Acting in Columbus Newsletter | June 2011

STUDENT UPDATES

2011-05-31T21:58:00.000-07:00

Acting in Columbus likes to celebrate the work our students are booking! Keep up the good work everyone!

UPCOMING AUDITIONS

2011-05-31T21:55:00.000-07:00

Paramount Pictures is holding an open casting call Saturday for extras for the feature film 'FUN SIZE,' a comedy set on Halloween starring Victoria Justice (Nickelodeon) Thomas Mann and Jackson 'Tek' Nicoll.

Extras must be 6 years of age or older and need to come between 10 a.m. and 4 p.m. Saturday (June 4) to the former Cleveland Playhouse, 8500 Euclid Avenue, CLEVELAND, OHIO 44106. Anyone under the age of 18 MUST be accompanied by a parent or guardian.

Casting hopefuls need to bring an up-to-date photo and, if possible, a photo of you in a Halloween costume. There is plenty of free parking at the Playhouse.

All extras will be PAID positions.

The movie is tentatively scheduled to be shot entirely in Cleveland from June through August.

Parents are encouraged to be extras with their children. This movie takes place on Halloween and 80 percent of the extras will be in costumes.

Paramount is seeking some creative characters, like a human Transformer, as well as a wide variety of innovative Halloween costumes.

This production also needs a wide variety of extras with cars. If interested, please bring a photo of your car to the open call.

Paramount is specifically looking for a blue Suburban, a 1973 Pontiac Firebird, an Impala low-rider, F-150 cool trucks, a Honda Civic, a Cadillac with switches and modified imports (Fast and Furious cars)

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CASTING CALL FOR TWO INDEPENDENT FEATURE FILMS:

Nocturnals:
Nocturnals is about a group of live action role-playing gamers who are forced to battle real life monsters and demons when a rogue member of their group willingly awakens an ancient and powerful evil!

Devil’s Point:
The mysterious area of woods, known to the locals as Devil’s Point, harbors a dark secret no one suspects. After being attacked by something evil there, Michael finds that people in his life are dying with increasingly bizarre circumstances. With all signs pointing at him being the one responsible for their deaths, he begins to question his own reality and now must find some way of overcoming the tragedy that haunts him before it is too late.

We are looking for both actors and actresses of all types and ages to fill several lead and supporting roles in these movies.

Auditions will be held at:

Kenton County Public Library
Saturday, May 28th and Saturday, June 4th
10:30am to 5:30pm both days
401 Kenton Lands Rd
Erlanger, KY 41018
Sides will be available to read from.
Please bring Photo and/or Resume if available.

Filming will begin in July for Nocturnals and September for Devil’s Point with a couple of rehearsals days prior to that. Each movie will be shot in HD over an approximate two month period. Pay will be deferred although copy, credit and food will be provided. A distribution plan is already in place for both movies.

So that there are no wait times, please no walk-ins as we are trying to make sure that auditions don’t overlap one another. To set up an audition please email sovereignent@yahoo.com. Any further questions contact Christopher Wesley at 513-967-9623.

Thank you for your time,
Christopher Wesley (Director, Nocturnals)
Billy Chaffin (Director, Devil’s Point)

Billy Chaffin
Director
859-240-3465
bchaffin23@yahoo.com
youtube.com/billychaffinhttp://www.imdb.com/name/nm3676874/

HANANI TAYLOR MAKES PERMANENT MOVE TO LA by Richard Mason

2011-05-31T21:38:00.000-07:00

Acting in Columbus Private student, Hanani Taylor, is proud and sad to announce her family's permanent move to LA. Previously, Hanani and her mother, Robin Stith, who has a private law practice here in Columbus, commuted to LA or I taped her auditions and sent them to her agent in L. A. Hanani has auditioned for shows like SHAKE IT UP, MADISON HIGH and films like FRIENDS WITH BENEFITS. Keep up the good work Hanani and we know you will have much success! Here is Hanani singing ROLLING IN THE DEEP:

Acting for Film for Beginners

2011-05-31T11:17:00.000-07:00

Donnie Wahlberg and Acting in Columbus Instructor
Richard Mason in a scene from 'THE KILL POINT'

ACTING FOR FILM EIGHT-WEEK SCENE STUDY
Acting Fundamentals for beginners

Due to the popularity of this class we are offering two sessions:

Saturdays, beginning June 11 - August 6, 2011 10:00am-12:30pm. $200
OR
Wednesdays, beginning June 15 - August 3, 2011 7:00pm-9:30pm. $200

This class is limited to 12 students.

This class offers a focused introduction to the acting process. Beginning actors work, stage, and shoot several film scenes during the eight-week session. We work in depth on concepts central to the actor's role development for film. We use Shurtleff's 12 Guideposts as our basic text to help students make strong choices with a wide variety of scenes and monologues. Your ability to make active, personal choices is essential for dynamic auditions and performances for stage and film.
View: VIDEO CLIPS FROM A PREVIOUS CLASS

Casting Insider Offers Advice on Nailing Your Audition By Jason Buyer

2011-05-31T11:06:00.001-07:00

The following is an excerpt from the book "Inside the Audition Room: The Essential Actor's Handbook for Los Angeles."

