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Adam Creighton, Voice & Film Actor (Ramblings) (Subscribe)
People, by nature, have some interesting things to say. Here are some of my things. Some about acting. All about living ...
Monday, March 01, 2010
Auditions and Blood Work
So, I had blood work drawn as part of routine physical, and that got me to thinking:Getting blood drawn is like auditioning.
You really want to perform well with both, but you've done the real work weeks and months ahead of time, you kind of "fire and forget", and you hope the results are good (and really really hope they're not bad).
See?
Labels: acting, acting process, auditions
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posted by Adam @ 11:07 AM
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posted by Adam @ 11:56 PM
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posted by Adam @ 2:30 PM
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posted by Adam @ 10:45 PM
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posted by Adam @ 9:44 PM
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posted by Adam @ 5:25 PM
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posted by Adam @ 9:26 AM
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posted by Adam @ 8:15 PM
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posted by Adam @ 12:47 AM
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posted by Adam @ 10:23 AM
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posted by Adam @ 9:53 AM
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posted by Adam @ 10:02 PM
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When I did the cold read, I nailed "darn". It wasn't punched, it was cast-off, I didn't think about it, and I sold it. My coach and peers called it out after the cold read as an example as to why selling the most insignificant word in a believable, organic way, creates good, unexpected moments. Later in the evening (interestingly), my coach (Steve) had a discussion with all of us about weird dialog (someone else had some funky phrasing like "you're toast" that was causing similar trip-ups). He actually even said, "Who says that kind of stuff? Your character does." (Which was validating and freaky at the same time; he's in my head!) So, one of my recent tools is I've stopped "judging" my character's dialog. That doesn't mean I don't try to figure out why he or she is saying what she's saying, and why it's being said at that time. But I shelf any useless judgements (like, "That sounds stupid", and so on). I can't replicate the "darn" by thinking about it, or trying to sell it. It works or it doesn't. Oh, and a side-effect of not judging my character is I make more dangerous, interesting choices, which come through on the audition or cold read. ("Did I kill my ex-girlfriend? Yes, yes I did.") Mheh. The process was more interesting as I worked through it than it probably reads here. Labels: acting, acting process, auditions, training Share:
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posted by Adam @ 1:15 PM
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posted by Adam @ 11:25 AM
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posted by Adam @ 12:11 AM
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posted by Adam @ 12:22 PM
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To be fair, I know I've probably been a version of an "unapproachable chemistry guy". I've received feedback in the past that I'm so focused and making so many things happen in the business world, or being so passionate and black and white with things like beating my "do the right thing" drum, it can be a bit intimidating to folks who don't get the chance to know me more personally. Because I care about improving as a person, that's feedback I take pretty seriously, and look for ways to to improve how I interact with folks in those contexts. And there are some relationships (business and professional) where the chemistry just isn't there, for any number of reasons. Anyway, those are some thoughts from me. But check out Bonnie's full post over at The Actors Voice. Huh, I snuck some original content in there, anyway. ;-) Share:
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posted by Adam @ 9:57 AM
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posted by Adam @ 4:39 PM
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posted by Adam @ 9:15 AM
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posted by Adam @ 1:01 AM
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posted by Adam @ 1:46 AM
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posted by Adam @ 4:27 PM
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This was a short day, and we spent it basically just trying to make the most of the Exhibit floor. I talked to some more companies and individuals, looked for last minute schwag, and tried to help my buddy find some gift for his girls (I was useless). Toys: I took a few quick picts of the new DC toys from Mattel, sculpted by the Four Horseman , and looked longingly at the Hasbro Legends series 3 and 4 stuff one last time. Labels: acting, biz, business, comic books, Comic-Con, Comic-Con 2007, events, festivals, inspiration, toys, video games, voice acting Share:
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posted by Adam @ 7:44 PM
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(Sorry for the delay; been wicked ill; as you were.) Comic-Con on Saturday (July 28) was (oddly) less crazy than Friday. Maybe we just got used to the crazy. And Saturday was fun. My buddy and I split up first thing, and he went to the Avatar panel while I hit the Exhibit floor to introduce myself to companies and individuals, meet up with folks I'd only previously known via Email and phone (like Mark Irwin, co-creator behind multi-format property Jack Secret; pitched as "Harry Potter meets Johnny Quest"), talk to a bunch of folks on Artists Row, pick up that Leinil Francis Yu signed Captain America "The Return" poster I'd eyed the day before, and so on. Panels were great this day, too. The Marvel Spider-Man and Smallville panels, in particular, were what I expect panels to be. Poppy, unexpected, with panelists jumping in and out of conversations, having fun, and knowing their stuff. I picked up the "Ramathorr" figure from the Four Horseman's Seventh Kingdom, to complement the "Gauntlet of Vaskkh" figure with which I'd been gifted the day before. They guys offered to sign it, and were surprised when I told them I was actually going to take it out of the box for display. Hasbro also added a bunch of their Marvel Legends series 4 figures to their show floor display case, so I snapped some picts of those, as well as their upcoming Japanese-derivative, 6-inch figures, which nonetheless look cool. The Marvel Spider-Man panel was a blast. It included writers, editors, and artist Dan Slott, Zeb Wells, Bob Gale, Marc Guggenheim, and Phil Jimenez, with Joe Quesada moderating. The panel was snappy, fun, well-moderated, and the guys are obviously having a blast (and taking seriously) the Spider-Man "One More Day" arc, then 3-times-monthly change-up. Writer Marc Guggenheim and artist Phil Jimenez are now exclusive to Marvel, and I felt bad that Jimenez let slip who makes out alive between Mary Jane and Aunt May. And Dan Slott? Perhaps one of the funniest panel members I've seen. He was hilarious, punny, and having a lot of fun with the panel, and the absolute thrill ride that writing Amazing Spider-Man affords. I also attended the GameTap "Re/Visioned" panel, consisting of Jim Lee, Warren Ellis, Peter Chung, Gail Simone, and Brian Pulido, and moderated by GameTap's Ric(k)ardo Sanchez. I'm really liking Simone's down-to-earth take on female empowerment, and it was fun to watch part 1 of Ellis's 3-part arc, at the same time he got to see it. I also got to chat with Peter Chung and tell him "thank you" for the animated Æon Flux, and give him my voice demo. Very quiet, pleasant person. I was also able to meet the producer behind the Re/Visioned series, and let him know I was impressed with it. The there was the Warner Bros. Smallville panel. Again, how I think a panel should be -- a lot of back and forth, people jumping in and out, playful, sexy people (Seriously -- Hartley? Vandervoort? Morris? Durance? Gough? Millar? Wow -- wicked sexy, all). The funniest exchange happened during the Q&A when a fan asked Hartley and Durance how they prepare for their steamy scenes -- and both of their spouses (and Hartley's daughter) were in the front row. Good feedback on the professional side of the preparation, though. This panel was also a great example of how you video summarize an entire series, and tease the next season. Serious kudos to whoever pulled that off. Labels: acting, biz, business, comic books, Comic-Con, Comic-Con 2007, events, festivals, inspiration, picts, toys, video games, voice acting Share:
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posted by Adam @ 7:03 PM
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Thursday, August 20, 2009
Resume, voice, and industrial updates
I've posted a few updated gigs to my resume (HTML and PDF), and the related voice clips. | | | TinyUrl | Twitter
Sunday, August 17, 2008
Adam's POV
Casting Director Bonnie Gillespie told me the first of my guest columns is now live at "The Actors Voice - POV".
