Acting Out and Living in Chicago

When Should an Actor Accept a Role?

noreply@blogger.com (Unknown) — Thu, 06 Nov 2014 00:41:00 +0000

This may seem counter-intuitive to some, especially when we're just starting out in our careers, but an actor does not have to take every role that (s)he is offered. So when should an actor take a role?

In my opinion, there are three reasons for an actor to accept a role. Ideally, all three will be present in the project, but that's not always the case.

Without further ado, I give you PEC.

1. The PAY. We all want to get paid for doing what we love. Unfortunately, this is not always an immediate given unless you are incredibly lucky or really young when you start. However, you must determine how much this reason factors into your decision on whether to accept a role. If it's a big deal, you shouldn't be auditioning for things that don't pay. That's not fair to anyone. But, if the lack of Benjamins in your pocket doesn't matter to you, and you want to do it, more power to you. Personally, there are projects that I will do without compensation, and there are projects that I know I'll only do if there is at least some monetary offer.

2. The EXPERIENCE. This reason covers a lot. It can be a role you've always wanted to play, a theatre you've never performed at, or a genre you're not comfortable with. It can be about stretching yourself or resume building. It can be about a boy or a girl you like. It could be because if you spend one more second in the city you'll scream. Only you know what experiences are right for you when they knock on your door.

3. The CONNECTIONS. The world is big, but the theatre and film community, especially in Chicago, is not. For example, I didn’t have to audition for the past two projects on which I worked. I got the calls because the directors had seen me in a peer's project and liked what I did. As much as this introvert resists, acting, like life, sometimes comes down to who you know. Get in the habit of googling those attached to the project. Something that doesn't look great on the breakdown suddenly takes on a whole new light once you watch the director's reel on vimeo or check out the producer's IMDB page. The internet is your friend. Do your research. Also, don't be a jerk. It will get back to people.

Which matters the most? Right now, I am more interested in finding projects that have the potential for both Experience and Connections. Someday I'm going to reach a point where I require all of PEC for every project that I take on, but that's not my current reality. However, over the past few months, I've gone from being only an Experience girl, to looking for the Connections too. Let yourself grow. It's good business.

Have something to add? Comment below.

Jason Momoa's Game of Thrones Audition Tape

noreply@blogger.com (Unknown) — Sun, 19 Oct 2014 23:24:00 +0000

As previously discussed in my post about Rose Byrn's Get Him to the Greek Audition Tape, I firmly believe that studying professionals' audition videos provide wonderful learning tools for actors.

I hadn't seen Jason Momoa's Game of Thrones Audition before, but, luckily for me, the tape is currently trending like crazy.

Talk about a mic dropping audition. He GOES for it. He is terrifying and completely captivating.

Also, let's discuss wardrobe. This is more than Rose Byrn's suggestion of character. The man is wearing gauntlets, an open shirt, and a necklace with...are those teeth? I'm pretty sure those are teeth. However, he's not rocking all out animal skins and war paint. He gives us enough to see him as Khal Drogo. It takes no imagination to believe that he could lead the Dothraki, and yet we aren't taken out of his performance by any distracting costume choices.

Further, the tape ends with Momoa still in character. The last thing we see is not the actor, but Khal Drogo getting ready to maim a spoiled prince or eat a horse heart or something. He ends as he began, super strong and So. Good.

Set Stories: My Truck's Bigger Than Your "Art Film"

noreply@blogger.com (Unknown) — Wed, 08 Oct 2014 21:50:00 +0000

Sometimes I forget how awful people can be. Call it naive, call it rose-colored glasses, call it what you want, but displays of utter lack of decency take me by surprise.

This past weekend I was on two overnights for a shoot (call time was 6:50 PM, I was getting a ride back to my apartment at about 4 AM). The first day (night) went really well. People passing by wanted to know what we were doing, what all the lights and equipment were for, etc. I'm sure they hoped that they had stumbled upon Chicago Fire (me too y'all, me too), but were totally cool when they were let down.

The second night had a visitor who was less than thrilled at our presence. Before I begin the story, let it be noted that all permits were in place.

It started when he had to maneuver around a camera set up to parallel park his gigantic truck. He let us know we were less than welcome by screaming "This is my house!" OK, dude, whatever, no one's stopping you from doing anything. He parks and unloads his truck while his mortified teenage son tries to disappear into the sidewalk. We don't think anything else of it.

Then, about half an hour later, when we've changed set ups and moved down a little bit, he comes barreling down the street in his truck, having un-parked and driven around the block.

He yells that he doesn't care about the little "Art Film" and that this shouldn't be happening on "his street" and he's going to call the cops. Our fabulous DP replies to go ahead, call the cops, and shows him the permits.

At this point, the man gets angry and DRIVES OVER a traffic saw horse in order to speed through the set. He then parks in exactly the same spot.

Luckily there was no damage to equipment or person besides the horse he drove over, but that kind of behavior baffles me. What kind of day or life did that guy have to make him so angry? In other words, "What is your damage, Heather?"

How to Write a Screenplay (According to Me): Part 1

noreply@blogger.com (Unknown) — Wed, 01 Oct 2014 19:38:00 +0000

This is not a definitive "How to Write a Screenplay" blog post. This is a "How I Wrote My Screenplay, What I Did Wrong, and What I'll Do Again" post. It is my goal to provide a case study of one way (out of bazillions) to get an idea from brain to final draft.

