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iDalis De Leon Hosting

Anatomy of a Great TV Host

With 25 years in television I know a little something about the demands placed on..on air talents. The thing I really got from being a “talent for hire” for so many years and in teaching the process of speaking for the camera is that it’s really  a Mind, Mouth and Body connection.

Your body serves as a container for all the energy the mind creates with thoughts, and delivers to the mouth for expression of these thoughts.

Here is the Anatomy of a Great On Camera Host.

  1. An Uncluttered Mind- Preparation- both before and in between On Camera Performances  minimizes stuttering, ums. uhs, and brain stalls. A great host has a well fed brain (protein rich foods) as well as a clear understanding of the content they are presenting.
  2. Peripheral Vision- A great hosts owns the content, they can be in the moment but also see what’s ahead. A great host is ahead of the words and sees the bullet pointed ideas they are about to present in their peripheral while still being present. The key is to be engaging but have an energetic urgency toward the information you are about to share.peripheral-vision
  3. Flexible Mouth- Verbal mastery is the reason so many radio hosts transition easily into hosting- Ryan Seacrest and Wendy Williams both had years of verbal training doing their radio shows before adjusting their acts for the camera.
  4. Strong Shoulders- An arched back and shoulders that are settled down and strong (not around your ears)  create a container for the energy that will flow.  Direct the energy toward your center and up through your eyes and mouth.arms-and-hands
  5. Arms & Hands- A hosts makes use of their hands to help tell the story with subtle gestures.  Bent elbows keep the hands ready, and you can clasp them when they are not in use.buddha-tree
  6. Strong Waist- Create a strong solid center. Very much like a tree trunk the bottom half of your body should be sturdy. The branches of your body (arms head and hands) will sway in the wind as you tell the story.

Writing Great Characters for the Screen, Novels and Stage Plays – Part One

So what comes first – the development of fascinating and compelling characters? Or creating the world (or the story) in which the characters participate? It can work both ways, but you have a big advantage if you start with some unique and complex characters to begin with.

So, let’s jump in and look at a great movie that has some really juicy characters – “Silver Linings Playbook.” The screenplay was adapted by David O’Russel from a novel written by Matthew Quick. And, it’s the first time in 32 years that the lead actors got nominated for the Oscar in all four acting categories: Bradley Cooper for best actor, Jennifer Lawrence for best actress, Robert DeNiro and Jacki Weaver for best supporting actor and actress. I strongly believe it’s because of the “characters” they got to embody and LIVE in, as well as interact with each other. Yes, all brilliant performances but it was delivered by a writer and director who created such complex, highly provocative, multi-layered, unpredictable, RAW, compelling and flawed, but oh-so-human characters to begin with.

There is NO story without these characters to propel it! If your characters are well defined enough they will help you inform and shape your story. They will start telling you how they want to behave, how they want to EXPRESS themselves and how they want to deal with challenges in the way of achieving what they want. Because every good character has a big “want”, something they want to accomplish, then they have to deal with all the obstacles and challenges in the way of them achieving that. So let’s take a look at these characters for a moment to see where all this “magic” stemmed from.

Let’s see, how complex can we make Bradley Cooper’s character Pat… hmm?? Let’s not just make him complicated – let’s make him bi-polar as well as obsessive compulsive! He has had to deal with emotional ups and downs his entire life, with WHITE KNUCKLE control of his anger, until he finds his wife in the shower with another man. BOOM, all his pent up rage explodes in psychotic fury and he almost kills his wife’s lover. That one outburst of fury destroys every aspect of his life; he loses his teaching job, he loses his home and he loses his wife. And that is all established at the beginning of the movie as he is getting discharged from a psychiatric ward!

So, naturally, he becomes obsessed with getting his emotions under control, getting healthy physically and emotionally, to focus on the “positive” and find the silver linings, so that he can get his life in order, so that he can get his wife NIKKI back. That becomes his driving force – his big “want”– Nikki, Nikki, Nikki. All that while dealing with the fact that he is bi-polar and not taking his meds. That character is just RIPE for one interesting challenge after another.

