BREAKALEGG

Character Build Series: Week 3 (Research)

At the end of the day, a character is fully created when it is no longer seen as a character, but a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?

A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.

This is the 3rd of a four week series in which we will look at all these tools: today we look at research.

RESEARCH

We cant always observe what we want. Fortunately, research and studies can fill that void. And anyways, even if we could observe the people we want to incarnate, it is an invaluable complement to research them. There are hundreds if not thousands of books on any subject to which we can turn to when we need information. And the best way to gain information is through reading (when we can not have a direct interview).

Characters from another time, for example, should require very precise research. The actor should learn the gestures and mannerisms common to that historic period; through art books, visits to museums, reading plays and finding inspiration. The director should provide concrete details on which the actors must expand, but thats not always the case so you should do it on your own.

Marlon Brando lived with paraplegics from the Birmingham Veterans Hospital, to learn about their problems and portray them in his 1950 film "The Men". Glenn Close had interviews with various psychiatrists to understand her obsessive character in "Fatal Attraction". Dustin Hoffman did the same thing to play "Rain Man".

Never under estimate the power and depth research can give your character.

Next week we will talk about how to use imagination with this research.

July 2nd, 2009 | Category: Actors Training | Print This Post | Email This Post | Leave a comment

Recession lessons from the movies…

Here is a great little article about what lessons our movies have taught us, that come really handy at a time like this. We are all trying to save what money we have or simply make more by getting creative, and script writers have got a thing or two they can teach us. From Breakfast at Tiffanys, Confessions of a Shopaholic, to Grapes of Wrath. Who said watching movies wasnt productive? …For the full article…Click Here.

NEW TRAILER…

June 29th, 2009 | Category: Trailers | Print This Post | Email This Post | Leave a comment

Reader Mailbag: Michael

Here at breakalegg we dont usually do reader mailbags but this particular question has come up several times and I wanted to answer in a way that might reach other people in a similar situation…

I’m 16 and a junior in high school never acted, but I’m very good at making people laugh and I was thinking of doing stand up/ Acting/ improv for starters and getting my name out. Me and my family are low on income I’m not looking at acting as a way out, its just that I have a desire for some reason to act. I have no previous experience in acting. I’m new to this game. But is it to late to start at 16? I’ve done my homework and I see that most “actors” are born with middle class parents who can afford acting lessons and taking them all over to make their kids known. My mom and sis are all I have. And we have trouble making it. But through our odds we’re making it. Also say I did get it, my family cant move to Hollywood or New York. If your in a low income family then what happens where do you go? Anyway I’m in band right and I play the drums I was going to change one of my electives to drama class. And begin my career their. Before I wanted to be an actor I wanted to be a doctor or a video game designer. I figure that if I had to choose between those I should choose the one ill most enjoy. So what if you were in my shoes. What would you do? (P.S.) this letter is to help me figure out what I should do and thank you for your time. -Michael.

Dear Michael,

First of all let me say I think its great that you have a knack for bringing smiles and laughter into other peoples lives. It is often said that it is much harder to make someone laugh than it is to make them cry. That being said…who told you most actors come from middle/upper class? Most actors move to LA or NY with little or no savings and just the dream of making it big in their pockets. Some move in with friends, or share apts, and have several “day-jobs” to pay for bills and classes or other acting expenses. Acting is very expensive and bear in mind that 80% of the SAG affiliated actors earn less than 10,000 dollars a year from acting. Thats not nearly enough yet they manage to continue doing it. I think the only way you are going to make it is if you really want it. Yes, it would be great if you had a supportive wealthy family, but if you dont, AND you still want to pursue it, just get creative. Join amateur comedy/theater groups or form one in your town. Join amateur theater classes, start a podcast, write sketches and perform them for friends and family… and save up to try and one day make a move to a bigger city. It doesnt have to be LA or NY, it can just be a big enough city where you can start to earn a living by working as a comedian in clubs, theaters, TV or even radio stations… If you do make money, invest it in further training or moving to an even bigger city…etc. Everyone in showbiz has to start somewhere. Dont think that because you arent in LA or NY you cant make it. There are plenty of places where comedy or entertainment are still very much in demand and you can make a living of what makes you happy.

