Is it really even a question? (Insert bad Shakespearean follow-up joke of your choosing here)
I'm going to break from my routine to talk about something that may ruffle a few feathers in Twitter-land. This is Twitter-specific, but the principles that I talk about here apply pretty much everywhere. What I'm talking about is a trend that I've noticed most amongst my fellow actors, and it's one that I find a wee bit troublesome.
It's the "I have tons of followers and I don't follow anyone back" syndrome (Gotta find a shorter name for that).
I'm not talking about celebrities, here. That's a completely different topic, and one that I doubt I'll ever address in my blog. I'm talking about working actors or trying-to-work actors or just-starting-out actors. Us. The family of artists engaged in performance for theatre, film and television.
I get it. We don't want to follow 'bots. We don't want to muddy up our stream. We maybe don't even understand exactly how Twitter really works (and that's okay, by the way... we just want to figure it out at some point, right?).
But here's how it looks, guys. It looks like we just don't care about our followers.
Actors already have a bad rap as being at best self-focused, at worst painfully narcissistic. Do we really want to perpetuate that? Really?
I would guess that very few of us consciously set out to do this. But on some subconscious level, we see the famous actors who have hundreds of thousands (or even a million plus) followers and follow 12, and we want it. We're actors for a reason. We seek the limelight.
Doesn't mean we have to be jerks.
I'll let you in on something. I auto-follow. It's my not-so-dirty little secret. I also have an automated series of direct messages for those that start following me.
I know, there are some pretty strong feelings about that out in the Twitter-verse. Automation=robot. But, as you can pretty clearly see, I'm not (nor have I ever been, as far as I know) mechanical in anything other than my prose. ;)
Now, I'm not telling everyone that they should be doing this, too, but let me explain my reasons. I want anyone that follows me to immediately feel welcomed. I want them to feel included. And I want them to know that I'm here to interact with them. Am I perfect about it? No way! Do I try to be kind? Yes. And I hope that it shows.
I'm here to build a community of like-minded artists. I'm here to create ties and establish mutually beneficial friendships and acquaintances. And maybe to help, if I can. To encourage actors to stay the course. To not give up. To not fall prey to discouragement.
That can't really happen if people don't feel like this is a warm and safe place.
As for the 'bots, we can always unfollow them if they get annoying. It's not hard. When you do, they usually go away. If someone gets really aggressive, block 'em! Feel like your stream's getting too muddied? That's what the lists are for. Put your faves in a list so that you can check in on just them. It's not complicated. Even for the most technophobic amongst us.
You also may notice that if you don't follow me back when I follow you, I'll give you a chance for a while, but will ultimately let you go. We just aren't a fit. We want different things. It's not you, it's me. Okay, really it's you, but I'm not judging. ;)
One final point. Look at other people's profiles. What immediately comes to mind when you see that they have 512 followers and they're following 41? Be honest with yourself. What does it say?
I'm not asking you to buy into my philosophy completely. I do hope that this will make you think about what you're really doing here. Are you here for fun? Then do what you like (even there, my thought is, "The more the merrier," but hey...). Is it for ego? Again, do what you like (although if you follow back, you'll find that you grow much faster). Is it to vent? (Ahem. Misery loves company. Enough said.)
But if you're here to network, to find other actors, to find inspiration...
Then maybe, just maybe, you'll join me on the follow-back bandwagon!
Thursday, April 15, 2010
Sunday, April 11, 2010
Objectives and Internal Obstacles
One of the things that I love about acting is that it helps us to learn about human nature. Some of the things we learn are a little uncomfortable, at times, but they're always worthwhile.
Here's one of the things that's absolutely true: every time we open our mouths, we have a reason for doing so. We have an objective. We want something from the other person. And knowing what that want is tells us more about ourselves than any other piece of information. Same for any character we ever play.
Oh, here's the other thing. When we speak, we're always trying to convince someone of something. Every single time. If we tell a joke, we're trying to convince everyone that we're funny or interesting. If we give an answer in class, we're trying to convince the teacher that we're engaged or that we know what we're talking about.
