by developing effective techniques for shooting in natural light, which can save a ton on set-up time and production. If you're a filmmaker that is worth studying, as it is being adopted by some directors. (The 2015 film <a href="https://www.imdb.com/title/tt1663202/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_The%2520Revena" target="_blank"><span style="color: #f6b26b;"><b><i>The Revenant</i></b></span></a>, with Leonardo DiCaprio, for example, was shot in natural light.)<br /></p><p>Weather can be a problem too. Rocky Mountain living, for example, comes with cool and unpredictable weather spring and fall. Stories set in that location would logically show that, but weather can make for continuity issues if you're shooting over multiple days. Also, weather hasn't prevented <a href="https://pro.imdb.com/name/nm0513170/?ref_=tt_fm_wrt" target="_blank"><b><span style="color: #f6b26b;">John Linson</span></b></a> and <a href="https://pro.imdb.com/name/nm0792263/?ref_=tt_fm_wrt" target="_blank"><span style="color: #f6b26b;"><b>Taylor Sheridan's </b></span></a>wonderful series <a href="https://www.imdb.com/title/tt4236770/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Yellowstone" target="_blank"><span style="color: #f6b26b;"><i><b>Yellowstone</b></i></span></a> from being filmed in Montana and Utah. Sheridan's terrific film <a href="https://www.imdb.com/title/tt5362988/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Wind%2520River" target="_blank"><span style="color: #f6b26b;"><i><b>Wind River</b></i></span></a> does show a few clips of <a href="https://en.wikipedia.org/wiki/Lander,_Wyoming" target="_blank"><span style="color: #f6b26b;"><b>Lander</b></span></a>, Wyoming, although principal photography was in Utah, a long way from the <a href="https://en.wikipedia.org/wiki/Wind_River_(Wyoming)" target="_blank"><span style="color: #f6b26b;"><b>Wind River</b></span></a> and Wind River Valley of Wyoming, an area that has a very distinctive topography. I suspect that the tax incentives offered by so many other states, like Georgia, are the primary consideration, and the Wyoming legislature is loathe to follow the herd on that one.</p><p>But I have to wonder what price filmmakers can put on authentic scenery, which can add so much to the look of the finished film? <a href="https://www.imdb.com/name/nm0828419/?ref_=nv_sr_srsg_0_tt_3_nm_5_q_George%2520Stevens" target="_blank"><span style="color: #f6b26b;"><b>Director George Stevens </b></span></a>was a stickler for authentic locations. Here's the trailer from <i>Shane</i>, which he shot near <a href="https://en.wikipedia.org/wiki/Jackson,_Wyoming" target="_blank"><span style="color: #f6b26b;"><b>Jackson</b></span></a>, Wyoming, at <a href="https://www.nps.gov/grte/index.htm" target="_blank"><span style="color: #f6b26b;"><b>Grand Teton National Park</b></span></a>. It would be hard to find this kind of grandeur anywhere else - clean haze-free air, dazzling sunlight, breathtaking mountains pushing up from a level plain. The film was nominated for six Academy Awards at the 1954 Oscars, including Best Picture, Director, and Screenplay. It won for <a href="https://www.imdb.com/name/nm0005729/?ref_=nv_sr_srsg_0_tt_0_nm_5_q_Loyal%2520Griggs" target="_blank"><span style="color: #f6b26b;"><b>Loyal Griggs</b></span></a>' stunning cinematography.</p><p>And yes, I wish they still made trailers like this one. </p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2AWaGILUCYg" width="320" youtube-src-id="2AWaGILUCYg"></iframe></div><br /><p></p><p><br /> </p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-56398379292515152852024-01-23T05:35:00.000-08:002024-01-29T09:29:22.346-08:00Acting Tips: Consider Your Roles Carefully<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEq0qg-XzjNvVRigLsIF4O88flMv50ZtFhTjhLAPIYzucqAS_zIHSPf0FQr7DJersro_U3b4UM-YUhTRLPXn0XEb2eeSdZODZJKz2fGyzHy8UJwOZOqlX4K3ThGJN8KyRY2KJQ5ndG3MHyk44p49pzJ38FszEVACw74yGLoWJGDY8jkjBhB5FJjzhBFU/s5184/free%20photo.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3456" data-original-width="5184" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEq0qg-XzjNvVRigLsIF4O88flMv50ZtFhTjhLAPIYzucqAS_zIHSPf0FQr7DJersro_U3b4UM-YUhTRLPXn0XEb2eeSdZODZJKz2fGyzHy8UJwOZOqlX4K3ThGJN8KyRY2KJQ5ndG3MHyk44p49pzJ38FszEVACw74yGLoWJGDY8jkjBhB5FJjzhBFU/s320/free%20photo.jpeg" width="320" /></a>In an earlier post, I cited <a href="https://www.imdb.com/name/nm0000545/?ref_=nv_sr_srsg_0_tt_6_nm_2_q_Helen%2520Mirren" target="_blank">Helen Mirren’s</a> take from her online Masterclass on what makes a great script and a great role. It was wonderful advice from a consummate pro, and worth reading over and over. Now that we’re going back to work (and without hazmat suits!) actors are more than ready to work as a team with other professionals to create something wonderful. The industry continues to evolve. Netflix, Paramount, Amazon, and other studios are creating series for streaming that are imaginative, big budget, and exceptionally well-done. Big stars are starting their own production companies and turning out thoughtful films with great stories. Just look at the top Oscar contenders.<br /></p><p>It’s worth remembering, however, that, unlike decades past, anything an actor appears in today will likely be posted online, including commercials, short films, and student films, so before jumping into a project, consider where you hope to go with your career, and what the impact of each role may be long-term. <br /></p><p>The following, for example, might need a second look before committing yourself to the project. <br /></p><p><b>Films/TV with an obscene word in the title:</b> Take a hard look at this one and ask yourself if seeing that title in your list of credits would embarrass you. Also, if it sets the tone for the entire film or series. </p><p><b>Serious distortions of history or well-known literature</b>, especially the historical events of a country or culture that is not your own. Examine these on a case-by-case basis. Screenwriters often alter reality to create a story. They have to, because lives are not set up as literature, and a work of fiction is typically too long to put on screen. Screenwriters can make a known work better, and often do, but if the story line really goes off the rails, see if there are balancing benefits, like the chance to expand your range with a very different type of role.<br /></p><p><b>Fanning the flames of political divisions:</b> Look past your current social circle and ask yourself if you’d be seriously alienating half of your potential audience right off the bat. <br /></p><p><b>Raising awareness films:</b> This is a trend that started with serious cultural issues (<a href="https://www.imdb.com/title/tt0037884/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_The%2520Lost%2520Weekend" target="_blank"><i>The Lost Weekend</i></a>, <i><a href="https://www.imdb.com/title/tt0039416/?ref_=nv_sr_srsg_5_tt_7_nm_1_q_Gentlemen%27s%2520Agreement" target="_blank">Gentlemen’s Agreement</a>,</i> <a href="https://www.imdb.com/title/tt0061735/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Guess%2520Who%27s%2520Coming%2520to%2520Dinner" target="_blank"><i>Guess Who’s Coming to Dinner</i></a>), went on to disease films (pick your illness) and really can’t be justified at a time when information on any topic can be easily researched online. Nothing wrong with raising awareness, it’s just been done and done. </p><p><b>The role is a caricature/stereotype</b> with no backstory. A film doesn’t have to include throwaway roles (watch <a href="https://www.imdb.com/title/tt0034583/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_Casablanca" target="_blank"><i>Casablanca</i></a>, where even the background actors are interesting), but for actors - early in their careers especially - this kind of role is frequently what is offered. There’s no motivation indicated for the character, they just are. The role may even be described in the audition script as “a typical ______.” If you feel you really need a credit or the money, take the audition and try to make the role interesting. </p><p><b>Commercials:</b> There’s good money to be made doing commercials, but remember that because there is no credit roll at the end, commercials can come across as reality, not acting. They can impact how you are regarded for roles in other types of projects, or cast a certain light over a long and illustrious career (think <a href="https://www.imdb.com/name/nm0007225/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_Jane%2520Powell" target="_blank">Jane Powell</a> and <a href="https://www.imdb.com/name/nm0000742/?ref_=nv_sr_srsg_0_tt_1_nm_7_q_June%2520Allyson" target="_blank">June Allyson</a>, big stars of the 1940s/1950s who became known for commercials promoting eldercare products). Fit, glamorous, sophisticated, clever, funny? Go with it. </p><p><b>Extraneous dialog </b>intended to stretch a 45-minute plot into an hour and a half. Read the full script. You’ll spot it. If your character has a few good scenes and you’re likely to get a usable clip, it may still be worth your time. </p><p><b>Last, and probably most important, you wouldn’t want your children/parents/significant other to ever see you in it:</b> From time to time we see trends in films where certain elements are added simply because the director CAN and not because it makes for a better film or furthers the plot. This was especially notable from the late 1960s into the 1980s when directors got carried away with obscene dialog, bathed the screen in blood spatter, explored degraded lifestyles, etc. Actors happily went along, because it felt arty, or at least naughty. </p><p>Okay, we get it. But it’s rather hard to be naughty these days. It’s all out there.
</p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-56944827892471419302022-09-25T08:06:00.005-07:002022-09-25T08:09:57.080-07:00Acting Tips: What Casting Directors REALLY Want in a Self-Taped Audition<p>The ability to self-tape auditions has opened up many more opportunities for actors in recent years. With casting directors looking nationally and even internationally for just the right face and voice to fit each role, actors can be based anywhere and many are now moving out of Los Angeles and New York to more family friendly places with less traffic and urban stress and a much lower cost of living. As long as there's an airport nearby, you can still work in this business. <br /></p><p>But when self-taping first became an option, the out-of-pocket expense could be considerable. Actors were told that taped auditions needed to be perfect or they would just get tossed. Invest in a high-end video camera, we were told, and box lights for three-point lighting. Avoid LED lighting that made you look green. Set up a room (or at least a wall) with a blue-grey background for best skin tones. Get a professional reader to help you. Hire a taping studio if necessary (at $150 a pop). All of this involved learning how cameras work and technical things like "white balance," which tripped me up more than once, even when hiring a camera operator for the taping. </p><p>Fortunately, the reality of life (and especially the experience of the past two years) has toned down the demands. Actors might be working on location, on holiday, or otherwise away from home when an audition call comes through. Optimal taping conditions are not always available, or necessary as it turns out. The best actor for the role shines through, even if the tape is less than perfect. So don't break the bank investing in expensive equipment.<br /></p><p>SAGAFTRA has videos on YouTube where casting directors are asked what they REALLY need from you in a self-taped audition. All are valuable, but some are quite long. The video below hits the high points in a reasonable amount of time, and I must say I was relieved to see that my instincts from years ago were correct. There is no such thing as a "perfect" audition. Casting needs to hear you and see you; they don't need your tape to win an Academy Award. </p><p>Here's what I learned:</p><p><b>SLATES</b></p><p>Breakdowns will usually include instructions for the slate. If not, submit your slate separately from your audition and do this:</p><p>Give your name, height, and current location. </p><p>Edit in a full body shot and a profile shot. </p><p><u>Most important, "perform" your slate with some flavor of the role for which you are auditioning.</u> Don't do it "in character" necessarily, but if your role is big city gangster, don't slate with a toothy grin like you're selling breakfast cereal. Keep it consistent with the role and let your personality come through. <br /></p><p><b>THE READER</b></p><p>Get another actor to serve as your the reader if possible, but anyone will do in a
pinch. Even if all you have available is your non-actor mother, have the reader get into their role
and act it out so that you have something to react to and play off of. It will improve your performance.<br /></p><p>When you edit your audition tape, don't open with the reader's voice, even if it appears that way in the script, unless the scene calls for a big reaction to their words at that point. Otherwise edit it out and open with your first line. Also, make sure your reader isn't too loud. Move the reader farther from the camera mic if necessary to lower their voice level. Your voice and face are all that casting wants to see.</p><p><b>LIGHTING</b></p><p>For auditioning at home, the old rules are still good. A <a href="https://www.amazon.com/Extendable-Sensyne-YouTube-Compatible-Phones/dp/B08B3X7NXC/ref=sr_1_3?crid=345D2SSKBOE6Q&keywords=iphone+ring+light&qid=1664114606&qu=eyJxc2MiOiI1LjA5IiwicXNhIjoiNC41NSIsInFzcCI6IjQuMzUifQ%3D%3D&sprefix=IPhone+ring%2Caps%2C145&sr=8-3" target="_blank">ring light on a stand</a> is nice to have or box lights and three-point lighting if you already have them set up. Ditto a nice video camera. </p><p>Otherwise, at home or away from home, <a href="https://www.amazon.com/ATUMTEK-Temperatures-Portable-Rechargeable-Streaming/dp/B09M2DDZQ1/ref=sr_1_13?crid=345D2SSKBOE6Q&keywords=iphone+ring+light&qid=1664114740&qu=eyJxc2MiOiI1LjA5IiwicXNhIjoiNC41NSIsInFzcCI6IjQuMzUifQ%3D%3D&sprefix=IPhone+ring%2Caps%2C145&sr=8-13" target="_blank">a small rechargeable ring light</a> that clips on your mobile phone camera is fine. Many models and prices are available, but all have similar reviews so shop around. You shouldn't need to pay more than $20 for a serviceable light. Look for built-in options on light levels and color tones. </p><p>Whatever you have in the way of equipment, look for a location that is already well lit. Bathrooms are often good. The small ring light alone won't give the best result in a dark room.</p><p><b>SOUND</b></p><p>No loud distracting noises in the background. If you're picking up a hum from equipment running somewhere you can usually reduce it or eliminate it altogether during editing. Anything louder than a hum - police sirens, baby crying, door slamming, etc. - means you need to tape the scene again, so be aware of noises and make sure you have alternate takes.</p><p>Outdoors sound can be tricky, especially if it's windy. Find a quiet, sheltered spot. Use a lapel mic (always good).</p><p>If you have a designated audition space at home, make sure there are enough
acoustic elements - upholstered furniture, rugs, acoustic panels - so