1. Teach Myself the Proper Screenwriting Format, etc.

I read The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script* pretty much from cover to cover weeks before I started this project. I thought it was very informative. I tabbed and highlighted the heck out of it. I even created worksheets based on the information the book contained to streamline my writing process. I didn't end up using the worksheets for this script, but I think they will be helpful for something that doesn't hit me like this one did.

Another edition has been released, but I used the 5th edition blue one.

2. The Idea

I've had several ideas for a screenplay percolating for months. One's even been kicking around in my head for over a year. However, none of these ideas started a fire under me quite like the one I experienced for this story.
I was up, unable to sleep, "what if, what if, what if" circling around my brain and messing with my beauty rest.
And that's just it. I thought about "what if" and out came scenarios, reactions, ways to combat the problem. No real life life solution manifested, but I had an absolute ball running with what could happen.

3. Getting It Out of My Brain

I wrote a huge chunk out in Microsoft Word in a single night. The day after next, I had to drive six hours to attend a wedding. Most of that trip was spent improvising dialogue into an audio recording app on my iPhone. For some reason, long car trips help my brainstorming immensely.

In between wedding festivities, I was transcribing what I had recorded and adding new scenarios.

I used the following format in word:

What's Happening in the Scene

Describe the setting (if I knew)
Character 1: Talky talky talky.
Character 2: Reply reply reply.
This is action happening.
Character 1: Babble babble babble.
Action Action action
Character 2: Ruminate ruminate ruminate

Next scene

Repeat above.

A note on why I wrote it out in Word first: My screenwriting program of choice is Celtx (because it's free). The program, however, does not lend itself, in my opinion, to easy editing and rearranging. Word, on the other hand, is incredibly easy to finagle with. Also, I used the transfer process from Word to Celtx as a way to do some initial re-drafting, but more on that later.

The word count for my screenplay was 13,385 words (pre-Celtx transfer). After fleshing out the writing, this translated to roughly 90 pages of screenplay. As you may or may not know, in general, one page of script is equal to one minute of screen time. That, of course, made me as pleased as Punch.

4. Playing with the Scene Order

After I had it all typed out in Word, I made each scene its own page. I adjusted font size to make it fit onto a single page if necessary.

I then printed out two written pages to every printed page and cut them in half so I had a bunch of scene cards that I could physically see and play with. I also made blank cards so I could add scenes as I needed them.

Next, I sat on the floor and laid out my film. I rearranged, cut, and added scenes where there were holes in the story.

Once that was done, I went back into Word and cut and paste my new order and wrote out the scenes that had been missing.

|A Note on Thinking Ahead|

I wrote this screenplay for eventual production. Specifically, I wrote one of the parts for me. One of my many life's ambitions is to pull a Brit Marling and make my own way.

This means that even if this is the best screenplay ever (which let's be real, even though I'm actually really liking where it's going, Casablanca it's not) getting this produced is going to be an issue. I tried to keep it as inexpensive as possible. I also made sure that there were plenty of Chicago shout-outs scattered throughout the script.

5. Transfer to Celtx

I printed out another copy of my script and then started to type it out, scene by scene, into Celtx.

This was an incredibly tedious process. I'm sure it would be more efficient to just do the whole thing in the program, however, during the transfer I fleshed out my scenes, added dialogue, cut things that I didn't think worked, etc. By the time I typed "The End" in Celtx, I was really on my third draft of the script (1. pre-arranged draft 2. post-arranged draft 3. Celtx draft).

6. Reading Out Loud

I cannot stress the importance of this enough. Some of my dialogue didn't sound like something my characters would say: sometimes it was too stilted, sometimes it didn't make sense off the page, etc. I sat there and acted out 92 pages, by myself, making changes as I went.

I also fixed regular typos in this phase as well. I read EVERYTHING aloud, even the action and scene headings.

7. Read It Again and Fix the Nuts and Bolts

I fixed my errors in spelling, typos, and formatting. For example, I played with my montage format a few of times, so I needed to decide on a consistent approach. Also, I have a couple of phone conversations so I needed to figure out how to write those effectively. The resource that I turned to repeatedly was this fantastic free PDF called How Did They Write It, which is a compilation of how writers have dealt with issues ranging from phone conversations to on screen text. I also referenced my tabbed pages in The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script*. (Especially pages 136-138 which contain a sample script.)

8. Sending It to First Round Beta Readers

At the end of last week, I sent it to my first round of beta readers. These are the people who I trust to rip it apart and tell me what they think. None of my first round readers are in the industry or have studied film. However, most really love entertainment and are close friends. I've gotten initial comments back from one reader thus far and they've been beyond helpful.
Once I get those comments back, I'll take them into consideration, change what I agree with, ignore it if I disagree, and send it out for another round with my next group of ~~victims~~ friends. Again, these will be close friends and people I trust to eviscerate my writing.

This is where I am with the script. I will do another post as I take steps toward getting that final draft completed. Hang with me.

* I have become an Amazon Associate to monetize my blog. When you see an asterisk, it means that the link could put money in my pocket if you decide to click it and make a qualifying purchase from Amazon. I do not include products on my blog that I have not personally used. If I find them valuable, I'll let you know. If I hate them, I'm probably not going to write about them because of that whole "If you don't have something nice to say..." thing.