A typical objective statement is, "I want..." But when we add the words "to convince" it becomes so much more specific. "I want to gain her love" is a great objective statement for a character, but "I want to convince her to love me" seems so much more direct to me. It allows us to really get behind the statement and PUSH for that objective.
Now, here's the part that we usually have no idea what to do about. We know exactly what to do while we're talking, but what in the WORLD do we do when it's not our line??!!?? Yeah, I know, we're told to listen, but that doesn't seem very active, now, does it? We end up losing the thread of connection during those moments, our attention drifting off to such pressing questions as, "What am I doing with my hands right now?" You know, really important stuff like that.
Here's where we need some humanity. I truly believe that one of the things that makes us beautifully human is our ability to doubt ourselves. We're pretty sure that 1+1=2, right? But if Stephen Hawking were to prove to us otherwise with all sorts of fancy algorithms and pretty formulas, wouldn't we at least start to question it? And if we can question that, we can question just about anything.
For every objective, there has to be an internal obstacle. Something that makes us doubt ourselves, at least a little bit. Because if there weren't, I'm pretty sure we'd never shut up. Why do we listen to the other person in an argument? Because we're not completely sure we're right, and we want to hear their points (at least to be able to fight against them). When someone is so sure of themselves that they stop listening completely, doesn't it kind of feel like they've lost part of their humanity?
Right now, I want to convince you that I know what I'm talking about. But I also have an internal obstacle, which could be the fear that I won't be able to explain myself well enough, or that I'm afraid I'm a fraud. That fear allows me to do something active if we're playing out a scene. Because we're good actors and we know what we're doing, we've clarified the conflict, so our objectives are exact opposites of one another. So while you're trying to convince me that I don't know what I'm talking about, I'm playing my internal obstacle that I'm afraid I'm just a fraud. Now I'm active in every moment.
The objective grounds us in the reality of the scene. The internal obstacle humanizes us. That's not all, but I think it's probably enough for the moment. Next week's podcast will explore this in greater detail. Hope this helps! Now, go out and act! :)
Here's one of the things that's absolutely true: every time we open our mouths, we have a reason for doing so. We have an objective. We want something from the other person. And knowing what that want is tells us more about ourselves than any other piece of information. Same for any character we ever play.
Oh, here's the other thing. When we speak, we're always trying to convince someone of something. Every single time. If we tell a joke, we're trying to convince everyone that we're funny or interesting. If we give an answer in class, we're trying to convince the teacher that we're engaged or that we know what we're talking about.
A typical objective statement is, "I want..." But when we add the words "to convince" it becomes so much more specific. "I want to gain her love" is a great objective statement for a character, but "I want to convince her to love me" seems so much more direct to me. It allows us to really get behind the statement and PUSH for that objective.
Now, here's the part that we usually have no idea what to do about. We know exactly what to do while we're talking, but what in the WORLD do we do when it's not our line??!!?? Yeah, I know, we're told to listen, but that doesn't seem very active, now, does it? We end up losing the thread of connection during those moments, our attention drifting off to such pressing questions as, "What am I doing with my hands right now?" You know, really important stuff like that.
Here's where we need some humanity. I truly believe that one of the things that makes us beautifully human is our ability to doubt ourselves. We're pretty sure that 1+1=2, right? But if Stephen Hawking were to prove to us otherwise with all sorts of fancy algorithms and pretty formulas, wouldn't we at least start to question it? And if we can question that, we can question just about anything.
For every objective, there has to be an internal obstacle. Something that makes us doubt ourselves, at least a little bit. Because if there weren't, I'm pretty sure we'd never shut up. Why do we listen to the other person in an argument? Because we're not completely sure we're right, and we want to hear their points (at least to be able to fight against them). When someone is so sure of themselves that they stop listening completely, doesn't it kind of feel like they've lost part of their humanity?
