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Dec. 2011

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ARTICLES

THE PROFESSION OF ACTING REQUIRES GREAT DISCIPLING, PASSION, AND COMMITMENT.

the

SCENES

By Ken Davis - Kenneth_castingcall.com

That dedication and passion has started to pay off for the British actor. He has done a ton of work in television, landing parts in popular TV series such as Lost, NCIS: Los Angeles and Melrose Place. And he played resident bad boy Alex Wilkinson on the acclaimed British television series Dream Team. And in addition to Design for Living, Craig has acted in other notable plays and has appeared in several films. A versatile actor, Craig is adept at both drama and comedy. He also writes, produces and directs.

Craig was born in Nottingham, England on October 4, 1976 and is the youngest of five siblings. His father was a coal miner and his mother a bingo caller. Craig’s first foray into the acting world was quite fortuitous. When he was ten, he accompanied his 13-year-old sister to an audition for a role in the play The Price of Coal, which was written by Barry Hines. Craig had no aspirations of becoming an actor at the time. However, while his sister was auditioning, the director noticed

While watching Craig Robert Young rehearse a scene from Noël Coward’s play Design for Living at the Celebration Theatre in Los Angeles, I was taken with how focused he and the other actors were in their performances. They were completely immersed in what they

were doing, impervious to any outside distractions.

The actors were totally transported to the world that Coward had created with his words. I had never been to a rehearsal of a play before, and it was quite impressive to see up-close the type of focus great acting requires. I couldn’t help but admire the commitment and passion of these actors on the stage before me.

“ I think you have to live and breathe it every day,” he said. “Every day I think about acting. Every day I’m working on my craft, whether it’s doing plays, or whether it’s auditioning or studying. You have to have complete discipline.”

During the premiere launch party of "Andy And Chaz Bugger Off To America" a new web-series, [starring Craig Robert Young (as Andy) and Darren Darnborough (as Chaz)], both explain how the problematic tandem of two brothers who are foreign to the U.S. and on the run from the law, must find there way in and out of challenges mostly created by [Chaz]. This fresh, and very comedic take gives us a new glance of many characters, not to forget the very talented writing and directing of Richard Keith.

Read more...

From the depths of the expansion of one's mind, how does one select the range or the details of a musical score? Or how does one develope the 'muscle memory' of one's 'internal sight'?

Howard Shore goes into detail in this personal upclose interview documenting the intimacy of his work and how he transforms his personal expression for his own musical journey. He explains the subtle, yet very specific details of his

Talvin Singh is interviewed here by Sharad Kare, where he goes into the detail on how it is that one's journey can lack a level of integrity when it is at that 'first level', and it is the 'long journey' that is very necessary to shed one's imaginative ego.

Defining the variances within the art of music vs. the entertainment of music and how there is a new divide between the two, and how that challenge is more

A Composer's Dream

Talvin Singh

important for him to be an 'expression' than for it to be an 'impression' to all those that he performs for.

Talvin Singh has definitely mastered the manipulation of sound from his Tabla [his personal instrument of choice], where it his style of rythmic bursts of precussion that draw out his personal style of raw sound, and unique melodies. Not only is Talvin a unique musical talent, but effortlessly achieves his own unique artistic style.

mind, as well as the learning process that be believes one must fight through. It is this very important struggle that he considers to be his 'inward' journey, a much needed step toward fulfilling his very task as a Musical Composer.

It is in his music filled 'dream-like' world that he carries out his daily task of writing music, eventually amassing a personal realization, a felt of what he writes musically.

