In Part 1 of How To Become A Host we reviewed what it takes, the (3) T Core Values it takes to become a host.
-Think, Talk and Teach-
In this video I break it down to (3) Key Areas of connection every host needs to understand. TV Hosting is a Mind Mouth and Body Connection. Read more
Acting is the ability to believe in an event as if it’s happening now. In film and television, it’s particularly crucial that the acting feels like it’s occurring for the first time. This is true, no matter how many takes are needed to complete the job; acting requires “intentional energy.”
Intentional energy gives the actor a focus by playing the consequences of the scene. Intentional energy puts the actor’s attention on the character’s need, and all listening is filtered through that need. A great example is in the film Moneyball, when Brad Pitt and Jonah Hill sit across from each other, juggling phone calls as they trade baseball players for their team. The intentional energy between them keeps the stakes alive.
Too much energy can be distracting. It can trip the actor up by circumventing listening skills, making random movements or being all over the room. Energy that is too low can produce similar results and cause you to deliver a dull and unexciting performance. Both energy issues disable the actor and demonstrate problems with mental focus, physical stillness and believability in the performance.
We’ve all heard casting directors, directors and industry professionals speak about how important energy is and that all great actors have a lot of it. So what gets in the way? Here are some thoughts I’ve come to that I hope will aid you in harnessing intentional energy.
Self-awareness can steal energy. If you are watching whether or not you are doing a good job, your energy will be disconnected from your intention. Your intention must stay with what the character wants, not the performance you want. Often what happens when you watch yourself is that you edit your ideas and the instincts that you think are bad, may actually be good. You can’t know this without trusting your instincts as you attempt to live into the character’s intention.
Another energy issue that happens is when you attempt to play a character that requires you to go beyond your own comfort zone of emotional expression.
If you have been conditioned to censor your own thoughts and emotions—to hide yourself from feeling what is real within you, there will be energy issues.
Often in life, there are times when we can kind of “check out.” Sometimes, just to survive our youth or current situations, we may bury our emotions thinking, that it’s the only way to survive. And our cultural upbringing has great influence on us as well. We might suppress our feelings so deeply that our own passion gets hidden. And when passion is buried, energy is buried.
Eye contact radiates energy and connects you to your scene partner. It gives you your eye line. It also helps the editor give you your close-up because if you look at the wall as you listen, while your scene partner is delivering their lines to you, it is difficult for the audience to perceive the relative space. You’re close-up might be lost to a two-shot so the audience understands the juxtaposition.
However, you never want to “stare” at your partner. You want to really listen and react. You want to be engaged in the life of the scene.
Let’s explore this. Right now as you read this, stop for a second and stare and then observe what happens…. When you stare, basically there is nothing going on. Staring is “checking out,” it is the opposite of listening. Connecting with your partner requires energy to listen and react. You do this naturally when you live into the character’s intention.
In a scene, there are three places our eyes can go: 1. With our scene partner. 2. Away from the scene partner and into our own thoughts, and 3. The environment—where you take it in and then use it to stimulate the energy to fulfill the moment. Each requires the actor to live into the character’s intention with focused thoughts so that living into the reality of the circumstance allows you to be fully engaged and in the moment.
Intentional energy is harnessed through Stanislavsky’s beloved principle called the “magic if.” Living into the circumstance as if it is really happening to you. In every scene and exercise you do, attempt to live into the “magic if.”
Along with this approach you will find it necessary to discover your character’s objective. If you do that successfully, you will have the opportunity to build on a focused energy. What and how you listen will determine whether or not you are winning your objective. These simple tools can be the source of a focused energy that allows risk taking and the building of an intentional energy.
For years I’ve been coaching talented theatre actors as they make the transition from stage to film and television acting. It seems the distinction between stage and film acting has become an obsession for actors who want to make the leap!
The ability to adapt between the two has undeniably become an extremely important skill for any actor who wants to be a working professional. I have worked with students who have thrived in theatre, be it starring roles on Broadway or repertory companies; but found themselves a bit befuddled when it came to translating their acting ability to film.
The following is the beginning of a series of videos and articles that will continue to shed insight into this important skill and the differentiation between stage and screen acting. Read more
No matter how good of an actor you are or how well you have prepared, once you enter the waiting area and then the audition room, if you don’t know how to “be” in that war zone then your audition work could suffer. Sitting in the holding area with a dozen or more actors, waiting up to an hour or being rushed in with little or no preparation and sometimes getting confusing direction can be very disconcerting and are not usually conducive to actors’ doing their best. Here are several actions that can be taken to help you feel confident, prepared and empowered.