that your sound doesn't bounce and echo. I've even hung blankets.<br /></p><p><b>TAPING</b></p><p>Your face should be at eye level with the camera and your eye line as close to the camera as possible without looking directly into the lens. Tripods make it easy, but you can also put your mobile phone in a coffee cup on a stack of books - whatever works to get the height and angle. <br /></p><p><b>LOCATION</b></p><p>At home, again the old rules apply. A blank, blue-grey wall will give you the best skin tone. </p><p>Away from home, look for a simple background. It doesn't necessarily have to be blank, but it shouldn't include distracting views or patterns. In the video, for example, they mention shooting against a log cabin. Simple, horizontal lines. </p><p> Soft light, if possible, when shooting outdoors. <br /></p><p><b>EDITING</b></p><p>Yes, edit. Early on in this process, I can't tell you how many times I exhausted myself trying to get a clean take on a long script. Edit your best shots together, but don't worry about making it look like you went to film school. Casting gives no extra points for fancy packaging. They want to see eyes, intention, and layers of character. <br /></p><p>Submit one take, or no more than two. Casting directors have a LOT of tapes to view and, yes, they watch ALL of them. <br /></p><p></p><p>So that's basically it. Self-taping is here to stay and the benefits to actors are enormous. True, you can't get a correction as in a live audition (although you may be given one in a call back), but you're less nervous and you show casting only your best take. </p><p>Most important, since casting directors will be looking at ALL taped auditions, they see many unknowns that they never would have seen otherwise....and maybe that will be you.<br /></p><p>So relax and give it your best shot. Here's the full video: <br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bYSPlCOJBzI" width="320" youtube-src-id="bYSPlCOJBzI"></iframe></div><br /><p><br /></p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-70852080882074385392022-09-06T07:23:00.005-07:002022-09-07T11:17:03.531-07:00Acting Tips: Analyzing Actors at the Top of their Game<p>One of the most dismaying things I find about many young performers is how seldom they study veteran actors in classic film and television. (I would add theater to that, but the drawback to stage work is that the nuances in a performance are too often lost in the distance between the performers and the audience.) </p><p>Many years ago, I watched a young actor do an emotionally charged drama-class scene and remarked afterwards that he reminded me of <a href="https://www.imdb.com/name/nm0001847/?ref_=nv_sr_srsg_0" target="_blank">Richard Widmark</a> in the 1947 film <a href="https://www.imdb.com/title/tt0039536/?ref_=nm_flmg_act_77" target="_blank"><i>Kiss of Death</i></a> where a crazy-acting Widmark pushes an old woman in a wheelchair down a flight of stairs. Who's Richard Widmark? the actor asked, whereupon the instructor blanched and said, "That's like asking, Who are the <a href="https://www.imdb.com/name/nm2580347/?ref_=nv_sr_srsg_0" target="_blank">Marx Brothers</a>!" (The young man looked baffled at that too.)</p><p>The point is, there is so much you can learn by watching a master at work, and so much you lose if your only point of reference are action films and the last 10 years of television. <br /></p><p>I was reminded of this the other night while watching character actress <a href="https://www.imdb.com/name/nm0094135/?ref_=nv_sr_srsg_0" target="_blank"><b>Beulah Bondi</b> </a>as Aunt Martha Corinne in <a href="https://www.imdb.com/title/tt0743716/?ref_=ttep_ep1" target="_blank">"The Conflict,"</a> a 1974 episode of <a href="https://www.imdb.com/title/tt0068149/?ref_=nv_sr_srsg_0" target="_blank"><i>The Waltons</i></a>, airing on Amazon Prime. Bondi was 84 years old at the time this was filmed, having played largely mothers and grandmothers (she played <a href="https://www.imdb.com/name/nm0000071/?ref_=nv_sr_srsg_0" target="_blank">James Stewart's</a> mother four times) over a 50-year career in some of the most memorable films ever made, including six that were nominated for the Best Picture Oscar. She was herself twice nominated for an Oscar as Best Actress in a Supporting Role and, at 86, she would win an Emmy for playing Martha Corinne in a later episode of The Waltons titled <a href="https://www.imdb.com/title/tt0743809/?ref_=ttep_ep11" target="_blank">"The Pony Cart."</a></p><p>In this scene from "The Conflict," Aunt Martha Corinne is being evicted from the farm she came to as a bride and has lived in on the mountain for more than 50 years. Her husband Henry and one of her children are buried on the farm. The rhythms of the land are the rhythms of her life. Now the farm has been taken for public use by the federal government as part of a planned national park. After initially resisting eviction, she has finally conceded rather than see her family embroiled in an armed conflict. But she has not given up all control of her life, or her dignity. </p><p>Watch Beulah Bondi totally immersed in her character. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9QBR5IXNBoU" width="320" youtube-src-id="9QBR5IXNBoU"></iframe></div><br /><p>What was so difficult about this role - and you also see it in the 1986 Oscar-winning performance by 60-year-old <a href="https://www.imdb.com/name/nm0656183/?ref_=nv_sr_srsg_0" target="_blank">Geraldine Page</a> in <a href="https://www.imdb.com/title/tt0090203/?ref_=nm_flmg_act_6" target="_blank"><i>The Trip to Bountiful</i></a> (Page beat out <a href="https://www.imdb.com/name/nm0000658/?ref_=nv_sr_srsg_0" target="_blank">Meryl Streep</a>/<a href="https://www.imdb.com/title/tt0089755/?ref_=nm_flmg_act_77" target="_blank"><i>Out of Africa</i></a>, <a href="https://www.imdb.com/name/nm0000843/?ref_=nv_sr_srsg_0" target="_blank">Anne Bancroft</a>/<a href="https://www.imdb.com/title/tt0088683/?ref_=nm_flmg_act_34" target="_blank"><i>Agnes of God</i></a>, <a href="https://www.imdb.com/name/nm0001448/?ref_=nv_sr_srsg_0" target="_blank">Jessica Lange</a>/<a href="https://www.imdb.com/title/tt0090110/?ref_=nm_flmg_act_39" target="_blank"><i>Sweet Dreams</i></a>, and <a href="https://www.imdb.com/name/nm0000155/?ref_=nv_sr_srsg_0" target="_blank">Whoopi Goldberg</a>/<a href="https://www.imdb.com/title/tt0088939/?ref_=nm_flmg_act_198" target="_blank"><i>The Color Purple</i></a>) - is that Bondi had to tread a fine line between being a stubborn and sometimes mean old woman and yet being terribly vulnerable to an overwhelming sense of loss. </p><p>So notice how she and, one assumes, the director have choreographed this scene. This isn't Method or Meisner. Bondi never married or had children in real life; she was born in Chicago, not on a farm. Richard Thomas here serves only to get the scene started; she's not reacting to him. This is a thinking actress with a strategy. She has to exit the farmhouse, but with a pause to reflect on her life. The scene opens with her sweeping the floor of a now nearly empty room. The house will likely be torn down, but she's still in charge, tidying up the ends of her life, giving away the things she will no longer need. Still the matriarch giving orders, she will leave on her own terms. </p><p>While sweeping, Bondi has been looking down at the floor (perhaps finding her mark?) To get to the memory of her dead husband, she needs a trigger. She looks up at the doorway, the same doorway she entered as a bride so many years before, and makes a seemingly offhand remark about Henry's nature: he was shy with women. As she turns to the camera for a beautifully lit closeup, the memory then floods over her in vivid detail. Her eyes see her young husband, she smells the lilac and the Bay Rum. Her face softens with warmth and love. And then, in an instant, the memory is gone. She is again an old woman and so terribly alone, a tragic figure, but not destroyed. She puts on her bonnet, takes a last look at the home that held so much of her life, and resolutely exits through the door, head high. <br /></p><p>In this moment on screen Bondi IS Martha Corinne, and she lives this memory. Consider how much each of her moves says about the woman she is portraying. It is masterfully done. A scene worth studying again and again (although I admit to choking up every time I watch it.)<br /></p><p>Having been stereotyped early in her career (Bondi played old ladies from age 39 on), it may have been difficult to find roles with enough depth to make full use of her skills, but she was always the consummate pro. </p><p>Watch this tribute to her from Turner Classic Movies. <br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qVoIbpqNflM" width="320" youtube-src-id="qVoIbpqNflM"></iframe></div><p>Also check out this wonderful behind-the-scenes look at Bondi in her later Waltons episode, "The Pony Cart," for which she won an Emmy. Actress <a href="https://www.imdb.com/name/nm0003354/?ref_=nv_sr_srsg_0" target="_blank">Judy Norton</a>, who played Mary Ellen Walton, hosts this <a href="https://www.youtube.com/channel/UCFmdAT3ke2B_-KxMpDHjJAg" target="_blank">YouTube channel</a>, and it's a treasure trove of information for actors and fans of this much beloved series. <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ix5o_jw-f2s" width="320" youtube-src-id="ix5o_jw-f2s"></iframe></div><br /> <br /><p></p><p>Take time to study veteran actors. Develop a love for classic film and television, if you're not there already. Some of the best actors in the world are walking encyclopedias of great
performances on screen. That is, in part, why they're so good.</p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-21505648650065231642022-01-10T10:58:00.007-08:002022-09-06T10:30:02.080-07:0010 Things I've Learned as an Actor.<p>Last year at this time I got a new agent – Michael Zanuck – and booked the first audition he arranged. Forty lines in an episode of the CBS daytime drama <a href="https://www.imdb.com/title/tt0069658/?ref_=fn_al_tt_1" target="_blank">The Young & The Restless</a>, playing marriage counselor Dr. Iris Carson. The people at CBS were terrific. So well organized and so considerate to actors coming in for guest spots. I got good comments from production. It was a positive experience all around. I thought things were suddenly taking off, but not yet.</p><p>I was called back for the role of the older I Love Lucy comedy writer Madelyn Pugh for <a href="https://www.imdb.com/name/nm0815070/?ref_=nv_sr_srsg_0" target="_blank">Aaron Sorkin’s</a> film <a href="https://www.imdb.com/title/tt4995540/?ref_=nv_sr_srsg_0" target="_blank"><i>Being the Ricardos</i></a>, for Amazon Studios. It went to <a href="https://www.imdb.com/name/nm0492089/?ref_=nv_sr_srsg_0" target="_blank">Linda Lavin</a>. No shame there. She’s a wonderful actress. But what a disappointment. I loved the script and role. </p><p>I also got a second look for the team owner in Amazon’s TV series of <a href="https://www.imdb.com/title/tt8226360/?ref_=nv_sr_srsg_3" target="_blank"><i>A League of Their Own</i></a>, but that went to <a href="https://www.imdb.com/name/nm0005280/?ref_=tt_cl_t_10" target="_blank">Rosie O’Donnell</a> when she became available and they decided to take the role in a different direction. </p><p>Well, such is the business of acting. <br /></p><p>But then the virus hit with lock downs and crazy rules. I have always believed that life happens as it does for a reason, and that if you just hang on you will come to realize that everything turned out fine in the end. So, not to be deterred, I've started thinking about what practical things I’ve learned in the past decade as an actor and how they can help going forward from here. </p><p>The list, in no particular order, except the most important last.</p><p><b><span style="color: #e06666;">1. Learn from those who are successful in the career path you’ve chosen</span></b>, or in a career that’s an important adjunct, like casting. If you’re going to take a drama class from an actor (or an actor turned teacher), then before you plunk down hundreds/thousands of dollars, check his/her credits at the <a href="https://www.imdb.com" target="_blank">Internet Movie Database</a>. How many credits do they have? Are they in productions you recognize? Is the actor still performing? </p><p>If their experience is spotty, you might consider online learning at <a href="http://Masterclass.com">Masterclass.com</a>, leaning toward older British actors. The Brits have a practical, workmanlike approach. They're not "stars" they're Actors, and they’re good at it. I learned to assess a script and much more from <a href="https://www.imdb.com/name/nm0000545/?ref_=fn_al_nm_1" target="_blank">Dame Helen Mirren</a> by taking her class online. Her advice was how I knew that the <i>Being the Ricardos</i> role was a good one.</p><p><b><span style="color: #e06666;">2. If you take a workshop, don’t pay extra to perform in a scene.</span></b> Here’s why: The chance that you will so wow the person leading the workshop that they’ll cast you in a role in their next production is infinitesimally small. Worse, you’ll be so caught up in learning lines that you won’t have time to take notes. The most valuable and practical television audition advice I heard in a workshop cost me all of $30. It was given by casting director <a href="https://www.imdb.com/name/nm3116002/?ref_=fn_al_nm_1" target="_blank">Geoffrey Soffer </a>(<a href="https://www.imdb.com/title/tt0805669/?ref_=nv_sr_srsg_0" target="_blank"><i>Ugly Betty</i></a>, <a href="https://www.imdb.com/title/tt1400580/?ref_=fn_al_tt_1" target="_blank"><i>The Beautiful Life</i></a>) and I learned a ton. If you hope to wow casting directors with your acting skills do theatre and invite them to a performance. <a href="https://www.imdb.com/name/nm0000732/?ref_=nv_sr_srsg_0" target="_blank">Danny Aiello</a>, who played a lot of heavies, got his comedy turn in <a href="https://www.imdb.com/title/tt0093565/?ref_=nv_sr_srsg_0" target="_blank">Moonstruck</a> because director <a href="https://www.imdb.com/name/nm0422484/?ref_=nv_sr_srsg_0" target="_blank">Norman Jewison</a> saw him in a Broadway play.</p><p><b><span style="color: #e06666;">3. Try new things in front of an audience and listen to their reaction. </span></b> In Los Angeles, I discovered actor get-togethers where actors were paired off, scenes were handed out, you had 15 minutes to rehearse and then you did the scene. It was a low-risk opportunity to try different approaches and roles and to get feedback from relatively average people (The kind that buy movie tickets.) The cost of such gatherings was typically a small donation, and you could attend once or twice a month. It was a good exercise.</p><p><b><span style="color: #e06666;">4. Avoid magical thinking.</span></b> In New York and Hollywood there is an entire industry that preys on the dreams of aspiring actors, so if an online or in-person class promises to provide “the secret” to getting cast or becoming a “star” don’t waste your money. Similarly, do not assume a producer/director/casting director will see your face, think “He/She is it!” and pluck you out of obscurity with no experience. I see this too often with background performers who so strive to get their face in the same frame as the lead actor that they make a pest of themselves. Don't do that.</p><p><b><span style="color: #e06666;">5. Don’t list credits for background roles.</span></b> If you aspire to a career as an actor, you don’t want to be typed as background, and a long list of background credits does just that. On IMDB I allowed just one background credit, on <i><a href="https://www.imdb.com/title/tt1856010/?ref_=fn_al_tt_1" target="_blank">House of Cards</a></i>, because I felt it showed progression to the three speaking roles I booked on that same production. </p><p><b><span style="color: #e06666;">6. If you work background because you need the cash, try to get in toward the end of filming when they may shoot long days to wrap it up. </span></b>Years ago I made over $600 shooting crowd scenes for a TV film that was running behind schedule and held background on set for 22 hours. That was good money when I was trying to cover the cost of classes. Another tip: whatever you're doing as background - walking in a crowd, walking through a scene with another actor, herding cattle, whatever - give yourself a backstory and an objective. Don't ask the director, just figure it out. For example, “I came into town with a good friend today to look for a pair of red suede pumps, and then we’re going to lunch afterward.” If you do that your face and gestures become animated and real. If you don’t do that you walk through like a zombie. I've seen a lot of zombies in films lately.