Right now, I want to convince you that I know what I'm talking about. But I also have an internal obstacle, which could be the fear that I won't be able to explain myself well enough, or that I'm afraid I'm a fraud. That fear allows me to do something active if we're playing out a scene. Because we're good actors and we know what we're doing, we've clarified the conflict, so our objectives are exact opposites of one another. So while you're trying to convince me that I don't know what I'm talking about, I'm playing my internal obstacle that I'm afraid I'm just a fraud. Now I'm active in every moment.
The objective grounds us in the reality of the scene. The internal obstacle humanizes us. That's not all, but I think it's probably enough for the moment. Next week's podcast will explore this in greater detail. Hope this helps! Now, go out and act! :)
Sunday, April 4, 2010
Our Package
Before you get your knickers in a twist, I'm talking about our marketing package (jeesh, get your mind out of the gutter already--mine's already there and it's getting way too crowded).
"What is our marketing package," you ask? Quite simply, it's the collection of tools that we, as actors, need to use to get ourselves and our brand out there. Didn't know you were a brand? Well, you are, and the sooner that you realize that and start consciously controlling it, the quicker you can start seeing more rapid results. By the way, I'm talking specifically to actors right now, but the branding and marketing is true for any artist these days. The tools are slightly different, but the principles are the same.
So, what do we need? Well, anyone that's serious about acting definitely needs a headshot. No brainer, right? Well, yes... mostly. Most actors know that they need a headshot. Some aren't fully aware of the fact that they need to be professional quality headshots. There is a distinct difference between headshot photography and portrait photography. Knowing what those differences are is what makes the difference between a good photographer and a good headshot photographer.
There are also some differences in what individual markets look for in headshots. In LA, your headshots are now expected to be in color. My guess is that most other places will follow suit within the next few years (it just makes sense, as skin tone and hair/eye color is kinda important info for casting purposes), but currently I know that black & white headshots are still the norm in the UK. I'll be honest. I'm jealous of the Brits. I love B&W photos, and wish they were still the standard here. But, sadly, they're not.
So, here's the deal. Hire a professional. Period. This is not the time to skimp. I know, I know. We're all poor, starving artists. I get it. Honestly, if you can't afford it, get a second (or third or fourth) job, eat ramen and frozen burritos for a while. Sell plasma. Whatever. Find a way to come up with the money for the shots.
Here's the other part of that: we need to do our homework. Want to know what professional headshots look like? Do a Google search for headshots. Look at different sites. I don't mean look at one or two. I mean look at dozens and dozens. Hundreds of headshots. See what it is that those shots have in common. See what it is that appeals to you. Then see which of those photographers work in or close to your area, compare their rates, find one in your budget range and set up an appointment.
Next on the agenda is resumes. They are part and parcel with the headshot. You can't really have one without the other. It's important that your resume is formatted properly for your market. Typically, in NYC, your theatre credits will be first, as NYC is a more theatre oriented town. In LA, your film and television credits are front and center.
What do you do when you don't have credits? Go and get them!! I know that it may not seem possible to just go out and do it, but there are all kinds of student, low-budget and no-budget projects (both film and theatre) that will allow you to build up your resume and gain invaluable experience at the same time. It's true that without an agent it can be tough (if not impossible) to get professional auditions for tv and film, but auditioning for these other projects is doable at pretty much any level.
And then on to the demo reel. Casting directors need to know whether or not you can act. Training is important (hugely important) if you're interested in having a lifelong career as an actor. Here's the brutal reality: not everyone in the industry cares. Coming out of certain acting programs can get you in the door, but at the end of the day, it's your product that will get you called back. And a reel can tell a pretty convincing story of what level of acting skill you have.
Here's where professional product is once again vital. You need a professionally edited reel. I know you think you can rock iMovie on your Mac, but unless you have extensive training in Avid or Final Cut, I would highly recommend that you hire a pro. In fact, if your footage comes from mostly student or low-budget projects, it's even more important that the person editing the footage together really, really knows what they're doing.
I've given you a LOT of information, hopefully information that will help you to assess where you are right now, and where you want to go next. One of the things that can be pretty frustrating about the biz is the lack of immediate feedback. We keep plugging away, things aren't going the way we want, but we have little to no idea whether or not we're doing things right or if the tools we're using are the correct ones.