Articles

mastering the audition

By Professor Hollywood

AuditionsAuditions can end up being quite a frightening experience, and often even more intimidating than a press night. It is definitely a shared thought, that an audition can change an actors career forever. An actor must audition.As an actor you must do this, so the lack of this much needed work can become problematic due to the issue that the actor must work with their skills for long periods of time, and that time may not been available. Not working enough with one's character, may enduce a 'rustiness', and the 'missing' of one's depth emotionally, physically, and technically. Never forget another important element of your audition, the ability to deal with personal bearing. Having the creative instinct to overcome the onset of one's nerves and fears, this of course should rank as a high priority.Back in the days it was usually common for a job to be gained by means of an audition piece. Actors would have a portfolio of speeches which could be shown anytime. These types of audition pieces are still being used but in only certain types of cases like an initial break from drama school, or other certain jobs in the dramatic arts, but even then these are quickly losing their importance.Auditions at one time would even take the status of a 'me' vs. 'them' scenario, with an audition panel sitting high up, and perched in the darkness. In front of them stood the actor, in character, and performing up on stage, exposed. In retrospect, this was in a way safe from all the formalities and complications of todays audition pitfalls. It's now more likely to have an audition in the form of reading a part to be cast, working it out with a director or producer, maybe even a casting director. Earlier methods of the audition would involve the actor in a sight-reading, an actual discussion of processes or works that were molded to test the actor's flexibility and their knowledge of the writings. Preparation for an AuditionWarming up is key! If you have ever been on a personal hiatus for a while, your warm-up must be very thorough. In the case of only having a few days notice for an audition, you should be warming up every day. If you have been given a script and a part to look at, work it thoroughly and remember to read the text out loud. It is important not to prepare silently. Another great technique is to read around the subject of the play and investigate any other work by the playwright. Be sure to familiarize yourself with any important creative themes that may arise in your reading of the play.In the case of an audition, not specifying a play, you will most likely be asked to perform an audition piece, or possibly sight-read. I can't emphasize enough the importance of sight-reading as a skill. Not to forget how very important it is to have a wide selection of audition pieces. These must convey not only the different aspects of your acting talent but your different styles of writing (e.g. verse, dialect, prose, modern, ancient, etc.). I definitely how it can be difficult at times when a director, or casting director is looking for someone, and the more choices you can offer them within your audition pieces, the greater the chance that you will fit the bill. One kind of performer that directors really search for is someone who is flexible and knowledgeable. Another point of insight I had recently ran across was in a discussion with a well-know director that expressed to me his concerns about younger actors. Nowadays directors speak more about how hard it is to talk to younger actors; that it is often difficult to discuss certain areas of work, one point was made in the regards to the joy of discussing personal flexibility. It was communicated that basic communication skills in an audition are not fully appreciated by the younger generation of actors. It is important to remember that the easier and more open you are to work with, the more likely it is the director will feel more enabled to work with you. This is a very important first key to gaining the success as an actor.Above all else be sure to show your imagination when approaching your audition. For example, work up any accent that may be required and be prepared to use the accent in the audition. Another would be to tune up your body or your singing voice if either is needed. Be cautious of your breathing and maintain your center as much as possibly before the audition. Make it a point to arrive with plenty of time to your location/venue, you will need time to settle yourself for the audition. Remember that any director worth working for will be wanting you to do well. No director wants to see you fail. In the case of having to endure a brutal audition, it is more often the case that they are looking for a specific type, which definitely doesn't require any proper artistic talent. It is in this instance that the 'product' is being assessed instead of talent. So, never feel in this instance that this is in any way a reflection on yourself as an actor or your talent as a whole. In most instances, if the audition is that brutal the job would more than likely be equally rough on you as an actor. Which brings me to my next point, that one of the least appealing aspects of being an actor is having to deal with rejection. Even the most famous actors have to deal with this fact regularly. It can be a week, after week, daily dose of rejection that unfortunately you will have to swallow, and overcome. Rejection is a fact of an actor's life. Actors are of course not in short supply. All you can do is prepare as well as you can, to be open, and of course the instant willingness to be the text. A true character.Learning from any audition on the simplest level is another important element as a working actor. Taking note of any physical tensions that might have gripped you, where your weaknesses my lie, and ultimately, to work on those tensions in order to resolve them permanently. Some important questions to ask are: Was my sight-reading efficient and precise? Was I relaxed enough to have a conversation with the director? It is very common to carry high levels of stress during an audition, be sure to remove these types of elements due to the fact that they will expose all your weaknesses. Take note and deal with any and all of the missteps you may discover.Lastly, be sure to transfer your creative energy from the 'you', and place that directly into the 'I', and allow that placement to be directed by the text. In the case of stress possibly getting the best of you, and making you feel self-obsessed, you will produce a very ugly energy personally, that is definitely not an attractive sight to a director that is looking for someone to work with. Most talented actors never work because they may appear aggressive and aloof at auditions. It is this type of aggression that is generally a product of fear and will ultimately turn off a director and will in the end wonder, "Can I really work with this actor?"Best Regards,Professor Hollywood