</p><p><b><span style="color: #e06666;">7. Acting is less complicated than most people think. </span></b>Yes, there are tricks to doing a scene that come with experience, and you will pick those up along the way. Whether auditioning or on set, what it requires is a vivid imagination and the ability to immerse yourself in a fantasy world that you create down to the smallest detail, all the while surrounded by technical equipment and people talking between takes. Unless you're a character actor, create your environment and respond to it honestly as an interesting version of yourself. If the director wants something more, or something different, he/she will take you there. That’s what a “director” does. </p><p><b><span style="color: #e06666;">8. Be professional.</span></b> Do as much research on your role and on the others involved in the production as you possibly can, show up fully prepared and off book, be polite and considerate to everyone on set, when you’re not shooting a scene stay out of the way and avoid chit-chat. </p><p><b><span style="color: #e06666;">9. Be ready for the great role. </span></b>You’ve heard that before, and it usually refers to constantly honing your acting skills. Hone the whole package. While waiting for the call, work on improving your posture, diction, and social skills. If your crooked teeth are distracting, get them fixed. Crooked teeth can be an issue with American audiences. Assess your overall look objectively, and carefully consider what if anything needs improvement. Staying super thin over time can add years to your face, so you may want to add 10 pounds as you get older. Visible tattoos can relegate you to working class roles. Your smile may light up a room or make you look menacing or goofy. </p><p>Your aim is not to be super attractive necessarily but memorable. Some of my favorite performers have ears that stick out, chins that are too long, eyes set too close together, impossible noses….yet somehow it all works. <br /></p><p><b><span style="color: #e06666;">10. Most important, get to know people by name. </span></b>On set that means not just the director, the DP, and the cast but also the production assistant, the make-up artist, the costumer, the caterer, your driver, all the people who make your experience on set easier. Off set, know the names of the wait staff at restaurants you frequent, your supermarket clerk, your neighbors. To help me remember, I save the names on my mobile phone, either with the phone contact information of the business or on a special page on "Notes." If you can associate the name with another word that helps too. For example, the first name of the waitress at one of our favorite restaurants is the same as my mother's maiden name. Easy!</p><p>Wherever you are, introduce yourself. Smile, make eye contact, say please and thank you, be interested. Smiling makes you approachable, elevates your mood, and does wonders for the muscles in your face. Being interested can open doors. I met a famous screenwriter at my husband’s high school reunion, the father of a famous screenwriter in a McDonald’s in Virginia, and the brother of another screenwriter while camping in Arizona. Connections are everywhere, so don't treat anyone badly.<br /></p><p>Knowing people by name encourages you to be considerate of their feelings, makes them feel valued (because they have value), helps people remember you even when you’re not famous, and makes you a mensch, which is a good thing (look it up.)</p><p>So here's to 2022. I am so ready to get back to work. :) <br /></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEijye5K_rCPSv_RpLTTasLb66Zouj3t2BeZgdUyik0Th4vfOGhYOEfIvC4aNcveqFT5lojkNIF7DJzkN5Ju2hrEVJF5HroCryLxRvsHdDY8j_ROzNaATT2OijFypunoU41G2zG4YT7UdfAWCeKrrM_kjYkWybsEcn5DOqsCnZXbvkbXWxunDq2ZVjMk=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1000" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEijye5K_rCPSv_RpLTTasLb66Zouj3t2BeZgdUyik0Th4vfOGhYOEfIvC4aNcveqFT5lojkNIF7DJzkN5Ju2hrEVJF5HroCryLxRvsHdDY8j_ROzNaATT2OijFypunoU41G2zG4YT7UdfAWCeKrrM_kjYkWybsEcn5DOqsCnZXbvkbXWxunDq2ZVjMk=s320" width="320" /></a></div><br /><p></p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-88038008058546101382021-04-02T14:06:00.004-07:002021-04-02T14:12:05.186-07:00Acting Tips: Adopting a New Name<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfD3KFvOnNnJT2Q86xKEv2efoWhSTjtsdElmCkwaWLYza8IqJzLF3NDNwD2YUNWp6B_guN_Ojc8hMKbCIr6MbR5CLSCFapv_B1NNqOuJWdiWNp5reEdfgeG0FJ0VKvQJVpVG1mucUV1FI/s1000/this+is+me.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="707" data-original-width="1000" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfD3KFvOnNnJT2Q86xKEv2efoWhSTjtsdElmCkwaWLYza8IqJzLF3NDNwD2YUNWp6B_guN_Ojc8hMKbCIr6MbR5CLSCFapv_B1NNqOuJWdiWNp5reEdfgeG0FJ0VKvQJVpVG1mucUV1FI/w200-h141/this+is+me.jpg" width="200" /></a></div>Something that used to be routine, but now seems to have fallen out of favor in recent years is the carefully considered stage/professional name. Yes, it can feel horribly awkward answering to a name other than the one we grew up with, but equally true is that few of us have <a href="https://www.imdb.com/name/nm0751426/?ref_=nv_sr_srsg_3" target="_blank">Rosalind Russell</a> or <a href="https://www.imdb.com/name/nm0000014/?ref_=nv_sr_srsg_0" target="_blank">Olivia de Havilland</a> printed on our birth certificate. (Russell actually thanked her mother for giving her a movie star’s name.) <p></p><p>Back in Hollywood’s Golden Age, actors didn’t hesitate to replace their birth names with something that was easier to pronounce, a better fit for their looks or personality, or eliminated confusion with another actor. Olivia de Havilland’s sister <a href="https://www.imdb.com/name/nm0000021/?ref_=nv_sr_srsg_0" target="_blank">Joan </a>went through several last names before coming up with “Fontaine” and sudden success. </p><p>And success is what you’re after, so consider a new name carefully. The unwed mother of British actor <a href="https://www.imdb.com/name/nm0000027/?ref_=nv_sr_srsg_3" target="_blank">Alec Guinness</a> may have taken his last name off a bottle of stout, but whatever the truth it was often assumed throughout his life that he was a member of the rather prominent Guinness family (darn the luck!). Would Marion Morrison, Maurice Micklewhite, Doris Kappelhoff, Archie Leach, Krishna Bhanji, Alphonso d’Abruzzo, or Issur Demsky have had the same careers as John Wayne, Michael Caine, Doris Day, Cary Grant, Ben Kingsley, Alan Alda, or Kirk Douglas? Probably not. Yet I see a lot of actors these days hanging on to names that for various reasons work against them.</p><p>Here are reasons to consider a name change early in your career, some of which need no explanation:</p><p><b><span style="color: #cc0000;">1. You want to avoid confusion with a better-known actor or celebrity.</span></b> Actor Albert Brooks entered the world as Albert Einstein. No joke. Michael Keaton was born Michael Douglas. (I was the first Kathryn Browning on IMDb. Now there are five. It keeps the pressure on to be the one that’s “better known”.)</p><p><b><span style="color: #cc0000;">2. Your name is boring and/or commonly seen everywhere.</span></b> A lot of actors with the last names Smith, Johnson, White, Brown, Jones, etc. either replace it or dress it up with a standout first name.</p><p><span style="color: #cc0000;"><b>3. Your name has an unfortunate association in English:</b></span> Lipschitz, Leach, Barren, Cheeter, Slye, etc.</p><p><b><span style="color: #cc0000;">4. Your name is from a language or region that no longer expresses what you look like or who you are</span></b>: The world has become a melting pot. If your great-great grandfather’s name was Wong, but you don’t look Asian you’re going to be confusing a lot of casting directors. </p><p><b><span style="color: #cc0000;">5. Your name is hard to pronounce and frequently misspelled.</span></b> </p><p><span style="color: #cc0000;"><b>6. You’ve always disliked your birth name or it never felt like a fit.</b></span></p><p><b><span style="color: #cc0000;">7. You want to protect your privacy and identity.</span></b> You keep your personal life separate, your kids/spouse don’t live in your shadow, and you can travel and do legal business under your birth name. Also, when random strangers come up to you on the street and say, “Gosh, you look just like….” You have the option of laughing and saying, “I know! Everyone tells me that!”</p><p><b><span style="color: #cc0000;">8. You receive a sign!</span></b> You’re considering a name change and out of the blue, you see a name in print, someone calls you by a different name, a name appears in a dream, whatever, and your head says, “That’s it!” </p><p>For me, most of the above applied. Confusion: I was named for a famous actress and daughter of an equally famous radio personality. Too common: Growing up there were at least a dozen girls in my high school with the same first name (often attached to a last name that made it a joke). Frequently misspelled: For some reason people almost always add an extra “n” to my first name, which makes it a pun. Disliked my name: It never felt like a fit and the first and last names said together created an “ah-ah” sound that was hard on the ear. It was a sign: my husband and I were mulling over various actress names and my husband blurted out “Kathryn Browning!” Why that? I asked. “I don’t know, it just suddenly popped into my head!” </p><p>And that last one is as good a reason as any. I would add that my husband doesn’t remember that story at all, which means it REALLY WAS a sign. </p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-28332078478100527922021-03-18T09:58:00.003-07:002021-03-18T17:40:03.734-07:00Acting Tips: Getting Clips for Your Reel<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi66IxQZ1cihlGqy-_UvSGVKOg_wb6czdKFm3JU4N9Ja96evQyDgYHfJgm0t_V-OZW0fMkAdrlvkBcWyTzZMiJJWWHY_woNp4cDJq22D7uum-HW3ziQtOggqzcaAT7k9_k30CYCsDrC5v0/s268/YnR+Poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi66IxQZ1cihlGqy-_UvSGVKOg_wb6czdKFm3JU4N9Ja96evQyDgYHfJgm0t_V-OZW0fMkAdrlvkBcWyTzZMiJJWWHY_woNp4cDJq22D7uum-HW3ziQtOggqzcaAT7k9_k30CYCsDrC5v0/w218-h320/YnR+Poster.jpg" width="218" /></a></div>It's 2021 and <i>finally</i> I have a new credit. (Whew) A week ago, March 12th, I appeared as Dr. Iris Carson, a couples therapist to Sharon and Rey on the CBS daytime drama <a href="https://www.imdb.com/title/tt13610518/?ref_=nm_flmg_act_2" target="_blank"><i>The Young and the Restless</i></a>. Four scenes and 35-40 lines. Wonderful people at CBS. Professional and friendly. My whole time there went like clockwork and was such a positive experience. I even had a parking space with my name on it. (Funny how much the little touches mean to an actor.)<div style="text-align: left;"><br /></div><div style="text-align: left;">Now, how do I get my clip? Years and years ago I addressed this topic from my perspective as an East Coast know-not-much and it seemed terribly difficult. Now that I have an agent the whole process is much easier. Olivia at MZA referred me to <a href="http://sceneclipper.com" target="_blank">sceneclipper.com</a> where actors can get a downloadable high-res copy of their scenes, any length, for a mere $10. In fact, for a bit more, they'll even string your clips together into a reel. The caveat is that you do need to be an "industry professional" and the staff at Scene Clipper need to approve your account application. Read the terms of service <a href="https://sceneclipper.com/#/tos" target="_blank">here</a>. It seems to me that having professional representation was required and one way they determine you are a pro. Check it out, just to be sure.</div><p></p><p>My <i>YnR</i> scenes won't show up for a couple of weeks yet, but I was able to find and view my scenes at other cable and broadcast shows I'd been in, such as <i><a href="https://www.imdb.com/title/tt3892086/fullcredits?ref_=tt_cl_sm#cast" target="_blank">House of Cards</a></i>. Also, since a clip is $10 regardless of length, and since I have my own editing program, as most actors do, I found it easier to just grab the whole section in which my scenes appear and to cut them out and string them together on my own. Anyway, it's good to be back, even if the production people I meet - for the moment at least - look like they're dressed in hazmat suits. I have four auditions hanging. Keeping a good thought.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2N_ioL5fRvD8jYhbjVeYFImLzcVdMDbb346WQn7_p1KpVtVhdN9TIihe9DX1boLaormF4gPW4XQio573vI-rVufmqVhTx_Mbc0cTZfydtwPGwOyErS0tw6vSlekAog-OATj9Ol6cLoJ8/s1138/MySpace.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1138" data-original-width="854" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2N_ioL5fRvD8jYhbjVeYFImLzcVdMDbb346WQn7_p1KpVtVhdN9TIihe9DX1boLaormF4gPW4XQio573vI-rVufmqVhTx_Mbc0cTZfydtwPGwOyErS0tw6vSlekAog-OATj9Ol6cLoJ8/w240-h320/MySpace.jpg" width="240" /></a></div><p></p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-91411251834311894302021-02-25T12:33:00.001-08:002021-03-18T17:40:41.393-07:00Acting Tips: How to Recognize a Great Role<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgx5tojs3qJJ3qQuZ9HTQ7ZljbTnzT8tLfjoP9bMhPHc68_qAOfmaII_rTsJo9p0Mn3nC0ZzMXDrbafs6l8JPlOOO14DQIHa0701ff7E4RmEPsCWyp_QL6QCDzdlawubpCoVfuqiIsFm4/s1768/2+-+1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1768" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgx5tojs3qJJ3qQuZ9HTQ7ZljbTnzT8tLfjoP9bMhPHc68_qAOfmaII_rTsJo9p0Mn3nC0ZzMXDrbafs6l8JPlOOO14DQIHa0701ff7E4RmEPsCWyp_QL6QCDzdlawubpCoVfuqiIsFm4/s320/2+-+1.jpg" width="320" /></a></div><br />As I've mentioned in previous posts, I've been taking <a href="https://www.imdb.com/name/nm0000545/?ref_=nv_sr_srsg_0" target="_blank">Helen Mirren</a>'s online acting class at <a href="http://Masterclass.com" target="_blank">Masterclass.com</a> and it's something I recommend. If you're looking for advice in any career field, get it from someone who is highly successful at it. Mirren has won the Triple Crown of Acting in both the United States and the United Kingdom. She knows her craft.<p></p><p>One bit I found particularly useful is her advice on how to recognize a good starring or supporting role. You should already be able to recognize a good script. If you know a century of film inside and out, and you should, your ear will tell you if the dialogue works and the story is compelling. </p><p>But is the role for which you're being considered a good one? Mirren has a formula:</p><p><span style="color: #e06666;"><b>1.</b></span> If you're offered the full script to read, look first to see if your character is in the last scene and what your character does. If your character is important to that scene, as opposed to just hanging out or tossing a line, it's probably a very good part. </p><p><b><span style="color: #e06666;">2.</span></b> If it's not in the last scene, find the last scene in which your character appears and assess the power of that scene and how far it is from the end.</p><p><b><span style="color: #e06666;">3.</span></b> If your character has no impact in the last scene in which it appears, if it just disappears, then it's not a good role and there is no point in reading the full script.</p><p><b><span style="color: #e06666;">4.</span></b> If the character has an impact at the end, or an impact at the point where it exits the film, then read the script through from the beginning, knowing that it hardly matters how often your character appears in the film, because you know it's is going to play a pivotal role in the story. Think of <a href="https://www.imdb.com/name/nm0000380/?ref_=nv_sr_srsg_0" target="_blank">Robert Duvall's</a> "Boo" Radley in the 1962 film <b><i><a href="https://www.imdb.com/title/tt0056592/?ref_=nv_sr_srsg_0" target="_blank">To Kill a Mockingbird</a></i></b>. Duvall, who had already appeared off-Broadway and on television, didn't even have a line, but it was a powerful role - his first in film - and he knew it. </p><p>I've really been enjoying this online class, because it presents the kind of practical information that I haven't seen since I took <a href="https://www.imdb.com/name/nm3116002/?ref_=nv_sr_srsg_0" target="_blank">Geoffrey Soffer's</a> Workshop in Washington, DC, ten years ago (see the link to my featured post at right). Actors are always learning, and this has been time well spent.