BECOMING A WORKING ACTOR

Before I begin I want you to know that I genuinely want you to make it as a working actor, as does Carla. In fact, she works hard to get you scenes that will challenge you. We discuss them and she does the work. There is nothing we’d like better than for you to leave class because you’re shooting a movie or TV Series.

Now, my thoughts about this workshop:

I start with a quote by Eric Hoffer. Eric Hoffer, recognized as a highly original thinker, became known as the “Longshoreman Philosopher.” This quote needs to become your point of view in this class and in your career.

“They who lack talent expect things to happen without effort. They ascribe failure to a lack of inspiration or ability, or to misfortune, rather than to insufficient application. At the core of every true talent there is an awareness of the difficulties inherent in any achievement, and the confidence that by persistence and patience something worthwhile will be realized. Thus talent is a species of vigor. ” —Eric Hoffer

I want to re-state my concept of this class. I see this class as a platform for you to discover and succeed.  To succeed you have to be true to who you are. If you feel it, commit and go for it. Likewise, in performing a scene, if you feel a character should be a certain way, do it – as long as it doesn’t drastically change the script story. If your idea does change the script’s intention somewhat, try it anyway and see what happens.

Your Scene Preparation

Your scene preparation might be incomplete or conflicted. Here’s an exercise to find out: write up your preparation for a scene in class. Step by step, everything you do. Include all your routine thoughts. Thoughts such as “I hate this,” “This is a stupid scene,” “This is too long, too short, not well written.” Thoughts like “I don’t care if I get this” while really thinking I gotta get this.” Any and all thoughts. Write down what do, what you really do, each and every step you go through in preparing. The truth. As hard as this exercise may feel I know you’ve got the guts to face what you really do. By writing up your steps of preparation you will discover and uncover things you weren’t aware of. You may even discover that some of your steps are sabotaging your preparation. You will benefit from these write ups.

The Story

The story is all-important. The story of primary interest to you in a class or in an audition is the character story. Of course, the character story must fit seamlessly into the story of the script eventually. In class focus on the character story but don’t ignore the script story. Work more on your character story. That story is what is actually going on with your character in total. The actual character story is simply what is really going on in the scene with your character. Your character is doing, thinking and dealing with something. Find that person in you. We all have many identities. Everything from a hero to a coward, a devil to a saint. We pretend to be different characters at different times to fit our needs. These exist either in your imagination or as someone you hide away, only to be revealed when you decide. These character identities are within you to tell the character story of the script. Tell the story from those points of view.

The story you want to work on is the ‘bottom-line’ story without all the fat and fluff. How does it feel to you to be in that situation? What do you do in that situation? Challenge yourself. Make the character distinctive, not a clone. Work on it.

Use Costumes • Create a set

Costume your character. This helps you think about creating a character. You don’t have to do it every time. Characters in plays, movies and TV shows have a costume for a reason. You can try costume ideas here and get some feedback.

With what we have, create a set. If you want a set, tell your partner your idea and then come to an agreement quickly. Having nothing on stage can be a set in itself.

No more miming drinking, or using plastic glasses, unless the scene is a picnic. Wash the glasses, bottles, and plates. Use tea if it’s booze – bring a teabag with you.

You want a notebook, pen, paper, scotch tape, ball peen hammer, yoyo? Bring them. You think you might get cold? Bring a sweater. Plan ahead. In short start becoming more creative in every aspect of class and this will lead to your developed creativity.

Be On Time

The classes starts at 6:00pm. If you are 5 minutes away at 6, you will be late. Come in the back or front quietly, wait and listen. We’re not holding for a “Broadway 5” any more. The stage lights go up at 6. If you are the first scene we do not have time to hold the start for you to run lines. If you need to run lines get here early.

Presenting Scenes In Class

The idea in this workshop is for you to prepare a character story that challenges you. Then, present the scene, without knowing the character story your scene partner is planning, and deal with what happens in the moment. Just like life.

Running Lines Before the Scene

Running lines in a class makes you comfortable. You get an idea what the other person is going to do. Why get comfortable? That is another challenge for you.

If you’re not the first scene and you must run lines do it on the break. Breaks will begin and end when I say.

No Food or Drinks in Studio Area

No snacks, coffee, tea, Gatorade or anything except water are allowed in the studio. Period. All snacks or food stays in the front lobby. And while in the lobby please use the snack cups for the peanuts and pretzels, not your hands, they let bits and pieces fall onto the carpet. This is the theater you work out. Keep it nice.

Promote The Workshop

You’re here and you like the class. So, go tell a few actors. I know it’s fun and comfy to have a small class sometimes. A few people means that some nights you get to do your scenes three and four times instead of just twice and that is terrific. Small classes also let you do your work, get your critique and get out early so you can go get a beer with the group. But it’s also good to work with other actors, a variety of new faces and levels. You like our energy? Tell someone.

Become Creative In Every Aspect of This Class —Try — Or better yet, Do

I know it’s hard. But it’s also very rewarding.
Prepare. Risk. Try things. Start being comfortable about being uncomfortable. The unknown is always more exciting.

Not every technique works for every actor or all the time. But here, we want you to find your technique. Mix and match any technique. Keep it simple. Find out what works for you. Do not repeat the scene the exact same way unless ordered to do so. Change it up. Play with the emotion or attitude. If you get a note, don’t do what the note is to satisfy whoever said it. But discover what you could have done to not get that note, and then do that. If it works for you, do it. Be – do not be like.

Understand that persistence, believing in and being true to your dreams works. Now, if all sorts of negative BS just comes up, “oh yeah, sure” or “Yada yada yada.” That doubt or fear is sucking the energy out of your work and your dream.

If this seems unreal, I offer Thoreau’s point of view:

“If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.”

Getting an Agent or Being Seen by Casting Directors

Please don’t ask me or anyone “How do I get an agent or how do I get into the room?” That question already puts you in a victim thought matrix and deflates your creativity. Years ago, while studying marshal arts in the orient I was told by an Aikido Master, “If you ask “How” you’re not ready for the answer. Here’s a better question to ask: “What ideas have you heard that works?

Here is my best answer: Get f****** good, find your uniqueness and work it. Be resolute and insistent. Get aggressive.

You never know when an opportunity may appear. Be ready.