It's entitled "Living a Life of Desperate Creativity (Take 1)" It's tertiarily about my recent move from my established acting scene in Austin and my trying to make inroads in North Carolina. What it's really about is how important this whole acting thing is to me and about personal accountability in my craft. Wonderful, scary stuff.
Check out the column, let me know what you think, and take advantage of all of the wonderful resources Bonnie provides across her myriad sites. She's one of those precious ones that loves the Biz and loves actors, and is busy in the industry six ways to Sunday -- but it's not in a "frantic, scattershot, undirected way"; rather, it's a focused, "I'd rather burn out than fade away" kind of way. Bonnie's a gift.
Enjoy ... | | | TinyUrl | Twitter
Sunday, June 01, 2008
The Other Side of Something Horrible
Here's the MP3 -- and remember, this is my "Ramblings" blog ...
The-Other-Side-of-Something-Horrible.mp3 | | | TinyUrl | Twitter
Tuesday, March 04, 2008
Voice acting in Condemned 2
Video games and cartoons got me into voice acting.
Condemned was one of the best (and under-rated) launch games for the Xbox 360 (playing in the dark with surround sound almost made me soil myself).
Now, Condemned 2: Bloodshot is on its way, and SEGA's released a very cool VO session video.
Check it out to see VO Director Art Currim (Black Powder Media) work his magic with some talented folks.
Enjoy performances from André Sogliuzzo (protagonist Ethan Thomas), Dave Mitchell (Agent Dorland), Phil LaMarr (Lerue/Bum), Henry Dittman (SKX/Pilot), Keith Szarabajka (Inferi), Angel Parker (Agent Rosa), and Michael Bell (Magic Man/President).
Oh, and there are some interesting bits from Associate Producer Marty Caplan, Lead Designer Frank Rooke, Cinematics Director Rocky Newton, and heaven forbid we forget the ADR Group
Don't necessarily take technique tips from all of the performances. While they're all talented actors, voice over is a unique skill set, and some of these folks aren't necessarily experienced in voice acting -- but kudos to them for getting the chance to leverage their acting chops in new ways, and watch Art give concrete microphone technique and acting direction. | | | TinyUrl | Twitter
Tuesday, January 01, 2008
Another reason to be unafraid
I was at my brother-in-law's gymnasium the day after Christmas, and I watched various kids of various ages try various things, interested in what they were trying, when, and why.
Turns out the more comfortable a kiddo looked, the more likely she was to try something daring (hanging from the higher of the uneven bars, jumping from stacked mats into a foam pit, sliding on the big slide -- whatever).
The more secure they felt, the more gutsy stuff they tried.
This got me to thinking about adults in general, and me in particular, and the fact that the more secure I feel, the more gutsy stuff I'm comfortable trying.
And since everything comes back to living, and the more I learn about life the more I learn about in my acting, I was struck with some life/acting lessons from the observations.
Taking risks while comfy -- having supportive cast mates, coaches, directors, and so on -- is great, but it's kind of the low bar for me. I work to train myself to take risks when I'm not comfortable.
This means while I can do daring stuff in a comfortable place (supportive director, professional working environment, etc.), I don't need that comfortableness.
If I train myself to make gutsy choices and "tear it up" without the crutch of security, I'm much more useful in the industry (being an actor is a freaking uncomfortable gig).
And when I am working with a supportive director and professional cast and crew (which, frankly, is way more fun)?
Watch out for the fireworks. | | | TinyUrl | Twitter
Tuesday, October 23, 2007
Voice acting video game interviews
Since I'm a voice actor and a gamer, I look for interviews with actors on their techniques and processes for video game worlds.
A couple have popped up for one of my more anticipated games -- Mass Effect from Electronic Arts BioWare.
First up is an MTV Multiplayer interview with Seth Green, the wunderkind creative and voice actor behind things like Robot Chicken (but to me, he'll always be Oz from Buffy, with his leaving signifying a brief downturn in the watchability of the show).
Then there's this video interview with veteran actors Keith David, Lance Henriksen, and Marina Sirtis.
David has some good stuff to say (including the fact that "acting is acting -- it's either good acting or it's bad acting"), as does Henriksen (with nuggets highlighting some of the differences between voice acting and on-camera acting). | | | TinyUrl | Twitter
Thursday, October 18, 2007
Soyanara Texas! Hola, North Carolina!