P.S. As far as age. You are never too old to be an actor. Thankfully there are always roles for any age bracket. And you are 16. Thats younger than 90% of the people moving out to LA or NY every day. Dont worry.

June 29th, 2009 | Category: Actors Training, Money and Legal Issues | Print This Post | Email This Post | Leave a comment

Leaving voicemails for CDs or Agents…

“What the heck did she say?”

Leaving a decent phone message seems like it would be a no-brainer, right? Unfortunately, not always. All too often Mr. Mumbles, Ms. Fast-Talker, and Mrs. Nocontactinfo leave messages. Yet the difference between a good message and a bad one might mean landing that next role or not. Casting directors and agents wont always be available, they are busy people if they are doing their job right, so its YOUR job to make sure you are understood and make it easier on them.

Here are some phone “dos”:

Slow down.

It’s true that no one wants to listen to a five-minute phone message, but there’s no need to leave a fast-talking voicemail. Slow down and speak clearly. Nothing is more frustrating than having to listen to a voicemail four or five times to understand the message… Or, as I often have to do, have someone else listen to it to see if they can understand what the person is saying (they usually have the same luck I have).

Explain why you’re calling.

I receive a ton of messages from people who simply leave their name and number. When I call them back, it turns out I’m not the person that can help. If they had left the specifics in their voicemail, they wouldn’t have wasted my time or their time with a call back that didn’t solve anything. Be specific.

Leave complete information.

For two days in a row I received a voicemail from a woman who left her first name and company but no phone number. I tried calling the general company line and asking for her but without a last name the large company could not help me. She ending up getting a hold of my secretary and leaving an angry message that I never got back to her. Trust me, I would have if she left the appropriate information.

Also, don’t assume that the person you’re calling has your information, even if you spoken to them before. It’s always appreciated when you leave a call back number; it saves the recipient from having to look up your number.

Repeat. Repeat again.

Say your name and phone number and then say it again. You should say your information at least twice, if not three times.

MONOLOGUE: “Deliver me the key” (male,classical, comedic)

Like every week we post a monologue for you to enjoy. This week it’s from Shakespears’ “The Merchant of Venice” Let me say this is one of my favorite plays, and there are just so many monologues worth while. Funny enough, they arent as used for auditions as they could be so they still seem refreshingly unexpected. This one is by the Prince of Morrocco as he deliberates which chest to open: gold, silver or lead. :

Some god direct my judgment! Let me see–I will survey th’ inscriptions back again.

What says this leaden casket? ‘Who chooseth me must give and hazard all he hath.’

Must give — for what? for lead! hazard for lead? This casket threatens; men that hazard all

Do it in hope of fair advantages. A golden mind stoops not to shows of dross;

I’ll then nor give nor hazard aught for lead. What says the silver with her virgin hue?

‘Who chooseth me shall get as much as he deserves.’ As much as he deserves? Pause there, Morocco,

And weigh thy value with an even hand: If thou be’st rated by thy estimation,

Thou dost deserve enough; and yet enough May not extend so far as to the lady;

And yet to be afeard of my deserving Were but a weak disabling of myself.

As much as I deserve? Why that’s the lady! I do in birth deserve her, and in fortunes,

In graces, and in qualities of breeding; But more than these, in love I do deserve.

What if I strayed no farther, but chose here? Let’s see once more this saying graved in gold:

‘Who chooseth me shall gain what many men desire.’ Why that’s the lady! All the world desires her;

From the four corners of the earth they come To kiss this shrine, this mortal breathing saint.

The Hyrcanian deserts and the vasty wilds Of wide Arabia are as thoroughfares now

For princes to come view fair Portia. The watery kingdom, whose ambitious head

Spits in the face of heaven, is no bar To stop the foreign spirits, but they come

As o’er a brook to see fair Portia. One of these three contains her heavenly picture.

