So for self-tapes, do we want scripts where our character does a lot of talking? Maybe.
Though there's certainly a lot of acting to be had in the reactions to other characters, isn't there?
My monthly reminder:
Relax. The casting people want us to be amazing. It makes their job so much easier if we are.
And, if we relax, there's so much more chance of being amazing.
In choosing an audition speech, there's a temptation to play fast and loose with age ranges. ie. go for a speech cos we like it, even tho we are too old/young.
Don't. Directors don't like it. It makes us look unprepared, even if we're not.
We really have to relax if our work is going to breathe. Onstage or onscreen.
Bit of a paradox: for the work to be great, we have to not care how it comes out.
Get to it! It's the core discipline of acting.
More tips on laughing/crying:
i) To make them happen, focus on trying NOT to do them - rather than trying to think/feel "that was funny/sad"
ii) Laughing is mainly breath going out in spasms; crying is breath going in in spasms
"Talent without discipline is just noise". So says global superstar Snoop Dog.
For acting, that means don't wait to be picked. Pick yourself. Back yourself. Keep working, especially at the bits you don't like. Above all, have faith.
If we go to the full extent of our emotional range, we sacrifice all tension with the audience.
We must keep the audience guessing. How much more have we got in the tank? This uncertainty is what keeps them watching. Even if the script demands that we explode, go 99%.
Old chestnut this, but worth repeating:
To cry realistically, try not to cry.
To laugh realistically, try not to laugh.
Never go fully to the end of your range.
With theatre, it's easier to learn the lines when the "blocking" (ie moves onstage) is set. You remember what line is said by where you are.
Use this idea when learning for camera. When learning, take a step in a direction every time there is a change in what you are saying.
Seen the series Hijack on Amazon?
A show-stealing performance by Eve Myles as an air traffic controller. Not, by any means, the main role.
What she does is bring depth and specificity. Above all, her objectives are always clear as day.
Standout.
You've probably seen ads for HBO casting director Amy Jo Berman's free webinar? I just did it. Thought I'd report back.
Well worth doing. Sure, there's some selling going on. But there's loads of useful stuff. Stuff I'd forgotten actually. If I had the money, I'd pay for more.
What's my character's main objective for a scene?
How do I tell whether it's specific enough?
Well, ask yourself this: what would have to happen for the scene to end? Ie. for my character to simply win.
If you know what that thing is, you have a valid main objective.
Verse tip:
If a word is difficult to say, don't worry. It's a stage direction not an obstacle. It means the writer wants the character to find it difficult to say.
Your job as an actor is to find a choice for the character that motivates them to slow down and enunciate.
When I started acting pro back in 1999, I lasted just 7 years.
I took it all too personally. When it was going well, I thought I was untouchable. But when I was out of work or got bad feedback, it turned me inside out. I was looking to achieve the perfect acting career.
Don't!
It's easy to obsess over headshots. I'm doing it right now!
Had a shoot with a v talented guy @danielramsayheadshots in London.
I'm looking at it as ticking boxes, rather than trying to get the perfect shot ... although maybe we got there for my casting. Who knows ultimately?
What's a "button"?
Onstage, a sequence of comedy often needs a "button" to close it off neatly, and also act as a transition into the next beat of action.
A director may handle this for you. But, if you have a comedic idea for your character, consider the "button" yourself.