Making Your Own Opportunities

A Truth about the Now

You are living in the most opportunity available time in history. The turn of the 20th century make thousands rich because of oil, oil fields and oil wells. Once an oil field was discovered it was purchased and exclusive to the oil company. The turn of the 21st century has provided an unlimited oil field known as the Internet. It is free. All you have to do is claim your spot and place a well. That well is any personal project you wish to create. The more you work on that project the deeper the well goes. There is oil there. You have the ability and the power to drill for it. It takes time, energy and dedication. But, as you know, most of all it takes imagination and discipline. Don't forget you have the power to make the invisible (your goals) visible. Knowledge is reviewing the past... imagination is defining the future. 

Make an “information form” that you can use when you are watching television.  Once you create the form can be duplicated and sent to friends and family who could help you with your personal research while they are watching television.   Use the form to find the working actors who are playing the type of roles you could play.  Learn the history of those actors.  Note on the form the name of the show or film, the actors name, the producer, the time slot and any other information that might help in your search for those who work with these actors (agents/managers).  Google them to learn how they arrived at the place where they are making a living as an actor.  Learn what about their path is similar to yours.  Take advantage of your time and move it away from wanting to have what the Jones’ have. Avoid the commercial trap of television and learn how to watch it as an insider, not an outsider.  Make watching television or movies a career supporter.  Make it a class.

Negative Comment Confusion

Acknowledge how many times a day you allow yourself to make negative comments about working actors.  Think about it.  Write down in your traveling notebook the thoughts that are negative that you have made in reference to certain working actors.  Let your mind flash through the TV shows that you watch.  What about the ones that you avoid.  Know why you avoid them. If you find that you have a habit of allowing yourself to make negative comments about working actors you need to know that you are reinforcing for your subconscious your belief that actors are not worth the money they are paid. 

The Action Plan

You are on the road to being a successful professional actor.  You want to know what it is that has been getting in your way in relation to financial security and abundance as an actor.  You want to know how limiting beliefs about acting and money can be changed to make you effective and excited about finding financial abundance as an actor.  Money is nothing but a measure of value that you create for other people.  If you know that your acting talents are all in place then you also know that you have the right to expect to make as much money as you feel you can manage.  Live every day with gratitude for what you have and what you can do with all that you have.  Allow yourself to see the possibility that is afforded to you by taking control of your life.  Give more to others than you ever expect to get back. 

This is the path to life’s promise of fulfillment.  Know what you expect from abundance. Be clear.  Know it is your right.  Condition your Mind to instruct your brain for wealth.  Focus on what you want, not in terms of money but in terms of achievement.   That achievement will attract wealth and abundance.  Know what you are allowing yourself to believe.  Demand a positive belief in yourself and your talents.  And, create experiences with money that give you great joy and pleasure. 

The Stage Reading

Many actors are called on to do stage readings but may not necessarily be talented in that technique.  For that reason I would like to share a few points that might be helpful.  I realize that most of you are quite familiar with what is discussed below so please accept this as a possible reminder or support. 

As you know, there is a difference between a stage reading and a cold reading.  One is rehearsed and the other is not.  A stage reading has planned structure and timing.  A cold reading is usually being used to look for certain instincts from the actor.  The stage reading is dependent on the casting being meticulously done to keep the actors from trying to force a performance in an effort to adapt to the character’s specific needs. 

Many good character actors are used for a stage reading yet are then rarely used for future performances.  There is a reason for this.  That is why a good producer will try to cast actors who can physically do the role rather than strong character actors who can only service the role. Know the difference.  However, as a point of reference, if there is a character in the new play that is not clearly defined as to type a good character actor will almost always nail the performance and make it clear the type of actor that should be cast.

I hope these points of information will be of some value.  Know if you are a good reader.  Many actors suffer from dyslexia and therefore see letters in reverse.  If you have this problem always get someone to read the script to you as you look at what they are reading.    That will usually solve the problem.  It is nothing to be ashamed of. 

If you are a word reader rather than a comprehensive idea reader allow yourself the opportunity to read the script enough times to get the conceptual ideas of certain word combinations that the writer has used to create unique ideas or original inferences.  Comprehension in reading is key in allowing the writer’s ideas to come across in a stage reading. 

Always work at BaseMax™.  BaseMax™ is a talent energy that starts with the same power that will be needed to finish.  Don’t confuse BaseMax™ energy with presentation energy.  One is constant and the other is French Scene and emotional note driven.

Always allow yourself to visualize the scenes that your character is in.  See the setting.  Know the season.  Feel the temperature.  Smell the air.  Use as many of your senses as you can. Make your internal production lavish and interesting.  Let the character enjoy it and use it. 