</p><p><br /></p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-4132982327754859522021-01-12T10:39:00.003-08:002021-03-18T17:41:04.866-07:00Acting Tips: Creating a Vision of Success<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoKQ3XGE7eU1vJqPOKVeouWh2APYmnpLBeaxbrEK9I0DI4kcMKiqAegUItuU1611BGM3kn04jPZ5Se2wXcvMh7zUJ3IneuDwwIiDr58owCuP76MCiS3QFPE0WBqxxCskI_MoYXIxcDnB4/s692/time+to+rebuild.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="692" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoKQ3XGE7eU1vJqPOKVeouWh2APYmnpLBeaxbrEK9I0DI4kcMKiqAegUItuU1611BGM3kn04jPZ5Se2wXcvMh7zUJ3IneuDwwIiDr58owCuP76MCiS3QFPE0WBqxxCskI_MoYXIxcDnB4/s320/time+to+rebuild.jpeg" width="320" /></a></div><br /> As I told a fellow actor this morning, I am ready to shake the dust of 2020 off my shoes and get moving! What an awful year! Coming off of a national, multi-platform commercial for Rocket Mortgage in late 2019, I expected work in 2020 to really take off. Instead....bupkis! No work and almost nothing in residuals. (Even my old shows didn't air.) To top it off my agent decided to leave Los Angeles permanently and waved good-bye to all of her actor clients (I think she went home to Sweden!)<p></p><p>But in every crisis there is opportunity. Remember that. Already I'v booked a new agent and a new agency and I'm getting auditions, even with the current slowdown in Los Angeles. Feeling upbeat and working on being more relaxed on camera (your skills can get a bit rusty after periods of inactivity.)</p><p>Now, as I do every year, I've also taken time to review my life and career goals (and no, they're not the same thing.) Something I believe in absolutely is that if you can see a better future for yourself you can live it. The more you can imagine yourself in a future situation - in a setting with near cinematic clarity, down to the tiniest details - the more likely you'll be able to make that vision a reality. </p><p>How does that work? Instead of writing "I want to become a famous actor" (remember, O.J. Simpson and Sharon Tate are "famous" actors), write something like, "I see myself booking leading/supporting roles in highly regarded dramatic films shown in movie theaters, and seeing my name in foot-high letters on the screen." Or maybe "I see myself booking a breakthrough dramatic role that gets me noticed in the film industry, and my agent fielding phone calls with tons of opportunities for me in bigger films." Or "I see myself becoming a truly fine actor, winning an Oscar for a wonderful performance, and mounting the steps to thunderous applause in a huge auditorium to accept the award in person. I'm writing my acceptance speech now." (As a young girl, Oscar-winner <a href="https://www.imdb.com/name/nm0000701/?ref_=tt_cl_t4" target="_blank"><b><span style="color: #e06666;">Kate Winslet</span></b></a> practiced her Oscar acceptance speech in front of a mirror, holding a bottle of shampoo!)</p><p>Dream big and don't be vague about it. None of this "I just want to act" business, which I hear from too many actors. As my author husband says, if you don't know where you're going any road will get you there. Don't settle for any road. Think about the kind of work you want to do and where you want to go with it, and write it down. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTghFBHSi-Jhww-BQaaJc5jwWLRGofBHfTPuEsEWoVMtmGmQ025jSkeJZcCn-eYPGmFsoK0jEoS-zzjNUe74kdooE1HAsBjPBCueqsTi-K17CU9FRJaMIkcMKZW6qW1MCZt6KndSEvCiA/s750/Dream+Big.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="540" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTghFBHSi-Jhww-BQaaJc5jwWLRGofBHfTPuEsEWoVMtmGmQ025jSkeJZcCn-eYPGmFsoK0jEoS-zzjNUe74kdooE1HAsBjPBCueqsTi-K17CU9FRJaMIkcMKZW6qW1MCZt6KndSEvCiA/w144-h200/Dream+Big.jpeg" width="144" /></a></div><br />Also, don't tell anyone what your Big Dream is. This is where writing it down differs from the Vision Board idea that has become so popular. When Big Dreams are made public, others have a tendency to shoot them down, even those who love you. Don't give them the chance. Discuss short-term goals certainly, because others can help you connect with what you need, but keep the Big Dream in your heart.<p></p><p>And do everything you can to make it happen. Follow leads, research, make friends in the industry, prepare yourself as an actor. Ask, as <a href="https://www.imdb.com/name/nm0000276/?ref_=tt_cl_t1" target="_blank"><b><span style="color: #e06666;">Sean Astin</span></b></a> asks in the 1993 film <b><i><a href="https://www.imdb.com/title/tt0108002/?ref_=fn_al_tt_1" target="_blank"><span style="color: #e06666;">Rudy</span></a></i></b>, one of my favorites, "Have I done all that I can do?" When you've done all you can do, good things seem to come like a bolt out of the blue.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-50346168103882981802020-07-28T11:24:00.020-07:002021-04-23T00:04:01.772-07:00Acting tips: Commercial vs. Theatrical Headshots<div dir="ltr" style="text-align: left;" trbidi="on">Now that my silver hair has grown out a bit longer, I'll be getting new headshots as soon as I get back to Los Angeles (whenever <i>that</i> is!). The dilemma with headshots is trying to shoot a few that will serve all situations. Of course they don't, so you often end up with shots that are never quite right for the role for which you're submitting.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><i>Backstage</i> magazine updated an article recently that provides some guidelines that I'm hoping will make the process easier (you can read the full article <a href="https://www.backstage.com/magazine/article/commercial-vs-theatrical-headshots-huge-differences-6995/" target="_blank">here</a>).</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">In a nutshell, here are the basics, illustrated with some of my old headshots and candids:</div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7v8DOSJ_kksSBfddpoznHU7L4wh4jLPqyeDS1f-RvvZfj3jF5P0LLwyJuwtVPvRT6GAlZXrzbw4NtRISxqO3DZelNMTF0fY77DwVPOPLWNXi4WgekVnjZaBDALWfSrvGMPOy2lteqc0E/s2048/Kathryn+Browning1+ERA+Talent+Agency.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7v8DOSJ_kksSBfddpoznHU7L4wh4jLPqyeDS1f-RvvZfj3jF5P0LLwyJuwtVPvRT6GAlZXrzbw4NtRISxqO3DZelNMTF0fY77DwVPOPLWNXi4WgekVnjZaBDALWfSrvGMPOy2lteqc0E/w170-h256/Kathryn+Browning1+ERA+Talent+Agency.jpg" width="170" /></a></div>1. <font color="#e06666"><b>Commercial Headshots</b></font> are intended to appeal to advertisers promoting a product, and that means positive, positive, positive! Smile. Wear colors that pop. Project energy, warmth, trustworthiness. Most important: convey your age range, demographic, and type. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">For example, now that my hair is silver I'm the "modern grandmother"in commercials. I'm healthy, active, and part of the family fun. Even within my age range, that restricts me to certain kinds of products and services, so know what you can believably sell to a specific sector of the population. Also, for commercials my agent likes waist up shots.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">If you've already booked commercials you have an idea of where you fit in. If you have a photographer who wants to constantly pose you, explain that you need to capture a moment that feels alive, not posed. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4EUaV9H8uOvSvHnFmPlHS5vVWZecSxOFf-KQ4uOtREPzxs7cJOZ0bAV_ribz6wuwhUrdipjsNTmaun3KAup38yOGiaGKXnuFl_LiEq0QXlCEYO6SY2Qp4gdZbDVIEUGnjpok21ehUaD8/s2048/Kathryn+Browning+2+-+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1463" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4EUaV9H8uOvSvHnFmPlHS5vVWZecSxOFf-KQ4uOtREPzxs7cJOZ0bAV_ribz6wuwhUrdipjsNTmaun3KAup38yOGiaGKXnuFl_LiEq0QXlCEYO6SY2Qp4gdZbDVIEUGnjpok21ehUaD8/w143-h200/Kathryn+Browning+2+-+1.jpg" width="143" /></a></div><br />2. <b><font color="#e06666">Theatrical Headshots</font></b> are used when submitting for roles in film, TV, and theatre. You want to convey emotional depth and an identifiable personality, whether trustworthy or not. Consider the types of auditions that get you callbacks and pitch the photos to those types of roles - essentially YOU from A to C and from comedy to drama. Wear earthy but not muddy tones. Make sure you have good contrast between your wardrobe and hair and the background, and that your skin tones look healthy against the background color. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibSxSi1hVX8wQaT3qfRlADiFXVnP1cZ8yMIMhu9Q-UML5LyiNNZxHU_Wx-NOSn72FBkV8Bs-2fmOTC04RFs2XWAlZoSyGTjy371vTel_H6DRR0b-h17yt8PBjdHYAghBwy_lPww-5GaPk/s2048/KB2+-+5.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1638" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibSxSi1hVX8wQaT3qfRlADiFXVnP1cZ8yMIMhu9Q-UML5LyiNNZxHU_Wx-NOSn72FBkV8Bs-2fmOTC04RFs2XWAlZoSyGTjy371vTel_H6DRR0b-h17yt8PBjdHYAghBwy_lPww-5GaPk/w131-h164/KB2+-+5.jpg" width="131" /></a></div></div><div dir="ltr" style="text-align: left;" trbidi="on">Being tall and having a lower-range voice, I often play figures with some responsibility or authority, from comic/cantankerous to confident/serene. (With Westerns making a comeback on television I may want to add a horse to a candid shot in the next go 'round, as I also ride.) </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">The idea is to look more well-balanced and sensible, wherever that takes you. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgin0hPFePXQ00_3iDEXUBDmgOiVRglc8Li62lkvWIHk7kktlVQSrxvp8d0y0KxxF-P_a1EMoTy8BXlqxDoi1Z27Sppl8Pg93PpyQdP09r51Gi9_qdwIC_QPcyyBJXw3tlQYoaTi8cwkSY/s1824/KB_IMG_6112.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1824" data-original-width="1459" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgin0hPFePXQ00_3iDEXUBDmgOiVRglc8Li62lkvWIHk7kktlVQSrxvp8d0y0KxxF-P_a1EMoTy8BXlqxDoi1Z27Sppl8Pg93PpyQdP09r51Gi9_qdwIC_QPcyyBJXw3tlQYoaTi8cwkSY/w164-h205/KB_IMG_6112.jpg" width="164" /></a></div>3. <b><font color="#e06666">Comedic Headshots</font></b> are recommended by <i>Backstage</i> as a possible middle ground between commercial and theatrical shots and are geared specifically to sitcoms and romantic comedies. Those are lucrative and fun roles and if comedy is your strong suit, run with it. Just don't make these shots too over the top unless that's the kind of acting for which you're well known. In general, keep it light. Add a bit more character. Hint at the type of comedy you do, whether dry/sarcastic, quirky/slapstick, or whatever. Your colors can be brighter than in this shot, but keep your expressions subtle.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">I'm looking forward to a new round of professional photos and getting back to work. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br /></div></div>
Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-74473959629062331582020-06-04T17:32:00.000-07:002021-03-18T17:42:16.473-07:00Life's roughest storms prove the strength of our anchors<div dir="ltr" style="text-align: left;" trbidi="on">
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Last fall, my career ramped up. I grew out my silver hair and saw a good number of auditions. I booked a national multimedia spot for Rocket Mortgage that paid a ton. Came back from the holidays expecting to hit the ground running. Instead, wham!<br />
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Who could have possibly foreseen what has happened? Hollywood is shut down from a perfect storm of high tension and bad policy. Every actor I know is out of work and depressed. Having a few acorns set by, I decided the best action was simply to stay out of the way and avoid making things worse. But who knows how long it will be before I again get a chance to do what I love, to act.<br />
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In the meantime, I'm taking an online Masterclass with Helen Mirren, a wonderful actress whose work I admire tremendously. Prepare for work to resume and look to the best teachers as you do.<br />
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<a href="https://www.masterclass.com/classes/helen-mirren-teaches-acting">https://www.masterclass.com/classes/helen-mirren-teaches-acting</a><br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-39821964640622018922019-09-05T13:47:00.000-07:002021-03-18T17:42:35.964-07:00Acting Tip: Create Your Own Career<div dir="ltr" style="text-align: left;" trbidi="on">
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I saw this interview with <a href="https://www.imdb.com/name/nm1779870/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Brit Marling</a> at <a href="https://www.youtube.com/channel/UCHSOjOg8bldp-qfJDZ0_iyA" target="_blank">Off Camera with Sam Jones</a> and thought it was worth passing along. So many times I was told in a drama class that I had to audition for everything just to get work. I disagree with that idea, and so did Brit. You don't have to put up with roles that are demeaning and that you don't believe in. She took it a step further and actually created the kind of stories that gave her a character she could develop on camera. In the process she bypassed the slog and turned herself into a serious contender on the Hollywood scene. Inspiring!<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com1tag:blogger.com,1999:blog-397012265742311196.post-7281212170968520302019-07-01T11:14:00.003-07:002021-03-18T17:43:12.412-07:00Rhoda Pell's 10 Strategies for Earning Your First Acting Credits (without an Agent), Part 2<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f1c232;">LA Actress Rhoda Pell</span></td></tr>
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Like all actors starting out – whether children, new drama school grads, or older – <a href="https://www.imdb.com/name/nm1868781/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Rhoda Pell</a> faced the task of building her initial acting credits and showing LA producers that hers was a face viewers wanted to see. Here’s how she launched her career without an agent, eventually banking hundreds of credits in film, television, commercials, music videos and more.<br />
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<b><span style="color: #f1c232;">1. Register with</span> <a href="https://www.centralcasting.com/la/" target="_blank">Central Casting Los Angeles</a>: </b>for background work: Unless you’ve graduated from film school and have already observed the production process, you’ll need a firm grasp of what goes on on-set. Whether you want to continue with background work or not, having some initial experience as a background performer gives you a chance to watch other actors, experience the production environment, and learn the rules of on-set behavior. Central Casting can also help you establish your type.<br />
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<b><span style="color: #f1c232;">2. Sign up with Self-Submission Sites:</span> </b><a href="https://corp.castingnetworks.com/la/" target="_blank"><span style="color: orange;">LACasting/Casting Networks</span></a>, <a href="https://actorsaccess.com/" target="_blank"><span style="color: orange;">Actors Access</span></a>, <a href="https://www.extrasaccess.com/extra/" target="_blank">Extras Access</a>, <a href="https://castingfrontier.com/" target="_blank"><span style="color: orange;">Casting Frontier</span></a>, <a href="https://www.backstage.com/" target="_blank"><span style="color: orange;">Backstage</span></a>, and <a href="http://pro.imdb.com/" target="_blank">IMDbPro</a> are the major ones. Keep all of your performer profiles up to date. For free or a relatively small annual fee, these sites will email you roles that fit your profile on projects that allow self-submission. Add an annual <a href="http://www.showfax.com/" target="_blank">Showfax</a> subscription and you can have unlimited self-submissions instead of paying per-project fees. Also check out <a href="https://losangeles.craigslist.org/" target="_blank">Craig’s List</a>. CL is less of a resource, but actors have found work there as well. You’ll have a lot of competition so check these sites early and often every day.<br />