Wow, things can change quickly.
I've just accepted a new job in North Carolina, and I start the first of November (yes, less than two weeks from now).
Which means I'll shortly be making a break from my more than ten-year home of Austin, on to the next phase this adventure.
This is wicked exciting, and wicked hard for me. I've been blessed on so many fronts in the decade I've been in Central Texas -- with relationships, professional ties, and acting.
Now, I'm choosing to say goodbye to the day-to-day blessings of those things.
Why?
In my current acting training, there's a rule that says I don't make a change in what I'm doing in a scene unless and until I'm compelled by something more profound.
I was compelled by something more profound.
Besides being an actor, I'm a lifetime gamer. And I'm a wicked good business development guy.
I've been taking concerted steps for almost three years to position myself to move into the video game vertical market (it's unfortunately very closed). Almost out of the blue, an opportunity opened that lets me apply my technical background, my mad Biz Dev skillz, my enjoyment of PC and video (and table top, come to think of it) games, my people passion, and my creativity in one place. I'm pretty sure I've never had a such a mutually excited interview process; it just so felt like that "perfect storm" of opportunities for my skills and passions.
So I said, "Yes."
Not tepidly. Not half-heartedly. Full-on, let's-make-something-happen, "Yes!"
(Oh, I negotiated; would you want to hire a person who doesn't know how to negotiate?)
So, what's the new gig?
Can't say yet, but watch this space. Or maybe this space. But probably at least this space.
And while I said it's wicked exciting, I also said it's also wicked hard.
Yes, I'm finally in the video game industry in a big, makes-sense, impactful kind of way. But I'm also leaving Austin.
I have had some of the same friends for the entire ten years I've been here. I'm solidly networked in the business and technology markets here. I've been growing as an actor here for almost six years. Austin rocks in and of itself.
Which is part of why this job -- and this move -- appeals to me.
Huh?
I'm one of those guys who genuinely likes change. I look for opportunities in change (for myself and other people). The problem with me liking change so much is I'm comfortable with it. But, for me, comfortable is bad. It fosters personal laziness and lack of risk-taking.
What better way to get uncomfortable than to move into a new vertical market, and a new part of the world where I don't have a support base?
That'd do it.
And there's more too it, but I don't think it makes sense to get into it too much here. Suffice it to say acting is hugely important to me, but knowing myself, I have to be careful not to make things like acting too important. It doesn't make sense for me to allow acting to become a god that takes away from more important relationships and responsibilities. I guess it's shorter to say that I'm an adult, and sometimes that sucks on the hard-decision front.
Am I ending relationships in Austin? Of course not -- just the day-to-day phase of those relatiobships. I suspect I'll be back to Austin regularly, but I'm going to be investing heavily in my North Carolina life. It's the InterWeb age, though, so there are six ways to Sunday to hit me up.
Am I giving up acting?
Don't be ridiculous!
My incredible agent will continue to represent me aggressively. I'll be adding East Coast representation, and working in a state that has a good interactive and film incentive program. I'm still available to those long-standing Texas clients who have been willing to fly me out for auditions and gigs. I'll be a short hop from New York. I already have to get on a plane for West Coast gigs, so no big whoop there. My voice travels everywhere.
And weird as it sounds, I'm excited about hopefully getting out - of - my - skin uncomfortable on the acting front. I have some ideas for some fun, gutsy stuff, and I'm hoping I can onboard some to-be-local-to-me NC actors.
Good times are coming.
Like I said, things are happening fast, but I hope to have three quick fairwell get-togethers (social, professional, and acting) in the next couple of weeks. Watch this space.
I'm grateful to the folks who have challenged me, supported me, trained me, and otherwise contributed to my success in my more than decade of there - is - not - enough - time - in - the - day frantic doings. I wish I could sit with every person and say why you rock. I realize that isn't likely to happen.
Let's face it, it's easy to keep in touch with me.
I've got this this Website, which is obviously my main avenue for communicating to the wonderful men, women, and others keeping tabs on my acting and ramblings.
In case you haven't been paying attention, I also use Twitter quite a bit to track folks and keep peeps informed of my day-to-shenanigans and ruminations (think of it as micro-blogging). It's not all deep stuff, but I do consciously use the service strategically to keep you abreast of my professional doings (and I try to avoid the insipid "I'm eating macaroni" type posts).
If you're into Windows Live Messenger (including Yahoo! Messenger, since they inter-operate), send me a request to stay in touch. If I feel close enough to you, I'll add you as a contact. ;-)
If you're a gamer with an Xbox 360, send me a friend request via Xbox Live (Hitachi Wasabe). You can school me online.
And if you're a professional acquaintance of mine, track my career path via LinkedIn.com.
Thank you, and here's to the adventure! | | | TinyUrl | Twitter
Saturday, October 13, 2007
My brand ...
OK, I've been meaning to write about this for a while, and a question over on LinkedIn.com inspired me to jump the gun a bit (shut up; I was going to write about it).
The initiating question was simple (ha!):Is there one word, a pinnacle, that describes you? What is it? Why?
First, yes, I laughed at the wording of the second part of the question. But that's because I'm horribly immature. And I just realized I want that on my headstone ("Adam Creighton: He was Horribly Immature").
-if you have a package, show us that too!
So how do I respond to a question like this? Because, honestly, it's a hugely important question, and I take an active role in packaging "Adam Creighton" as a brand.
Just one word? How do you even do that? One of my pet peeves is the reductionism of the individual -- none of us can be reduced to one word.
One word? Maybe "Integrity" -- I'm willing to lose a job for my integrity, suffer the slings and arrows of critics, yadda yadda yadda.
Two words (and another facet)? "Professional Creative" -- It's a differentiator for me from many of the folks that are the former or the latter. Not that it's a competition (I've written on that many times before; read the whole post for the "competition nugget").
