Why Knowing Your Type Is Important

By Charis Joy Jackson

Previously published on Backstage.

I have a love/hate relationship with being typecast. I don’t think I’m alone in this thinking. Many actors endeavour to break away from being cast in the same roles over and over again. I think I speak true when I say it’s the actor’s dream to be one of those few who are known for breaking the mould. Gary Oldman comes to mind, the man is a chameleon.

However, I think it’s important to take note of your type.

Recently, I posted two of my head shots in a couple of acting groups. I was curious to read what people saw in them. Most of the people don’t know me, so I knew their answers would be purely on my look and not my personality or character.

It was a valuable insight for me and one I recommend you try too.

Knowing your type is important because it can broaden your horizon

We all have our own presupposition of the type of characters we should be playing. However, we’re not always as perceptive to the vast pool of character types we could go for.

For example, I only saw myself as the best friend type. Or the quirky girl on the sidelines. Not as glamorous as the leading lady types, but still fun characters for a lifetime career as an actress.

Then in one acting course, my classmates and I were asked to spend a full minute silently staring at each other, to think up the types of characters we could see that person playing.

I loathed it, but soon learned how beneficial it was to have an idea of how others saw me.

During the session, my preconceived ideas were replaced with a whole new bunch of characters I never thought about before. Knowing this, helped me to branch out in my acting too.

The same can happen for you. If you have a small circle of characters you think you’d be good for, try asking fellow actors what roles they’d see you in. Then use it to your advantage by workshopping scenes with these types of characters. Not only will it help you grow as an actor, but it may help you go for auditions you would’ve never gone for.

Knowing your type is important because it can save you time

As someone who has been Casting Director on two independent features, I cannot stress enough the importance of knowing your type. You’d be surprised how often I put out a casting call for a specific character, giving information on the age range and look only to have a heap of actors apply who clearly don’t fit. My favourite is when I have twenty-something’s asking to audition for a character who’s six! (True story.)

It’s a waste of my time and a waste of the actor’s time too.

When an actor knows the types of characters to audition for, it frees up their time to go for roles they actually fit, versus waiting on auditions where they don’t. I don’t know about you, but I’d rather spend a day auditioning for characters I actually have a real chance to play, versus ones where I don’t.

Last bits of advice… Sometimes it can be disheartening to hear what type others think you could go for, but take what they say with a grain of salt. Learn where you can and dismiss it where it hinders. And definitely don’t see it as a part of who you are, it’s not your identity, it’s like a skill or tool for your trade. That’s it.

Knowing your type is important and can definitely be beneficial to the actor’s career, but at the end of the day, go for the roles which inspire you.

Check Your Heart: How Do You Celebrate The Victory Of Others?

BY ANNETTE LANGE

Being an actor simultaneously requires extreme vulnerability and an extremely thick skin. When auditioning for roles, you’re the product you’re promoting, and so it’s easy to take rejection personally and evaluate yourself against the other candidates.

This in turn, will make room for discouragement and comparison and ultimately transform into resentment and bitterness – not a place you want to get into, for your own sake and for the sake of others.

Because of this, it is important you continually check your heart and motives. A good way to check if you’re heading in the right direction is asking yourself the question:

Am I able to genuinely celebrate other people’s (or, in this case, actors’) successes?

We all know envy is not a positive virtue. Once it takes hold of you, it spreads like cancer. If you need a visual reminder, watch Amadeus and look at the effect envy has on Antonio Salieri’s character.

I can’t promise you its absence will be a guarantee for a successful acting career, but what I can promise is it’s necessary for the sake of your own heart and creative life.

A heart at peace gives life to the body, but envy rots the bones.

pexels-photo-14303

At the end of the day, you’re responsible for your own heart and actions. And as an actor you don’t want to numb your sensitivity through subtle jealousy.

I find the art of acting and creative storytelling so beautiful, delicate and precious. If done well, actors can change and heal the hearts of their audiences through their own vulnerability and honesty. They can explore, challenge and reform humanity like no other artform.