Always demand* (your character’s first line of dialogue in each speak*) as your response dialogue.  Do not pause on response lines.  That pause can slow down the momentum of the story for the listener.  Filibuster* (Adding emotional and vocal color to all proceeding dialogue after the demand within the character’s speak) when it is appropriate.  Play words that are colorful and explain the character’s positive or negative intent to the circumstance.  Make sure you are clear of the operative words for clarification of the character’s intent.

* Demand is a term I have commandeered from the general assembly (congress) where a congressman request the right to take the floor to speak.  The process of the demand is always the same.  The requesting person must, without undue drama, request the floor in a rhythm that infers no emotional agenda.  Example:  “Mr. Speaker, may I have the floor.”  Once the requester is granted the floor he is in filibuster and only he can relinquish the floor to someone else.

*A speak is each time a character’s name appears leading to dialogue.  There may be only one line of dialogue to a speak.  In that case it is only a response thought and should be spoken without pause.  Otherwise there is the risk of deflecting the rhythm of the writer’s intent.

*Filibuster is a term I have commandeered (by definition filibuster is the use of extreme dilatory (slow) tactics (with language) in an attempt to delay or prevent action (interruption) especially in a legislative assembly) it allows the character holding the floor with dialogue control to manipulate the words and phrases with breath and emotional intent to make clear his point with interest and genre clarity.

Make a decision per French Scene (each entrance and exit of a character or life force constitutes a French scene) if your character is offensive or defensive in approach.  Be aware that the script is the thing.  Every thought, to a terminal punctuation mark, has a purpose or it should not be in the script. 

Know how to use breath to make a series of thoughts more important to the character’s need to be understood.

Find or create holes (silent time) in your character’s speeches that make him interesting and thought worthy.  Allow the character to have moments of reflection while listening to another character.  However, do not let your knowledge of the next line foreshadow your character’s response. 

If possible, based on the director’s vision, always stand when your character is in a scene.  It is a reading not a production.  Sit when your character is not in a scene.  While sitting keep your focus on the script not on the actors that are in the scene. 

Be clear of the French Scenes that you are in and make sure that they have a different emotional and energy based presentation.  Diminish your energy when you are not in the scene so that when you get up to read you bring your personal energy to its maximum level.

Be flexible with your vocal tones.  Never scream when the character is angry.  You must go for the intensity by taking your voice to that powerful stage whisper intensity. 

Always use a professional music stand that can easily be pushed up or down.  When you stand to read pull it up and when you sit push it down.  Never fidget.  When you are not reading do not touch your clothing.  Do not drink water.  Stay in the reality of the moment of not being.

Do nothing that will distract from those who are reading when your character is out of the scene. 

Wear nothing that brings focus to you rather than the character.  You should dress to show respect for the writer and the event.  It is not a staged production it is a stage reading. 

Sound effects, light and music should be used at a minimum.  The audience should not be confused as to what form in which the play is being presented. 

Avoid crossing your legs.  Do not slouch.  Sit upright and poised.  Keep your hands in your lap when you are seated. 

Have your script marked with a tab for your next entrance.  Do not turn pages when you are not standing. 

Let the character smile and laugh when he should.  Do not force the scene.  It is not about your performance.  It is about the audience being able to understand the script and how well it communicates its story. 

Never drop character.  If the audience responds differently than you expect with laughter or other verbal response hold and let the character literally breathe in reflection of the response as if coming from the other reader.  When the time is right continue.

Never make holes (silent moments) that you can not fill.

A stage reading is about the play, the author and the message.  You are there to service those elements.  If you have been cast correctly your purpose will be clear. 

Never hold on to the music stand when you read.  Free your hands and arms so they can be expressive and effective. 

Know how to read more than one sentence ahead.  Use the time the other character is talking to lock in your next thoughts. 

Make an effort to look at the other character when you are presenting your character’s thoughts. 

Do not attempt to learn the lines; that could lead to an appearance of an attempt at production level. 

Learn how to hold as many thoughts a character has at any given point by practicing comprehensive thought transference. 

You want to develop a talent for being a stage reader as well as developing a talent for the specific play you are reading.

If you are a character actor the director will have clarified the character that he wishes you to maintain. 

Never go for a joke at the expense of the script.  The audience should walk away talking about the play (good or bad) first.  Then they can discuss the individual performer’s talents. 

Place your script in a neat three ring binder.  It is always a good idea to have one made with your name on it that you use often. 

Make sure you get the name of all the cast and crew.  Send a note after the fact expressing your enjoyment working with them.  Put them in your address file.  Get e-mails also. 

Make sure you send an encouraging response to the author.  If you have suggestions make sure they follow your praise.  Make your suggestions general not specific.  It is best to let the writer find the problems in the script from those whose jobs do not depend on his feelings. 