The Room—Own It!

Your audition begins the moment you walk into the audition room, not when you say your first line. You may give the reading of your life, but if you don't look the part, it won't go further. That's not to say that the CD wouldn't bring you in for a different role, something you are more appropriate for. Remember, the casting director has a direct link to what the producers and director are looking for, based on what was discussed in the casting concept meeting. Also, if a casting director wants you to do your scene over again, they will tell you before you leave the room; there is never a need to ask. Asking makes it look like you weren't pleased with your choices, not to mention how desperate it makes you look. You have one shot, so make the most of it. Don't forget: If you are lucky enough to get called back, by all means don't change what we originally loved! Remember why we called you back in the first place!

Dressing Parallel to the Part

When you are coming in to audition for a particular role, try not to dress exactly like the character. Rather, dress parallel to what you think the CD might be looking for. The character breakdown will give you some insight as to how you should dress for your audition, but you should avoid doing too much or going over the top with your wardrobe choice. The CD should be focused on your performance, not your outfit. Here's an example.

Audition: "Law & Order: Los Angeles"
Role: Cop
Breakdown:
Hard-Copy Submissions Only
35–40 years old. Caucasian male, tough cop who plays by his own rules. 3–5 lines. Co-Star.

The actors called in to audition for the cop will physically look the part. Casting will go through thousands of submissions and call in the actors who are actually dressed in a cop uniform, with the badge, hat, guns, etc., possibly leaning up against a squad car with a menacing look on their face. This is all portrayed in their headshot or thumbnail. It's okay to dress like this particular character in an 8-by-10 picture or thumbnail for a three-to-five-line co-star. This is not a leading look, so if you use it, know that you are probably not going to be considered for the lead, or guest star. The cop headshot is a co-star headshot, something to be used for smaller parts and similar roles. It will not work for a leading guest-starring role. Also, you don't want to walk into the audition room dressed as the cop—with the hat, badge, guns, etc. Dress parallel to what you think the CD is looking for. I would suggest wearing a button-down shirt with rolled-up sleeves and a loose tie the next time you are called in for this type of role.

Dressing Parallel to the Part—and the Exception

For commercials, it's okay to dress the part. This is frowned upon in the theatrical world, however. Dress parallel to the part, based on the commercial breakdown.

Avoid Props

As an actor, you should always get in the habit of bringing in your audition material, just in case you need it, and incorporating it into your scene. The script is the best and one of the only props you will ever be able to bring into the audition room. There is no reason the script can't substitute as a magazine, picture, or evidence for all of your "lawyer" scenes and auditions. Remember, in your audition you are required to create the illusion. The only other prop you may bring in is your cell phone, if you are on the phone in your scene. However, please don't forget to turn off your cell phone before walking in the room! Again, your cell phone and script are okay. Otherwise, avoid props at all costs.

Being in the Moment/Letting Go

Most actors don't get the opportunity to audition as often as they would like. So, when you do get called in, it's a great time for you to showcase your talent. Be great. Here's your chance! Show us that you deserve this job. Stay true to the text and stay in the moment. Don't get in your head—you have plenty of time to do that after your audition (which I'm sure you'll do). After all, acting should be fun. Isn't this what you do best? Now show us!

Listening/Taking Direction

Probably the number-one reason actors don't book is because they stop listening. That's number one, so take note! Most of the time, actors are too worried about themselves and what they have to do in the room. You need to take the time to listen to the person you are talking to! If a director, producer, or casting director gives you a note in the audition room, consider this a positive step towards getting called back. It is the director's job to see if you are able to take direction. If you can't take direction in the audition room, you certainly won't be able to on set. Taking direction can be difficult but is a necessity in becoming a working actor. Here are some helpful hints to stay in the moment:

I know that if a casting director, director, or producer gave me direction in the room, I would want to make sure that I got it right. If you are in a producer session and you don't feel that you can make a quick adjustment, go ahead and ask if you could have a couple of minutes outside the audition room to incorporate the new notes. Remember, just because you are asking for additional time doesn't always mean that you will get it. The casting director probably has 10 or 15 additional actors anxiously waiting to be seen, so it doesn't hurt you to ask for some additional time to get it right. How great would it be if you had some additional time to work on those notes? You might as well ask.

(Note: This is only recommended for producer sessions. If you are in a pre-read with the casting director and the casting director gives you a note, do your best in the room.) If you feel, however, that you can incorporate what they are asking you to do in the room, go for it—just make sure it's right!