Is’t like that lead contains her? ‘Twere damnation To think so base a thought; it were too gross

To rib her cerecloth in the obscure grave. Or shall I think in silver she’s immured,

Being ten times undervalued to tried gold? O sinful thought! Never so rich a gem

Was set in worse than gold. They have in England A coin that bears the figure of an angel

Stamped in gold — but that’s insculped upon; But here an angel in a golden bed

Lies all within. Deliver me the key. Here do I choose, and thrive I as I may!

WHAT DOES THIS MEAN FOR ACTORS?

James Cameron is creating a closer relationship between two world that up to now mainly collaborated by simply using eachothers marketing push to sell more of their own: the video game publishers and the movie industry. Now though, in his upcoming “Avatar” (a 3-D movie using even some actual footage from the game) is changing that. As an actor, tell me, are you worried that these types of movies (as technology improves 3D) will take away the jobs of real people? Or do you feel encouraged that hollywood expands its horizons to include new media producers and people with different interests? For the full article…Click Here.

Character Build Series (Part 2: OBSERVATION)

A)from our own experience.

B)from observation.

C)from research.

D)from our imagination.

This is the 2nd of a four week series in which we will look at all these tools: today we look at observation.

OBSERVATION:

When experience is not enough, observation comes into play. The main problem though, is that we see, but we don’t really look. This routine has made us superficial. Since seeing is an activity that requires no effort, its results are passive and blurry, but looking requires an effort to appropriate oneself with a reality through a voluntary act. To look to really look, gives us a part of that reality; and with that fragment we can make the whole reality, assimilating it as if we had lived it. For example, observing prostitutes in their walks, pregnant women and their difficulties to move, blind in their hesitant walk, crazy people in psychiatric hospitals, are means to grasp a part of their circumstances and from that, as much as possible, deduce their entire personality.

When we speak about the necessity for actors to have an intense life, we try to make them understand that their body should be very sensitized to absorb what happens around them, and that this sensitivity absorbs and is stimulated when you visit museums, when you read good books, even listening to good music…

Next week we look at our next tool; Research.

Alter your look to appear older or younger at auditions…

OK. Mainly the videos below are for women because of the simplicity of the use of make-up. Men can apply some of the basic principles such as:

FOR OLDER:

-Dress more formally.

-Dont dress with current fashion statement pieces or colors.

-Stick to neutral and earth tones.

-No gel or hair spiking up.

FOR YOUNGER:

-dont over-expose yourself to the sun to avoid early wrinkles,

-dress according to your age bracket (no backward baseball caps for 40 yr olds please) but with new “in-style” clothes.

-Make sure you style your hair in a way that shows you put care into it.

-dress a bit less formally (jeans with a nice dress shirt is always a good option)…

But the women can also alter their look further with make-up or hairstyles that are more common to the age range they want to look like. And one final piece of advice: NEVER, I repeat, NEVER write your age on your resume. Whatever they feel you are from your headshot is fine, dont limit yourself!

Makeover: Get The Look: How To Look Older: Make-Up

Makeover: Get The Look: How To Look Younger: Make-Up

Why such differences, Hollywood?

Lately there have been alot of blogs covering the story about “My Life In Ruins” actress Nia Vardalos’ comments about movies about women. Amongst these times its always good to look at the facts. I believe with them in hand you can either accept reality, confront it or change it armed with knowledge. Here is a post from Women and Hollywood blog about these statistics:

Money/networking book review for actors…

Normally I would be the one reading and writing a review for books in BREAKALEGG, but this time I knew I wouldnt be able to do it that the author of SimpleDollar. Take the time to read atleast the review of both these books. If you feel that they might be useful to you (TRUST ME, THEY WILL) go ahead and make a stop by your bookstore tomorrow.

A great part of our career is networking. Setting a value for our time and using it smartly needs to be one of your priorities. As a little piece of advice I want to say: networking is not just about getting something from someone, its also about giving something to someone. It has to be a 2 wy thing for it to be a successful relationship. Dont forget!