Send the producer/producers a thank you based on their selection of the piece and your enjoyment working with them.

Always agree with the director as to his vision of the reading.  If you have a question never ask it in front of the other members of the cast, crew or production staff.  Always ask in private.

Send the director a positive note as to your appreciation of the time and effort that was given.  If you have a problem with the director try to make sure the director never knows it.  You don’t have to work with the director again but this is a small business and the day may come when your feelings will change.  The director’s memory might not. 

Never offer criticism even if asked.  It can be a trick.  If you have any serious thoughts and a true belief in the message the author is presenting, do it in writing after the fact.  No one is interested in something off the top of your head.   

The writer, director, and producer are employers to you.  Try not to forget that.  They can be your friends and they can be part of your social world but always allow distance when it comes to the artistic contribution.  You’re the actor.  You have the power to show what works or doesn’t work by doing, not saying.

The reading should be joyous.  Whatever problems the script may have or the director’s vision may create, try to remain the supportive voice of the character’s desire to live in his world of make believe.

I am now going to include the glossary of each lesson that has already been presented.  If you have a question you can then refer to that blog.

Glossary to Blog One

All That Is: All That Is is the invisible energy that holds all things together and can be guided to support the actor’s true desires with the use of imagination and expectation. ATI holds the power to making the invisible visible.  It is the science of faith.

Collaborative Process:  Collaborative process is the system by which many different participants with varying skills, talents, temperaments and visions work to blend together to create a union of design.

Cover:  Cover is defined here as the physical presentation of emotional control or the lack thereof of true feelings.

Dedication:  Dedication is a focus on a desired result.

Desire:  Desire is a want that elevates itself to action.

Determination:  Determination is the quality of being resolute or firm in purpose.  It is the fixed movement or tendency towards an end.  Determination is to be driven by will of spirit.

Discipline:  Discipline is the use of time for controlled action based results.

K + R = T: K + R = T is the formula for talent.  Knowledge plus repetition equals talent.  Talent is a physiological process. Knowledge is placed in the brain from whatever source is necessary to achieve.  Through physical repetition the knowledge is changed from thoughts to electrical impulses that go into the muscle tissue and become muscle memory.

Life Energy:  Life energy is the part of All That Is that resides in each living being.  Life energy is mystical, indefinable and miraculous.  It is and, therefore, so we are.

Middlemen:  The middlemen are those individuals who have been given positions of control in relation to the actor’s expectations and efforts.

Muscle memory:  Muscle memory is the name given to knowledge that has been converted to electrical impulses that can attach themselves to the muscle tissue converting life energy from a selfish (receiving) to a selfless (transmitting) direction of current.

Objective:  Objective is acceptance of fact/science based truth.   It is provable.

Perception of failure:  Perception of failure is choosing to believe that you have failed.  It may not be due to lack of talent, but lack of knowledge about that talent. 

Perception:  Perception is how we view the events and experiences of our lives.

Physiological process:  Physiological process is the actual process by which knowledge is transferred into electrical impulses to the muscle tissue.

Process of Talent:  Process of Talent is the process by which skill is transformed into power through a physiological transfer.

Reality of Focus:  Reality of focus is the power that we possess when we use the Mind to control the brain.

Road to MakeBelieve™:  Road to MakeBelieve™ is a process of understanding how to physically go to balance, passion and cover in order to get to the place of Talent without fear.

Storytelling:  Storytelling is a process by which incidents or events of human understanding, either fiction or none fiction, are presented in some form to share the human experience.  Storytelling is the oldest form of healing known to man.  It’s the ability used by storytellers from shaman to witch doctor, from mystic to priest, from actor to artist to use the power of energy to facilitate healing. 

 
Subjective:  Subjective is acceptance of opinion-based supposition not supported by fact.  It does not need to be provable.  It is an opinion.

Talent:  Talent is a place.  Talent is the name for taking control of the actor’s life energy so that it flows in harmony with the universal flow and attracts to it the power to heal and transform.  Talent is the place where all talents reside.  Talent is energy that has been harnessed to keep one at a frequency level that will attract the power of the universe.  Talent is the personal power over fear and confusion.

Talents:  Talents are areas of our lives where we have achieved the ability to do a task or skill through knowledge and repetition of that knowledge.  Talents are skills that can take us to “the zone” when we are engaged in them.  Talents are special abilities achieved by effort, focus and discipline.

Have a wonderful week and
know that...
I wish you well.
Russ

INFORMATION FORM CHARACTER:____________________________________ TV SHOW or FILM:_______________________________ __________________________________________________ NETWORK:_______________________________________ TIME:____________________________________________ DATE:____________________________________________ PRODUCTION COMPANY:_________________________ __________________________________________________ COMMENTS:_____________________________________ __________________________________________________