A "branding package"?
Yeesh / [snicker]. Uh, here are a few:"Technology Manager. Independent Creative. Llama Wrangler."
I don't like the idea of answering this question, because I don't know how I keep it keep it from coming off as being self-aggrandizing or braggadocio.
"A Voice & Film Actor, living a Mortal life."
"Living a passionate, ecstatic, and urgent life."
But here goes. ;-)
Honestly, I professionally see myself (Adam Creighton) as a brand, and all of the things I do are products and services that are logical extensions of that brand. And I actively and constantly work on my brand.
Notice my site? Are you a regular reader of some or all of my 7 active blogs? Notice my logo? Notice the packaged consistency? Notice all of the things I do (and just wait, there are some bigger, more WTF ventures on the way)?
Do you know me personally? Do you find any common thread there?
Integrity? Professionalism? Creativity? Immaturity?
Erm (again). Very little good comes from late night blogging.
Now, if you'll excuse me, I'm going to do a still photo shoot of some new toys, and then play some video games. Because I just finished reading a 115-page script I'll be table reading for the Austin Film Festival Sunday.
(How's that for self-aggrandizement?)
| | | TinyUrl | Twitter
Wednesday, October 03, 2007
Showcase!
Last night's showcase went phenomenally well.
Hectic and down to the wire, we of the Bohemian Theater Troupe got into the space (Beerland in Austin) for the first time at 5 p.m. -- for a 7 p.m. showcase.
Given seven scenes and three monologues, each of us only had time to run through the most problematic parts of our blocking quickly, as lights were being struck, microphones placed, and furniture and props positioned.
We also had the incomparable CK McFarland guest sitting in as we went through our craziness, and giving us last-minute blocking and set suggestions before she ducked out to teach her own class.
For my scene partner (Risa Schroder) and me, this was particularly tough, as we had added the Tango to our Angels in America scene (the shared dream sequence between Prior and Harper), and our space kept shrinking as furniture obstacles were added. Even after we'd "figured out" our blocking (and never having the chance to work through our full scene), we were told the couch for two scenes was going to stay onstage, and be moved to extreme upstage between those scenes. That meant we had to change our dancing from downstage to upstage (front to back) to stage left to stage right (side to side). And we were told we had to avoid going too far to stage right, as a permanently mounted ceiling speaker was creating a blind spot for the lights.
And we didn't get to try any of this blocking with the new directions.
Further cutting into our available time was me -- as the one guy with the truck -- picking up curtain stanchions, computer carts, couches, and so on.
Oh, and I had like 45 minutes of makeup to get into drag. And I had to get into costume, and we were second up (after a fantastic monologue from Levan Owens).
Our coach / The Bohemian Producer Steve Prince framed it pretty well for the audience at the outset, though.
He basically said the showcase was us putting scenes on under "extreme duress". Our doing the scenes for the audience was the first time we were doing the scenes. There was no tech rehearsal, there was no full-on walkthrough. If we can do this, in theory we can blow up auditions.
The goal is for us to just go up there and make things happen.
I feel really good about how our scene went.
First, I looked and felt fabulous. Lynn Burnor did an amazing job on my makeup, and I'm so grateful she shared her mad makeup skilz to drag queen me up -- which cut into her prep time (which didn't show at all in her and John O'Connel's scene -- funniest thing of the night).
I looked fabulous, with industry friend Tonya lending me a cute blue kimono, and me spending yesterday shopping for matching sexy women's underwear and frumpy house slippers.
And because the lead-up to actual performance was so crazy, we were incredibly free to do whatever. There was no "getting it right" in this context; we were there to make something happen.
No, it wasn't perfect. There a few "acty moments" as we tried to balance moving the scene forward with unexpected projection needed when the sound system came up a little short. But Risa (she is amazing) and I did a great job.
While Risa and I had memorized our lines (flat) separately, since we both knew what was happening in the scene, we agreed not to get tripped up if we missed or jumped lines.
That said, I don't think we missed a single line or exchange. And I wasn't thinking about acting; I was just amused by this conservative Mormon invading my gay dream, and then finding out I actually liked her and wanted her there.
And Jeff Carley generously stepped in at the nth hour to by our "angel", and fully bought into his role. Good guy, that.
The payoff?
People were incredibly generous and complimentary (and several gentlemen offered to buy me drinks).
But my favorite was a particular casting director shocked and amazed that I would do what I did, and pull it off. She wants me to be daring, and now there's a whole bunch of room between what I "normally" do and what I did last night. Bring on da work!
Man, I'm jazzed.
Then it was off to Fadó to hang out and enjoy time with fellow cast members and friends who came to watch the show. Great times. | | | TinyUrl | Twitter
Tuesday, October 02, 2007
See Adam in drag tonight!
Tonight, you can see me and several other members of the Bohemian Theater in our second live public showcase.
The event kicks off at 7 p.m. at Beerland (show up early, seating is limited), and I'll be playing Prior from the play / film Angels in America. This is obviously challenging for a bunch of reasons, and I'm looking forward to really putting myself out there. Dunno if it'll "work", but we're going to make something happen!
If the thought of cross-dressing ol' me isn't enough of a draw, there will be nine other scenes and monologues from some of the top acting talent in Austin. Come see what these folks have to offer, and enjoy a night of great acting.
I hope to see you there!
(Oh, and in case there was any confusion, this is not a family-type event.) | | | TinyUrl | Twitter
Monday, October 01, 2007
Nice headshot
You've probably noticed one of my new headshots gracing my Website. It's from the theatrical shots, which I like (the uncropped version is below), and my photographer, Rhea Willis, does a great job.
Another new headshot of which I'm particularly fond isn't mine -- it's a new one for Marc Hustvedt -- who was a fellow Austin actor who's now become a successfully working LA actor. This pict is by photog Dennis Apergis, and is a great dual-purpose (at least) commercial and comedic headshot (it almost screams, "Put me on 'The Office'!").
| | | TinyUrl | Twitter
Thursday, September 20, 2007
Who says that?