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<b><span style="color: #f1c232;">3. Seek out work in student films at major film schools.</span></b> Here in Los Angeles that would be the <a href="https://cinema.usc.edu/" target="_blank">University of Southern California</a>, <a href="http://www.tft.ucla.edu/" target="_blank">UCLA</a>, the <a href="http://www.afi.com/Conservatory/" target="_blank">American Film Institute</a>, and <a href="http://bulletin.lmu.edu/content.php?catoid=6&navoid=271#Departments_and_Programs_of_Study" target="_blank">Loyola Marymount</a>. (Rhoda also has done student films at the <a href="https://www.nyfa.edu/los-angeles/" target="_blank">New York Film Academy</a> in LA, which screens at Warner Brothers Studio). Around the U.S. top film schools can be found at <a href="https://tisch.nyu.edu/film-tv" target="_blank">NYU</a> and <a href="https://arts.columbia.edu/film" target="_blank">Columbia</a> (NYC), the <a href="http://filmmedia.berkeley.edu/programs/undergraduate-program" target="_blank">University of California at Berkeley</a>, <a href="https://filmstudies.yale.edu/" target="_blank">Yale</a> (New Haven, CT), the <a href="http://cinemastudies.sas.upenn.edu/about" target="_blank">University of Pennsylvania</a> (Philadelphia, PA), <a href="https://pma.cornell.edu/" target="_blank">Cornell</a> (Ithaca, NY), and the <a href="https://cms.uchicago.edu/" target="_blank">University of Chicago</a> (IL). Serious young filmmakers turn out high-quality productions on a par with some of the best of Hollywood (only shorter). They don’t pay (or don’t pay much), but here’s where you’re likely to find meaty roles for your demo reel.<br />
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<b><span style="color: #f1c232;">4. Know your craft:</span></b> The best actors are always learning, and not just in drama class. You can also learn a ton from watching professional actors at work. Rhoda sees as many plays as she can (sometimes 3-4 a week) and attends film festivals and student film screenings, watching all of the films and not just the one in which she appears. On set, she watches her fellow actors.<br />
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<b><span style="color: #f1c232;">5. Take advantage of opportunities to network:</span></b> In LA everyone’s got a film project in the works. Screenings and film festivals are great places to get inside information on upcoming projects and who's casting what. When Rhoda is acting in a film she also networks while in holding. Fellow actors often double as producers/directors of short films and independent features, so be sociable. Don’t bury your face in your smart phone. Introduce yourself around and chat.<br />
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<span style="color: #f1c232;"> <b>6. Look your age and look like your photo:</b></span> <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f1c232;">Silver Fox Judi Dench</span></td></tr>
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In this era of “real,” actors no longer feel pressured to look Ken and Barbie perfect. Knobby knees ? Overweight? Not a problem. Keep your headshots up to date, especially if you're a child actor. Also, gray is acting gold. Rhoda refers to her long gray hair as her “moneymaker,” in part because of its versatility. Worn down it lends itself to everything from hippie to scary; worn up it can be grandma to duchess.<br />
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<b><span style="color: #f1c232;">7. Join </span><a href="https://www.sagaftra.org/" target="_blank"><span style="color: orange;">SAGAFTRA</span></a>:</b> If you want entré into speaking roles in big budget films, TV, and commercials, you need to join the actors union, which Rhoda did in 2004. Union membership brings significantly higher pay at every level and marks you (and the filmmaker with a SAGAFTRA contract) as a pro.<br />
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<span style="color: #f1c232;"><b>8. Be a savvy negotiator:</b> </span>Like most actors, Rhoda was initially just thrilled to be cast. But as she became known in the industry and more and more in demand (producers now call her), she found she could often negotiate a better contract on low-pay/no-pay productions, because filmmakers were willing to pay her more to secure her for the day. This even works with student films.<br />
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<b><span style="color: #f1c232;">9. Cast a wide net on roles: </span></b>Every actor has to decide how they are willing to appear on screen, so think about your career and what you’re up for. Rhoda has worked background in music videos. She’s had roles in web series. She’s appeared in swimwear and naked. She’s rolled around in mud. She’s played dead bodies. She’s been serious and silly. She loves to perform and she’s up for almost anything. Think about the kinds of acting available. There are more opportunities than you might think.<br />
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<b><span style="color: #f1c232;">10. When opportunity knocks, be ready to roll:</span></b> Rhoda is willing drop everything to be on set, and says she’s played a nun so many times she keeps a costume in the trunk of her car. A few years back, she saw a last-minute mid-morning call for a “grandma” for a TV commercial; last minute as in “can you be on-set at 2 o’clock?!!” She could, and the commercial earned her $30,000 over its three-month run on television. Last-minute calls eliminate most if not all of the competition if you can show up at a moment’s notice.<br />
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That’s it. None of this is magic or one of those an insider’s secrets advertised online. All it takes to secure those initial credits as a professional actor is a willingness to work at your craft: networking, performing, learning, negotiating, and being ready to take advantage of opportunities as they come along.<br />
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Where you go from there depends on what you aim for in an acting career. Looking for recurring/series regular or lead/supporting roles in TV and film? Now you'll need an agent, and your credits will help get you in the door. But big career or small, this is an effective way to launch it.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">And let me add one more thing: all of these strategies apply regardless of where you live currently, and it's often easier to pick up good credits in a smaller market before you arrive in Los Angeles. Think about that.<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com1tag:blogger.com,1999:blog-397012265742311196.post-47278292652846984882019-07-01T11:14:00.002-07:002021-03-18T17:43:47.409-07:00Rhoda Pell's 10 Strategies for Earning your First Acting Credits (without an Agent), Part 1<div dir="ltr" style="text-align: left;" trbidi="on">
Every actor coming into the business needs to build a list of credits that showcases their type, their skills, and their credibility. Los Angeles is the world’s toughest market for actors. You need to become known and build a body of work, but casting agencies already have their favorites and can be reluctant to book a new face. Talent agents, who can be very helpful later in your career, won’t talk to you if you have no credits (unless of course you have a referral from your uncle the famous actor).<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #f1c232;">Rhoda Pell with actor </span><a href="https://www.imdb.com/name/nm0332380/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Geoffrey Gould</a></td></tr>
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So how does one start earning acting credits without an agent? I was thinking about this actor dilemma last week when I came across <a href="https://www.imdb.com/name/nm1868781/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Rhoda Pell’s profile</a> online at the Internet Movie Database (IMDb). Wow! She currently lists a dozen films in pre- or post-production, and that doesn't include her commercials, music videos, and other projects, most of which don't post to IMDb. This is one busy actress!<br />
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How does she do it? Well, as the saying goes, if you don’t succeed at first it sometimes happens that you succeed at last.<br />
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For Rhoda Pell, acting began with roles in school plays and enrollment at <a href="https://www.lacitycollege.edu/" target="_blank">Los Angeles City College</a>, where classmates included actress <a href="https://www.imdb.com/name/nm0930286/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Cindy Williams</a>, actor <a href="https://www.imdb.com/name/nm0008526/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Alan Abelew</a>, and actor/producer <a href="https://www.imdb.com/name/nm0453987/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Bruce Kimmel</a>.<br />
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But then came <a href="https://en.wikipedia.org/wiki/Summer_of_Love" target="_blank">San Francisco’s Summer of Love</a>, parenthood (her son Barney is named for the <a href="https://barneysbeanery.com/location/west-hollywood/" target="_blank">famous West Hollywood eatery</a>), and 32 years working for the phone company. She never gave up on her dream, but it wasn’t until 2001 that Rhoda decided to take early retirement and finally go for it.<br />
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Since then she has been phenomenal at booking films and commercials, racking up more than 260 credits - half of them in principal roles - with big names like <a href="https://www.imdb.com/name/nm2953537/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Katy Perry</a>, <a href="https://www.imdb.com/name/nm0479471/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Shia LaBeouf</a>, <a href="https://www.imdb.com/name/nm0000799/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Ed Asner</a>, <a href="https://www.imdb.com/name/nm1225628/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Kelly Clarkson</a>, <a href="https://www.imdb.com/name/nm1627901/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Blake Shelton</a>, <a href="https://www.imdb.com/name/nm3960069/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Bruno Mars</a>, and others. She’s played homeless, insane, naked, dead, and covered in fake blood while up to her waist in mud (many of her clips are "liked" on her <a href="https://www.youtube.com/user/rhodapell" target="_blank"><span style="color: orange;">YouTube Channel</span></a>).<br />
<br />Read Part 2 to see how she got her acting career up and running.<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com3tag:blogger.com,1999:blog-397012265742311196.post-7605100225039043732019-06-17T21:35:00.001-07:002021-02-27T16:53:07.374-08:00Acting Tips: 8 Strategies for Handling the Call-Back Audition<div dir="ltr" style="text-align: left;" trbidi="on">
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So, you've had your initial audition and now Casting has called your agent to schedule a second look. Congratulations! You've made the first cut in the often complicated process of casting a role. Depending on the size of the project and its budget, there may be 6-50 actors called back for a second look, and there may be multiple rounds of call-backs before all of the people who have to sign off on an actor reach an agreement.<br />
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Take it in stride. There are only so many things you can control in auditions. At the call-back, here are a few:<br />
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1. <b><span style="color: #e06666;">Don't change your approach to the scene:</span></b> There is a temptation at a call-back to make your performance bigger or different. <b><u>Don't do that!</u></b> You were called back because Casting liked what they saw in your initial audition....your choices, your look, your personality. Do the scene exactly the same way unless you are asked to do an adjustment (and be mentally ready for that to happen.) If you have an acting coach, by all means have them help you prepare. They will spot any glitches.<br />
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2. <b><span style="color: #e06666;">Wear the exact same outfit: </span></b> If you get a lot of auditions it can be hard to remember exactly what you wore to each and how you did your hair and make-up, but your look can be a deciding factor in whether you book the job, especially in commercials. Get in the habit of having someone take a head-to-toe photo of you for each audition. If you get a call-back it will save you a lot of time recreating the look.<br />
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3. <b><span style="color: #e06666;">Who's in the room:</span></b> At an initial audition you may only have one or two people in the room in addition to any other actors; that would be the Session Director, who may also do the taping, and a reader or camera person. At a call-back, you may see 6-10 people, which may include the producer, the client (if it's a commercial), the project director, the head of Casting, the session director, the camera person, secretarial support, and others. Stay focussed. Unless you are spoken to, ignore everyone except the person doing the directing.<br />
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4. <b><span style="color: #e06666;">Introduce yourself to those in the scene:</span></b> If there are other actors in the scene or you're responding to a reader, introduce yourself before you start. Doing so will help you mentally create a relationship and be more specific in your reactions to dialogue.<br />
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5. <b><span style="color: #e06666;">Be specific in your actions:</span></b> If you take some action in a scene, if you pick something up or move from here to there, you'd better know why. Otherwise it's just random shuffling.<br />
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6. <b><span style="color: #e06666;">Can you ask if they'd like you to do the scene slightly different? </span></b> Well, yes and no. If you do your audition and they say "Thank you very much," you're done. They've likely decided you're not right for the part for some reason. Say "thank you" and leave. If they're giving adjustments to the other actors in the scene, however, and it's clear there's going to be another take, it's okay to ask if they'd like you to do the scene a bit differently as well.<br />
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7. <b><span style="color: #e06666;">Keep mum:</span></b> It can be tempting to tell friends that you're up for a big part, but the best policy is to keep quiet about it. That's obvious advice if you've signed a Non-Disclosure Agreement (NDA), but even if you haven't limit discussion to those who need to know, your agent and acting coach, for example. Your chances of booking, even after a call back, are still small so it saves you from any embarrassed explanations later about why you didn't get the role. Wait until you've signed the contract and been announced in the trade papers to share the good news.<br />
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8. <b><span style="color: #e06666;">Don't fret over roles you didn't book:</span></b> Yeah, I know, we all fret over roles we didn't book. I've been at auditions where several actresses up for the role looked exactly like me and at call-backs where every actress had a decidedly different look. Sometimes the client and casting are narrowing the field and trying to decide who has the right look and the right sound, and sometimes they don't know themselves until they see it. You have absolutely no control over that part of the decision.<br />