That is one of the reasons I got so excited when I talked to Lindsay Chag, a casting director that I've worked with before on several occasions, and she expressed interest in working with me on the Headshot Tuesday idea. Lindsay has worked in the industry for a long time (20+ years) and her imdb list of credits is here: http://bit.ly/dt6YTT.
The packages are these:
The basic package ($25) includes:
A professional casting director will critique your headshot and give you a ten point analysis:
1. Is this a professional grade headshot? Does it scream PRO or #notsopro?
2. At first glance what category of actor do you appear to be (lead, ingenue, character, etc.)?
3. If she had been casting, which type of roles would this headshot have been good for (horror vs. comedy vs. serious drama)?
4. Are your hair, wardrobe and background reinforcing your brand or taking away from it?
5. If indicated, which other types of headshots would she recommend (Dramatic? Hair up or down? More character-oriented)?
6. Do your eyes have that 'it' factor she talked about in the workshop?
7. What specific recommendations would she make to get that 'it' factor in the eyes?
8. Had this headshot crossed her desk, would she have requested more info?
9. How could you capture her attention more thoroughly?
10. On a scale of 1-10 (in the category YOU chose as your primary) where does she rank you?
For the advanced package ($50)...
You get all of that for 3 total headshots.
Plus you get the former Director of Acting for Film for The New York Film Academy at Universal Studios (that's me!) to review your resume and give you a five point analysis that includes:
1. Does the resume look professional? Are there spelling errors? Formatting errors? Wacky fonts that draw attention away from you?
2. Do you have the right balance of credits? Theatrical vs Film
3. Does your resume reflect your stated goal? Character vs Lead
4. Do you have enough dialects? Special skills?
5. On a scale of 1-10 where does he rank you (with at least 5 pointers on how to improve that score!)
The complete package ($75) includes all of that plus...
Both Lindsay and Ben review your reel and give you a detailed analysis along with at least 10 practical pointers on how to tighten and punch up your reel
1. An honest critique of the skill level indicated by the acting on the reel.
2. An assessment of the next steps to take to continue to develop your talent.
3. A critique of the professionalism/production values of the reel, including the editing.
4. A plan to follow to flesh out your reel.
5. A comparison of the reel to the rest of the package (headshots, resume, biz card, etc.) to make sure your brand is strong.
6. Ways in which to utilize your reel to it's fullest potential.
7. Whether or not your reel in its present form will serve you in the industry.
8. After reviewing this reel, would you be more or less likely to be called in for an audition?
9. What can you do to improve upon that impression?
10. On a scale from 1-10, where would Lindsay and Ben rank your reel?
A professional casting director will critique your headshot and give you a ten point analysis:
1. Is this a professional grade headshot? Does it scream PRO or #notsopro?
2. At first glance what category of actor do you appear to be (lead, ingenue, character, etc.)?
3. If she had been casting, which type of roles would this headshot have been good for (horror vs. comedy vs. serious drama)?
4. Are your hair, wardrobe and background reinforcing your brand or taking away from it?
5. If indicated, which other types of headshots would she recommend (Dramatic? Hair up or down? More character-oriented)?
6. Do your eyes have that 'it' factor she talked about in the workshop?
7. What specific recommendations would she make to get that 'it' factor in the eyes?
8. Had this headshot crossed her desk, would she have requested more info?
9. How could you capture her attention more thoroughly?
10. On a scale of 1-10 (in the category YOU chose as your primary) where does she rank you?
For the advanced package ($50)...
You get all of that for 3 total headshots.
Plus you get the former Director of Acting for Film for The New York Film Academy at Universal Studios (that's me!) to review your resume and give you a five point analysis that includes:
1. Does the resume look professional? Are there spelling errors? Formatting errors? Wacky fonts that draw attention away from you?
2. Do you have the right balance of credits? Theatrical vs Film
3. Does your resume reflect your stated goal? Character vs Lead
4. Do you have enough dialects? Special skills?
5. On a scale of 1-10 where does he rank you (with at least 5 pointers on how to improve that score!)
The complete package ($75) includes all of that plus...
