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Actor Callbacks by Tammy Hunt  •  last post Dec 17th

Getting a callback means that the casting team is intrigued by you and your acting, but they may not be totally sold yet. On top of watching you perform, they might also question you about your acting approach and experience. This is the time to showcase your range, ability to portray your character, and overall skill set.  

Expect to perform the same material in the same way as in your first audition—but know that you might be asked to make a few changes, such as reading a scene with different emotion or really diving deep into your character’s personality.

Callbacks often mean performing a scene with another actor so the director can see if you mesh well with others.

The casting director brought you back because your type and performance worked for the character and for the tone of the show. Unless you are given specific notes for the callback, do the exact same performance when you come back in but be open to adjustments.

Don’t get locked into your choices. In a callback, the director, producer, and creative team may have you take an adjustment and try the scene a different way. Spontaneous decisions are your best friend so practice various versions of the audition just to be prepared.

#actor #audition #callback


 

Bryan Cranston’s advice to Actors by Geoff Hall  •  last post Dec 17th

Nothing to say here, just watch and then…


https://youtu.be/oGEEMspTr5o?si=jozljuzp30NCuc98

Finding the Right Commercial Talent Agent by Matthew Gross  •  last post Dec 15th

I decided to free up my schedule by hiring a talent agent to represent me commercially (commercials and industrials). Selecting agents to submit to is similar to selecting a university to attend. I'm taking the following steps:


1. Visit SAG-AFTRA and the ATA websites for commercial agents.

2. Visit each talent agency website. 
a) If there is no website, I skip that agency.
b) If there's a website but no information (e.g. "About"), I will skip that agency.
c) If the website says, "Submissions by referral only", I skip it.

3. Read reviews on Yelp. Not all agencies have Yelp reviews.

4. Check with California Secretary of State to see if the agency is up-to-date on their tax filings.

5. Visit the Better Business Bureau website to check for complaints leveraged against the agencies.

6. Check to see if there are past or pending lawsuits against the agent/agencies; if so, what is claimed in the filing.

Hopefully this information will help me make an informed decision prior to in-person interviews with agents/agencies.

What to Do When Your “Type” Changes by Tammy Hunt  •  last post Dec 13th



Knowing your “type” is a crucial tool for any actor. 
While actors frequently book roles outside of or against type, having an understanding of what kind of 
first impression you make on casting professionals can help you streamline your auditioning process. 
Many introductory acting courses discuss how to figure out what your type is. 
Less talked about is the fact that it changes. 

So what then? You’ve gotten used to marketing yourself one way, what happens when you realize you’re being seen in a new light? 
Here are some tips to ease the transition. 
Know the signs. For better or worse, type is based heavily on physical appearance. This means that whenever you go through a distinct change of appearance (changing hair length or style, gaining or losing significant weight, altering the tone of your personal style) your type may change with it. 

Age is another big factor. As you get older, you will naturally cycle through many different types. A good way to know your type is changing is the type of auditions you’re getting. If you’re accustomed to getting roles like student, assistant, intern, etc., and are suddenly seeing a lot more parents, teachers, and bosses, you may be growing into a new type. 

New headshots. Keeping headshots up to date is always important, but never more so than when you’re rebranding. If you don’t want to ditch your current headshots completely, consider adding a couple of shots to your roster that suggest your new type. Restyle. If you’re reading for parent roles but still dressing like a college student, it may be helpful to consider switching up your style (at least professionally). 

A haircut and a slight outfit tweak can do wonders to suggest a character consistent with the types you’re reading for. 
Embrace it. It’s an easy thing to want to fight your type. But remember, a new type is not a life sentence. It doesn’t mean you’ll never play a role outside that type. 
It just means that your bread-and-butter auditions, your commercials and day player roles, might look different.

#actor #casting #audition #headshot #role #type
 

The "Choreography and Blocking in Performance" course by Inga Ryazanoff  •  last post Dec 13th

The "Choreography and Blocking in Performance" course offered by the New International Performing Arts Institute (NIPAI) is a specialized program designed to equip directors and choreographers with essential skills and tools for creating compelling mise-en-scene, blocking, composition, and movement direction in their productions. This 3-month, fully online course is targeted towards professional growth in the field of performance-making, focusing on choreography, composition, and blocking as key components.


Key aspects of the course include:

- Core Topics: The curriculum covers a range of topics essential for performance creation, such as Blocking and Mise-en-Scene, Tempo and Rhythm, Montage, Movement for Actors, Acting for Dancers, Improvisation and Spontaneity, and Composition.

- Professional Approach: The course emphasizes a professional approach to performance-making, providing directors and performers with up-to-date knowledge and first-hand experience. It's designed to facilitate learning through practice, ensuring an individual approach and focusing on practical learning.

- Who Can Benefit: This course is ideal for directors, dancers, choreographers, physical theatre actors, contemporary circus and musical theatre performers, and performance artists. It's also suitable for practitioners from related fields seeking a deeper understanding of movement in contemporary performance.