Since he is down and out, where else can he go to start his life all over? Into his parents house! So to add as much discomfort and conflict as possible, let’s make sure the father (Robert DeNiro’s character) has his own unique quirks and obsessions that keep him from being emotionally available to his complex son growing up. He’s obsessed with the Philadelphia Eagles and is a compulsive bookmaker who is no longer allowed in the stadium because he got banned after engaging in too many rage-filled fights at the football games. Like father, like son. Great set up. It’s also quite profound to see the walls between them gradually collapse as they bond in other ways, besides watching Eagles games together.

While Pat is obsessed with getting Nikki back – Life is making other plans… In walks Jennifer Lawrence’s character Tiffany, who has also dealt with emotional issues her entire life, along with the medications that go with them. She has no censor, says exactly what’s on her mind at ALL times, has even more rage and unpredictable behavior than Pat does, which of course scares him as much as it intrigues him. He is equally drawn and repelled at the same time, which always makes for a great love story, doesn’t it? If it was too easy, it wouldn’t be as fascinating to watch would it?

Many of the best writers draw from their own guts and real life. They not only know how to express their deepest feelings and desires, but they also know how to shine the light on their darkest thoughts and fears, as well as their own inadequacies and very human FLAWS. And Matthew Quick, who wrote “Silver Linings Playbook”, is no exception.

I am going to share a little excerpt from an interview with Mathew:

AND I QUOTE: “I always say that artists live on the fringe. I was a very good high school English teacher and I was a very good counselor of teenagers. But inside I was extremely depressed, partly because I wasn’t doing the one thing I wanted to do, which was to write. The other part was that there were a lot of weird quirky things going on inside of me that I didn’t let show. But when I started to write, I started to explore my psyche and all the things that make me Matthew Quick. And part of that was the fact that I do deal with depression. I do have anxiety issues. I can get overwhelmed with emotions. I had always been embarrassed by those traits but it’s also what fueled my writing. And the more that I came to understand that, most of my heroes who are novelists like Hemingway or Kurt Vonnegut, these are people who know the wild ups and downs. These are quirky people. These are people who are not mainstream. That was a revelation to me.”

He also lived for a spell with his parents and his father was obsessed with the Philadelphia Eagles, and in “Silver Linings Playbook” he used all that as the foundation of his story and then added all these extra elements to the characters and the story line in a fictitious way to make the characters even more complex and compelling and ripe for conflict. In my writing workshops, we are unearthing the most fantastic, RAW and deeply human and sometimes dark stuff that comes from a writer’s soul. We are mining for personal Gold and I encourage you to do the same thing.

You need to answer some important questions when creating a character:

  1. Who are they? What is their back-story? Meaning, what is their history that has helped define their personality and shaped the world they live in?
  2. What quirks or inadequacies do they have that make them flawed and very human?
  3. What talents, expertise or confidence do they have that gives them courage to overcome obstacles?
  4. What is their relationship with the other characters and the challenges that they have to deal with in order to have a healthy or loving relationship with them?
  5. What is their big “want” or desire they have to achieve in the course of the story?
  6. What are the main obstacles in the way of achieving it? This is where you want your IMAGINATION TO FLY.
  7. What are some unique and UN-predictable ways in which they can accomplish their goal based on the attitudes, beliefs and behavior of that character??

This time we are focused on drama, next time in Part two of “Writing great characters” we’ll focus on comedy. But comedy needs complex characters and their conflicts as well.

If you haven’t yet, I also encourage you to watch my first two MTT videos about “How to Tap Into your own Personal Creative Genius” and “How to Cultivate Great Story Ideas”. They will also help you create great Characters for whatever you’re writing.

If you want to know more about my Writing Mastermind groups or private coaching, the info is down below… So until next time, wishing you all the best and have a beautiful day.

Minda Burr
www.mbwritingworkshop.com
310-923-2726

Commercial Audition Callbacks, Part 2

There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.

Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.

Every audition especially callbacks are 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, such as:

Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?

Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are

They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.

This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.
What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.

SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.

For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/

Commercial Audition Callbacks, Part 1

DEAL WITH CALLBACK ANXIETY and BOOK TV COMMERCIALS

There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.

Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.

Every audition especially callbacks are 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, such as

Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?

Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are

They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.

This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.

What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.

SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.