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Lately I've been working with veteran actor <a href="https://www.imdb.com/name/nm0115282/?ref_=nv_sr_1?ref_=nv_sr_1" target="_blank">Rob Brownstein</a> at <a href="https://www.anactorsspace.com/" target="_blank">An Actors Space</a> in West Hollywood and his perspective, from more than 30 years in the business, is often invaluable. An actor may only book three out of ten auditions (even call-backs), which doesn't sound like much. But as Rob points out, if you were a baseball player getting on base three out of ten times at bat you'd be considered a baseball superstar!<br />
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To continue the metaphor, if you're getting a lot of call-backs, it means you're connecting with the ball, so try not to feel frustrated. It's just a matter of time before you hit one out of the park.<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com1tag:blogger.com,1999:blog-397012265742311196.post-61903790143256035302019-05-30T08:41:00.002-07:002019-06-19T15:13:17.172-07:00Acting Tips: When to Stay in LA and When to Go<div dir="ltr" style="text-align: left;" trbidi="on">
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The great thing about acting is you have a lot of free time; the worst thing about acting is you have a lot of free time. </div>
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Ah, but which is when? Because let’s face it, actors still have a life filled with places to go, people to see, things we need to do, and things we want to do. Those who book a lot of roles often can’t wait to get out of town. Actors who haven’t been booking are often afraid to leave lest they miss their big break. </div>
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Winston Churchill once said, “It’s all chance or destiny, and our wayward footsteps are best planted without too much calculation.” Okay, you get it: let go, let God. But don’t forget that there’s another interested party in this equation: your agent. Try selling him/her on “chance or destiny” when they call to tell you they’ve gotten you a big pilot audition for Friday, and that just happens to be the day you’ve booked an early flight out of town. (Whaaattt!!!)</div>
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Relax. There is some pattern to this business in Hollywood, even today when projects are casting almost year ‘round. Here are the years' busy times and down times, so you can put your life in order.</div>
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<b><span style="color: #e06666;">Mid-January through March:</span></b> Busy, busy, busy. Despite all the media focus on films and cable, which cast throughout the year, a huge part of the business is still at the networks, so be on your toes. Most network pilots are cast in late winter through early spring and casting for network episodics, which started back in July, is still underway. Your agent won’t leave town and neither should you! Other opportunities will come up later, but this is the busiest time of the year. Stay close.</div>
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<b><span style="color: #e06666;">April and May:</span></b> Take a break. Plan a vacation, plan your wedding, if you’re primarily a film actor take that role in a stage play. There are always commercials being cast and small projects going on, but the pace visibly slows. If you hang around town, you’ll be asking yourself why your agent isn’t calling and why no one loves you.</div>
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<b><span style="color: #e06666;">June:</span></b> For the most part, it’s still slow. If you’re hoping to pick up a series regular role, know that new pilots going into production make last minute cast changes around now, and existing series sometimes add roles before the new season goes into production in July. If you think you might have a shot at these, it’s best to hang out in town. Otherwise you can let your Alaska cruise drift into June. </div>
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<b><span style="color: #e06666;">July through November (Thanksgiving):</span></b> Episodics are casting like crazy and there are still a few network pilots being pitched. Cable shows and films are ongoing. Commercial casting slows during the summer, but picks up again in the fall. Don’t wander far unless there’s an unavoidable personal crisis that you have to deal with. </div>
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But what about summer, you say! Don't I get a vacation? Well, hey, California is where people go in the summer….and you’re already here! Stay flexible, if you can. My husband and I typically stay out in the Santa Clarita Valley during busy times, because we like the hills and my hour and 15-minute drive in is worth it. But summers in the Valley are miserably hot, so July and August we enjoy the sea breezes over on the coast. The beach adds another 15-20 miles to my drive, but since it’s not a daily commute and it’s just for a couple of months, we make it work. </div>
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Wherever you are, see if you can make staying nearby seem like a vacation. Also, I hear from my friends in production that work slows down a bit in August, so that may be a time when you can feel less guilty about moving your base a little farther out.</div>
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<b><span style="color: #e06666;">November (Thanksgiving) through mid-January:</span></b> The holidays are the slowest time of the year for actors. Commercials are still casting, including some of those Super Bowl wonders, but after Thanksgiving most other productions slow down until everything grinds to a halt completely just before Christmas. Work doesn’t pick up again until the second week in January, so attend those family get-togethers, go skiing, plan a winter vacation, enjoy yourself. </div>
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And that’s it!</div>
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Throughout the year, <u><b>the important thing to remember is to book out with your agent</b> </u>whenever you’re away from LA. You and your agent have to work as a team and you don’t want them blind-sided to find you out of town after they’ve spent hours pitching you for a project. Sure, you can often self-tape auditions or sometimes even fly back to be considered for a particularly lucrative project. But if you consistently show up for the auditions your agent has worked hard to get for you during the busy times, they’ll be understanding when you need to take a break or attend to personal business during slow times. Just let them know.</div>
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-3400505931373774362019-03-13T01:38:00.002-07:002019-03-16T14:44:52.374-07:00Acting Tips: Headshots<div dir="ltr" style="text-align: left;" trbidi="on">
Tying up a few loose ends before heading to Palm Springs for the weekend and that includes making a final decision on hundreds of headshot proofs. If you're thinking about coming to LA, wait and get new headshots here. It's a very different look casting is after (interesting settings with lots of light)...and, oddly enough, it's often less expensive to get a top photographer in LA than in other parts of the country. Perhaps there is just more competition.<br />
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Out here casting often asks for something called "lifestyle" shots, which I can only describe as professional candids. These are often playful and fun, sometimes with you and others in the shot. Even "headshots" are becoming more half-shots so casting can see more of you.<br />
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I'd had my photos done in Baltimore before coming out to California and the "dark and dramatic" just wasn't working, so here we go again.<br />
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You can find scores of opinions online about what makes a good shot. I think looking straight into the camera with emphasis on the eyes is important. Show a little personality. If you're over 40, be sure the camera lens is at your eye level or just above, and lean slightly forward into the shot. That way you'll avoid looking like you have three chins. I also like lots of light on my face.<br />
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A headshot should also hint at the kind of roles in which you are typically cast. I often get senators, attorneys, detectives, business executives, so I want to show that I can play those roles. I also want to show that I'm a nice person who's easy to work with and flexible enough to do commercials that may have a lighter tone.<br />
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Decisions, decisions. How do I choose one as my primary shot? How does one shot convey all that a person is? Smiling? Whimsical? Confidant? Daring? Below are just a few of the "suit" shots. The photographer made it fun.<br />
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Besides the "suit jacket" shots, I had four other outfits. Dresses. Slacks. I looked gorgeous! Even sexy! In the end my agents went with this one. Not too dressy. Not too casual. Not too sexy. Not too young. Not my favorite. But as an actor friend recommended, take the photo you like best and tape it to your refrigerator. The agent is the one who has to sell you to casting.<br />
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<tr><td class="tr-caption" style="text-align: center;">Kathryn Browning 2019</td></tr>
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-33876055766357549032019-03-05T20:12:00.000-08:002019-03-13T01:16:24.177-07:00Acting Tips: How to Spot Dangerous Advice<div dir="ltr" style="text-align: left;" trbidi="on">
Busy this week sorting through 1,350 new headshot proofs. Whew! More on that later, but I wanted to quickly share this video by Charlie Houpert of <a href="https://www.youtube.com/channel/UCU_W0oE_ock8bWKjALiGs8Q" target="_blank">Charisma on Command</a> on how to spot dangerous career advice. (I mentioned Charlie in my last post, because I’m a huge fan.)<br />
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Anyway, few career paths are more risky than acting, and unless you’re lucky enough to belong to a family of distinguished actors, expect to get bombarded with tons of bad advice and negative opinions about your (lack of) potential for success.<br />
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YOU know, however, that you already possess the most important attribute: desire. So if acting is your passion, how do you learn to recognize advice that will make you miserable and find instead advice that will help you advance?<br />
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Watch on:<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-71035634935791647512019-02-13T14:03:00.000-08:002019-02-13T14:06:01.411-08:00Acting Tips: A Little "Charisma" Can't Hurt<div dir="ltr" style="text-align: left;" trbidi="on">
A surprising number of actors in Hollywood (along with 2.3M others) are familiar with the YouTube channel "<a href="https://www.youtube.com/user/charismaoncommand" target="_blank">Charisma on Command</a>," which posts scores of videos on how to improve your people skills and encourage others to like you. And let's face it, in the entertainment industry, like-ability is a strong suit.<br />
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The two co-hosts present some great ideas and illustrate their points with profiles of Hollywood personalities, well-known celebrities, and even characters in popular series, like <a href="https://www.imdb.com/title/tt0944947/?ref_=nv_sr_1" target="_blank">Game of Thrones</a>.<br />
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I'm a fan!<br />
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Here's a video they posted on <a href="https://www.imdb.com/name/nm0425005/?ref_=fn_al_nm_1" target="_blank">Dwayne "The Rock" Johnson</a>, one of my good-guy favorites, that shows such an amazing transformation that it's hard to believe he was ever so shy and awkward. Take a look:<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-79055559387353705902018-11-28T16:50:00.000-08:002018-11-28T16:52:42.196-08:00The Kominsky Method, a Terrific New Show on Netflix<div dir="ltr" style="text-align: left;" trbidi="on">
My brother put me on to this this terrific new show on Netflix. Oh, rats! I'm traveling! I didn't renew my Netflix account! Renew it, he said. I did. The show is <a href="https://www.imdb.com/title/tt7255502/?ref_=nm_flmg_wr_2" target="_blank">The Kominsky Method</a>, from creator <a href="https://www.imdb.com/name/nm0521143/?ref_=nv_sr_1" target="_blank">Chuck Lorre</a> and starring <a href="https://www.imdb.com/name/nm0000273/?ref_=fn_al_nm_1" target="_blank">Alan Arkin</a> as Norman, a newly widowed Hollywood agent, and <a href="https://www.imdb.com/name/nm0000140/?ref_=nv_sr_1" target="_blank">Michael Douglas</a> as Sandy Kominsky, a once-famous actor now making his living as an acting coach. Some of the show takes place in Kominsky's acting class and the banter between the two principals is clever and funny. Watch for appearances by <a href="https://www.imdb.com/name/nm0000362/?ref_=nv_sr_1" target="_blank">Danny DeVito</a>, <a href="https://www.imdb.com/name/nm0000268/?ref_=nv_sr_1" target="_blank">Ann-Margret</a>, <a href="https://www.imdb.com/name/nm0001285/?ref_=nv_sr_1" target="_blank">Elliott Gould</a>, and more. Check it out:<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-36815681974861389342018-11-28T08:34:00.000-08:002018-11-28T08:34:15.970-08:00Acting Tips: Bryan Cranston on Auditions, Actor Jealousy, and Working<div dir="ltr" style="text-align: left;" trbidi="on">
I'm a firm believer in learning something from those who are successful at doing it. ("Those who can, do," as the saying goes.) Actor autobiographies are tremendous resources of information on how an actor achieved success, as are the many <i>bon mots</i> that turn up in actor interviews posted online.<br />
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Very often, or so it seems to me, the breakthrough occurred not with some change in technique but with a simple change in the actor's way of thinking, as multiple Emmy-winning actor Bryan Cranston demonstrates in this slyly recorded snippet posted on YouTube.<br />
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Going into an audition to "do" a job rather than "get" a job can take a lot of pressure off of your performance and enable you to "let it go" when you finish the audition.<br />
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By the way, motivational coach/speaker Evan Carmichael posts the "Top 10 rules for Success" for various actors, which always have some positive takeaway. Here's what he posted for Cranston. It's well worth watching.<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-51602397925119570162018-11-20T22:52:00.002-08:002022-01-12T11:33:59.577-08:00Acting Tips: NY Casting Director Geoffrey Soffer's Advice on Auditioning for Television<div dir="ltr" style="text-align: left;" trbidi="on">
<i>Note: I first published this on my blog 10 years ago, but I think the points are still valid so I'm reprinting it to move it up in the queue. Best workshop I ever attended. </i><br />
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Hearing a drama coach tell you to have “the courage to take risks” and “make strong choices” – especially when spoken in the same breath as phrases like “create stunning, three-dimensional characterizations” – can be intimidating for an actor. And much to the chagrin of many drama coaches I’m sure, “take risks” is too often interpreted as a directive to reach down inside yourself and pull out someone totally different from who you are. In short, to “act.”<br />