exit: Stage Fright

By Professor Hollywood

It pretty much seems nowadays that everyone seems to suffer from some kind of phobia, such as insects, heights, tight quarters, deep water, and the most common - death. So CastingCall.com went undercover and hit the mean streets of Hollywood to find out how most are more afraid to speak in public than of dying! And it was this opinion that was most commonly shared due to the logic that we have to speak publicly much more, and while only have to worry about dying just once! Strange.Regardless of the others opinions, we can surely agree that public speaking, or a first stage performance is by far a greater fear shared amongst most beginning speakers and performers.This particular fear does have a name and commonly goes by "Flight or Fight Response" or "Flight or Fight Syndrome." Now when the human body goes into a state of anxiousness or anxiety, there are a few physiological responses that begin to take place at once. It is then that brain at it's cortex will immediately send a signal to the sympathetic nervous system for it to be on high alert and prepare for action. It is now that the adrenal glands start to begin pumping out stress hormones that now trigger a chain reaction within the body. Some of these include a heart rate increase, raised blood pressure, and a rush of adrenaline in the bloodstream; which now starts blood to recirculate, now begins to fill certain nerve endings in the stomach. It is this physiological process that is commonly known as the phrase "butterflies in the stomach." A positive approach when trying to calm down this activity and moving toward a more relaxed attitude is to give this event a different name. Instead of calling it fear or nervousness, how about we call it 'fuel' for this particular article.We can agree that the name you give something or someone does have quite an affect on how you view that object or persona, and I'm sure we can agree again that a positive name will produce a positive reaction versus a negative name producing a negative reaction. So in this instance our nervousness will be called 'fuel'. This fuel will give you the ability to overcome and adapt to this common #1 fear...the audience. So why would we be afraid of the audience? Recently CastingCall.com went out and hit the bricks and scoured the mean streets of Hollywood in search for answers. We asked quite a few young actors and qualified group speakers a simple question, "Why would someone be afraid of an audience?", and together we came up with a few examples...The audience will not like us.The audience will think we are foolish or unintelligent.The audience will laugh at our mistakes.The audience will see if we forget our train of thought.The audience will be bored with material.The audience can tell we are nervous.This type of fear is commonly known as the Voice Of Judgement. It is known as the 'voice' inside us that judges us harshly and agrees that everyone else judges us the exact same way, the way in which we know is not necessarily true. Most audiences don't judge speakers as severely as a speaker would really judge themselves, and in most circumstances the audience is actually perfectly neutral. Most of us would agree that if in the beginning of a performance that if a few things are done correctly, regardless of what happens, the crowd would actually be in complete support of the presentation. So, it would be a safe to practice on how to control your attitude toward the audience, by using your fuel as a powerful weapon and source of energy in order to overcome adversity while communicating with your audience.In this instance we will use the example of Method Acting, and It all begins with your attitude toward the audience. Every great Hollywood actor is familiar with Method Acting, and knows that his is a form of acting that utilizes 'sense memory'. First properly developed by the Russian director Konstantin Stanislavsky, Method Acting is a way for the actor to identify with the character in the play, or film by thinking in terms of 'as if'. The actor strives to act 'as if' he, or she, is feeling the same emotion another character may be 'feeling' in the screenplay or film [script] is feeling. The actor then continues on to develop his/her sense memory or emotional memory, which is the ability to go back into one's life and re-think about an experience in which the same emotion was felt. The actor dwells on that experience until the emotion becomes so real the actor is actually reliving it all over again. Robert De Niro, a Method-trained actor, feels that this particular method gives an actor a spontaneity that adds to the performance.It is then that the actor carries out that particular emotion, and carries within themselves 'character' into a scene. It is this process that the character that is now being performed by the actor, and is now going through a similar understanding of a particular feeling or 'method'. It is now that the audience can, and will see the actor, the true sense of one's realism within the character is being portrayed because the actor is actually feeling the emotion of that moment openly.For example, this was demonstrated by the great actress Meryl Streep on the set of the film Ironwood. This was was a film that she played an outcast during the Depression, and in turn ends up dying in a cheap hotel room. According to an old article from Life magazine, Streep had hugged a huge bag of ice cubes to simulate a feeling of 'lifelessness'. Later in the scene, her transient husband (played by Jack Nicholson), had to cry and sob while shaking her now lifeless body. When the scene had ended, Nicholson stated that Streep, "...just laid on the bed cold, and lifeless..." He then went on to explain that after about ten minutes, she started to emerge from a deep, trance-like state which she had entered emotionally and psychologically.Brad Darrach, who wrote that particular Life Magazine article went on to say, "Meryl Streep looks, speaks, thinks, moves, and feels like the characters she plays. She is endowed with magnificent powers of self-transformation..."It is similar to Ms. Streep's transformation that even a public speaker, singer, or even a teacher can connect to his or her audience by utilizing the energy to present material so it can be believed and understood by any audience. Here are a few keys mental statements that can help mold a performers state of mind when tackling the toughest crowds:The audience is for me, not against me.The audience needs to hear what I have to say.I care for my audience.I am excited about what I am about to present.I am committed to doing my best.The audience will like me.If a performer can share some of these simple attitudes before getting up to speak, it is fair to say that any audience will be delighted with the performers positive presentation. In conclusion, the actor should think about recalling a past and pleasant experience of a successful performance. It doesn't necessarily have to be public speaking, but maybe successful reading for a casting, an audition that might have went well, or possible an open performance that brought out the best in a crowd. In recalling that experience, the actor should try to remember their past feelings of joy, pride in a specific work, maybe even a 'confidence' which helped create that ultimate successful effort, to re-create the positive 'character energy' you now need to produce. Those feelings of success, and positive self-esteem can be tapped into, now those same feelings can be brought into the present to provide a 'character confidence' that would otherwise might not be there.Best Regards,Professor Hollywood

