“The Expanse” Will Make You Feel Lost In Space

BY KEATON J. EVANS

Netflix’s new show, The Expanse, is extraordinary, visually stunning, and has a gritty, realistic look which makes the show quite unique and creative when compared to other sci-fi shows.

There’s a lot going on right off the bat, with colonies across the solar system, a futuristic Earth, a militant Mars, and plenty of water shortage on some smaller worlds. I would say there’s a lot going for the show.

This being said, there are also a few things which the show isn’t so great at doing. Below are some thing it does well and some things where it misses the mark. All points considered, you’ll feel lost in space watching this show.

Now whether that’s a good or bad thing is up to you.

The Worlds Are Incredible

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The production quality is the shows number one quality, hands down. The worlds and ships they show glisten with details and have almost a Blade Runner vibe especially on the Asteroid colonies.

The show also hits well on the realities of space and what could go wrong. One example, is the water shortage on the asteroid belt. There’s moments where shipments of ice are delayed and the people on the belt suffer because of it. It goes even farther to point out that if a second shipment is delayed then people will die.

It was refreshing to see so much thought put into the mechanics of world outside of earth, and see the messy reality, and complications which could arise. The visual aspects of the worlds and the realism they present are both excellent.

Seeing all these real intricate worlds allows you to get lost in them, a feeling which was a pleasant surprise.

Wait, Who Are These People?

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After watching The Expanse, I noticed the one thing I didn’t quite like: the character development. Probably the weakest aspect of the film. While the production design is quite superb, the characters fall short, especially in the beginning.

I thought about why this was. The characters are interesting enough, they live in incredible worlds, and the plot is good, so what gives. Well, here’s the deal. While the characters may be interesting, it’s hard to know because they rush the character development.

It feels like we are supposed to know who these people are as soon as we see the first shot. It almost seems like the beginning of the show is the middle of a show. Now, there is development of the characters, a little.

But for the most part, all the introductions are rushed and end up leaving you feeling  little connection with the people you are watching. I think to myself, “A spaceship explodes and people might die! Oh no! Wait, who are these people?”

If they want the events to hold any weight, they need to let us get to know the characters, and then put them into dangerous life-threatening situations, or we won’t care.

If you feel stranded and not quite sure how to feel then don’t worry, it’s an effect of rushed character intros.

Feeling Lost Could Be Either Good or Bad

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Both the best qualities of the show and the worst qualities of the show will make you feel lost. But which feeling sticks with you? Does the production design and visuals carry you through the hard-to-know characters, or do you feel not knowing the characters takes you out of the show?

Either way, it’s an inspiration to anyone who wants to make a science-fiction show.

How to Discover the Subtext of a Script

BY KEATON J. EVANS

Subtext is arguably the most important focus for actors to grasp in their acting. The iceberg serves as a simplistic illustration, showing the subtext as the majority of ice which lays underneath the surface or words of the script.

The most common mistake for actors to make is to cling onto the top portion and go off the words alone. As soon as we read a script we figure out how the words should sound, instead of finding out the “why” behind the words. The “why” behind our actions.

This is how you find the why, and why it is so important.

There’s a million ways to say “hello”

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An example of subtext and not reading it comes from the classic line in a ton of scripts: “Hello”. Now here’s the scene: Jim meets Pamela at a train station and says the greeting.

Without digging and looking into the subtext of the scene, I would say hello like a greeting. That would naturally be the first thought most people have when they see the word. However, oops! plot twist. The “Hello” line was really a code to signal the sniper to hold their fire and spare the life of Pamela.

Thing is I would never know this just reading the line, I would need to do some digging to find the juicy piece of subtext meat. Here’s how.

Do some digging and ask the tough questions

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The best thing you can do in order to find subtext is by asking a bunch of questions. Ask questions about your character, about the circumstance, the relationships between the characters, and your motivations and goals.

To find out what’s really going on underneath the scene you need to comprehend how things actually work in life.

Using substitution will aid you in understanding the subtext of a scene. How would you personally react in this scene, or in these particular circumstances? Have you ever experienced something like this?

For example, I was workshopping a scene from the movie Wall Street, as part of a university project, and the subtext of the scene included the themes of betrayal and hurt between the characters. The girl and guy were previously in a relationship but now they differ when it comes to their work.

I thought about how I reacted when I felt betrayed by someone, similar to the guy in the scene, and it really helped me.

The hidden gem is your foundation

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From my personal experiences, I learned when you study the subtext and marry it with the physical action in the scene, you will remember your lines like there’s no tomorrow.