- Certification: Upon successful completion, students are awarded a certificate of completion, which can be a valuable addition to their professional portfolio or resume.

- Application and Study: The program offers flexible timing and is conducted in English. It employs a mix of self-study, virtual classroom, and text-based learning methods. Students receive weekly assignments and tasks for self-study to gradually develop their understanding of the topics and the ability to apply knowledge to their projects.

- Eligibility: The course is open to international students and professionals with varying levels of experience. The main requirement is a commitment to developing skills in theatre directing and choreography.

In summary, the "Choreography and Blocking in Performance" course by NIPAI is a comprehensive program aimed at enhancing the skills of professionals in the performing arts, particularly those involved in directing and choreography. It combines theoretical knowledge with practical assignments, making it a hands-on learning experience for participants from diverse backgrounds in the performing arts. 
More: https://www.nipai.org/choreography-and-blocking-course 

The course "The Director and Play" by Inga Ryazanoff  •  last post Dec 13th

The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers.


Key elements of the course include:

-  Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts.

- Active Analysis: The course emphasizes practical, hands-on approaches to play analysis.

- Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production.

- Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum.

- Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line.

The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text.

The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments.

Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage.

This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning.

For more detailed information and application procedures, you can visit the NIPAI website: https://www.nipai.org/the-director-and-play-course

"Ensemble Building Course" by Inga Ryazanoff  •  last post Dec 13th

The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of working with unfamiliar performers and aims to develop a welcoming and creative atmosphere.


Key aspects of the course include:

- Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion.

- Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration.

- Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers.

- Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes.

- Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills.

- Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach.

- Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage.

The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing.

For more detailed information about the course, you can visit the NIPAI website at https://www.nipai.org/the-director-and-ensemble-building .

Check out my rendition of an Iconic TV moment scene BREAKING BAD. by Akheel Omesh  •  last post Dec 13th

Hope you're all well. I'd like for to check this 1 min video short out. It's my rendition of an Iconic scene from 'Breaking Bad'.

https://m.youtube.com/watch?v=6dbpfoeh7cY
Hope all is well with you.
Thanks appreciate the support.

Matthew McConaughey talks acting by Amanda Toney  •  last post Dec 12th

Alright, alright, alright... he is cerebral and I love it:


https://www.youtube.com/watch?v=fWIB_Iymgg0

Ayerswood Films Now At The Amazon Fire TV App Store by Wolfgang Schuler  •  last post Dec 12th

Ayerswood Films is now available at the Amazon Fire TV App Store, still streams for free with no commercials. Also at AyerswoodFilms.com, and Chromecast enabled, for those that don't have access to Amazon Fire TV. If you have a film that you would like added let me know. Be seen! Features, Shorts, Documentaries, even Music videos welcome.


https://www.amazon.com/Wolfgang-Schuler-Ayerswood-Films/dp/B0CLKVTM8T/


These People Angered Me - No More by Aaron Marcus  •  last post Dec 12th

These People Angered Me - No More

https://youtu.be/6lvtAZ5wud0

How do you deal with industry people who make you angry?
Share it with others.

Examples of Actor Stunt Liabilities by Mario Leone  •  last post Dec 12th

Here are some examples of how stunt liabilities can impact:

Personal Injury:

Example: Tom Cruise broke his ankle while performing a rooftop jump stunt for the movie "Mission: Impossible – Fallout." See: https://www.youtube.com/watch?v=Sjn3ELLcy2U

Production Delays:

Example: The filming of "The Matrix Reloaded" faced delays when Keanu Reeves sustained an injury during a wire stunt, pushing back the release date.

Insurance Issues:

Example: Production insurance costs for a film may increase if an A-list actor insists on performing risky stunts, potentially impacting the overall budget.

Reputation and Public Perception:

Example: After Jackie Chan suffered multiple injuries throughout his career, there was increased public admiration for his dedication to performing his own stunts, enhancing his reputation. Positive or Negative.

Legal Issues:

Example: An actor performing a stunt without proper safety measures may face legal repercussions if injuries occur, leading to potential lawsuits against the production. This can take down a production.

Expertise and Training:

Example: Chris Hemsworth underwent extensive physical training to perform his own stunts as Thor in the Marvel Cinematic Universe, showcasing expertise in combat scenes.

Impact on Other Crew Members:

Example: A poorly executed car stunt by an actor may endanger the safety of the stunt coordinator, camera operators, and other crew members involved in the scene.

Psychological Impact:

Example: After filming intense war scenes in "American Sniper," Bradley Cooper discussed the psychological impact of the role and the toll it took on his mental well-being.

The Armorer:

Baldwin and Hannah Gutierrez-Reed, the armorer who oversaw firearms on the set, were each charged with involuntary manslaughter in January 2023. It is the Armorer's job to check the weapon before handing it to the actor. When people decide to cut cost and use Non-Union people they can run a high risk. I believe during covid- 19 there was a lot of cost cutting and Union worker cutting in the name of cutting costs.