What I find inspiring about films and plays, is the teamwork it requires to realize a vision. The entertainment industry is all about teamwork and that is, in my opinion, what life is all about. Realizing dreams together through community, cooperation and relationship with one another.

This requires humility and choosing to love one another even if we don’t feel like it, celebrating one another’s successes and being united in an attempt to make this often cruel world a bit better.

I’d encourage you to be on guard against feelings of resentment and jealousy, even if they seem subtle and take action on your behalf to combat it with love and turning it into a motivation to pursue more excellence in your own creative craft.

 

The One Thing You Need To Know About Acting: There Is No Formula

By Keaton J. Evans

 

One of the biggest temptations for actors, when they begin their creative journey, is the desire to have everything figured out as quickly as possible. Which is completely natural. I did this when I first started learning how to act, and I still find myself doing this.

 

Thing is, I like to make formulas for problems I find in my life and in my acting. The classic A+B=C right? Well, mathematically yes, but not in other areas of life. Especially for any problems you face as an actor.

 

With acting you have so many things to think about and work through. You gotta break down a script, learn about the story, your character, your relationship with the other characters and emotions and everything else under the sun. And while there are things you can do which will help, there is no formula.

 

One reason for this is because of how different techniques work for different people. I mentioned this a bit in another article I wrote, which you should check out. The basic idea is an acting technique which works for someone else may not work for you. You may find certain acting tips don’t work, while other ones will. The point is don’t rush to find a system. Know it will take you awhile to figure out this whole acting thing. When starting out, patience is key.

 

desolation-of-smaug-21 (1)

The second case for no formula is this: art is fickle as well as acting. And an approach or technique which may work for you once may not work again. And if you stick to only one approach, especially early on, you’ll get stuck in a single way of doing things, instead of exploring all the techniques which exist.

 

There’s a “Creative Spark” starring production designer Rick Carter where he mentions how he never knows how he’s going to do a movie. He doesn’t go in with preconceptions. Carter is a major production designer in the film industry and his words surprised me at first. Surely by now he would have a system for making a movie after years of doing so many films. But in fact his openness and acceptance of his own limited knowledge is exactly why he’s so good. He understands it’s not about figuring it out.

 

rick2 (1)

 

You gotta let go of what you think you know. As counterintuitive as it may seem, it helps to be completely clueless and open when approaching your craft.

 

Curiosity should beat out needing to have all the answers in a nice formula. If that makes sense. Just like Rick, you should always be searching for answers. There is no one method which covers all. If you think you’ll be able to find some formula or something that works each time, maybe you should try openness of mind and asking more questions.

 

You can’t have all the answers, and you’re not suppose to. My third point is exactly this. Have questions instead of answers. You’ll find answers when you ask questions. So ask away! There are answers to be found in the script, and you’ll be able to answer them. It’s the same as not going into the script with preconceptions. You come at it with a clean slate.

 

898457983745987243895

 

There are definitely things you can do which will help you in acting. Little tricks and tips here and there which will help.

 

But needing to have a consistent overarching formula and approach won’t really help you here. Which is totally fine. Grow your curiosity, ask questions, and be free to be completely clueless especially at the beginning. That’s acting and that’s art folks.

 

As actors, we need to learn to let go of formula and embrace the journey.

 

What is it You Really Want? Finding Your Objectives

BY ANNETTE LANGE

If you’ve had any training in acting, you’ve come across the idea of objectives. While I’m not a master in using them effectively, I’ve improved and found principles I thought I’d share in order for you to act as believably as possible.

Laura Bond, author of TEAM For Actors: A Holistic Approach to Embodied Acting, has a section in her book on objectives which helped me immensely. If you want further explanation, check it out here.

Objective – Something aimed at or striven for

Synonyms – aim, intention, goal

People are governed by what they want. Every human being has desires and acts accordingly – they are our driving force. The same applies to our characters.

Determining the objective of a character is a bit more complicated than thinking what your character wants in a scene. It’s easy to choose ineffective and weak objectives. Below are some guidelines to help you determine effective objectives:

Where are your character’s needs rooted?

big_1409271992_1382472634_image

First of all, you will need to understand your character’s basic needs and motivations.