Here’s another thing to remember: when you’re in the scene you must trust the subtext you studied will remain with you during the scene. Let your focus be on the other people in the scene and what you’re doing and let go of the subtext. It’ll stay with you as you practice living in the moment.

The subtext, once learned, will be your foundation. Once you know the why, everything else will start to piece together.

Subtext is vital to learn. Don’t rush the process of studying your script, but ask the hard questions. It’ll take time to figure out what’s going on in a particular scene, it’ll take a little digging.

But the digging is worth it when you find out the precious subtext in the end. To me, finding the subtext in a scene is like finding buried treasure. It’s a precious gem just waiting to be discovered.

Subtext should act as your support. Don’t look to your words for your support. When you focus on the lines, they will try their hardest to escape you. But when you focus on the why of the scene, and everything that’s going on underneath the surface, you’ll find your anchor, and it will make a world of difference.

Actors, I cannot stress it enough: discover the subtext!

 

Top 10 Movies Every Actor Should Watch and Why

BY ANNETTE LANGE

Who hasn’t deeply been touched by beautiful cinematography, amazing performances by actors and successful adaptations of extremely creative and ingenious screenwriting?

Films speak to everyone on a deep, personal level. They reveal, celebrate and criticize humanity and are therefore a powerful tool.

If you’re an actor, you’re probably driven by the same desire to tell stories worth telling. I’ve compiled a list of movies that will challenge, inspire and help you in your endeavour to become a better actor.

1. Sophie’s Choice

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There are so many reasons to watch this film, if you haven’t already. Pay close attention to Meryl Streep and Kevin Kline’s performances. Their characters are so multifaceted, complicated and emotional, and both are able to portray them convincingly. Streep nailed not only the Polish accent when speaking English but also when she spoke German.

2. Wall-e

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This movie is an excellent reminder of the importance of story. The immense impact this film has on the audience is incredible. The actor is not the most important part – the story is. And it can be told without words. Films should be made to create a connection with the audience. The actors are merely servants of the director who carries the vision.

3. The Descendants

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In this film, director Alexander Payne chose to leave the camera on the cast longer than what would be a good point to yell ‘cut’. It’s fascinating to see how the actors explore this opportunity. You often hear the saying ‘the magic happens outside of our comfort zone’ and this is a perfect example.

4. Drinking Buddies

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Drinking Buddies is an example of successful mumblecore. What this means is, the performances are natural and more realistic because there are guidelines instead of scripted dialogue. Watching this will inspire you to really listen and react to your scene partner and see what happens. Don’t be scared of improvisation, it’s a breeding ground for magic to happen.

5. La Vie En Rose

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Marion Cotillard’s performance blew me away when I saw this film. No wonder it garnered her an Oscar. Her commitment and dedication to portraying Edith Piaf is inspirational. It’s a perfect example of Ugly Acting. She does not look flattering in her performance, she masters the degression of age and sickness and makes very bold character choices. I’m a strong proponent for watching foreign films as well, and to start with La Vie en Rose is an excellent choice.

6. Bronson

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Confidence is a key lesson that improved my acting, and Tom Hardy’s confidence in this movie is incredible. He seems to have completely forgotten the camera. His performance is raw and unforgiving. Also, Bronson is just one bizarre human being, and to understand his psyche and wrestle with the character development must have been a challenge.

7. Sunset Boulevard

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This is a classic black comedy and, even though it is an oldie, it still shows the ‘behind the scenes’ of Hollywood/Stardom quite plainly. It shows the extent and consequence of Norma Desmond’s love for fame, herself and greed. Stardom is fleeting, the fruit of pride is disgusting. Mommy Dearest explores this topic as well. It is definitely a topic every actor needs to grapple with for their personal life.

8. Singin’ in the Rain

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Whether you are fan of musicals or not, you must have seen this movie at least once. Film is first and foremost entertainment and should appeal to your audience. Gene Kelly is a wonderful example for his standard of excellence. Only dreaming for a breakthrough in acting will just continue to be a dream if you don’t work on your craft.

9. Amadeus

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Amadeus discusses many topics worth mentioning. But what struck me while watching the movie was observing how both Mozart and Salieri failed to steward their talents well and as a result, both their lives end tragically. Instead of composing for the love of music and others, Salieri chose to let comparison and jealousy get the best of him. And Mozart indulges so much in the futile pleasures of life, it results in a disgraceful death.

10. Kramer vs Kramer

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What’s fascinating about this movie is, it refuses to take sides. Humans are intricate, complicated beings. Their personalities and decisions change. There isn’t always a black and white, right or wrong. The focus is not on the child who suffers from his parents’ divorce, but on the ‘grown-ups’ who cry out for just as much attention and identity as the child does.