Screenplay: 6 Days Later

noreply@blogger.com (Unknown) — Tue, 23 Sep 2014 05:16:00 +0000

My cousin's wedding was this past weekend (beautiful ceremony, incredibly happy for her) so I was home visiting with family and friends. Before that, my dog had an appointment with her primary vet. The office she goes to is nicer than my doctor's office. There are slate looking floors and a coffee machine for all the pet parents. She even had a chiropractic adjustment. It was rather bizarre to me, but she immediately stopped dragging her back foot so I will call it money well spent.

Smooshed in between all the wedding festivities and visits was me typing away on my laptop, finishing the first draft of my script. It's rough. But it's there. The next step is to take my shoddy word document and turn it into something that looks like a screenplay. This will be finagled somewhere in the midst of rehearsals and line memorization, and planning an epic itinerary for when another cousin makes her first visit to Chicago.

In other news, I finally saw Guardians of the Galaxy. I will admit that, for the first third to half of the movie, I was a little disappointed. This was the movie that I was looking forward to the entire summer and it just wasn't doing it for me. However, they hit the halfway point and I was there. I ended up loving it. I'd like to see it again just to determine if I was in a weird mood that was keeping me from falling into the movie immediately or if it really was just inconsistent.

I also caught up on Outlander. The wedding episode. Gah. That show really knows how to work the slow burn. And the costuming. And the scenery. And the Jamie.

Burning the Midnight Oil

noreply@blogger.com (Unknown) — Wed, 17 Sep 2014 10:11:00 +0000

As I begin this post, it's 4:50. In the AM. I don't actually remember the last time I've seen 4:50 from staying up all night. Oh, yeah I do. The last time I was awake this late it was a result of subjecting myself to a horror movie featuring terrifying ghosts. I couldn't go to sleep until the sun came up. Yes, I realize that I have an over active imagination and that my emotions are easily manipulated by movies.

Today, however, I am still awake because I've been pounding out a screenplay. I'm trying to take the advice to create my own content seriously. I am posting this here because, allegedly, if I shout it out to the world I am more likely to follow through (that's what the internet told me). The story is in its very preliminary stages. I have a rough outline and some dialogue. That's not much, but it's certainly better than nothing. Hopefully, in a year or so from now, the film will be on its way to being produced. Or, I will have learned so much from the process that I wrote another, better screenplay and it's being produced. The way I see it, those are only two option. Success or success.

Here's Peter O'Toole singing "The Impossible Dream," from Man of La Mancha, to inspire us all.

In other news, I have been cast in another student film that shoots the first weekend of October.

P.S. If there are typos please be a doll and ignore them. I'm so tired that my eyes are doing funny things.

A Couple of Redesigns

noreply@blogger.com (Unknown) — Fri, 12 Sep 2014 18:43:00 +0000

Hey All,

A little while back I decided that I absolutely hated the way that my website looked. So, I redesigned it. I also cleaned up the code. It was, to put it mildly, a hot mess.

Click here to see my new website. Tell me what you all think.

I am much happier with the way it looks. Unfortunately I'm having some issues with the CSS of my photo album. The last two pictures take the viewer back to the beginning of the slide show. I don't know how to fix it, but I'm researching solutions.

And, as hopefully you noticed, I've updated the look of this blog. I wanted something more minimalist and (can you sense a theme?) cleaner.

There are also going to be some content changes that accompany this new look. I'm getting more and more into filmmaking, so I will also be sharing resources along those lines. In short, I'm expanding beyond an entirely acting based focus. So LOOK OUT WORLD.

Voiceover Acting: Part 1

noreply@blogger.com (Unknown) — Thu, 28 Aug 2014 20:06:00 +0000

This will be an ongoing series on how to read and perform voiceover scripts as I learn more about this facet of the industry. But, to get you all started, here are some general tips.

1. Stay Consistent. According to the teacher that I studied under at Acting Studio Chicago, Dave Leffel, this is the number one "rule" of voiceover performance. If you start off with a high energy voice you need to be sure that you're maintaining that voice for the duration of the spot. This can be challenging, especially if it's 30 seconds of overly written copy.

2. Research. You need to know what's out there. Have a habit of skipping over commercials? Stop that. It's research built into your leisure time. Actively listen to what's going on, what kind of sound certain advertisers are interested in. Does McDonald's have a certain sound? What about Plato's Closet? Start trying to determine where your voice fits in. Be honest.

3. Stay you. I know it's hard, especially after you've done lots of research and know the products that you'd like to pitch and the voices that are used for said products, but don't do impersonations of the voices you hear on the radio. Use your own unique voice.

Bad bad blogger

noreply@blogger.com (Unknown) — Mon, 18 Aug 2014 15:50:00 +0000

Soooo..... Hey guys, it's been awhile. Rest assured that I have not been idle. In fact, I got really busy and had a thousand things on my to do list. Somehow this blog didn't make it on there even though I totally could have worked it in. Procrastination, thy name is Angela.

The show I was in closed at the beginning of this month, and then I went straight into a brutal three day shoot for a short film. We didn't have a night where I got out of there before 2 AM.

After that, I got to see Chicago Shake's Seussical, which was delightful, before heading out to North Carolina for a bit.

I should be back in the city tomorrow night for an audition. (Hopefully, the time line is stressing me out a bit.)

Anyhoo, exciting days. A real post with (I hope) useful information to come this Thursday. I'm thinking it will be some tidbits I've picked up during my voiceover class.

Whirlwind

noreply@blogger.com (Unknown) — Thu, 24 Jul 2014 22:12:00 +0000

It has been quite the busy past couple of weeks.