Both Lindsay and Ben review your reel and give you a detailed analysis along with at least 10 practical pointers on how to tighten and punch up your reel
1. An honest critique of the skill level indicated by the acting on the reel.
2. An assessment of the next steps to take to continue to develop your talent.
3. A critique of the professionalism/production values of the reel, including the editing.
4. A plan to follow to flesh out your reel.
5. A comparison of the reel to the rest of the package (headshots, resume, biz card, etc.) to make sure your brand is strong.
6. Ways in which to utilize your reel to it's fullest potential.
7. Whether or not your reel in its present form will serve you in the industry.
8. After reviewing this reel, would you be more or less likely to be called in for an audition?
9. What can you do to improve upon that impression?
10. On a scale from 1-10, where would Lindsay and Ben rank your reel?
One of the reasons that I'm so excited to be working with Lindsay on this is that this is exactly what I wish I had access to when I first came out to Los Angeles. I spent so much time spinning my wheels, not knowing that my package wasn't exactly what it needed to be. And I had come out of one of the top five acting grad schools in the nation! I knew how to act. I did NOT know how to market.
For anyone that is interested in this amazing service, please send me a direct message at @actingnodrama or email me at actingwithoutthedrama (at) gmail (dot) com for the details. And whether or not you decide to take advantage of this offer, please take my advice when I tell you to get professional-level products for your marketing package! :)
Sunday, March 28, 2010
Conflict 101
After a couple of blogs about social media, I though maybe (just maybe) it was time for some... I dunno... acting content or something. I know, I know. I'm crazy like that.
Here are some of my thoughts on the craft. I'm going to run down a list of some of the basics for you, in a way that makes sense to me. Some of this may be super basic for you experienced actors out there, but it's always great to get another perspective on things.
First, good acting has all of what I call the three C's of acting: connection, communication and commitment. Today I'm going to talk about communication. Specifically about one aspect of communication: finding and clarifying conflict.
What is our job as an actor? Well, the way I see it, one of our jobs is to identify the central point of conflict in a scene, crystalize it and intensify it. I can't overemphasize this point: conflict is what makes an audience watch something. Why is football more interesting than golf? The conflict is clearer. Which would you rather watch, a sprint or a marathon? The sprint has more immediate conflict.
Why do men and women typically like different kinds of films? Because we see conflict in different ways. A guy says he just got into a fight and there's generally blood on the floor. Ask a woman about the fight she just had, and she'll describe a verbal barrage that left her opponent emotionally shattered. Different kinds of conflict, different films.
How do we know what the central conflict is? Well, that can be a tough one, and is open to a fair amount of interpretation. When in doubt, ask the director. But as we're practicing our craft, we need to learn how to read scripts to find the conflict.
Most trained actors know to use objectives. We figure out what our character wants and then we pursue it. Generally, it's phrased like this: "I want...." That's a great start. But what happens when one character wants five dollars and the other wants help with homework? There's no clear conflict, so essentially, they end up acting in scenes that are almost separate from one another.
A tool that I've found immensely helpful is to simply add two words to the phrase. "To convince." Every time we open our mouths we are trying to convince someone of something. Every single time. And in order to find the central conflict, we need to find the two opposing objectives. As an example: Romeo wants to convince Juliet that they need to act on their love right now. Juliet wants to convince Romeo that they don't need to act on their love immediately. Now we can play out the balcony scene with conviction and... CONFLICT!
Intensifying the conflict sparks our creativity. We come up with tactics (ways to accomplish our objective) naturally, organically. In other words, our bodies tell us without us having to think about it during performance.
There's so much more that I could say on this topic, but this is turning into a novel. So, for now, do pretty much the opposite of what we do in real life. Seek out the conflict and put it out there front and center! Your audience will thank you for it.
Here are some of my thoughts on the craft. I'm going to run down a list of some of the basics for you, in a way that makes sense to me. Some of this may be super basic for you experienced actors out there, but it's always great to get another perspective on things.