Read Roger Ebert’s review for a further exploration of the film.

Bear in mind

This is a very limited list and not ranked in any way from best to worst or vice versa.

My advice to you – watch ‘em all. But be strategic with your choice of movies. Watch good ones, watch bad ones, popular movies and unpopular ones, independent and foreign ones – but watch them all with a healthy dose of skepticism and awareness and take away from them what you can and apply to your own craft.

How to Make talking to yourself genuine and authentic

BY ANNETTE LANGE

Fellow Actors, nobody wants to sit through a stilted performance of a lifeless monologue.

On the other hand, there is nothing more fascinating than watching an actor embody a character through monologue successfully. It’s incredible when he/she presents the character’s thoughts through his/her physical presence, imagination and inner activity – not just the words of the monologue.

This being said, here are helpful guidelines I summed up from legendary Uta Hagen’s take on performing monologues. By monologues, I mean any scene in which your character is alone in a given time and place and finds him/herself talking out loud for a specific reason at a moment of crisis.

First and foremost, it’s important we know:

WHY WE TALK TO OURSELVES

Talking to ourselves is always an attempt on our part to gain control over our circumstances.

These circumstances can look very different. They can be boredom or a tragic situation.

For example, when I’m in a hurry, my verbalisation of, “Ok, I’ve got my keys, my wallet… where’s my phone?” is merely my attempt at organisation. In the case of a dramatic monologue, Uta Hagen explains “it’s that you are in crisis and need the words to help you find answers.”

So, when you tackle your next monologue, make sure you determine and are aware of your circumstances – or your ‘crisis’.

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The next important aspect is observing yourself and others and knowing:

WHAT TALKING TO OURSELVES LOOKS LIKE

A big temptation for actors is putting too much emphasis on the actual words. Uta Hagen describes it as “mostly a subconscious procedure that makes you verbalize” because it is an involuntary process, most of the time we’re not even aware of it.

Because we are often so caught up in our thoughts, words are merely the byproduct of trying to figure out a situation, or an emotion we are submerged in. It is, in other words, an overflow of our thought process about the circumstances we’re currently in or an experience we’ve just had.

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This is why it’s always important to take into consideration that:

OUR WORDS NEED PHYSICAL PRESENCE

In her book Respect for Acting, Hagen emphasizes the importance of partnering physical action with words: “I strongly recommend that the scene be found physically before you approach the verbal action […] you do not come into the room in order to talk to yourself [emphasis added].”

Generally, people aren’t actually physically still when they talk to themselves.

You will make life much easier for yourself if your words are accompanied by physical activity. You don’t have to finish the activity, but it will help in your character’s attempt to gain control over his/her circumstances.

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Even though physical presence is essential, be aware of:

THE DANGER WITH PHYSICAL ACTIONS

Partnering actions with your words does not mean you have to physically act out the words. Or as Hagen puts it, “Don’t illustrate the life you are verbally fantasizing.” This is an easy trap us actors can fall into. You don’t need to show your audience what your words mean, which brings me to the next point of danger.

In a monologue, your character is alone. He/she knows exactly what is going on and doesn’t need to explain to anyone the whole story. But, obviously your audience still needs to understand the context. This is why Hagen advises to “let the humanness of your behaviour reveal the necessary events” in order for them to understand the story.

I’m aware of the trickiness of partnering words with actions, so allow me to share:

HELPFUL QUESTIONS TO ASK IN PREPARATION

Similar to Hagen’s previous advice to start with the physicality of the monologue first, ask yourself:

“What would I do here if I didn’t talk?”

Start with the physical presence first, and at some point, as Hagen reassures us, it’s going to be easy to start talking.

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Consider what the real reason is of why you’re doing these things under the given circumstances in order to allow any verbal fantasy to take shape.

IN CONCLUSION

At the end of the day, don’t forget these guidelines aren’t meant to stress you out. They are there to help you make your performance as believable as possible in order to tell a story worth telling.

Have fun in your journey of exploring and imitating human behaviour, in order to let the stories you tell. Be an inspiration to your audience.

How To Dirty Your Actors Without Using Dirt

Written by Keaton J. Evans.

Across popular movies there have been teams of make-up artists getting the right look for characters who seem to never take showers. I’m talking Sam Neill in Hunt For The Wilderpeople, Matthew McConaughey in Mud, and Jack Sparrow.

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You get the point. Whenever a character rolls in the mud or falls off a pirate ship, there needs to be an authentic dirty look for the character.

I researched different ways to get the dirty look for any upcoming short films where I would need to portray a character who skips on the washing.

Here’s what I found.

