Let alone being honest and listening to a Casting Director or the reader. The worst part about this particular problem comes when the role strictly requires a certain dialect. Obviously NOTHING, not even a casting director you says they want a Standard British Accent should make you compromise the level of work and talent you put into the actual performance, so if push comes to shove, ditch the accent and make sure the performance is so good they are willing to oversee that detail. If they really love you they might work with you once you have the part.

But what is certainly very clear, is that investing in a good vocal coach and feeling comfortable with a few "type" appropriate dialects is well worth the investment either way. Some of the most common include: RP, Standard British, Russian, French, Italian, Mexican and Spanish, Southern or African.

For example, here we have a woman who feels confident enough in 21 different ones;

On one of my first auditions the casting director told my manager I was good, but I was "a bit green". So, What the hell does that mean? Well, its still not very clear. For some its a simple excuse not to get into detail about WHY they didn't like you. For others it means your lack of experience is preventing them from hiring you even though you have talent, and for others, its a matter of a "lack of talent" or not having learnt to use it.

After this, I asked around to everyone I could: What does being green mean?. Every single actor has gotten it at some point. The beginning ones get it as soon as they hand in their resume. The more experienced ones get it when they present themselves without a certain confidence generally associated with someone of their experience.

I started re-playing the audition over and over in my head because I wanted to know exactly what was pushing this CD to say that. And then I realized I had done everything right…up until I finished my audition. I had planned in my head for days how I would walk in confidently, shake their hands and do a great job (and so I did), BUT I had never thought about what would happen afterwards. So as soon as I finished and he told me how "That was a great job"…I was caught off guard, got nervous and said in what I can now only describe was an insecure teenagers' impression: "Oh, really? Did you think so? Gee, thanks…"

In a matter of milliseconds I had transformed from my character and a confident actress sure of what she is doing into a sad puppy in need for approval and eager to please. I was doomed! I walked out not giving it a second thought until I got home. Theres an old age saying that has done wonders for me in this arena after my horrid experience:

FAKE IT TILL YOU MAKE IT.

As actors we are all eager to please the casting directors, our agents..etc. After all they are the ones between us and that next big gig. But coming across as unsure, hesitant or merely wanting them to like you, you are shooting yourself in the foot. Have you ever seen how cocky some of the best actors are? Not as people, but when it comes to their profession. They don't hesitate when asked how they got into character, or how they did this and that in a scene. They don't apologize for their mistakes over and over. If you believe you are a master at your craft; You will be seen as one.

Needless to say when I returned to that same CD, I put on a brave front UNTIL I walked back to my car and never heard that comment again.

As actors we are stuck with alot of "in-between gigs" periods. All that time when there arent many auditions and bills still need to get paid. When your career seems at a standstill sometimes you need to find new ways to CREATE opportunities. The most common and well known example of how this works is Sylverster Stallone, who wrote "Rocky" with the intention of creating for himself a good role that would showcase his talents. Im not saying your next script will be a big hit, but isnt it worth a try? It might even open up a new side of you that you werent aware of. Our advice here at BREAKALEGG is never think youve done enough. Even if youve gone to your classes, and if you have worked on your talent, read up on plays and scripts, auditioned wonderfully, been on time and professional…if theres more time than you thought, find something else to work on that can help you get where you want to go. Screenwriting, Directing, producing, teaching, volunteering…  For those of you who want to give filmmaking a shot, here is a great article to get you started… For the full article..Click Here.

In this video, professional voice instructor Jennifer Rutherford of International School of Music, and private teacher in Bethesda Maryland, describes how to prepare for a competition like American Idol, or any other audition. Some tips on preparation, vocal health, song choice, and audition etiquette are covered. Warm ups are also suggested and demonstrated with student and model, Mair. The video assumes that candidates will have some level of training or natural ability, but would also be useful for the amateur interested in pursuing training for a career in singing.

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?

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

IMAGINATION

What happens, when experience is lacking, observation is impossible, and research doesnt exist? Imagination comes into play. As actors read a script for instance, their mind starts to form these characters weather they are realistic or not. And after a couple more times reading, they start to "see" this character. Anthony Hopkins once said:

"I read a script atleast 200 times when I take on a movie. Not because after the 20th I dont know it by heart already, but because after the 50th, I can see how this character moves, and after 100 times, I start to hear his voice, and after the 150th time my imagination starts to actually alter or adjust the character to myself."

Its as simple as picturing what this character feels like. And yes, due to the lack of experience, possible research and observation your guess may be way off. Maybe he is a quiet reserved person in the eyes of the director but you see him as an assured and confident person. But one thing is guaranteed; your performance will still be good. The CD can always ask you to alter those things. The script may be so vague, or your part so small, there really isnt much to go on. But as long as you commit to your point of view, and transmit what in your mind seems like this persons charisma, then you will at the very least be presented as a professional and good actor. Imagination, at the end of the day, IS OUR MOST POWERFUL TOOL as actors.

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.

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.

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?

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.

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.

a) The genius to transform oneself.
b) The talent to showcase such transformation
c) The inspiration to do both things in the conditions of time and space given.

If I make this distinction between “genius” and “talent” is because sometimes these terms are used as synonyms. I refer to genius as the innate ability; and when I refer to talent I think of learnt abilities in schools or through practice and experience. Talent, in this case, requires effort. Where as the genius without the effort of the talent can easily pass by undiscovered.

THE GENIUS:

To transform oneself into another, is to dress like another, walk like another, move like another, speak like another, and feel like another. We pay for tickets to see Othelos’ jealousy, the unfortunate love between Romeo and Juliet, or the bravery of Don Juan Tenor. We pay to see the effort these actors make to convince us they are transformed into these characters.

It doesn’t matter how dramatic, or hysterical a show host, a politician, or a salesman is, we cant call their public appearances performances, because they lack the main element of : transformation. They appear with their name and last names and they dont try and convince the others they are someone else. They might try and convince us they are better than they are, but not someone else. Which is precisely what we do.

” Dont act. You fit the part-said Katherine Hepburn to Anthony Hopkins when they rehearsed- You have everything you need to do your part. Do like Spencer Tracy, limit yourself to reading your script.”

But these pieces of advice are ONLY right in few occasions. Such as:
a) if you posses a personality so strong and present that makes us forget if you are creating or not a character.
b) If the role matches your personality
c) When you have established a mastery of acting and can do if effortlessly.

Listen, the only time the famous advice “just be yourself” is if you are Meryl Streep or if you match your character 100%. Because lets face it. If it were enough to just be oneself…anyone could be an actor, because no effort would have to be made and any John Doe from the street could give an Academy Award winning performance at the sound of “Action”!.

THE TALENT

An actor can be a genius at transforming himself but it is worth nothing to a performance if he doesnt know how to showcase it. He can through all that innate ability away if as soon as you place him in front of a camera or an audience; he turns his back, stands behind another actor, speaks unintelligibly or we cant hear him. This ability is one you can learn and practice in order to perfect.

THE INSPIRATION HERE AND NOW

The third requisite refers to the need for the actor to be inspired and creative at the time and place he has to be. No tiredness, laziness, boredom, or personal problems would justify an actor performing badly and lacking the inspiration the moment he hears “Action”. His technique -and the help from the director- will have to be enough to make him forget anything but the role in here and now. Concentration is our biggest ally.