One of the things I've been working on the last few months is -- at the core -- who I am as any given character. What I'm trying to do and how I do it may change throughout the project (or the scene, or the moment), but that should be layered on top of who I am as the character.
One of the things I don't like is watching a film and being struck with some version of, "She wouldn't do that."
So I started evaluating, trying to figure out what gets that reaction from me. Part of it is unrealistic circumstances created by the writing, direction, or editing, which arguably are outside the control of the actor. Other times, though, I'm realizing the disconnect occurs when the actor slips between why the character would do something, and why the actor would do something. In a couple of instances, it's because their was a switch between what the character in the current project would do, and what the actor had done as another character (or another character type) in a previous project that I suspect they were more connected to or comfortable with than the current moment's character.
So how do I avoid that? How do I find out that character core, that framework on which to hang my performance?
It's called a lot of things, but for me, it's come down to figuring out my character's "spine". Spine works so well for me as a metaphor, because it's the component of the body without which there isn't dynamic physical movement, it describes the moral character and attributes of a person, and it's the binding that holds a book -- the whole story -- together.
Early in my acting, I received a wealth of good coaching advice from my film coach Van Brooks. One of the pieces that stuck with me particularly was, "Don't judge your character". (The particular scene was me as a guy who may or may not have killed his ex-girlfriend.)
This came back to mind a few weeks ago when I was struggling with one line of dialog when getting ready for a cold read. My character said, "Darn" -- all by itself, in a cast-off way -- and it felt weird. The self-talk sequence that came to mind was bit like this: | | | TinyUrl | Twitter
Industrial gig
I had a great industrial shoot this week.
This was repeat work for a previous client, and while it's always nice to be asked back, this group of folks, in particular, is a pleasure with whom to work. The director / writer (Jim) is fun/ny, very clear in his direction, and patient to get the "interesting" reads he wants -- even though we were shooting an industrial (typically dry affairs). The DP (Norm) and audio guy (Robert) really know their stuff, have been doing this for years, and have a pleasant, easy going way of working. We also had a new camera guy (Dieter "ja-now-is-da-time-ven-ve-dahnce"), who was pleasant, professional, and had a good eye for framing the shot.
(I'm hoping I can get some outtakes from the shoot.)
And sure, they're industrials, but since I wasn't completely happy with my previous performance when I watched it on the DVD (I was servicing the dialogue in places, not the scene or my partner), so I worked harder this time to listen better to my fellow actors, and not worry about "getting it right" -- because that prep part was taken care of, and worrying wasn't additive or productive.
I think it went well. It was a relatively easy (if lengthy) shoot, because this time it was 3 scenes (not six), and (for me), all in the same room, in the same wardrobe, shot from various angles.
On the technical side, we had two cameras this time (not just one), which made set ups, coverage, and master shots a lot quicker. I also enjoy acting in a multi-camera set-up; it's more challenging, gives me more to do, and gives more options.
Audio options for three actors (four, if you count the TV, which was a core component of the setup) were more open with two cameras , since we could have three lavaliere mics and one shotgun mic on a boom. (Our sound guy, Robert, is a great guy with whom to work.)
And my scene partner, Mikel McCurdy, is professional, talented, and a bunch of fun with whom to do a shoot. And she's one of my "favorite other wives".
All in all, a great industrial experience. Amazing that I get paid to work with folks this good. | | | TinyUrl | Twitter
Thursday, September 13, 2007
Living a care-free life ...
I haven't written about class recently. I need to talk about last week's epiphany about my character spine. Later I need to talk about that.
I want to talk about last night's class, because I had another of those "life equals acting" epiphanies.
The discussion was around being care free in our acting. Studying under Steve has given me a bunch of tools and applications geared toward getting me to be care free when I perform. (And I've touched on some of them before, but you're not going to get them here; get in class with someone of Steve's caliber.)
Anyway, the hard part about practicing to be care free is it puts it on the fore-front of my mind -- "mind" being that cerebral/intellectual killer of acting/being.
Steve doesn't want his students hung up on these tools and techniques (and, to be fair, a lot of these acting process steps are things he's figured out, so he's got a leg up on applying them more organically to his own process), so we've been doing things in class to help us become more care free.
Last night was one of those nights. And it was fun and inspiring, both when I was on stage and when other people were.
And what made my time (and the drive home, and thinking through the night, and this morning before things got all life wonky) especially good was my epiphany just before we finished prepping to go on stage: I already work to live a care-free life. Acting is part of my life. That means I'm already working to be a care-free actor.
I don't mean I'm care free in a dysfunctional, character-disordered, disconnected kind of way. I've very much a planner and an executor, which on the professional side makes me great at doing both strategic and tactical work.
But I don't -- at home or at work -- worry about stuff.
There are a bunch of reasons. From a religious perspective, worry is a sin, it doesn't add any time to my life, today has enough worries of its own, yadda yadda yadda.
From a pragmatic perspective, what's worry going to get me? Honestly, best I can figure is an ulcer. Maybe even a bleeding ulcer. Yippee.
Taken to professional application, what makes me a great manager is I don't worry about managing. I'm ridiculously proactive about management -- personnel, risk, project, customer relationship, business recovery, whatever.
I build out a number of contingencies. I understand the impacts. I know what's allowable, and what's not. I communicate that to everyone. And I don't worry.
I still have tough, aggressive conversations with folks. Stakes are still high. I know I could lose customers, projects, or my job through no fault of my own; I don't worry about that. I worry about what could be my fault. And then when stuff does happen that is my fault (because it will), I take ownership, I fall back on one of my contingencies (fixes) for the situation, and I move one.
I once worked a project where someone walked into my office and said, "If anyone thinks this project is getting done, they're insane."