Before I get into the steps of applying make-up, you’ll need to find these supplies:

Supplies needed:

  • coffee grounds
  • loose tea leaves
  • lotion (sunscreen)
  • brown eye shadow (I used Vino colour)
  • wet sponge
  • willing victim…er, helper

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After acquiring these supplies you’ll be ready to start with step one.

Step 1: apply eyeshadow

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In this step, you’ll use your index finger to apply the eyeshadow to the parts of the face where you think someone might get dirty. I noticed that the forehead and the upper parts of the cheekbones get dirty more than other parts, also the nose.

If you don’t want to get your hands dirty then you can choose to use a small make-up sponge.

Gently rub the eyeshadow back and forth over the surfaces you think is best. After doing this in all of the appropriate areas you’ll be ready to move onto the second step.

Step 2: mix lotion with coffee grounds

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For this step, first ground the coffee beans, preferably of a darker variety, and then mix with the lotion. I used sunscreen in this step, and it worked well. This step is quite messy.

You don’t need to use much of either. Small chunks of coffee and a bit of lotion should do the trick. After mixing the lotion with the coffee grounds, then move onto the next step of applying.

Step 3: apply the mixture

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As far as applying the coffee/tea and lotion to the person’s face, you’ll need to do step 2 a few times, as there may be a few spots to cover.

Do a little mixing, then a little applying. A little mixing, a little applying, you get the drift. Apply the coffee and lotion to the same places which you touch in step 1, to have those layers.

Add to any place where you think dirt would be, say if the victim fell down face first into the dirt. With the coffee grounds, you don’t need to apply heavily, just a few small chunks here and there, unless you really want you character to look like dirt was just caked on.

After doing this enough times you should get a result similar to this one. (For me, I was trying to get a “stuck-on-a-deserted-island-for-years” look).

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After you’ve gotten all the shots you need with your actor, wash the makeup and coffee off with warm soap and water. Once you’ve washed the coffee and lotion off as well as the make-up, be sure to dry with a clean towel.

And there you have it! You now know how to make your characters look as dirty as ever, and best part is, you don’t even need to use dirt!

What is nice is you can also apply the make-up in a variety of places on the face as well as a variety of thickness, to get a unique look for each character in your film.

Hope this makeup tip helps all you independent filmmakers out there who are trying to get that professional look.

Is “Guardians of the Galaxy” Marvel’s Second Best Film?

BY KEATON J. EVANS

*Warning: Huuuuge Spoilers!*

Guardians of the Galaxy is considered to be one of the greatest creative achievements by Marvel and also the favourite of many fans. But is it the best Marvel film? Or has the new Guardians of the Galaxy vol. 2 surpassed it?

I thoroughly enjoyed the film when I watched it a few days ago, and I wondered how it stacks up to the first one. I made three rounds for both movies to compete in and we shall see who the winner is at the end of the article.

These three points are the ones I considered to be the most important differences between the two.

ROUND 1: THE PLOT

Guardians Vol. 1: Peter Quill embarks on an adventure to escape Ronan and everyone else out to get him and the infinity stone he carries. Along the way he’s forced to work with other convicts. They all learn to work as a family and end up saving Xandar, a planet that Ronan was bent on destroying. Only by uniting as a team do they stop Ronan and take-back the infinity stone. Overall, the plot establishes the theme that family is what is most important. To read more about this, read Brenden’s piece here.

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Guardians Vol. 2: In the second installment we see the team working together to protect a superior race of people and then fleeing said people when Rocket steals one of the batteries they were hired to protect. Their ship crashes on an alien planet where they meet Peter’s father, Ego. We then follow father and son and the plot between Gamora’s sister Nebula, who’s out to take her revenge of Gamora. It’s a bit slow in some areas, which is understandable because the movie is character-focused. Both films are. But overall, the plot drags in some areas, being sacrificed to the jokes and humor, which are good, but take away from making the plot stronger.

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The first film brought the charm of family and bringing together a ragtag team to win this round over vol. 2.

WINNER: Vol. 1

ROUND 2: THE VILLAIN

Guardians Vol. 1: In the first volume of the Guardians of the Galaxy our heroes face Ronan, a leader of the Cree people who’s out for the infinity stone and couldn’t care less about Thanos. He’s about as flat as a villain could be, but still intimidating and powerful. He’s defeated by the Guardians rather easily, though that hammer of his sure was crazy good with an infinity stone strapped inside of it. Overall, he’s about as typical as Marvel villains come.