How To Build Your Reel For Free!

By Vanessa Herron

(cont. from home)

2- NON-PROFIT ORGANIZATION PSAs:PSAs, or Public Service Announcements, are usually produced by non-profit organizations. Their quality varies from project to project, but to star in one (or even direct one) can provide a wonderful clip for your reel. The best way to tap into this opportunity is to call the non-profit of your choice, ask who produces their PSAs for them, and get in direct contact with them for instructions on how to become involved. There are also a few well-known programs that are worthwhile to pursue. For example, Women in Film, a non-profit organization in its own right, runs a PSA Production program that can not only provide you with a professional-looking clip but also introduce you to some very talented (and connected) women in the entertainment industry. For more details on their program, go to www.wif.org. There are also several PSA workshops and programs that are regularly offered at local community television stations. Check your local listings for scheduling details.3- COMMUNITY COLLEGE/ THEATER:When you're low on cash, one of the best ways to create acting clips is often in your own backyard. Acting and theater classes are offered at most community colleges, and they provide a great way to improve your skills for little or no money at all. While there is a small tuition fee per credit hour, there are many scholarships and grants available for income-challenged students. In both community college and theater, most instructors or directors record the scenes in order to better critique the performances. It is usually not a problem to either ask the person in charge for a copy of your scene or for permission to have someone record your scene for you. If the performance is strong enough, the clip could end up being one of your most impressive pieces.4- RECORD YOURSELF:This is the last resort. If none of the other tips suit your fancy for one reason or another, then it's time to go rogue. Select a monologue that you feel best demonstrates your talent, slap a digital camera on a tripod, and take a stab at it. Again, this is only recommended if you can't (or absolutely refuse to) get cast in a student or independent film, star in a PSA, or sign up for community theater or an acting class. Why? Because it doesn't give the impression that you take your career seriously. In fact, it does just the opposite, especially if the monologue is bad. Having stated the obvious, this do-it-yourself route may not be the most professional way to get a clip, but if you can deliver a knock-out monologue that grabs the casting director's attention (in a good way), then it has done its job. 5- BARTER WITH AN EDITOR:While the previous suggestions dealt with getting clips to include on your reel, this one helps you to put it all together. If you want casting directors and agents to consider your reel, it needs to be as professional as possible. Editing plays a big role in the overall impression of your reel, and unless, you have experience in this area, it is best left to professionals (or almost professionals). Almost all film schools have editing classes and that requires footage. Contact the instructors of these programs and offer your clips as good practice for his or her students. Since many of these editing students are also filmmakers, you can also contact them directly and offer your services as an actor in one of their future projects in exchange for their editing services. Bartering your talent in this manner could also score another great clip for your acting reel; just be sure to have the agreement in writing so things go smoothly when it's time for you to fulfill your end of the deal. Of course, if you consider yourself to be skilled and savvy with an editing program like Final Cut Pro, Avid, or even iMovie, then go for it and try to do it yourself. Just be sure to get feedback from a professional before you submit your reel for professional work.Remember, no one said that making it big in Hollywood would be easy, but if you persevere, develop your talent, and get creative, it is definitely possible. If you have any tips that you'd like to share with other Hollywood hopefuls, please feel free to email me at:vanessa_castingcall.com Best Wishes!