For the full reviews…Click Here.

June 9th, 2009 | Category: Uncategorized | Print This Post | Email This Post | Leave a comment

LINKS FOR TODAY…

Get Headshots that show your type… (The Acting Room)

Jennifer Lopez’s real size… (SkinnyVsCurvy)

Gaining transferrable skills…(The Simple Dollar)

A tribute to Bea Arthur… (Neatorama)

Getting to Auditions via Automobile… (ActorPreneur)

The nasty habit of lateness… (Productivity 501)

James Franco and NY Casting news… (Defamer)

HOW TO…GET OVER YOURSELF?

Some of the most common request agents, casting directors and managers have of prospect clients and new actors, is for them to lose the arrogance or cockyness and be more professional. Whle we understand that its a type of defense-mechanism for the many insecurities that plague us, it is important to not be perceived as onything other than a serious actor, focused and down to earth. So how do we change our habit? Talentdevelop has a great article on how to approach behavioral change… For the full article…Click Here.

BOOK REVIEW: “LETTERS TO A YOUNG ARTIST” by Anna Deavere Smith

Like every week we post a book review on a subject related to acting, health, personal growth or anything related to the showbiz industry. This time it’s a little unknown book called “Letters to a young artist” by Anna Deavere Smith which publicizes itself as advice for artists on making a life in the arts.

Well, let me tell you, it does as promised. It’s a rather practical manual for any young artist wether a painter, dancer, actor, singer or poet. Written with great insight and on a broad number of subjects such as: confidence, discipline, self-esteem, fame and failure…etc. Its certainly a book less oriented to the business side of the career in arts and much more on the personal growth and “self-awareness”. And you know we feel its just as important to take care of both here!

The format is easy: its multitude of anecdotal letters written to a young “BZ” who we assume is a friend or younger self of the artist, in which she gives random advice in a familiar voice.

So, Is it worth reading? YES! It’s a wonderful read, and almost like if you were reading a blog, but with huge amounts of great insight on how to cope with some of the harder emotional aspects of being an artist. My only complain is that sometimes the author can be a bit repetitive on not-so-important stuff. Its ok to insist on the major points, but don’t reiterate yourself to fill pages of no importance.

TECHNOLOGY TO HELP GET PAST CREATIVE BLOCKS….

We all know the feeling; whether an actor, writer, director, painter or any other proffessional artist… we’ve all had to finish a job in time for shooting or handing it over to the client… and have felt stuck! The worse timing, the worse feeling, you try and be creative, try and get those talent juices flowing and…NOTHING. Well, sometimes theres not much you can do about it but keep trying and hoping for the best, but now theres a new app that might help you overcome those blocks…For the full aticle…Click Here.

MONOLOGUE: “Collaboration” by Kellie Powell (female, contemp.)

Like every week we post a monologue for you to enjoy. This week it’s from Kellie Powells’ play: Collaboration. It is a contemporary female role.

Kim confesses to her friend (and sometimes-lover) Shanehat she has been in love with him for several years.

KIM: I wanted those moments – few and far between as they were… I wanted whatever time and affection you could give me. No matter what it cost me. I felt like you found comfort in me. And maybe I wasn’t your first choice, you know? But I was glad that I was somewhere on the list. I let it happen again and again, more times than I can even count.

You wanted to keep things casual, you wanted to keep me at arm’s length. It didn’t matter. I love you anyway. I’ve seen the best and the worst of you… and I love you. I love your kindness, and your strength. I love the way you can tell me what I’m thinking. I love the way you tell a story, drawing me in. I love you for all the times you convinced me, with a stupid joke, or even just a look… to stop taking myself so seriously and just enjoy my life. Nothing could ever make me regret the way I feel about you. What I feel for you isn’t a negative thing. It makes me better, it makes my life better. That’s what I’ve been trying to say: That love is never wrong.