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Guardians Vol. 2: In the second volume of the Guardians’ adventure, we face a whole new kind of villain: a father gone bad. His reveal is dynamic, a twist to many fans and a highlight of the film, to be sure. I know I was shocked and I feared for Star-lord, a reaction I haven’t felt for many characters. But when Star-lord literally went starry-eyed, I was concerned. And the horror of all the children Ego killed and buried was also uncomfortable to realize. And, being a planet is something we haven’t seen yet, which adds to the originality of the character. Admittedly it feels like they’re fighting the Death Star at the end, but that’s for another round. The thing about Ego is his motives sound grand, but they too appear a bit murky.

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With Ego being the more original and surprising twist of the two, the winner of this round belongs to Star-lord’s dad.

WINNER: Vol. 2

So far the two are tied, which is good. It’s what makes fights interesting. Good thing there’s a third and final round to settle which one’s better!

ROUND 3: THE CLIMAX

Guardians Vol. 1: The climax of the first film included an epic space battle above Xandar, the planet the heroes are desperate to save. After trying to stop a giant ship from crashing into the city, the ship is able to break the blockade and crash into the city. But before Ronan can slap his infinity stone-infused hammer into the ground and wipe out the world, he is challenged to a dance-off by Peter. After distracting Ronan he takes ahold of the infinity stone and defeats Ronan with the help of the other Guardians. The dance-off is completely unexpected and hilarious and the moment they unite is a powerful one.

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Guardians Vol. 2: At times the climax reminded me of people trying to blow up the Death Star, and I’m still trying to figure out if this is a good thing or not. It was unique that they had to fight a being which was a planet, and it added a strange dynamic to the fight. I think Ego being essentially invincible (until you destroyed the core) made the fighting seem superfluous, but what was thrilling was seeing each member of the team having to fight Ego in their own way. There was a good deal at stake too, with the earth being in danger of Ego’s take-over.

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With both movies having excellent final clashes, this one is probably the closest of the three rounds. But….

WINNER: Vol. 1

With two out of three wins, the original Guardians of the Galaxy remains one of the best films in the Marvel cinematic universe. I enjoyed both quite a bit, and think the second one is good, but the first one remains the better of the two. Do you agree with the results, or do you think I’m crazy?

Whatever you may think, James Gunn knows how to make popular movies, no doubt about it!

How to Willy Wonka Your Way to an Acting Technique

BY KEATON J. EVANS

Follow me and you will see a world of pure imagination full of creative ways to develop your acting technique into the stuff of wonders.

For me, my journey of developing my own unique acting technique was similar to the ones of the children in Gene Wilder’s, Willy Wonka and the Chocolate Factory.

While I was learning about all the different techniques, Meisner, Stanislavski, Uta Hagen, to name a few, I was a bit overwhelmed by which ones to use and which ones to avoid. I didn’t have a clear picture of what to do.

Then I thought about the analogy of a kid in a candy shop. Similar to the children in the movie, I was able to choose different acting techniques like candy. And in doing so, created my own ‘collection of sweets’ comprising a pile of style.

Try all the candy you want!

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Contrary to what our parents would tell us about eating candy, in this metaphor of creating your own technique, the best thing you can do is try all the candy. From the zany sours of Meisner, to the chocolate of Stanislavski, there’s so much to choose from.

For me, it’s an easy temptation to try to find one proven method and just stick to it. I want to be able to have a technique which will get me through various acting struggles I know I will encounter.

But the thing is, one technique alone probably won’t be enough. It might take certain tips from other people and experiences to help develop your style.

It takes time

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Imagine being given the challenge to try every type of candy in the world. How long do you think it would take you? Chances are, a fairly long time.

Same goes for developing your acting technique.

When approaching your own unique style, the best thing to have is patience. It takes people years, sometimes even decades, to get comfortable with a certain style of acting.

Give yourself time to try all sorts of different ones to see which of them you like.

Create your own candy

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Just like Wonka had his own recipes and factory, make your own factory of techniques. When you’re under pressure to learn something, you’re able to come up with your own strategies.

For example, during the first few short films I was in I had to scramble to study the scripts. Under pressure I was able to find out how I study: through many scribbled notes.

I wasn’t taught this, but I used it all the same and it worked. Thing is, you don’t have to use the techniques people suggest. You have the creative freedom to come up with your own unique system.

What I have found, through wrestling with what it means to act, is there’s no one correct way, it all depends on what works best for you. You have the ability to try every approach and technique, you’re not limited to one specific one.

You may find the best thing you can do in your acting is adopt a few things from each technique and disregard other things. In this way, there’s no pressure to find a technique as quickly as possible, because again, it will take time.

There are no limits here; take as much as you want. And fortunately, unlike candy, you won’t get a toothache by taking too much. So let Wonka’s story be inspiration to your own acting journey, and step into a world of pure imagination.