The armorer on a movie set is responsible for handling and overseeing all aspects related to firearms and weapons used during filming. Their role is crucial in maintaining safety on set while ensuring that the production achieves the desired authenticity for scenes involving firearms. Here are some key responsibilities of an armorer:

Weapon Selection

Weapon Preparation

Safety Briefings

Training Actors

Coordination with Stunt Coordinator

Supervision on Set

Ammunition Control

Compliance with Regulations

Emergency Response

Maintaining Records

Equipment Maintenance

A big responsibility...as you can see. This is why more and more people are doing gun stuff in post for safety.

Fight Choreo and Actors by Mario Leone  •  last post Dec 11th

How can the Fight Choreographer (People like myself) help the actors.
Actors can gain valuable skills and insights into the art of performing action scenes by actively engaging with fight choreographers. I love choreographing slaps to the face.... They tend to make me laugh.

Attending workshops or classes led by experienced choreographers provides actors with fundamental techniques, safety protocols, and hands-on experience. Collaborating directly with choreographers during rehearsals allows for personalized guidance and correction in real-time. It provides a different layer of experience. Yes, some want a stunt double I get it. 

Things you can do:

Observing rehearsals and studying well-executed fight scenes in film and television enhances understanding of choreographic processes and techniques. 

Seeking individual training, enrolling in martial arts classes, and practicing choreography regularly contribute to building proficiency and muscle memory. 

Actors should actively ask questions about choreography, safety protocols, and emotional expression through physical actions. Attending industry events, networking with choreographers, and embracing constructive feedback foster continuous learning and potential future collaborations. 

This multifaceted approach enables actors to master the skills necessary for convincingly performing fight scenes on screen. I love what I do, yet working with actors who take good safety instruction is crucial. 

Coffee & Content: Tom Hiddleston Q&A For "Loki" by Maurice Vaughan  •  last post Dec 10th

Stage 32’s founder and CEO, Richard “RB” Botto, shares two great videos in today’s blog.


In the first video, the SAG-AFTRA Foundation interviews Tom Hiddleston, and he breaks down his experience working on the MCU series LOKI and nearly 15 years playing as Loki.

In the second video, screenwriter and studio executive Steve Douglas-Craig discusses the three "worst" ways to start a story.

Grab your coffee/tea/water/juice/pumpkin spice latte and jump in!

www.stage32.com/blog/coffee-content-tom-hiddleston-qa-for-loki-3566

Mastering The Art Of The Self Tape by Maurice Vaughan  •  last post Dec 9th

Matthew Cornwell tells you how you can master the art of the self tape in today’s blog.


Matthew is an actor, editor, producer, screenwriter, and co-founder of Get Taped! (an audition taping services in the Atlanta area that he founded with his wife).

www.stage32.com/blog/mastering-the-art-of-the-self-tape-3574

Actors Life by Tammy Hunt  •  last post Dec 8th

The Iceberg 

Cillian Murphy & Margot Robbie | Actors on Actors by Amanda Toney  •  last post Dec 8th

A great watch. Instead of actors going after each other for box office sales they helped boost each other up - https://m.youtube.com/watch?v=MecVr3Bz4o0

LA or NYC agents who work with US actors based abroad by Klara Landrat  •  last post Dec 7th

Hi all, I would love to know which agents based in the US are willing to work with US actors based abroad. Appreciate very much any recommendations

What Acting Isn't - Speiser/Sturges Acting Studio by Florin Şumălan  •  last post Dec 7th

https://www.youtube.com/watch?v=hmzkuBWr9oE

Being A “Local Hire” by Tammy Hunt  •  last post Dec 7th



What exactly does it mean to be a local hire? 

A local hire means that you are able to work in the shooting location without the need for travel expenses. If you consider yourself to be a local hire, it means you are willing to: fly yourself to the shooting location, put yourself up at a hotel or other residence, and get yourself to/from set without any reimbursement. Is it worth it? 
That’s a question you’ll want to ask yourself and your agent. If you have an offer for a weekly scale but you have to be a local hire in another state, the cost of airfare, accommodations & rental car/Uber will have you barely come out even (taxes & agency fees are other contributing factors). 

At the end of the day, it’s important to prioritize what it is that you consider valuable to your career. Will this job be your first credit? Will it give you career-changing footage for your reel? If so, it might be worth it. It’s important to know the facts & rules when it comes to being a local hire. 
Just saying you can be a local hire and having some friends/family in that region may not be enough to fully qualify as a “local hire.” Productions are going out of state due to the many tax incentives offered there and lower cost of shooting. 

However, in order to qualify for these incentives, they must hire a certain percentage of local cast & crew. Many times, for cast, the percentage that can be out-of-state is reserved for the larger, leading roles. 
This means that some states will require either a state ID, or a document proving you are resident within a certain number of miles from the shooting location. (these requirements differ by state) 

#actor #actorslife