NEW TRAILER: SURROGATES

As much as I love a good Sci-fi and/or comic adaptation with all its effects and futuristic portrayals of the world… is it just me or does this seem almost like a “Die Hard 2200″? I still want to go see it though…:-)

Character Build Series: (Part 1: EXPERIENCE)

At the end of the day, a character is fully created when it is no longer seen as a character, but as a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?

A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.

This is the beginning of a four week series in which we will look at all these in due time but today we focus on the first tool: our own experience.

EXPERIENCE
 
The human being accumulates information even before it is born. That is why living through experience it is so important for actors. It’s about accumulating energy in a body from which it must later emanate , continuously, to portray the motives and actions of the imaginary characters.

Here I would like to remind of the importance both of sense memory and emotional memory exercises. The accumulation of these experiences must always be ready for use because it is the base of creation. Its like experience is our own psychic library, if you will.

But it is dangerous to believe that inside to one’s self is all the necessary experience, because you can fall into narcissism, and removing your self or distancing your self from society. And that is something that can sterilize you in an art-form that consists above all on collaboration. Other actors around you stimulate your interior processes and vice a versa.

Also, experience may not be enough. Sometimes because of the actors’ young age, it is not rich enough, or simply due to a lack of it.

Obviously, even in his entire life an actor could not experience ALL human possible actions. He will probably not kill royalty such as Richard III, or Macbeth, or prostitute themselves like Ana Christie, or kill their kids like Medea, or fly like Superman nor will he have died, become invisible, been blinded, a vampire or a murder.

But they can, by approximation, understand the experiences. It’s possible for them not to have lived them but to have seen them in movies, in television, have read books on it, and maybe even had to met someone in those circumstances.

There is a misconception that must be clarified. With too much frequency we hear people say that actors must have plenty of experiences to be able to use them in order to create their characters. There is obviously a danger to this method in learning. You must not take it literally. To interpret a heroine addict, you don’t need to take drugs. To interpret a prostitute you need not sell your self for money. to play a murderer, is not necessary for you to kill. Obviously. That is where we used books, movies, newspaper articles, interviews, and conversations that can help us fictitiously create a crime. And that is where observation comes into play, but that is the subject of next weeks post: OBSERVATION.

SPEAKING IN PUBLIC…

As actors we will have plenty of occasions to speak in public: award shows, thank-you speaches, interviews, but mainly our day to days: auditions. We need to know how to adress the room full of people who might end up giving you your next big break! So it is of utter importance to know “how” to get rid of your fears of public speaking, or atleast learn how to “fake it”. As actors people start judging you the minute you walk into the room. Not when its convenient for you to begin saying your lines. So “man-up” and use any tools available to perfect your public speaking techniques. Here is a great article from StepCase LifeHack that helps you out.For the full article: Click Here.

P.S. I also use one small trick: imagine you are your favourite actor/actress. How do they address others? How would they talk? Move? Smile? Act?How would their voice sound? Calm? Funny? Excited?

BOOK REVIEW: PUT ON A HAPPY FACE by Charles Strouse

Like every week we post a book review on a subject related to acting, health, personal growth or anything related to the showbiz industry. This time it’s the memoirs of Charles Strouse: “Put on a Happy Face”

Strouse is an Emmy, Grammy and Tony Award winning composer. He is mostly known for his work in Annie and Bye Bye Birdie. While he is definitely one of the most talented composers there are and has enriched Broadway with such songs as “The Sun’ll come out Tomorrow…” the writing in the book is not at all easy flowing.

In the book he tells of his life experiences and obviously his many achievements. But uses too much of other well-known celebrities to give himself a boost. Name-dropping of the likes of Sammy Davis Jr, Frank Sinatra, Dean Martin on Lauren Bacall.

So, Is it worth reading? While I don’t wish to demean any of Charles Strouses’ achievements and take nothing from how wonderful a person he may be, Im strictly basing my opinion on the book as a whole. And that includes the writing, the level of entertainment it offers and the flow of things. And I think it lacked level in all of the above. So NO, I would not read this book unless you truly are interested in the composers life.