I started a new class; The Hamlet Project Chicago opened; I auditioned for and was cast in another short film; and I had a dear friend come in from Tennessee. She had never been to Chicago before so I was playing tour guide again. I have another Tennessee friend coming in tomorrow for the second week of the show. Absolutely amazing. I am beyond thrilled that they were willing to make the trip north to see this crazy, weird, and fun show I've been working on. Seriously, you should come check it out. I will love you all forever if you do.

This post is a check in to tell you all that I haven't forgotten about this blog, and I have some things that I've learned in voiceover class that I want to share and I'll be updating my "What To Do When Friends Come to Visit" list.

When Parents, Spouses, Friends, etc. Don't Support Your Dream

noreply@blogger.com (Unknown) — Mon, 07 Jul 2014 22:00:00 +0000

I am going to preface this post with a disclaimer. I am fortunate to have a family and friends that are beyond supportive of my creative career path. However, many of my peers are not so fortunate. What follows is a wonderful video to inspire you. This video applies not only to careers in acting, but any sort of non-traditional life pursuit. I hope you enjoy and I hope it brings you some comfort.

If you follow me on twitter you'll have seen this one, but I think it's worth sharing again.

Should Actors Do Student Films?

noreply@blogger.com (Unknown) — Thu, 03 Jul 2014 15:50:00 +0000

As I've mentioned on this blog before, I have significantly more theatre credits than film credits. I'm comfortable in the theatre (as comfortable as I get anyway, still get nervous, etc.), but, when I started this blog I'd had one film experience. Since January, I've taken a highly recommended class, and participated in several film projects, the majority of them student produced. For one of those projects, check out the video below the list. These are some of the reasons I think student films are valuable for an actor.

1. We're learning together.
I find that student projects allow a bit a leeway. For example, (you'll see this in the video below) I had never done a Point of View (POV) shot. I didn't know where to look. If you look directly into the lens your eyes look a little crossed. The sweet spot is just above the lens. On the camera that was used (Canon, can't remember the model), I looked at the logo on the front of the body. The acting itself reminded me of when I was little and would playact to some inanimate object in my room. (You all did that right?) It's challenging in a different way than having a partner off which to play. The point is, at this juncture in my filmmaking journey, I'm still learning, still finding what works and so are they.

2. Questions are fine.
This is probably my favorite part of working on a student film. I'm interested in not only acting, but the process of making film from pre to post production. I ask questions when I'm on set. I want to know what lens they're using, why they chose it, what the ISO does for a shot, etc. I want to know what the sound guy's favorite equipment is and how the director found the location. I would never, ever, do this on a professional set where time is money, etc. For professional shoots I'm there to do my work and get out. On student projects, however, I've always felt comfortable asking questions and I generally get enthusiastic replies. The crew is devoting their time to this project too. They like what they do, and when people like what they do they tend to like to talk about it. This being said, ask your questions in one of the myriad down times, not when people are trying to get stuff done.

3. Quick and Dirty
Granted, I've only done short films to this point, but I love how fast, at least for me, the process is. I learn my lines, maybe have a rehearsal, and then shoot. In general, filming takes a day or two. Granted, these days are often very long.

4. Micro-budget to the extreme.
This pertains more to my specific interests, but I am really into the micro-budget filmmaking process. Technology has opened up movie making to the masses. Anyone with an iPhone can make a film. Skeptical? Check out Uneasy Lies the Mind, a feature film shot entirely on the iPhone. With student films I get to observe who is necessary to a shoot, what can be cut, and creative solutions to make things work with very little man power.

5. These are the future superstars.
Is this too optimistic? Maybe. But, you are working with future professionals in an industry where relationships mean everything. In fact, I was recently contacted to audition for a project that I saw a breakdown for, but to which I didn't submit. I didn't think I was right for the role. However, one of the producers had seen my work in a classmate's project and liked what I did and wanted me to come in and read for it. Did I get the part? Probably not. But, I know I did well in the audition and met some more people.

My experiences have, thus far, been positive. This is not to say that I won't inadvertently get involved in a horribly inefficient and miserable project. But, I think that risk is worth the benefit of continuing to work on my craft with people who are also trying to perfect theirs.

What are your thoughts on doing student films?

Garden State (DC 462 Scene Recreation) from Matthew Baran on Vimeo.

Dealing with the Doldrums: Downtime and the Actor

noreply@blogger.com (Unknown) — Tue, 01 Jul 2014 18:09:00 +0000

Taken on a morning run along Lake Michigan.

Yes, yes, I'm late again. My dog had surgery back in my hometown so I had to take her down south, return for rehearsal, and then drive back to get her. I know, excuses, excuses.

The Doldrums "is a colloquial expression derived from historical maritime usage, in which it refers to those parts of the Atlantic Ocean and the Pacific Ocean affected by the Intertropical Convergence Zone, a low-pressure area around the equator where the prevailing winds are calm.... The doldrums are... noted for calm periods when the winds disappear altogether, trapping sail-powered boats for periods of days or weeks." Wikipedia.