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That’s not it. Not according to <b><a href="https://www.imdb.com/name/nm3116002/?ref_=nv_sr_1" target="_blank">Geoffrey Soffer</a></b>, casting director for <i>Ugly Betty</i> and <i>The Beautiful Life</i>, who grew up in the business. I took notes during a workshop I took with him a week ago. The following is what I wrote down, some of which I knew, some I suspected, and some that came as a complete surprise.<br />
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<b><span class="Apple-style-span" style="color: red;">Film and television directors cast personalities</span></b> (aha!) Film directors are looking for the perfect actor personality for the role. Television directors are looking for the perfect actor personality for the role that also fits into the show. And if they’re casting a principal role in a TV series, they’re looking for a five-year fit so give them the whole package. They’re not looking for you doing Meryl Streep or Bruce Willis; they’re looking for you doing you – your talk, your walk, your look.<br />
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Is that limiting? No. Because we’ve all had the experience at some point of being flirty, giddy, jealous, sarcastic, devastated, generous, mean-spirited, pissed off, etc., etc., and when we audition we need to draw upon those experiences as the scene requires. That’s what makes a truthful performance.<br />
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Does being yourself take courage? Yes. I know a lot of actors more comfortable being someone else than being themselves, especially if the “risk” is that some casting director may say, “No, it’s not you I’m looking for.” If your personality is on the line, then it feels like personal, not professional, rejection. That hurts.<br />
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<b><span class="Apple-style-span" style="color: red;">Know your type.</span></b> When people meet you for the first time, they form an opinion of who you are before you ever open your mouth. Find out what that is and then do that type better than anyone else. Take a look at Rosalind Russell in the 1934 film <i>Evelyn Prentice</i> (which I believe was her first film role.) Instead of the brassy, pushy dame we love in <i>The Women</i>, <i>His Girl Friday</i>, and <i>Auntie Mame</i>, we see an actress trying veddy, veddy hahd to be a clingy, simpering member of the moneyed class. It took her another five years in film to stop doing that and find her type.<br />
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<b><span class="Apple-style-span" style="color: red;">Network.</span></b> That doesn't mean running around introducing yourself and asking for a job. Since they’re casting personalities, you are auditioning 24/7. Get out where producers, directors, and other actors can see you. Go to film and theatre industry events: Screenings, film festivals, workshops, happy hours, receptions, parties. Look like a star when you go. Since you’re “on stage” present the most positive you in conversation.<br />
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<b><span class="Apple-style-span" style="color: red;">Project a certain surety</span></b>. This is a business and, despite being referred to as the "talent," actors are low on the totem pole. If you’re a sensitive type who seems to require a lot of hand-holding, directors will look elsewhere. Soffer said that on the set of <i>Ugly Betty</i> what impressed him was that the actors came across as working <i>with</i> them, not<i> for</i> them. They came with answers, not questions. Project that.<br />
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<b>SPECIFICS FOR TELEVISION</b><br />
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Again, <b><span class="Apple-style-span" style="color: red;">the audition is a presentation of your personality</span></b>. The minute you walk into the room you have to be the one they want to hire. Walk in with a sense of belonging. <i>Want</i> to be there. Get pumped up.<br />
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<b><span class="Apple-style-span" style="color: red;">Don’t bother auditioning for roles that are not suited to your type.</span></b> You want directors to see you in roles where you are a possible fit, not wondering why you’re trying out for something so totally wrong for you.<br />
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If you’re given the sides beforehand, <b><span class="Apple-style-span" style="color: red;">memorize your lines</span></b> so you can concentrate on your actions and reactions. Soffer says 98 percent of those auditioning don’t have their lines memorized and having to repeatedly look down at the script is the kiss of death. Have the lines down cold and you immediately set yourself apart from the pack.<br />
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<b><span class="Apple-style-span" style="color: red;">Arrive looking your best</span></b> – the very best version of you. If you’re auditioning for a starring role, look like a star. If you’re auditioning for a character part, dress in context, but not in costume.<br />
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If you don’t get the sides until you arrive for the audition, at least the first 5 lines must be off book so step aside and memorize them quickly. During the audition, look up as much as you can. The eyes are a window to the soul. <span class="Apple-style-span" style="color: red;"> </span><b><span class="Apple-style-span" style="color: red;">They want to see your eyes.</span></b> If it makes sense in the scene, try to use the script as a prop – i.e. as a newspaper, letter, grocery list, etc. Do not, however, roll it up and wave it like a weapon or use it to punctuate your lines.<br />
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<b><span class="Apple-style-span" style="color: red;">Be 100 percent committed to your take on the character.</span></b> What jumps out at directors the most is the actor who says, “This is who I am and I can’t play it any other way.” (I was surprised when Soffer said that.)<br />
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<b><span class="Apple-style-span" style="color: red;">Pick up the pace</span>.</b> Television has to tell a story in 23 minutes, 43 minutes. The words need to come much faster. All characters have a sense of urgency. Americans naturally talk fast. Leave out the dramatic pauses. Throw away more lines instead of “acting” them. Come in on top of the reader’s lines. Directors are looking for a dynamic performance, more confidence, more personality.<br />
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<b><span class="Apple-style-span" style="color: red;">Don’t play a role, play yourself </span><span class="Apple-style-span" style="font-weight: normal;">reacting to what's happening.</span></b> They’re casting a whole person. Give them you.<br />
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If there is humor in the script, be sure to convey it. <b><span class="Apple-style-span" style="color: red;">Find at least four layers or “colors” of personality to play up in the scene</span></b> – curiosity, warmth, humor, wit, whatever – four different sides to the character. Find the comedy in the drama and the drama in the comedy. Your job is to convey as much as possible about yourself and your personality during the audition.<br />
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In developing the scene, <b><span class="Apple-style-span" style="color: red;">consider all of the elements</span></b>. Who are you talking to? Where is the scene taking place? What your relationship to the reader’s character? How are you connecting to that character with your lines? What is your opinion of what the reader’s character is saying? What changes during the scene?<br />
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As long as your relationship to the reader’s character feels real, just go with it. <b><span class="Apple-style-span" style="color: red;">Don’t exaggerate your reactions.</span> <span class="Apple-style-span" style="font-weight: normal;">Keep it dialed down.</span></b><br />
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Directors are looking for storytellers. <b><span class="Apple-style-span" style="color: red;">Make an emotional arc</span>.</b> If you start at one place emotionally, finish at another place. If you’re going with a strong emotion, build up to it. Don’t start with it and trail off.<br />
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<b><span class="Apple-style-span" style="color: red;">Glitches to avoid</span></b>: If you’re sitting during the audition, sit back in your chair. Don’t do the audition leaning forward with your elbows on your knees. If you’re standing up, don’t break “the wall” and advance on the reader. Don’t roll your eyes; it feels false. If the scene involves another person coming into the room or something that changes the dynamic, you must react to that. If there is stage direction in the script that requires a reaction, include it. Otherwise ignore it. After your last line, stay connected to the reader until the casting director speaks. Don't give the impression you can't wait to have it over with.<br />
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That’s it. A concise summary of tips to get you in the door. This was time well spent.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div>
Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-29757930553418689012018-11-20T20:28:00.000-08:002018-11-20T20:28:56.040-08:00Loving and Learning from Film<div dir="ltr" style="text-align: left;" trbidi="on">
I'm one of those who thinks that to succeed as an actor you have to live, breathe, and love film. You should swoon over lighting and close-ups. Marvel at the honesty in a moment's expression. After awhile you'll get a feel for what makes a scene work and, if it doesn't, why.<br />
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I just finished reading author/screenwriter <a href="https://www.imdb.com/name/nm0001279/?ref_=nv_sr_1" target="_blank">William Goldman's</a> wonderful book <a href="https://www.amazon.com/Which-Lie-Did-Tell-Adventures-ebook/dp/B00GVZMYVG/ref=sr_1_1?s=books&ie=UTF8&qid=1542774246&sr=1-1&keywords=which+lie+did+i+tell+william+goldman" target="_blank">Which Lie Did I Tell?</a>, which is a sequel to his equally wonderful <a href="https://www.amazon.com/Adventures-Screen-Trade-Hollywood-Screenwriting/dp/0446391174/ref=sr_1_1?s=books&ie=UTF8&qid=1542774290&sr=1-1&keywords=adventures+in+the+screen+trade+william+goldman" target="_blank">Adventures in the Screen Trade</a>. If you want a behind-the-scenes look at how Hollywood works, from the screenwriter's perspective, these two are a great place to start.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjCUIc8TTNYDrpKoArDbUjLI3d-nv4IuT81Apota21AhyphenhyphenVvZJqsYfOt7suvxXyESSHGL8xtAvaESmiAazNgIGR4lE9vZy8vJjrzJnO_ShM-QZ3Ybc1jgr51ifHrImsUV9jjbLKO9cEWuA/s1600/Charmed+Lives.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjCUIc8TTNYDrpKoArDbUjLI3d-nv4IuT81Apota21AhyphenhyphenVvZJqsYfOt7suvxXyESSHGL8xtAvaESmiAazNgIGR4lE9vZy8vJjrzJnO_ShM-QZ3Ybc1jgr51ifHrImsUV9jjbLKO9cEWuA/s1600/Charmed+Lives.jpg" /></a></div>
Move on to Hollywood biographies and autobiographies. <a href="https://www.imdb.com/name/nm0775977/bio?ref_=nm_ov_bio_sm" target="_blank">Budd Schulberg's</a> <a href="https://www.amazon.com/Moving-Pictures-Memories-Hollywood-Prince-ebook/dp/B008JVJIGE/ref=sr_1_1?s=books&ie=UTF8&qid=1542774095&sr=1-1&keywords=Moving+Pictures+Budd+Schulberg" target="_blank">Moving Pictures</a> (and his novel <a href="https://www.amazon.com/What-Makes-Sammy-Budd-Schulberg/dp/0679734228/ref=sr_1_1?s=books&ie=UTF8&qid=1542774141&sr=1-1&keywords=what+makes+sammy+run+by+budd+schulberg" target="_blank">What Makes Sammy Run?</a>) <a href="https://www.imdb.com/name/nm0000323/?ref_=nv_sr_1" target="_blank">Michael Caine's </a><a href="https://www.amazon.com/Whats-All-About-Paperback-Common/dp/B00FFBCP8Y/ref=sr_1_4?s=books&ie=UTF8&qid=1542774189&sr=1-4&keywords=what%27s+it+all+about+michael+caine" target="_blank">What's It All About?</a> <a href="https://www.imdb.com/name/nm0000027/?ref_=nv_sr_1" target="_blank">Alec Guiness's</a> <a href="https://www.amazon.com/s/ref=nb_sb_ss_i_6_16?url=search-alias%3Dstripbooks&field-keywords=blessings+in+disguise+alec+guiness&sprefix=blessings+in+dis%2Cstripbooks%2C369&crid=345MDZN1DMBFO" target="_blank">Blessings in Disguise</a>. <a href="https://www.imdb.com/name/nm0466107/?ref_=nv_sr_1" target="_blank">Michael Korda's </a><a href="https://www.amazon.com/Charmed-Lives-Romance-Michael-Korda/dp/0060085568/ref=sr_1_1?s=books&ie=UTF8&qid=1542773981&sr=1-1&keywords=charmed+lives+michael+korda" target="_blank">Charmed Lives</a>. So many others. Inspiring stories of struggle and providence and luck. I've read that <a href="https://www.imdb.com/name/nm0000541/?ref_=nv_sr_1" target="_blank">Bette Midler</a> is a collector of Hollywood biographies. So am I.<br />
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Tonight I'm indulging in two of my favorite films about the movie business. <a href="https://www.imdb.com/name/nm0000265/?ref_=nv_sr_1" target="_blank">Robert Altman's </a>brilliant 1992 film <a href="https://www.imdb.com/title/tt0105151/?ref_=nv_sr_1" target="_blank">The Player </a>and <a href="https://www.imdb.com/name/nm0398986/?ref_=nv_sr_1" target="_blank">George Huang's </a>1994 film <a href="https://www.imdb.com/title/tt0114594/?ref_=nm_flmg_dr_8" target="_blank">Swimming With Sharks</a>. Huang's is darker and edgier. Altman's more fun. Gripping without ever making you dislike any one character.<br />
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If you haven't seen these films, here's a peek at both.<br />
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Check out the commentary and special features. You'll learn a lot. </div>
Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-4576694430588360482018-11-07T19:10:00.000-08:002018-11-17T20:50:46.851-08:00Keep it Interesting<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHb3aGHz5VKOtogdY4vjbnLrn8YYjkXYliCNs_FeQgvj7q61u4WRiPy3zIW3WWLvB3seTqNsAgIWo3NcppZeK1rziwSttRgD2ahHN_hcMtj0bgmXbpmAsNIZKxCssoCzneikUxgznbYc/s1600/Nicholson.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="750" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHb3aGHz5VKOtogdY4vjbnLrn8YYjkXYliCNs_FeQgvj7q61u4WRiPy3zIW3WWLvB3seTqNsAgIWo3NcppZeK1rziwSttRgD2ahHN_hcMtj0bgmXbpmAsNIZKxCssoCzneikUxgznbYc/s200/Nicholson.jpeg" width="156" /></a></div>
<b>Actor story #1:</b> Early in the filming of <a href="https://www.imdb.com/name/nm0000040/?ref_=tt_ov_dr" target="_blank"><b>Stanley Kubrick's</b></a> 1980 horror classic <b><a href="https://www.imdb.com/title/tt0081505/?ref_=fn_al_tt_1" target="_blank">The Shining</a></b>, Kubrick stops star <a href="https://www.imdb.com/name/nm0000197/?ref_=tt_cl_t1" target="_blank"><b>Jack Nicholson</b></a> in the middle of a scene, saying "No, this isn't working."<br />
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"What do you mean?" says Nicholson. "You said you wanted it to be realistic."<br />
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"Well...yes. But it isn't interesting."<br />
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Nicholson made it interesting!<br />
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<b>Actor story #2:</b> From <a href="https://www.imdb.com/name/nm0000273/?ref_=fn_al_nm_1" target="_blank"><b>Alan Arkin's</b></a> wonderful autobiography <b><a href="https://www.amazon.com/Improvised-Life-Memoir-Alan-Arkin/dp/030681966X/ref=sr_1_1?s=books&ie=UTF8&qid=1541645302&sr=1-1&keywords=an+improvised+life" target="_blank">An Improvised Life</a></b>. Arkin relates how early his acting career he hit a wall. Nothing was working. He gets an offer out of the blue to join <b>Second City</b> in Chicago and decides to go, feeling he'd failed as an actor. Two years later he's back in New York and again submitting for roles. Only this time he thinks to himself, To heck with this! I'm tired of trying to figure out what casting wants. I'm just going to give them the most interesting version of me. Take it or leave it.<br />