Re-creating The Actor's Work

By Professor Hollywood

In this two part article Casting Call will again dive into the world of the actor, uncovering the inner workings of what most theatre actors, understudies, and television characters must endure...the re-creation of work.Casting Call knows that when it comes to re-creating a production it takes a special level of intensity and expertise. In retrospect when opening a production it probably feels like one of the hardest hurdles an actor must face, but when it comes down to it, the long running, and special skill of recreating your work and making it fresh and interesting each time you perform is no ordinary task.For example, when one receives a poor review of a performance, it might be hard for some to work through. But then again, a good review might bring out the temptation to play the review rather than the play. An actor must return to the text/script for the inspiration and internal guidance. An ill advised text, or even text lacking the creative dimension needed, will of course be harder to keep fresh, and unique. So, this of course means you will need to work harder with it. A fine, well-rounded play/script that carries lots of depth, will have much text that will offer new 'finds' in the language, even after being well acquainted with it. Every seasoned actor knows that you will be certain to find those new 'creative gems' every time you work deeply with the words, and in turn now making them your own.Making The Long RunNow due to the process of having to deal with rush technicals, previews, and then most often the 'press performance', it is common that problems start to rise to the surface after a play enters into it's run. We have created a small list below. These points will help to understand if you are ultimately working in the moment.Look for new 'fresh' aspects in each scene during every show.If you feel something is not working, make a note, and try working it out.Be sure to grind away at the character, making it your own, night after night.If you find that you don't get a laugh where you might have had one before, or possibly feel disconnected, or possibly lose contact with other actors, work on finding your energy that may be lacking.Always stay interested in the process of your work, and the script.Remember the audience, remember that there is always someone out there who doesn't know the story and can be changed by your work.Try using repetition as a refining energy, always moving toward the effortless performance.If you find that the text may no longer be inspiring you, try using different techniques to make it as believable as possible.It is a common back-fall to become cynical during a run, it is this type of attitude that will murder your character's soul. It is important to use the experience of playing a character to improve all the facets of your craft, your trade as an actor as a whole. A few things that you can alway use for improvement are your timing, audience communication, and most importantly your pace. Think of these things as a way of testing yourself, like a chef would when making a delectable meal from very few ingredients.The Patchy RunIt is also common for some theatre companies to have multiple shows working in a kind of rep system at any given time. This type of scheduling means you will have to deal with a patchy run, performing in a show that has short bursts of maybe two weeks with days or even weeks off. This is often disliked by many actors due to the fact that most feel like their momentum and connection to the script is lost. It may seem more exhausting and in many ways harder to pace yourself. It is best that in your time-off, keep your pace, keep working your voice. The day prior to returning to the play, it may be best to work with the script, visualize your characters moves, in a way you must plot out your intellectually creative, and emotional journey. And even more importantly recalling the in's and out's of your original energy needed to play the part. In most cases there should be a line-run with the entire cast prior to a come back, but if any case there isn't, be sure to speak the text aloud at least once all the way through and do a thorough warm-up prior to any performances.The Short RunIt is for the most part easy to maintain a pace during a short run. Even this type of run can have it's concerns and obstacles. An example of this would be for 'the young unexperienced actor' vs. 