I sat down with him, we worked through the project, found out the project manager had been miss-representing things, and yep, anyone still wanting the project on the original cost, scope, and schedule was probably certifiable. So I articulated options, scenarios, and new cost, feature, and timeline considerations. And ended up getting negatively tagged and penalized. And I didn't worry (doing the work and and doing the right thing are incredibly freeing activities).
Understand, I work wicked hard at my job and in life. People who know me know I will fill any available time with doing stuff. Productive challenging fun stuff. It's my strength and my weakness.
And while I'm working with high stakes (corporate international mega-million dollars or personal relationship issues), I have fun; I laugh.
I bring a game console in to work for my development team and we blow off steam for a couple of hours (because if you can't spare the couple of hours, your project's already beyond in trouble).
I go catch a move for lunch to get creatively fed and reset and clear my head and be more productive when I hit the office.
But I don't worry.
It pours rain off and on for months on end and I can't get my lawn mowed and my neighborhood association might fine me and I don't worry. I mow my lawn when the chance opens up because I care about my neighbor, and if that chance doesn't open up until after I get a fine, so what? So I couldn't mow my lawn and someone was doing their job or was bored or was on a power trip? Not my issue. Not my worry.
Don't read this wrong -- I haven't "arrived". And there's a balancing acting between not worrying and being character disordered. And there are times when I worry, and have to have self talk (or a close accountability friend) reset me.
Kind of like when I have to get out of my head as an actor.
The main reason I wanted to study as an actor with Steve is I know I'm too careful as a person. I tend to do things right. But until last night, I didn't connect that I don't worry about getting things right.
So, the epiphany for last night was all the "right" stuff in life? Taken care of.
The acting opportunities? Networking with the right folks to get me the gigs I'm passionate about? Already happening. If the opportunities don't happen, it's not my shortcoming.
Auditions? I already know I carry myself professionally, know my lines, have my headshots, know the etiquette. So the audition, the callback, the freaking on-set scene is play time.
Work is done. Nothing to worry about.
And when I say "play time", I don't mean bounce a beach ball inanely for hours at a time. I mean no inhibitions other than what's ingrained and subconscious and I can break loose and do something important.
Last night, I had seven minutes to read a monologue I'd never seen, make some whacked out choices, and go. There was no way for me to memorize perfectly, so that wasn't a worry (though I surprised myself by still getting 80% of it, by not thinking about it).
The monologue was from a drug dealer. I did it with a debilitating stutter on Ts, Ks, and Gs, and a constant nervous bicep-rubbing-the-ear physical tick that nearly gave me rug burn.
Would you buy X from that guy? Maybe not (though I was pretty desperate in my stuttering, spastic plea).
Will you remember that guy who tried to sell you X?
Oh yeah.
And I wasn't worried about getting it right at all. For that moment, I was a care free actor. | | | TinyUrl | Twitter
Tuesday, September 04, 2007
And the Award Goes to ... Mona Lee
OK, there should be more of this.
Below is a note actor, coach, and inspirational creative CK McFarland sent out to the Austin film community in recognition of fellow actor, coach, and inspirational creative Mona Lee, one of my film coaches.
I've asked CK's permission to post her note in its entirety here for broader awareness. I've added links for context. The commentary afterwards is all me. ;-)
For years I have wanted to see the Austin Film Community Host some Film Awards, similar to the ACOT Awards. Yeah I know they give them out at the airport to big name celebrities who have gone off and made us proud, and other celebrities who have passed through and made us look good.
But I'm talking about true Austin Awards acknowledging the truly great folks who have stayed, and not just actors, but other members of our community who have been dedicated, and worked so hard for us all. Oh yeah there are those few who continually get their name and picture in the paper , because they have helped put us on the map, and continue to do so. But there are also many other wonderful folks who have contributed in major gigantic ways to make a difference.
This is a tough profession, though not as hard as soldiering or coal mining. But there is perhaps no greater competition than being an actor, due in fact, to the sheer multitudes of those seeking dreams. Yet many (here) don't even have a clue what they are up against, the dedication to training it takes, or the number of actors they are competing against who have been thoroughly trained.
But within our multitudes, there are actual real live great actors living amongst us. Actors comparable to the best in our Movie Magazines. And some who even work a lot, particularly the men. Congrats guys. But I want to tell you about one actor I saw work on stage at UT a while back. OK, it was 30 years ago let's say. She was playing the outrageous role of Claire in A Delicate Balance by Edward Albee. Now I was in a special private acting school in California and was home to visit the folks. I went to the theatre and saw my first ever real true brilliant actor on stage. I had never in my life seen anything like this woman and the role she played, and it was breathtaking and galvanized my memory to this day. I believe she went on to Julliard from UT and made quiet a name for herself. Well I remembered her name - Mona Lee.
Mona Lee put us Austin actors on the film map. Our roots can be traced back to her. She is the source, the spring from which much of this sprang. When I moved here in 1980 and began a professional theatre ( with the Tuna Boys and Marco Perella) I hired her to coach the company. But she wasn't just coaching theatre actors, she was showing all the Austin actors how to transition to film and what we needed to do to accomplish that. She turned our heads right around and showed us we could be film actors right here in little ole Austin. And she's still doing that. And there is no better helpmate than her BIZ book - which every one of you should have by the way.
Now I am just sitting here at the end of the Labor Day struggling to figure out how to get my classes full, and thought of where it all started and why. It always goes back to Mona, my friend and my competitor (both as a coach an an actor). And I just might shoot myself in the boot giving her all this publicity, but I don't care. Because acknowledging people is so important. And so I acknowledge Mona, not just for her coaching and her BIZ book, but her history with us - a director writer producer and vital and amazing actor who lives amongst us.
She is the reason I have wanted to start some sort of Austin Film Awards So we could give her a the first one and say 'thank you Mona". Good God people need to be acknowledged and I just wanted to start at the beginning. I guess I'll go get something engraved.
ck
I studied with Mona in her beginning and intermediate classes. She had a subtle style that got a lot out of me. And despite being an active coach and working actor, she's also very available.