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And he starts booking roles.<br />
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I've been thinking about these two stories this week because of a discussion I had in my drama class. I had re-taped a scene everyone in class had done weeks ago and the instructor wanted to know what I thought was working for me this time. Well, I said, what is really working is that this version is 100 percent more interesting than my initial take on it. And it was. I had taken a woman described in the script simply as "very frightened" and instead made her "unnerved" - a calculating woman whose criminal plans have gone off the rails and is now trying to avoid getting caught - and suddenly she was different from all of the other class interpretations. Suddenly she was...well...interesting!<br />
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As actors we often get into long discussions about being present, being specific, being believable and natural. We can parse a scene and say this is what my character is feeling and this is my relationship to the other characters and this is my objective and this is what the writer means to convey. These are all important considerations. But while all of our thoughts can be reasonably reasonable, our performance can still be ho-hum. Standard-issue.<br />
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It all comes back to that old question: what is meant by a "bold" choice? I think what it means is to find some small part of yourself in every character you play, and then to expand that small part into someone really interesting. Someone that elicits a visceral response from the audience.<br />
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If the script says your character is "(fill in the blank)" look the word up at <a href="http://thesaurus.com/">Thesaurus.com</a>. Here's what I found for "frightened."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Z6HMOJ54xfCFtfHpBOF6gwjutuSCk646_H7VdqjKVP4EpPnjm7HCoj1_o8__4gVtpRT2mqLH8Mr3AsoXljztd5OCti2JcBeihRgv9PvwX1xO46F5jg1GLsZAt2DA88JmE8r_hc1KKhY/s1600/Frightened.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Z6HMOJ54xfCFtfHpBOF6gwjutuSCk646_H7VdqjKVP4EpPnjm7HCoj1_o8__4gVtpRT2mqLH8Mr3AsoXljztd5OCti2JcBeihRgv9PvwX1xO46F5jg1GLsZAt2DA88JmE8r_hc1KKhY/s400/Frightened.jpeg" width="400" /></a></div>
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There is no one way of interpreting the word "frightened." In fact, there is a huge range of characters here! Find yourself somewhere in your list and run with it.<br />
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Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com0tag:blogger.com,1999:blog-397012265742311196.post-25676738417407394902018-09-07T14:29:00.000-07:002019-04-13T12:33:15.841-07:00Acting Tips: Finding an Agent in Los Angeles<div dir="ltr" style="text-align: left;" trbidi="on">
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Okay, you’re in Los Angeles and looking for representation, that key factor in getting a shot at roles in top-of-the-line film, television, commercials, etc. Thousands of LA actors are looking for agents, and even among union actors fewer than half reportedly have one. People in this business will tell you it’s hard to get an agent – especially a union-approved agent – and it is. That shouldn’t deter you. Many factors enter into an agent’s decision to represent you, including your age and type (and how often those come up in casting), as well as acting talent and experience. Don’t second-guess the agent, or yourself.<br />
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A good resource on the LA actor’s experience is <b><i><a href="https://www.amazon.com/Agent-Tells-All-Tony-Martinez-ebook/dp/B00AAD5J9E/ref=mt_kindle?_encoding=UTF8&me=&qid=1536353208" target="_blank">An Agent Tells All</a></i></b> by Tony Martinez, a long-time pro in the Los Angeles market. You can get it in hard copy or for Kindle and Chapters 7 and 8 speak specifically to this issue of getting an agent. You’ll find much more information there, including tips on how to handle the all-important agent interview.<br />
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Another resource, very useful from the practical standpoint of who to contact, is at <b>Backstage magazine</b> online. First a very good guide to agents - what they are and what they do - <a href="https://www.backstage.com/magazine/article/how-to-get-an-acting-agent-67635/" target="_blank"><b>here</b></a>. (Also check out other useful guides <a href="https://www.backstage.com/magazine/series/backstage-guides/" target="_blank"><b>here</b></a>. Good stuff!) Then the Backstage Call Sheet, available <a href="https://www.backstage.com/magazine/article/call-sheet-entertainment-industry-resource-directory-1672/" target="_blank"><b>here</b></a>. The Call Sheet tells you what agencies are accepting submissions (some are closed and some only take referrals) and how they want to see your material. Hugely helpful. (See other Backstage resources <b><a href="https://www.backstage.com/resources/" target="_blank">here</a></b>.) Many agencies prefer actors to submit online, which makes it easier for them (and you too!)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_D98Z0Oh2j9peVCfvGm1H0QaSB-2JjMYEufvh8z6oymmMtH7OkbzQYea_VkytneboF8Dgp4YgOy1Eh0MoMwdyLiUlOaCREk7k0qgO35Ht1cb9bx8ZYR2tAviqwM5S2y4x7mrDHxdLGRU/s1600/Backstage+Call+Sheet.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="612" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_D98Z0Oh2j9peVCfvGm1H0QaSB-2JjMYEufvh8z6oymmMtH7OkbzQYea_VkytneboF8Dgp4YgOy1Eh0MoMwdyLiUlOaCREk7k0qgO35Ht1cb9bx8ZYR2tAviqwM5S2y4x7mrDHxdLGRU/s320/Backstage+Call+Sheet.jpeg" width="205" /></a></div>
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If you don't have an IMDb Pro account online you should get one, because it gives you access to tons of information about specific talent agencies, as well as ratings, links to agency websites and email addresses for specific agents.<br />
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But let’s not get ahead of ourselves.<br />
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<b><span style="color: #e06666;">What to have ready:</span></b><br />
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Photos: You’ll want to pull together a selection of headshots for comedy and drama and 3/4 to full body shots for commercials (I leave all of mine unretouched). On the East Coast they also ask for candids, but I've noticed that in Los Angeles they often ask for "lifestyle" shots, which are professional photos of a relaxed, casual scene with you and possibly one or more others in the shot. Since I'm new to Los Angeles I initially sent in the candids, but made a mental note to have lifestyle shots taken in my next round of professional photos. Be sure you have your photos as both prints and .jpg files.<br />
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Links to your profiles at Actors Access, LA Casting, and IMDb.com. The first two allow you to set up a link that will take agents directly to your information without having to log in. Be sure you have set that up before you get started. Also an actor résumé in a .pdf file that you can print. You can find appropriate formats online.<br />
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A short cover note. Two to three sentences. Don't repeat information on your résumé. Keep it professional, but friendly. This is a business. The only reason for taking you on as a client is if you have earnings potential.<br />
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A video demo reel with five minutes or less of your best acting (where it appeared is less important than how well you performed.) At LA Casting you can link individual clips to your profile credits. For snail mail you can put this on a DVD, but also upload your demo to Vimeo or YouTube for those agencies that want a demo submitted online.<br />
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An mp3 file of your audio demo reel if you plan to submit for a commercial and/or voice agent. This can go on a CD if you're mailing it.<br />
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That’s all you need. No gimmicks, no gourmet food baskets, no touting yourself as the next Meryl Streep/Tom Cruise.<br />
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<b><span style="color: #e06666;">Where to send it:</span></b> You’ve got your headshots, you’ve compiled a respectable list of film, television, and theater credits, and you’ve got clips you’re proud to show. Now you’re ready to start submitting your material to agencies. But which agencies? Not every agency is suited to your specific type and goals.<br />
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If you're a relative unknown, Martinez suggests trying for a commercial agent first, since it can be easier to get your foot in the door with an agency there. I think that's a good strategy if commercials are among the gigs you're looking to book. Once you have a commercial agent, then you might look within that same agency for a theatrical agent or voice agent, or seek a separate agency that specializes in voice or theatrical representation.<br />
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SAGAFTRA posts lists to their website of union-franchised agencies all over the country, and those from the AFTRA side typically have coded indicators as to what kind of performers they’re looking to represent (children, adults, comedians, ethnic types, etc.) or projects for which they’re frequently submitting (commercials, daytime drama, foreign/international, and so on). See below.<br />
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<tr><td class="tr-caption" style="text-align: center;">AFTRA Specialty Codes for Talent Agencies</td></tr>
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Another strategy is to make a list of strong supporting actors who are in your age range, but not the same type (you don’t want to be in conflict with an established client). Look up each one on <a href="https://www.imdb.com/" target="_blank">IMDb</a>. Are they getting more work? What kind? How often? If you’re impressed with what you see, find out who represents them (if you've subscribed to IMDbPro you'll see the agency). Note the agency’s ratio of clients to agents; more than a hundred or so could be a red flag. This is a business for them AND for you. You want an agent who has the time to work with you to build a lucrative career for you both.<br />
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<b><span style="color: #e06666;">Referrals:</span></b> If you can get a referral to an agent, open your cover note with that. It has to be genuine because the agent will likely check. It can be a referral from those inside or outside of the business as long as they know the agent personally. It can be a referral from the agent’s assistant, if you two have developed a friendly relationship. Martinez says that a referral from an acting teacher only counts if the teacher is willing to pick up the phone and call; in other words, put their reputation on the line for you. If they’re not willing to do that, leave teacher referrals off. That makes sense to me.<br />
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<b><span style="color: #e06666;">When to submit:</span></b> Tony Martinez says agents are always looking for new faces, but the best months to make contact are April, May, and June, after Pilot Season when agents are catching their breath and looking for new faces to fill holes in their client base. Avoid December, he says. Not only are people distracted by the holidays but they’re beginning to look ahead to Pilot Season and what that will entail.<br />
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Whether mailing or emailing, Martinez suggests sending out five submissions a week (one a day) until you sign with an agent. Again, if it's a blind contact (no referral), be sure to address your materials to a specific agent by name. Here's why: I - like most actors - get spammed from time to time with emails from agencies saying they’ve seen my clips on Actors Access (or some other site), they loved what they saw, and they’d like to have me come in to discuss representation. If the email doesn't open with “Dear Kathryn” I delete it. An agent feels the same way.<br />
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So <u>unless the agency site instructs you otherwise</u>, yes address your materials package to a specific agent if you want someone to actually look at it. If you don’t get a response within four to five weeks, feel free to then send your materials to a different agent at that same agency. Never to more than one agent at the same agency at the same time.<br />
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<b><span style="color: #e06666;">What helps to set you apart:</span></b> A professional attitude (positive, friendly, cooperative, workmanlike) and a unique look that people remember. You don’t have to be drop-dead gorgeous or have rippling muscles to be a successful actor. Consider that <a href="https://www.imdb.com/name/nm0001679/?ref_=nv_sr_1" target="_blank">Mark Rolston</a>, <a href="https://www.imdb.com/name/nm0411964/?ref_=fn_al_nm_1" target="_blank">Zeljko Ivanek</a>, <a href="https://www.imdb.com/name/nm0040739/?ref_=fn_al_nm_1" target="_blank">Jayne Atkinson</a>, <a href="https://www.imdb.com/name/nm0005173/?ref_=fn_al_nm_1" target="_blank">Roma Maffia</a>, and thousands of others who don't look like <a href="https://www.imdb.com/name/nm0000210/?ref_=fn_al_nm_1" target="_blank">Julia Roberts</a> or <a href="https://www.imdb.com/name/nm1517976/?ref_=fn_al_nm_1" target="_blank">Chris Pine</a> nevertheless have fantastic acting careers.<br />
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Another thing that helps is comedy experience, particularly ensemble sketch comedy and Improv, because these showcase your acting skills and how you work with others. There’s lots of work for someone who can make people laugh, so if you’ve got it, flaunt it.<br />
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<b><span style="color: #e06666;">What to do while waiting to be signed?</span></b> Keep building your experience and sending out résumés. If an agent says no but stay in touch, then STAY IN TOUCH! Send regular updates on the work you’re doing. Don’t assume he/she is just brushing you off. Their needs may change over time, and you will doubtless be getting better.<br />
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If an agent just says no, consider that there are lots of reasons why an agent may pass on you that are unrelated to your acting ability. Your age, type, and experience may not be in sync with what the agency is casting at the moment. They may already have too many actors on their rolls who are similar to you (which is why you research an agency and its client base first). There may be little chemistry between you and the agent (hey, not everybody clicks), in which case try another agent at that same agency. The word I hear now in LA is that agencies are looking for more "ethnic" types. If you're NOT an ethnic type, don't worry. Eventually the need is filled and they they start looking for something else.<br />
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Most important, believe in your talent. Legend has it that an agent once brushed off a potential client, saying “Who’s gonna hire a 4 ft. 11-inch character actor?” A reasonable thing to ask you say, unless of course the young actor is <a href="https://www.imdb.com/name/nm0000362/?ref_=fn_al_nm_1" target="_blank">Danny DeVito</a>.<br />
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That agent lost A LOT of money.</div>
Kathryn Browninghttp://www.blogger.com/profile/14839673695944682802noreply@blogger.com1