Arrive early: Never be late or even on time because you won’t have options if the session is running on schedule. Be early so you can get settled and focused and have time to adjust your hair, makeup and/or wardrobe, and prepare the audition material. When you are early, you have options.
Ask questions: When you need clarification on the material or what is expected, ask the assistant who is supervising the sign-ins in the waiting area so that you can get the most from your preparation. If you are not sure how to pronounce a word or the product name, ask. If something doesn’t make sense, ask. It’s better to ask questions before rehearsing than to get corrections from the session director in the audition room and have to adjust your work right before auditioning.
Find Out the “Tone”: Every commercial has a style or “tone” that should be factored into the preparation. You might get answers like natural, comedic, quirky, over-the-top, fun/playful,serious, warm, upscale, authoritative, vulnerable, earthy, edgy, over-the-top, understated, etc.
Do your audition preparation: If you haven’t obtained your copy in advance, do your preparation: investigate, motivate, and find your connection and interpretation. If you did receive the copy and worked on it in advance, review your choices and work on your connection. Find a place where you can rehearse in a full voice.
Rehearse with your partner: When you are doing scene auditions, either the casting assistant will assign you a partner(s) or you should check the sign-in list and determine the actor(s) with whom you will probably be paired. This is especially valuable when auditioning with children. Rehearse with your partner(s) or, if there is no dialogue, spend time getting comfortable with them.
Work on several interpretations: Locking in only one way of doing an audition can be problematic. First, it usually creates a fairly shallow interpretation. Second, if the session operator wants a different approach, it can be hard to shake the work you have locked in. Finally, if asked to do the copy or scenario a second or third way, you won’t have it. Work on several approaches.
Deal with your nerves: Every audition is a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions This “noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. What you think influences how you feel, and how you feel impacts your audition.
Stay relaxed and focused: After you have done a thorough preparation and while you wait, don’t continually run your lines and review your choices, either out loud or in your head. It’s been my experience that when actors do this, they create anxiety and make themselves insecure. Don’t let the frustration of having to wait negatively affect your mood, energy or mind-set. Do whatever works to keep you focused, confident and positive, e.g., meditate, sit quietly, read, laugh, walk around by yourself, etc. Don’t chat with other actors unless
rehearsing or getting comfortable with them. When you know that you will be next, review your choices, lines, objectives, motivations, etc. – but only once or twice more.
Energize and prepare to commit to your choices and instincts and to enjoy the audition. It’s your time to be an actor.
4 years ago, Fortune Feimster had never been on TV. She was working a day job and doing standup and improv casually for fun. Then, 6 months after auditioning for “Last Comic Standing”, she was delighting audiences as a writer, performer, and round-table guest on E!’s hit show “Chelsea Lately”.
From “2 Broke Girls” to Tina Fey’s new Pilot “Cabot College”, Fortune Feimster’s effervescent personality and off-the-wall comic sensibilities never fail to bring audiences along for the ride and let everyone feel included in the joke. But how do you go from working a 9-5 to living the career of your dreams? Watch the video and read the article below to learn some of the real components of “overnight success”.
Being rejected by the gatekeepers of a profession would probably be enough to make most people give up- but not Fortune.
Without any agent or representation, she filmed herself, in her backyard, doing her characters and submitted the tape, unrequested, to Saturday Night Live. A few days later, they called and asked her to fly to New York to test for the show.
Fortune’s love of making people laugh, her talent, perseverance and unflagging belief in herself can be an inspiration for writers, performers, and anyone with a dream.
“From very early on, I decided that I’m going to do what I do until someone gets it. When you grow up looking different, you learn to believe in yourself. You learn that if you want something, they’re probably not going to say “yes” right away- you have to convince them.”
For more Fortune, stay tuned for part 2 of this interview (like us and subscribe to be alerted of the next video) and follow https://twitter.com/fortunefunny Join Gerry’s newsletter at www.standupcomedyclass.com/aweber.html.
Many thanks to Fortune Feimster – if you enjoyed this video, or have a success tip or a question please comment below!
MTT would like to welcome Ray Bengston to the fold!
Professional Photographer/Videographer Ray Bengston has been one of the top headshot and publicity photographers in Los Angeles for over twenty five years. He has photographed for SAG, AFTRA, Equity, Disney and his work has been seen in major magazines and books.
Agents, managers and professionals recommend Ray not only for the quality of his work, but also for his ability to make actors feel comfortable and relaxed creating a productive and creative environment.
Ray’s website: Eyekool.com