Is your character seeking to fulfill basic physiological needs (hunger, thirst, sleep, physical comfort) or is your character desiring security (shelter, order, stability etc.)?

How about their social needs? Is your character primarily seeking love, acceptance and relationship, or is he/she really looking for ways to satisfy his/her ego (achievement, independence, prestige, recognition)?

Is your character driven to gain more knowledge or striving towards beauty? What if your character can’t be bothered by beauty, but ultimately seeks spiritual fulfilment?

Try to determine which of these needs your character is primarily seeking after, bearing in mind their needs and values might contradict your own.

E.g. “My character wants to be loved.”

Are you referring to your character in first person?

maxresdefault

Rather than talking about your character in third person, identify with him/her as soon as possible by talking about your character in first person. This obviously applies to your objectives as well.

E.g. Instead of saying “She wants to be loved”, embody your character, bridging the distance by saying “I want to be loved …”.

Does your objective call for your partner’s participation?

cd4aa33db82f4ebab8e4f060942d8dae-rush-hour-1473359068

This is straightforward. Don’t forget to involve your scene partner(s). The other character(s) is normally also the reason for conflict. If there’s no conflict, you will not captivate your audience.

What is your character’s relationship to the others in your scene? What do you want from them?

E.g. “I want him to show me he loves me.”

Are your objectives focused on what you want?

my-precious1

An easy trap to fall into is focusing on what your character doesn’t want. First, understand what he/she wants before you focus on the obstacles.

Figure out the positive aspects of your character’s journey.

E.g. Instead of saying “I don’t want him to fall in love with her”, say “I want him to show he loves me.”

What is the desired outcome?

Rocky-II_belty

What would be the perceived victory of the situation in the scene be for your character? What could the other character possibly do or say in order for you to feel victorious?

Make sure that you have a clear picture of what that would look like. Be specific.

E.g. Instead of defining your objective as “I want to be loved,” try “I want him to say ‘I love you’.”

Is your victory difficult to attain?

gallery2-gallery-image

Creating a sense of urgency in the scene will aid you as the actor immensely.

Actors normally call this ‘raising the stakes of the scene’.

We have previously talked about imagining the perfect victory for your character. Let’s take it up a notch and make sure you’re selecting a victory extremely difficult to attain.

You might set them so high, the victory will never happen. Allow for the possibility, that way it doesn’t become unrealistic.

E.g. “I want him to say ‘I love you’ before the end of our date.”

Does your objective sustain the scene?

Unbroken-05-1

In other words, do your objectives motivate your character throughout the duration of the entire scene? If the victory happens in the middle of the scene, your character would have nothing left to fight for.

This goes further than the individual scene.

E.g. The previous example “I want him to say ‘I love you’ before the end of our date” only works if the scene ends when the date ends. If the above victory happens in the middle of the scene, the objective does not sustain the entire scene.

Do you have main objectives and scene objectives that carry your character through the scene/film/play? What are the general unsatisfied needs your character is wanting to fulfil, and what are the scene-specific needs in need of fulfillment?

Are your scene objectives in line with your main objectives?

Know the story.

Of course you need to have a good understanding of the story and its intention in order for you to be able to choose strong objectives. Your objectives have to be in line with the intentions of the script and your character’s given circumstances.

Practice.

If you need to practice more, watch and analyze scenes of movies and other actors that were particularly engaging and see if you can find out what the objectives of the respective characters were.

I hope these guidelines help when you’re stuck and need a little inspiration.

“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

pp (1)

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?

oo (1)

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

ouiug (1)

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”

screen-shot-2015-10-23-at-7-06-35-am

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

Raiders-of-the-Lost-Ark

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

Akenstone_film

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

sophies-choice

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

best-pixar-movie-hand-holding

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

the_descendants_matt_and_his_girls

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

Drinking-Buddies-DI

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

La vie performance edit

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

112

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

sunset-boulevard

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

screen-shot-2015-04-02-at-16-40-57

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

239777915b2a28688b65104e5ddfd5c5

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

kramer-vs-kramer-7

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.