Raising the Stakes

It's so important to start thinking about the choices your fellow actors will be bringing in. In other words, it's time to size up your competition and think about what, if anything, gives you an edge. Look around the waiting room and size up your competition. Don't let them, or anything, get in the way of doing your job! Without pushing your scene, think about what your competition will be bringing into their audition—and then top them one notch. From bringing in larger levels, to letting the casting director see your personality before you begin, stand out in the most positive way. Remember: You never hear about the actor who almost books the job, only the one that did.

Show No Hesitation

As an actor, you will need to be able to adapt to many different audition situations, and you should always expect the unexpected. For example, if you plan to sit for your audition and there isn't a chair available for you to sit in, make the adjustment and stand. Don't ask the casting director to get up and get you a chair. Actors should always be able to adapt to the situation that presents itself. If you prefer standing, and the casting director asks you to sit down as you enter the room, make the adjustment. Maybe the casting director wants to talk to you before you begin. You are an actor, commit to your decisions, but please make one. If casting has a preference on whether or not they would like you to sit or stand, they will tell you.

Jason Buyer began casting extras and commercials in his hometown of Chicago nearly 20 years ago. Since arriving in Los Angeles, he has worked on dozens of pilots and episodic television shows. He was the senior casting coordinator at Warner Bros. Television, the casting associate at Ulrich/Dawson/Kritzer Casting, and the casting associate at Weber & Associates Casting at MGM. Before opening the Casting Playhouse, he was the CEO of Marketing the Actor. He currently offers private, one-on-one mock audition classes as well as group classes for actors of all levels. Beginning in July, he will be moving the Casting Playhouse to New York City. Websites: www.insidetheauditionroom.com or www.thecastingplayhouse.com.

CRAFT NOTES by Ed Hooks

2011-05-30T20:53:00.000-07:00

"ACTING WITH AUTHORITY"

I was recently reading a 1966 Life Magazine interview with Charlie Chaplin when something he said resonated deeply with me: "What differentiates the professional actor, the good actor, from the amateur is the fact that he knows what he is doing - the mechanics every minute. And does it with authority. If you're an authority, the audience will listen to you; if you are not, they won't." (Interviewed by Richard Meryman)

What exactly does it mean to act with authority? How can this attribute be developed by a new actor? The answer goes once again to the roots of acting - shamanism. If you draw a circle in the dirt, the tribe will gather to hear what you have to say. They do that because they expect you to know more than they do about certain things. It is the same as when you go to church, synagogue or mosque. You expect the priest or whoever to know something about life. You are there for a renewal, a fresh perspective, a point of reflection, and a sense of your own humanity. Religion and the arts are joined at the hip and deal with what it means to survive successfully in the world.

Over the years I have seen many new actors training in a variety of techniques and methods that foster honesty but not authority. They work hard on repetition exercises and relaxation exercises and they tap into deep and personal psychological places. They strive to be intuitive and "in the moment", all of which is a definite part of the actor's art, but it does not speak to the thing that Chaplin was talking about. Acting with authority implies a communication with an audience.

Acting with authority means accepting your mantle as a leader. When you act, you are saying to the audience, "I understand this about how this character is surviving in the world." When the audience cries, laughs and applauds, they are saying, "I see what you mean." This is not to suggest that you make your characters Pollyanna. You may be portraying a character that is making lousy choices in life. Your point would be, "Do this and you will die."
An actor that acts with authority accepts the responsibility of considering the bookends of life. Most humans spend their entire lives trying not to think about their mortality. Actors get paid to think about it.

Acting with authority means that an actor has clarity of purpose. This does not imply that you must toot your horn or strut around like a jerk. And of course acting with authority has nothing at all to do with being a movie star. We are talking about art here, not celebrity.

There is a centered-ness, a peacefulness that comes from accepting ones lot in life. It is not always easy to consider our fragility as humans. It is not always easy to look into the dark heart of a character you may not personally like. But that is what actors do. It can be difficult and it can cause an artist pain, but it also generates great joy and satisfaction.

Let me close these notes with more insight from the master, Charlie Chaplin. His words could have been inspired by today's headlines and go to the heart of the artist's mission: "There is a lot of sorrow to life, there's plenty of trouble in the world and I think to make a picture showing the possibility that there is another aspect to life
is very charming. It's not the question of what life is; it's the question of what the possibilities are." (same interview, 1966)

BOOK OF THE MONTH

2011-05-30T20:34:00.000-07:00

L.A. from A to Z: The Actor's Guide to Surviving and Succeeding in Los Angeles

From A (acting classes, auditions, and agents) to Z (getting enough of them), Mills offers actors a realistic, helpful, and at times bemused guide to life in the big city.

About the Author

Thomas Mills is an actor living in and always trying to figure out Los Angeles. He has directed and written short films, theatre, commercials, and industrials. He writes the "Tombudsman" and "Working Actor" columns for Backstage West Newspaper with recent acting credits including "NYPD Blue," "Crossing Jordan" and "Curb Your Enthusiasm." You can find him on-line at www.backstage.com. You can reach Thom via email at tombudsman@adelphia.net