First, good acting has all of what I call the three C's of acting: connection, communication and commitment. Today I'm going to talk about communication. Specifically about one aspect of communication: finding and clarifying conflict.
What is our job as an actor? Well, the way I see it, one of our jobs is to identify the central point of conflict in a scene, crystalize it and intensify it. I can't overemphasize this point: conflict is what makes an audience watch something. Why is football more interesting than golf? The conflict is clearer. Which would you rather watch, a sprint or a marathon? The sprint has more immediate conflict.
Why do men and women typically like different kinds of films? Because we see conflict in different ways. A guy says he just got into a fight and there's generally blood on the floor. Ask a woman about the fight she just had, and she'll describe a verbal barrage that left her opponent emotionally shattered. Different kinds of conflict, different films.
How do we know what the central conflict is? Well, that can be a tough one, and is open to a fair amount of interpretation. When in doubt, ask the director. But as we're practicing our craft, we need to learn how to read scripts to find the conflict.
Most trained actors know to use objectives. We figure out what our character wants and then we pursue it. Generally, it's phrased like this: "I want...." That's a great start. But what happens when one character wants five dollars and the other wants help with homework? There's no clear conflict, so essentially, they end up acting in scenes that are almost separate from one another.
A tool that I've found immensely helpful is to simply add two words to the phrase. "To convince." Every time we open our mouths we are trying to convince someone of something. Every single time. And in order to find the central conflict, we need to find the two opposing objectives. As an example: Romeo wants to convince Juliet that they need to act on their love right now. Juliet wants to convince Romeo that they don't need to act on their love immediately. Now we can play out the balcony scene with conviction and... CONFLICT!
Intensifying the conflict sparks our creativity. We come up with tactics (ways to accomplish our objective) naturally, organically. In other words, our bodies tell us without us having to think about it during performance.
There's so much more that I could say on this topic, but this is turning into a novel. So, for now, do pretty much the opposite of what we do in real life. Seek out the conflict and put it out there front and center! Your audience will thank you for it.
Sunday, March 21, 2010
Getting More Involved
A lot of you are joining me via Twitter or Facebook, some of you due to #MentionMonday on Twitter. So, here's the uncomfortable question that I need to ask you. What are you doing here?
Don't get me wrong. I'm not criticizing. I know there are many who say that if you're spending time on Twitter or Facebook or MySpace, etc., you're wasting time... taking time away from developing your career as an actor, writer, filmmaker, etc. They may be right.
They don't have to be.
Here's the truth: social media can change the way you network. There are a lot of people using social media. With Twitter particularly, you can drive traffic to your blog or website, that has content that YOU control (headshot, resume, reel, bio, etc.). You can develop a presence that goes beyond what you can achieve by doing drop offs all day in LA.
There are a lot of different ways for you to develop a following here, but the main idea is this: your tweets are a little bit like a television station. You want good content, not just commercials. If every other tweet is plug for your website, that's just rude. Give your thoughts, your ideas, you. Let everybody know what you're thinking. Some will respond.
Numbers mean something in the industry. Lots of followers=attention. You can also target who you go after and WHEN you go after them (after you have numbers, for example).
Also, just as a side note, follow back the people who follow you. It's just polite. If they end up spamming you, unfollow them or even block them if you want. But if they're liking what you're putting out there, be kind and let them know you're a part of the action. I know that it seems like having lots of followers without following makes you look important. Really what it tells anyone that knows Twitter is that you're kind of a jerk. #justsayin :)
So, be here, but if you're gonna be here, really BE HERE! And welcome! It's a fun ride. :)
Don't get me wrong. I'm not criticizing. I know there are many who say that if you're spending time on Twitter or Facebook or MySpace, etc., you're wasting time... taking time away from developing your career as an actor, writer, filmmaker, etc. They may be right.
They don't have to be.
Here's the truth: social media can change the way you network. There are a lot of people using social media. With Twitter particularly, you can drive traffic to your blog or website, that has content that YOU control (headshot, resume, reel, bio, etc.). You can develop a presence that goes beyond what you can achieve by doing drop offs all day in LA.