For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/

Gerry Katzman Comedy

GETTING THE JOB – a Magic Tool for Success

By: Gerry Katzman

If someone gives you a job, and you want them to hire you again, there is a under-utilized tool that will increase the probability by 50%.

This same tool, can turn someone who hates you into a fan.  Let me share two examples:

Example #1: One of my students was recently booked for a week of work as a comedian at Harrah’s Casino. One week later, the head of entertainment called him to book him for three more weeks of work at a higher salary.

He used the tool.

Example #2: An actress in my class had a falling out with a well-known film director over a disagreement that happened on set. He said he never wanted to work with her again. Last week, we all celebrated his birthday together- and she’ll be acting in his next feature.

She used the tool.

So what is this Magic tool? It’s something so simple, yet so under-utilized that when you use it, it will make an unforgettable impact.

Here it is:

My student, who worked at Harrah’s comedy club – as soon as he got home from the gig – sent a sincere note of thanks and a thoughtful gift.

The actress who had a falling out with the director, sent a sincere note of apology and appreciation and a thoughtful gift.

Here’s the deal:

People feel so under-acknowledged in their work today, that when you take time out of your schedule to tell them that they made a difference in your life and your career, they will never forget it.  By showing them that they made a difference and expressing your gratitude, they become personally invested in your success.

From this day forward, resolve that anytime anyone does ANYTHING for you and your career – get on your computer, or get out your stationary, and send them a thank you note.

And if you don’t have stationery and you’re bad at mail, Sites like www.sendoutcards.com  and apps like www.thankyoupro.com  will make it so you’ll never have to buy an envelope or affix a stamp again. 

Give people tangible reminder of your appreciation and watch the cycle of gratitude and success come back to you.

For more information sign up for my newsletter at www.StandupComedyClass.com

Carolyne Barry Commercials

Book TV Commercials

You Are the Character

By: Carolyne Barry

Actors are trained to play characters. From when you first began to train, the focus was on developing and being true to the character. With theater, film and television work, the actor’s responsibility is to bring them to life. I believe it is different for commercials. Commercials are very short and the roles portrayed are targeted at a specific segment of the population. There is no time to establish a character in the majority of commercials. In a few seconds, it has to be clear whom the actors represent and their roles. Those watching must see a semblance of themselves in order to identify and be motivated to buy the product. This is why physical types and essences are almost as important as talent in commercial casting.

If you don’t play characters, how do you prepare? I strongly suggest approaching the parts as ROLES YOU play. You play numerous roles in your life? i.e: Employee, boss, friend, spouse or significant other, child, parent, neighbor, student or teacher, working person or professional, etc.

Many of these parts featured in commercials, are roles you are or have played in your life. (Those for which you are physically right but haven’t experienced should also be doable with a little work.) Approach your auditions using your feelings and reactions. Focus on how YOU would behave or react in the given situation not a character you create. It is easier, faster and you’ll have better results when starting with the premise that “You are the Character playing a role”.

Blue8 Intro to Basic Stunt Work

Intro to Basic Stunt Work

Stunt performance is the ultimate form of physical acting. It is the moment when you commit, mind, body, soul into a physical state and share the same fears, exhilarations, triumphs and defeats as your character. In this place the lines of reality blur and for a blink you exist in complete portrayal of the role you have submersed into. Safety is step 1 toward this experience and involves years of extensive training to attain a foundation by which you can build on and progress toward higher level action scenes.

In this video our head stunt coordinator Kyle Weishaar breaks down the basics of action for film and introduces some traditional concepts that will help you gain a firm understanding of the fundamentals.

Today’s video will cover:

  1. The Golden Thread
  2. Action and Reactions
  3. Safety Tips

This course of instruction introduces you to beginner level techniques and general knowledge that we would like you to internalize and apply to the vast library of discipline specific tutorials offered by the Blue crew’s Action MTT’s covering parkour, kung fu, tactical work and much more!

To us action and stunts equals cinematic poetry. It is artistry and science combined that demands attention from both sides of your brain to pull it off. We know that these valuable teachings will augment your career as well as your life and are proud to share this knowledge with you. Check out our blog for more Blue8’s tips tricks and suggestions on how to approach stunt work and action acting.