'the seasoned actor', whereas a inexperienced actor might do things with their voice, body, and emotional energy which would be damaging and/or destructive during a longer run. It is common for actors to know when a show is coming to an end, and after a few weeks to be tempted to risk things you normally wouldn't be risking in the begginning . For example, one might exert themselves emotionally, or even vocally, or one might risk their voices without the support. Amateur actors would have such tendencies to wreck themselves in a week, knowing that they will have a week to recovery. A professional would share these ideals knowing that their longevity is necessary in order to survive and perform their best on stage.One can even say to themselves when finding the temptation to be reckless on stage:Could I do this short-cut normally and survive for a year?How much emotional drain of this kind can I take?Should my voice feel stressed, or even coarse after three days?The best way to gauge these concerns is to be honest and try to correct anything technical that may feel wrong or may even exert unwanted pressure on you.Most drama schools cannot provide students with a real sense of pace, especially during a long run. Know that it is very important to impress on young actors that a long run will draw out many new skills and much needed techniques that only regular practice would instill.UnderstudyingUnderstudies do, and must go on. It is of course more common in bigger theatre companies that you can expect at least one actor 'going on' for another actor every two weeks or so. The main focus of the understudy is to play the part as closely as possible to the performance of the original cast member. One of the unpleasant certainties of being an understudy is that the understudy may not have had any sort of understudy rehearsal. When an understudy is set to go on, they typically only get a day's notice, sometimes even only a minutes notice, or worst case scenario to go on half-way through the show.Some key things an understudy should keep in mind:Know your lines at all times.Know the staging.Watch as many rehearsals as possible.Watch all dress rehearsals.Watch the technicals.Watch the show as often as possible from out front.If your not in the show, work on stage vocally and physically to walk and test the space whenever possible.Become familiar with the set, props, costumes, wigs, etc.Be thoroughly immersed in the show.When you are given an understudy role, assume you will perform.There have been times when I have personally seen the fear of an understudy about to go on, which is a kind of surreal in itself, so here are a few exercises that you can utilize to help calm those nerves:Breathe as low as you can. Take as much time as you need for the breath to go in.If you get the 'shakes, re-center yourself by lying on your back with your legs up. (Don't do this immediately prior to your entrance. This may drain your energy; try this technique at least a half-hour prior).Warm up thoroughly and with the company if possibly.Be sure to constantly release your shoulders, neck, and jaw tensions.Open your back. That is, hug yourself and breathe deep. This is the most efficient and immediate calming activity.Control the text. Always feel the support before speaking the word in mouth. These two points of tension will keep you in control.When on stage be sure to play each moment, try not to conceptualize the entire play or scene. You will find that working from moment to moment will help you focus.If something goes wrong, always be sure to maintain your bearing. Canceling it out and move on.Always think within the space, be sure to maintain clarity and tell your story. You might not fall under great performances but if your trying to reach the audience, audible, and communicating the plot, you will definitely serve your purpose.Ultimately after the show you can be sure that nothing in the theatre will be so nerve-racking again and you can be pleased that you survived!Acting is nothing short of intense and mindful creative work, and Casting Call is willing to take on those who might think different when it comes to informing those that desire the knowledge to perform at a higher level when honing their craft....especially when having to perform over, and over again.Best Regards!Professor HollywoodCasting Call encourages any feedback, or for those that may have questions feel free to contact me directly at: ProfessorHollywood_castingcall.com

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Casting Call Magazine - December 2011

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