All of the stuff CK says is pretty inspiring by itself, but carries even more weight and import coming from her.
CK has herself and inspired and pushed so many actors in their craft, and done so much for the Austin creative community.
My current coach, Steve Prince, says of her,"There isn't a more creative, Dynamic teacher around than CK. I have had the pleasure of teaching with her and I learned as much as I taught. I filled my notebook with thoughts and techniques I learned while listening to CK critique our students. Her workshop is a safe place to push yourself beyond your perceived limitations while inspiring confidence in your craft."
Casting Director Donise Hardy (CSA) says of CK, "CK McFarland is an invaluable leader in our entertainment community. Over the past 8 years, I have had the privilege of working with CK and on many occasions have watched her film students work at Alleywood. I am always impressed by the growth I see. "
And you can even catch some of CK's work on YouTube (clip embedded below, and recorded before the recent passing of Texas film and interactive incentives legislation).
Every actor should be on set or in class all of the time -- regardless of our level. Austin has a great coaching pool, and a sub-set of those folks are of some of the best, most passionate mentors with which I've been blessed to know. I mention many of them regularly in this column. And Mona and CK are two more of the greats.
Let me know if you need either of their contact information. | | | TinyUrl | Twitter
Efficient favorinepotism
I don't normally just post pointers to other blogs (I like to offer original content and maintain a select blogroll), but I like this post from LA Casting Director Bonnie Gillespie.
What initially grabbed me was this quotable nugget:"That, in short, is why people who like to work together like to work together. Call it favoritism. Call it nepotism. Call it a closed network. What it is is an efficient, familiar, easier way of doing business when every second counts (and costs a bundle)."
In a nutshell, a great summary of personal and professional dynamics -- People like to work with people they like, and time is money.
A lot of the post resonated with me for several reasons. Bonnie touches on research, active listening, confidence, authenticity, and other topics that fall pretty close to where I live, and, frankly, are staples of good business networking, regardless of vertical market. (For more on my take on authentic networking, see this previous post of mine -- one of my most read and most republished.)
You've probably heard, "It's not what you know, it's who you know." I actually think it's "what you know and it's who you know".
It can be pretty frustrating to lose out on a gig or a job because they auditioned or hired someone they knew, rather than you. But it's a great thing when you're the person they know.
I'm sure we've all wanted to instant chemistry with someone at some point or another. Think of that personal or professional contact that you really wanted to get to know better, after a "non-sexual professional flirtation" (Bonnie's words) interaction.
It's not like you can force chemistry, or this "relational shorthand" thing Bonnie talks about -- no matter how much you want to. Sometimes it works and sometimes it doesn't.
Here's a quick positive and negative example from me.
On the positive side, I've always felt like in order to be "full", I need a complete set of mentor relationships around me. These can be on the relationship, spiritual, professional, creative, personal, or hobby side of life (or best, all of them). That means I actively seek out mentoring more junior folks, hanging around peers that encourage me and hold me accountable on what I can do, and meeting with someone who mentors me.
I met a guy who talked about things he struggled with that I struggle with. He showed video clips from and talked about my same favorite movies. He was a comic book fanatic. He was a toy appreciator. He was a small business entrepreneur. He was in life where I wanted to be in 25 years (with the important stuff; not money or recognition or any of the transients).
So I asked him to be my mentor. Thankfully, he said yes, and we've been meeting formally, seeing movies, and going to things like Comic-Con for almost 7 years.
On the negative example, there's a writer whose work I really like. Later I ran across his bio and some of his Web postings, and saw he had been reading, watching and listening to some of the exact same stuff at the exact same time I was (William Shatner, Johnny Cash, Death Cab for Cutie, Brian Vander Ark, Sandman, the Firefly boxed set, Batman the Animated Series, and so on).
I thought, "This guy's a lot like me -- a professional creative with great stuff of his own inspired by some of the same stuff I am; I want to know him."
I met him at a professional conference. He didn't know I was an actor, and he spent the entire time during a panel badmouthing actors. Not only was he vitriolic, the stuff he said wasn't opinionated -- it was false (and he was disrespectful of the panel members' time).
For a bunch of reasons, I still wanted to work with him, and with his company, so I hit him up for work (my clients know I generally introduce myself in creative ways). I then found he was making fun of my submission and deriding me within his company.
That's unfortunate by itself -- it dis-incents me from wanting to work with him -- but worse, because he's been unknowingly badmouthing me with people with whom I do have good rapport (which is how I know), which hurts him within his own company. I feel bad for him. | | | TinyUrl | Twitter
Thursday, August 30, 2007
Free acting class in Austin
I've mentioned Van Brooks quite a few times. He's one of my film coaches, and he's doing a free one-night film and audition class for one night next week in Austin, TX.
So free up your Wednesday, September 5th 7:00 - 10pm if you want to "Work on-camera with a cold reading, get audition advice, and [attend a] Q&A about the business. It's also fine to just observe."
There's no obligation, and it's a good chance to check out the studio and Van's style and personality before his 12-week sessions start, and The Mastery workshop hits in October.
Shoot me a note if you need Van's contact info. | | | TinyUrl | Twitter
Monday, August 27, 2007
Another PS3 "Making of" commercial
Here's another Sony PlayStation 3 commercial, with another "making of" featurette.
Unlike the last one, this is a super-short "making of" segment, but that's balanced out with the commercial itself being a truly beautiful little spot.
And while I don't get a lot of Sony's PS3 adverts (particularly the European campaign), somebody's getting to do art house films under the auspices of corporate advertising, so more power to them.
Sp_anonatsu_making(1) | | | TinyUrl | Twitter
Wednesday, August 22, 2007
Additive, not reductive ...
Tonight in class was kind of a building night, as we prepare for the Bohemian Theatre Troupe's next public showcase on September 25.