I am in the midst of my own Doldrums. I'm not sure how it is for other people, but my acting cycle tends to come in starts and stops. I will have a hellishly busy (read wonderful) week where I feel like I can barely breathe for all the auditioning, filming, and rehearsing, my sink gets full of dirty dishes, and my tiny apartment looks like a hurricane blew through. (Nautical theme today, happy summer y'all). Then, the next week, nothing. Not a single audition. I try not to let despair set in. I know that eventually there will be another audition, this town is so full of theatres how could it not happen? It's a numbers game, and I haven't been here long enough for them all to hate me (<-- Bad state of mind. Avoid this!) So I try to use the time to learn about other areas of this business and to catch up on some good TV and film.

For example, I recently finished The Screenwriter's Bible. I'm interested in the process, and have a few ideas kicking around in my head. So I started a screenplay. We've talked about content creation and my doldrums are the time when I try to create more. To be perfectly honest, it doesn't always work. I tend to be massively inefficient when I'm not busy, but I know this about myself and am, sort of, working on it.

I also use the time to catch up on TV and film that I've not seen. I love entertainment. Obviously, right? Observe what I'm doing with my life. I think it's valuable to be exposed to lots of different styles and genres. I learn something from every actor's performance that I watch. I even base (steal) some characters that I audition for on tics that I've seen other actors do. Right now I'm on a TV kick. I recently burned through the first season of Rectify. The show breathes. It's slow and methodical and the performances are absolutely amazing. It's tempting to say that nothing much happens, but it's rare for a show where the characters get to spend an entire episode, heck, a season, feeling. I cannot recommend it enough. Then, I tore through the first two seasons of Arrow. So. Good. I love that show and am obsessed with #Olicity. It's going to happen. But, I digress. Arrow is a completely different show than Rectify. It barely has room to breathe with the 45 minute action movie that every episode presents. But, I still find the characters to be compelling and the acting super solid. Different styles, different lessons.

Basically, I'm always trying to learn something about this craft that I love. Next up on my reading list is The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age. It's probably going to take me awhile.

How do you all deal with the doldrums?

Acting Studio Chicago Review: On Camera II

noreply@blogger.com (Unknown) — Fri, 20 Jun 2014 04:00:00 +0000

I have in no way be compensated or solicited for this review. This is solely my opinion.

I cannot believe that it's been 8 weeks since I started my On Camera II class with Chris Agos at Acting Studio Chicago. The time has absolutely flown. Pretty frightening if I think too hard about it. I've got a lot I want to accomplish on my arbitrary timeline.

Now, for the review. I am going to preface this by saying that, if you can, you should absolutely take this class. You can stop reading now, or continue for a more detailed examination.

I am not a person who responds well to a bullying teaching method. This class is absolutely NOT that. I write this because some people do need someone to push and prod and make them feel bad about themselves to make progress. If that's you, that's fine, but this isn't the class for you. This isn't to say that Chris won't get you were you need to be. In fact, you'll sometimes do take upon take until the objective is achieved. But it's never from a place of destructive criticism, it's just the opposite.

Which leads me into: take upon take upon take. You are on camera every. single. class. Then, the whole class watches your first take and your last take and you and Chris discuss the changes that were made, whether they were good, etc. Before coming to Chicago I had one on camera role. Since March, I've completed three and one I'm currently in wraps up, weather permitting, next week. I've also been auditioning for on camera things pretty regularly. This was a bit overwhelming at first given my utter lack of experience (theatrekid4eva). However, I was at an audition yesterday and I felt at ease. I went in, felt the floor, and did my thing. I came out happy with how I did and, as you know, that's the most that you can ask of yourself in this business. It was invaluable, confidence and technique wise, for me to literally be on camera every week working with, most often, unfamiliar copy. (We were given copy in advance only twice. The rest of the time was devoted to semi-cold reading.) Also, a word about that copy: we used real scripts from things that were, mostly, shot in the area. Being able to work off of the kind of copy that we are most likely to encounter here was (can you sense a theme?) indispensable. (JK. I used my thesaurus for invaluable).

Finally, the last part of class was always devoted to the business of the Chicago acting market. As I've written before, Chicago is different from the coasts. We talked about everything from agents to headshots/resumes to the confusing world of the unions specific to Chicago. This might have been worth the cost of the class alone.

Take it. That's the verdict. Their contact information follows.

Website: Acting Studio Chicago
Phone: 312.527.4566

LATE!

noreply@blogger.com (Unknown) — Tue, 17 Jun 2014 16:14:00 +0000

Yesterday (Monday (I know I'm late)), was the first rehearsal for The Hamlet Project, a show I'm doing. I've even got my own page under The Company. Mayhap I'm unreasonably excited about that. Anyway,
[Oh wow. Two Steps From Hell's Heart of Courage just came up on my Pandora station, this post just got super epic feeling. Back to it, sorry....] I absolutely hate to be late for commitments. I get a little ball of stress deep inside my soul if there's even an inkling that I might hold something up. [This STATION IS AWESOME!!! Gaelic Storm just came up. Seriously, do yourself a favor and add the Epic Soundtrack station to your Pandora. And now Pirates!!!!! GAH!!!! My life feels so EPIC right now!!!!] What was I even talking about?

Right. So my bus broke down. I would have been early had the universe aligned for me. Nope. It breaks down a twenty minute walk from the theatre. I text the CTA bus hotline to see when the next one arrives. 29 minutes. This is, of course, after four buses had gone by while my fellow passengers and I were communing on our non-moving metal-chariot. Off I go, setting out into the great Chicago unknown. I get there 10 minutes late. Hate that.

But, rehearsal was awesome. I'm beyond excited to be working with the amazingly talented cast and director.