There are a lot of different ways for you to develop a following here, but the main idea is this: your tweets are a little bit like a television station. You want good content, not just commercials. If every other tweet is plug for your website, that's just rude. Give your thoughts, your ideas, you. Let everybody know what you're thinking. Some will respond.
Numbers mean something in the industry. Lots of followers=attention. You can also target who you go after and WHEN you go after them (after you have numbers, for example).
Also, just as a side note, follow back the people who follow you. It's just polite. If they end up spamming you, unfollow them or even block them if you want. But if they're liking what you're putting out there, be kind and let them know you're a part of the action. I know that it seems like having lots of followers without following makes you look important. Really what it tells anyone that knows Twitter is that you're kind of a jerk. #justsayin :)
So, be here, but if you're gonna be here, really BE HERE! And welcome! It's a fun ride. :)
Sunday, March 14, 2010
Putting Our Stuff Out There
Most actors laugh inwardly whenever someone says, "But you're an actor. You don't know what it means to be shy!" We may handle it in different ways than others, but there are a lot of shy performers out there. I'm one of them.
So when it comes to self-promotion, we clam up. We're fine when we have our lines given to us, but this is real life, gosh-darn-it. "No one can expect me to know what to say or do. I'm an actor, not a talker!"
This is a problem, seeing as how the business of acting really is a business. We need to be our own marketing team, at least until we can afford to hire one. And even then, they won't care about our careers nearly as much as we do.
What to do, what to do????
Well, I've come up with one idea to get us in the practice of putting our best foot (foots, feet... you get the idea) forward. It's a brilliant, brilliant idea if-I-do-say-so-myself. It is called (drum roll please) #HeadshotTuesday. It's a wonderful way for us to help one another and to walk the walk, instead of just talking the talk. You're probably on Twitter. If not, get on. No, seriously. Right now.
I know, I know, I said it too. 140 characters? That's just dumb.
Turns out, it's not. It's one of the best marketing tools since they started hawking wares on the boob tube. So get with it! If you're already on, great. All's you gotta do is upload your digital headshot to Twitpic. Then post a tweet with the link and #HeadshotTuesday or #HSTues. Every time you see #HeadshotTuesday, retweet it to your followers, then follow the link, look at the headshot(s), and leave your comments.
You can tell them what "type" it seems like they are (in your opinion). You can share with them what's working about their picture, or even what's not. However, please remember to be kind. We're seeking to help one another, not brutalize those that need that help the most. Also, please don't leave lewd or offensive comments. Yes, guys, I'm mostly talking to you! Let's be honest, the women just don't do that very often.
Oh, I guess that brings up another point. Please don't post inappropriate pictures, either. There's some latitude here. For some, having a sexy headshot is exactly what they want to use to promote themselves. Use your best judgment. Your best judgment. :)
Most of all, enjoy it! Have fun! We're putting our headshots out for the world to see, but in a relatively safe environment of mostly actors. I've got lots of ideas about how to expand this if it goes well, but it's all about helping out our community of fellow artists. We're a tribe. Time we started acting that way, right?
So when it comes to self-promotion, we clam up. We're fine when we have our lines given to us, but this is real life, gosh-darn-it. "No one can expect me to know what to say or do. I'm an actor, not a talker!"
This is a problem, seeing as how the business of acting really is a business. We need to be our own marketing team, at least until we can afford to hire one. And even then, they won't care about our careers nearly as much as we do.
What to do, what to do????
Well, I've come up with one idea to get us in the practice of putting our best foot (foots, feet... you get the idea) forward. It's a brilliant, brilliant idea if-I-do-say-so-myself. It is called (drum roll please) #HeadshotTuesday. It's a wonderful way for us to help one another and to walk the walk, instead of just talking the talk. You're probably on Twitter. If not, get on. No, seriously. Right now.
I know, I know, I said it too. 140 characters? That's just dumb.
