I don’t apologize for being a huge “Star Wars” fan. But even if you have never seen the films, this article will introduce you to some out-of-the-box audition techniques that I have saved, until now, exclusively for students in my private classes. Have you ever imagined that you could wave your hand and say, “These aren’t the droids you’re looking for,” and get almost anyone to do what you want? Well, you can.
Imagine landing a role in a new Paul Thomas Anderson, Spike Lee, or Martin Scorsese film (like several students I’ve known and taught). Film directors, myself included, are known for letting their actors improvise on certain takes. I cast out of my scene study classes almost exclusively now, so selfishly, I created a new way to prepare my students to make it up as they go on set. This form of improvisation is very different because the goal is feature film and television work, not live comedy.
It may shock you to learn that even the best teachers in the world have steered you wrong on this thing. You know that goal and action goes back to the Greeks, but how do you actually use objective based acting?
I have drawn on my extensive background as a screenwriter and director to carefully formulate this approach and I am certain it is the best way to play an objective.
In this article I will break down exactly how to best attend AFM on a budget and get the most out of all the parties and goings on if you are an actor looking to connect with producers and directors. If you don’t know what AFM is or why you should go, read my advice article at Backstage. It starts November 4th so get ready folks!
Being a film actor can be difficult when you’re constantly inundated with lies about the craft. Continuing from part one, here are five more falsehoods that are commonly passed off as solid advice for film actors.
Do you want to book film work? Who doesn’t? Let’s face it. But how does one proceed when you are constantly being misled about the very truth and nature of film acting. Deep down you know that you are. You can feel it. Here are 10 falsehoods that are commonly passed off as solid advice for film actors.
I want you to watch a feature film with the sound off. Sound boring? Get over it. This will change your film acting forever. As you look at the film I want you to notice the way the lead actors move versus the way the day players move. You will almost always find that the most famous and successful actors in a film move the least.
As a working film and television director, I have to clean up the messes that outdated actor training creates on set. Here are some classroom practices that I firmly believe are harmful to the film actor. If you see any of this going on in your current acting class, I want you to run!
Screen Actors System member and award winning actress, Marianne Bourg, will be presented at the prestigious Cannes International Film Festival this May. “Snake Eyes,” a Baldo-Bretow Film, stars Bourg as Sloane Markum, a woman who seeks revenge on her husband’s killer.
Recently winning “Best Actress” at CMF Hollywood for her role, Marianne will walk the red carpet at the invitation-only Festival De Cannes in the beautiful French Riviera. The thriller, “Snake Eyes,” will be in the running for the coveted Palme d’Or in the festival’s annual “Cannes Court Mètrage” against professional and independent filmmakers from around the world.