What's the point of this post? You ask. No idea. You're going to be late to stuff so no worries???? Meh.

Sirens in Chicago

noreply@blogger.com (Unknown) — Fri, 13 Jun 2014 04:06:00 +0000

Here's some extremely good news for the Chicago acting community: The Sun Times reports that the USA show Sirens is shooting its second season in Chicago. All rejoice, more work more work.

I'm a little tuckered out so that's it for tonight. But, considering the magnitude of the news, I don't feel so bad. ;)

Rose Byrn's Get Him to the Greek Audition Tape

noreply@blogger.com (Unknown) — Tue, 10 Jun 2014 03:08:00 +0000

Do people call them tapes anymore? Anyway, I love audition tapes. I think with active viewing, much can be learned about acting craft and audition skills.
My favorite example is Rose Byrn's for Get Him to the Greek. In addition to awesome comedic timing, I love the suggestion of the character. We get "hot mess" immediately with nothing more than a few strands out of place and a subtle smudge of eyeliner. She's not "dressed up" for the role, she's hinting at it.
However, this isn't to say that dressing up, when done well, can't be a successful tactic. Check out Jason Momoa's Game of Thrones Audition for stellar use of costuming elements in an audition.

WARNING NSFW!!!! (cursing, etc.)

Be Unapologetic About Your Acting Career

noreply@blogger.com (Unknown) — Thu, 05 Jun 2014 15:50:00 +0000

After I watched Killer Joe last week, I was perusing interviews with William Friedkin (director) when a reporter's question stuck out at me. I can't remember which article it was or I would link it, but the gist of the question was whether Friedkin held Matthew McConaughey's romantic comedy past against him. Seriously? The blatant snobbery of the question got me thinking.

It also sent me back to my first year in my theatre undergraduate program. Down in a basement classroom the professor asked for a show of hands for who wanted to do movies. I raised my hand. Solo. I was pretty surprised that no one else had the desire, or at least wasn't admitting it. He asked me whose career I would like. "Meryl Streep." I quickly replied, thinking that she at least had some major theatre cred. "Well, at least you didn't say Jessica Alba." The class laughed and we moved on. In another time (like now) I probably would have countered with a statement along the lines of "if I could, I would have her's." Because what is Jessica Alba doing that I'm aspiring to? Working. As. An. Actor.

Sometimes you're going to take roles where you sell a car to a regional audience or (if you're blessed with good genes and work out a lot) run around an exotic location in a bikini or maybe be Elf #7 in a children's Christmas show. And that's ok. I promise. Your career is up to you. The shape of it is no one's business but your own. You get to decide if you're going to take the Elf #7 job and get paid or pass.

Don't let someone make you feel less than worthy as an actor for taking an acting job.

If it's time to re-brand because you are unsatisfied with your career, say stopping romantic comedies and seeking grittier fare a la McConaughey, do it. If you've gotten to the point where you can make 89 minute romantic comedy space travel adventure movies for the rest of your life and want to do it, do it.

We're going to have misfires now and then. Passion projects will turn out horrid and roles we hated may take us to previously unassailable career opportunities. Do what you do. You know whether you are willing to sell mops on a commercial or that you will never, ever do commercials. Either choice is a valid one. It's your career, don't apologize for it.

Here's a little inspiration from Kacey Musgraves. Appropriately titled "Follow Your Arrow."

Chicago Talent Agents: Expert Curators of Marketable Talent (<--I'm coining that)

noreply@blogger.com (Unknown) — Mon, 02 Jun 2014 23:26:00 +0000

Chicago is a secondary market. It's not New York or LA, though, as I reported in a previous post, it is making some major headway in film and television production. I had not made this connection until class last week, but being a secondary market means that things are run a little differently here. Makes sense right?

*Note that from here on out I will be writing about things that are generally true. The business relationship between a specific agent and actor may be different from what I describe.

Chicago is a "scale" town. In other words, most working actors in the Second City do not command paychecks beyond those mandated by the unions. This in turn, means that the role of a Chicago agent is oftentimes a little different from that of a coastal agent. Due to the realities of his/her respective market, an agent in New York or L.A. is going to be more heavily involved in the shaping of an actor's career, as well as, negotiating an increase in pay (or as the adage goes, negotiating you out of a job). Here, for the most part, an agent acts as the first line between the actor and the job. They are, if you will, expert curators of marketable talent. More than likely, before you get called in to read for Chicago Fire you need to have been picked up by an agent. His/her relationships with the casting directors in town are invaluable. If you want to move up the ladder of work in this city an agent's partnership is necessary.

HOWEVER, this is absolutely NOT to say that the lack of an agent keeps you from submitting directly to casting directors. Absolutely do that. Even after you get an agent don't stop doing that. Even the greatest agent in the world is not responsible for the shape of your career. You are.

Acting Studio Chicago (where I'm currently enrolled) has a list of agents and casting directors. They also have a ton of other useful information on their website. Check them out.

Comments? Concerns? Corrections? Let me know.

And, because I mentioned Chicago Fire, I give you Severide. You're welcome.

Taylor Kinney as Kelly Severide -- (Matt Dinerstein/NBC)

Why Chicago: An Interview with Justin Kimball

noreply@blogger.com (Unknown) — Mon, 19 May 2014 14:00:00 +0000

This is the first of (hopefully) many interviews that I will be doing with artists that have chosen Chicago as the place to build their career. When deciding where I wanted to base my acting career I had a lot of questions. I googled things like "best city to live in as an actor" and "where should I live to work as an actor" etc. Obviously, there were loads of articles and opinions about acting in Los Angeles and New York. I hope that this series of interviews will make the case for acting in Chicago, or at least provide enough information so that you can make an informed choice when deciding where you're going to work. I also wanted to know how people support their acting habit so I'll try to find out what their actor survival jobs are as well.