Turns out, it's not. It's one of the best marketing tools since they started hawking wares on the boob tube. So get with it! If you're already on, great. All's you gotta do is upload your digital headshot to Twitpic. Then post a tweet with the link and #HeadshotTuesday or #HSTues. Every time you see #HeadshotTuesday, retweet it to your followers, then follow the link, look at the headshot(s), and leave your comments.
You can tell them what "type" it seems like they are (in your opinion). You can share with them what's working about their picture, or even what's not. However, please remember to be kind. We're seeking to help one another, not brutalize those that need that help the most. Also, please don't leave lewd or offensive comments. Yes, guys, I'm mostly talking to you! Let's be honest, the women just don't do that very often.
Oh, I guess that brings up another point. Please don't post inappropriate pictures, either. There's some latitude here. For some, having a sexy headshot is exactly what they want to use to promote themselves. Use your best judgment. Your best judgment. :)
Most of all, enjoy it! Have fun! We're putting our headshots out for the world to see, but in a relatively safe environment of mostly actors. I've got lots of ideas about how to expand this if it goes well, but it's all about helping out our community of fellow artists. We're a tribe. Time we started acting that way, right?
Sunday, March 7, 2010
Laban's Eight Efforts
All right, actors! Here's the deal. Our movement through space is a little bit like a fingerprint. You know how you can many times identify a loved one just by the way they move?
This is a great thing. It's also something that limits our ability to transform ourselves as we embody a character.
So, how do we change our "movement fingerprint" while still being present in our bodies and allowing ourselves to be a part of the performance?
Tricky, eh?
That's where Laban's efforts come into play. Laban breaks down the way we move using three different areas of analysis: space, weight and time. Space can be either direct or indirect. Weight can be strong or light. Time can be sudden or sustained. When you put these all together, you end up with eight efforts that classify styles of movement, as well as something of the personality of the person making that movement.
Direct, strong, sudden--------punch (thrust)
Indirect, strong, sudden------slash
Direct, strong, sustained-----push
Indirect, strong, sustained---wring
Direct, light, sudden----------dab
Indirect, light, sudden--------flick
Direct, light, sustained-------glide
Indirect, light, sustained-----float
Most of us generally inhabit one or two of these efforts (one when we're happy, another when we're angry :)) at the most. The others are usually not as comfortable for us. But as we start experimenting with these different efforts, we can learn to use all of them. Using the efforts makes it possible for us to create wildly different physical performances, while still remaining true to our own unique and special quality that only we can bring to the table.
There's a lot more to be said about this one, so I think I may do a podcast on it in the future. Keep an eye out for it, and please leave your comments, questions and requests here for me. I want to know what's of the most interest to you. I look forward to it! :)
This is a great thing. It's also something that limits our ability to transform ourselves as we embody a character.
So, how do we change our "movement fingerprint" while still being present in our bodies and allowing ourselves to be a part of the performance?
Tricky, eh?
That's where Laban's efforts come into play. Laban breaks down the way we move using three different areas of analysis: space, weight and time. Space can be either direct or indirect. Weight can be strong or light. Time can be sudden or sustained. When you put these all together, you end up with eight efforts that classify styles of movement, as well as something of the personality of the person making that movement.
Direct, strong, sudden--------punch (thrust)
Indirect, strong, sudden------slash
Direct, strong, sustained-----push
Indirect, strong, sustained---wring
Direct, light, sudden----------dab
Indirect, light, sudden--------flick
Direct, light, sustained-------glide
Indirect, light, sustained-----float
Most of us generally inhabit one or two of these efforts (one when we're happy, another when we're angry :)) at the most. The others are usually not as comfortable for us. But as we start experimenting with these different efforts, we can learn to use all of them. Using the efforts makes it possible for us to create wildly different physical performances, while still remaining true to our own unique and special quality that only we can bring to the table.
There's a lot more to be said about this one, so I think I may do a podcast on it in the future. Keep an eye out for it, and please leave your comments, questions and requests here for me. I want to know what's of the most interest to you. I look forward to it! :)
Subscribe to:
Posts (Atom)