So, there was a lot of picking through scenes, figuring out the number of monologues versus two-, three-, and (yay!) four-person scenes, playing with some scenes and monologues, and a little performing.
So not a big work-y kind of night, but there was something that struck me on the acting process side of things.
I'm always looking for ways to set myself apart as a person, and not get stuck on those things that are part of my acting preparation. I have four different worksheets I do for character and scene / audition / monologue / stand-up work. I do a lot of prep for auditions and callbacks and on-set or on-mic work.
But I'm always looking for ways to keep that process, and at the same time simplify it.
Leave it to my coach to boil it down. He basically said an actor's choice should be additive, not reductive. For example, you're not taking away intelligence; you're "adding stupid".
(And my coach may have said it well, but I summarized it way better. And more concisely.)
The epiphany for me as an actor is the personal prep on which I often get stuck -- that knocks me back into my head, and out of the moment -- is the laundry list of stuff I've prepared. And tonight I realized it's usually the stuff I've "taken away" from the character.
As an example, I might hiccup in a moment, because Mr. Intellectual is intruding on my moment with a barely muffled, "Your character wouldn't do that!"
I get stuck on the "nots" in my preparation. I hit each of these things, and they're like speed bumps in my performance.
So, I need to flip those "nots" into additional attributes.
The other epiphany is this "additive, not reductive" mentality is an extension of the rules of improvisation: "Love your partner, and believe everything they say" (sometimes reduced to "yes, and ..."). And my acting is a partnership with myself, so I need to love me and believe everything I say ("Love your neighbor as yourself" means loving yourself).
This has the extra benefit of removing judgements from my character (I as my character do not acknowledge myself as the bad guy, or being less intelligent, or whatever).
I'm hoping tonight's little realizations flip my acting speed bumps to water wings. Or something. | | | TinyUrl | Twitter
Wednesday, August 15, 2007
Back in class
So, acting class started in July, then a session was cancelled, then I was in Cali, then I was sick flat on my back for two weeks, so tonight I was back in class. After a month out.
I enjoy class. Even when it's hard. I like to be on set, on mic, or in class all of the time. For me, acting's not like riding a bike. It goes away. And there are slumps. And my acting skills need constant use.
Tonight was kind of a "soft-in", which was good, because my voice is still shot.
Cold read stuff was what I was appropriately thrown into. Which I enjoy, and which I got kudos on, and I take encouragement from. But not for the obvious reason.
I'm a voice actor. Pretty much every voice over audition I do is a cold read. Plus mic technique. Plus creating the character with nothing but a voice.
I'm encouraged the skill showed up on camera tonight, and that I didn't stilt the physicality, the connection with the reader. Doesn't mean I won't have off cold reads later. But tonight, I didn't.
And it was so good to see my Meisner peeps again. I really care about those folks. | | | TinyUrl | Twitter
Wednesday, August 08, 2007
On-spec gig
Check out this on-spec piece for which I did VO. My voice is a minor part, but the commercial (faux-fifties-style) is pretty funny.
And my acting buddy rocks. So does his director friend. | | | TinyUrl | Twitter
Sunday, August 05, 2007
Comic-Con: Sunday
Previously:
Other Cool Stuff:
What Sucked:
Having to leave. Oh, and our Dallas connection getting canceled; but I spun on a dime and got us to Austin ... by way of San Jose. An hour later, but at least we got home.
Pictures:
Twitterings:
(Reverse chronology.)
@luge Congrats! 11:39 AM July 29, 2007 from web in reply to luge | | | TinyUrl | Twitter
Comic-Con: Saturday
Previously:
Toys:
Panels:
Other Cool Stuff:
Talking with Leinil Francis Yu and getting the signed Captain America "The Return" poster?
Meeting writer/creator Mark Irwin in person and being the first to see the new Jack Secret preview art?
Talking with Peter Chung (and saying "thanks" for the animated Æon Flux; and giving him my voice demo)?
Chatting with artists like Chris Batista & Tom Nguyen?
The incredible (and incredibly redeeming) Marvel Spider-Man and Smallville panels?
Getting to meet and say thanks to Scott Porter in person for Friday Night Lights?
What Sucked:
Not having mentally linked clones of myself to run around the exhibit floor and attend all of the panels. Seriously, that's a good use for mentally linked clones.
Oh, and I was stuck in the Smallville line for forty-five minutes with a real-life, unfunny version of The Simpsons Comic Book Guy. Dude seriously hated every comic book arc since 1969, and every comic book TV show or film that didn't have George Reeves. I politely engaged him for 40 of those minutes, and expressed my opinions counter to his, until he started belittling someone in line merely for being born in 1982. I then told him I didn't understand why he was at Comic-Con given that he hated everything, and that we could either talk about something he actually liked about comic books, or something other than comic books. He stopped talking. Very sad, really.
Pictures:
Twitterings:
(Reverse chronology.)
(This is the END of the "Smallville" season 7 panel.)
(GabrielleSays was asking who "Phil Mor¬" from my truncated Twitter post was.)
(This is the START of the "Smallville" season 7 panel.)
(This is the END of the GameTap "Re/Visioned" panel.)
(Should read, "Gail Simone's Tomb Raider is the anti-Laura -- 12 years old, pre-pubescent, and chestless.")
(Should read, "--but they're all in one place!")
(This is the START of the GameTap "Re/Visioned" panel.)
(This is the END of the Marvel Spider-Man panel.)
(I have a copy of this issue; and the letters.)
(This is the START of the Marvel Spider-Man panel.)
(This was supposed to be "@StandIn You are absolutely right! ;-) "; he was saying my "overheard" comment earlier should be the start of an "Overheard at Comic-Con" reveal.)
This is should be Allen Bellman; my sincere apologies for miss-spelling his name.)
checking out the Sierra booth ... 11:40 AM July 28, 2007 from web | | | TinyUrl | Twitter
Previous Posts
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