I've known Justin Kimball since approximately the fifth grade. We didn't live in the same town, but, much like Chicago, the arts community where we're from is pretty small. There's a lot going on if you are willing to drive 45 minutes to get there. I knew when I thought of this series he would be the perfect person to kick this off. So, without further ado, Justin Kimball.

Where are you from?

Benton IL. Southern Illinois. ACTUAL southern Illinois... not like.. by Springfield.

Tell me a little bit about what you do.

I am mostly an actor/improviser. I do love to write but mostly for sketch and am currently directing/writing/acting for a few web series. [Right now] I am in Theater Unspeakable's touring production of "Superman 2050" as Superman. We recently had a run at the Lincoln Center in New York and the Kennedy Center in Washington and are in the Chicago's Children Theater festival til the end of May. I am also currently working on the sketch comedy web series "Some Guys I Know" and dancing for the DLD dance company.

Why did you choose Chicago as the place to build your career?

I have always heard that Chicago is the place to go if you are a little unsure of where exactly you want your career to go. It's a great mix of theater, film and different types of comedy. I wanted to be able to explore what I wanted to do and not just be put into a "film" or "straight theater" box. A good friend of mine told me when I first moved here "Chicago is the place people go to make art, LA is where you go to make money" and that really stuck with me. PLUS its wayyyyy cheaper here than in LA or NY. I would probably be three different types of homeless if I lived there.

Do you have an actor survival job?

I have MANY. I teach hip hop/ break dancing at two studios. I also work for a party entertainment company called the "Ice Cream Team." Mostly I dress up like Spiderman or do stand up comedy for little kids. I also do some video editing (film/dance reels) on the side for some extra money. A "normal" job with "normal" hours just wasn't working for all the auditions/rehearsals/classes I had when I moved to Chicago.

What is your best career experience in Chicago?

The Second City Conservatory was probably my favorite part thus far. The people that I met and the experience I gained regarding how to live as an actor/improviser in Chicago really made me feel like I had a chance. I highly recommend that training program for both how much fun it is and the name recognition on your resume. The worst experience.... I have done a few "we will feed you, but won't pay you at all" plays that were very frustrating. A LOT of time put into something that I don't even put on my resume. It was also kind of a good experience though because it taught me that I really need to think about the companies I want to work for and to make sure that they are legit. Places like the "Gorilla Tango Theater" are great for new artists but ANYONE can do shows there and sometimes you can get cast in a horrible Halloween play, asked to [go] topless for no reason, and kill someone by force feeding them poison pudding. Ya know, that old story.

Dream job?

I would LOVE to be a Neo-futurist OR have my own sketch comedy show that I can be in, write, and direct.

Any advice for those considering making their home in Chicago?

Learn the CTA (Chicago transit). It can be your best friend or your worst enemy.

Chicago seems like a big place but the arts community is surprisingly small. Go out of your way to meet people. I have gotten most of my jobs by just knowing the right people. A professor of mine gave me this advise about Chicago, "It's not about how you were on stage that night, it's about how well you drink at the bar after."

And now, a game of Chicago favorites:

Theatre Company: The Neo-futurists! If you haven't looked up/already seen "Too much light makes the baby go blind".. what have you been doing?

Neighborhood: I love me some Lincoln Park. So much comedy.

Restaurant: Sushi Thai 3! Its kinda up north but seriously.. best Thai food. Period. No...Exclamation point.

Bar: Beer on Clark. They give out free parties almost every time you go.

Place: The planetarium. Just go there. It's the knees of bees.

Only in Chicago:

I was in an R Kelly music video where we had to ride around on the L for 13 hours while R Kelly serenaded us. I got to hang and swing on the bars! It was like a dream come true. Since then all of my train rides feel empty...

Parting words:

Come to Chicago. Come be funny/dramatic/weird/poor/musical-y with us.

You can email Justin at justinkimball88@gmail.com

Find him on Youtube at https://www.youtube.com/channel/UC7qDZ_LkTpYz2Wp53ua9TqA

Agents, Reels, and Other Soundbites from Class

noreply@blogger.com (Unknown) — Fri, 16 May 2014 03:08:00 +0000

Fantastic. That's how I would describe this evening's class. We had another mock cold read audition with some commercial copy. What was awesome about this evening was the postmortem (that's what my undergrad program called it. Weird right?) discussion.

This evening I learned: which agency I should absolutely not submit to (I'm sorry I can't share it, circle of trust and all); that there is absolutely nothing to be sorry about when you refuse to do something that you're not comfortable with; the relationship with an agent is a partnership he/she is not your boss; and you need to market the hell out of yourself, agent or not.

Also a theme for the evening, and something you've read a few times here, create your own content.

A few more tidbits: you need a website; the reel may be on its way out, clips are on the cusp of being the "it" tool.

Monitor Review

noreply@blogger.com (Unknown) — Mon, 12 May 2014 22:48:00 +0000

I shot two shorts in the last three days. Both were for a DePaul Grad school directing course.

At one of the shoots Johnny Depp came up. Someone said that he doesn't watch his work. He says that it's not his job.

Perhaps when one has achieved his level of expertise there is no need to review one's work. At my level (film newb), I find playback to be pretty invaluable. However, what I'm not interested in is viewing the monitor in the midst of filming. Perhaps "interested" is the wrong way to word that. It's absolutely tempting. But, I think you have to trust your director. If I watch and start worrying about whether or not my chin is down or my makeup looks bad I get in my head.

Am I going to get burned by relying too much on the director? Maybe. Maybe not. We'll see. I'll let you know if it happens.

Thoughts?

Good and Not so Good News for Chicago Television Production

noreply@blogger.com (Unknown) — Fri, 09 May 2014 18:17:00 +0000

Let's start with the bad news.

If you still watch Supernatural (absolutely obsessed with it in college), you probably saw the episode that took place in Chicago. It was actually shot here which is fantastic. The episode was to serve as a backdoor pilot to the Supernatural spin-off Bloodlines (formerly Tribes). I watched it, and what I remember thinking is: "Why are Sam and Dean not in this more?" I really, really don't think they should have treated the pilot this way. If you're going to start a new series, commit. It wasn't fair to the idea or the cast/crew to smoosh it in a series that viewers tune in to for two specific characters. But, nobody consulted me, and the series is dying an early death. I don't know if it was going to be shot in Chicago, or if they were going to replace the city with Canada, but I must admit I was totally dreaming hard core. I loved Supernatural. It would have been awesome to know that its underdog cousin was filming here.

The good news: The Lee Daniels written and directed Empire is filming its pilot in the city. The empire of the title is of the hip-hop variety. The cast is impressive: Terrence Howard, Gabourey Sidibe and Taraji P. Henson. However, it's set in New York City. I hope this doesn't mean that there will be a location change if it's picked up.

Wannabe Super Villain or My First On Camera Acting Course

noreply@blogger.com (Unknown) — Fri, 02 May 2014 03:23:00 +0000

By K Whiteford

I've not done a lot of film work. Fifty percent of that work happened around three weeks ago. I'm gearing up, however, for a rather hectic schedule over the next month. I've been cast in three short film projects that all start shooting this month. I'm pretty excited. Baby steps and all.

Tonight I started my first On Camera course. I've taken a seminar before, but nothing as in depth as this class. The first meeting was interesting. It's a mix between the business of acting in Chicago, and working on audition technique for film. This evening we did an interview style audition, something that would happen if the spot (commercial) called for someone to merely be reading a book or sleeping on a couch, for example, rather than having a copy (script) with lines.

My question was what super power I would have if I could have anything, except flight "because everyone picks that." Well, I was going to say flight, obviously. I chose invisibility instead and launched into an explanation of how I would use this power to become a super villain cat burglar.

"So you would use your power for evil?" The instructor asked.

"Right, evil," I replied.

Evidently I also require henchmen to carry out the "fine" art I steal and a driver who drives an invisible BUT cream colored Bentley for me. I'm not really sure what this says about me, other than my adoration of Catwoman (Michelle Pfeiffer 4eva) has carried on into my adulthood.

Anyway, we watched the playback of our interviews with one question to answer, "Were you genuine?"

Yep, I think, that's me, making weird faces and plotting world domination.

Playback was invaluable. I now know: I need to keep my chin down, that was not a great angle for me; I will never, ever, wear that outfit again on camera; though hair my looked fine in the mirror, it did absolutely nothing for me on screen.

So, how am I going to use the next seven weeks? Learning to audition and auditioning different hair styles and outfits. I hadn't thought to do this, but what a great way to determine what translates well to the monitor and what doesn't. Live, learn, and fix it.

P.S.

On my way from class I got lost on my way back to the bus, which runs along Michigan Ave. How? Well, let me tell you. Where I was at, you had to go up some HIDDEN stairs to get back to the street. Absolutely baffling. I figured I just needed to head in the direction of the lake. False, silly country mouse. City engineers, how do you do it?

The Actor's Job

noreply@blogger.com (Unknown) — Mon, 28 Apr 2014 17:38:00 +0000

It's been a pretty busy few days for me. I was out of town for Easter--wonderful to see friends and family and, I hadn't realized I missed wide open spaces until I was in them-- and then came back to double stacked auditions. Today I have two more in the Loop.

Which brings me to: What, exactly, is the actor's job?

I was recently listening to an online seminar, and the lecturer stated that the actor's job is to audition. Not to get booked, but audition. I don't agree with the statement. In my opinion, the audition is simply a job interview. The purpose is to determine not only whether I am capable of performing the part (which lots of people who audition will be), but also whether I (me, myself) am a good fit for the project. Do I look like what the director wants? (Do I look exactly like the lead when I'm being called for a supporting role?) Do I present myself as someone people would want to spend weeks and even years with? This is why it's so important to be "on" the second you walk into the building. You must be nice to the monitor, you must be personable. There is no sense in blowing an interview because you're having a bad day and take it out on the person checking people in. The audition isn't your job, it's the gateway to a job. We just have a higher turnover than other trades.

A job pays, auditioning does not. If we are serious about pursuing this as a career, we must believe that what we do, what we bring to the table is worth compensation. I don't consider an interview in any other business my job, and acting, as much as we may resist, is a business. We need to acknowledge it as such.

Right now, I'm auditioning LIKE it's my job, but it's not.

Any opinions? Am I just arguing semantics again?