Acting & Directing tips/ Entertainment blog : February 2014

Wednesday, 26 February 2014

TELEVISION ACTING

CAMERA 1? CAMERA 2?

On a television set, there are typically several cameras angled at the set. Actors who are new to on-screen acting can get confused about which camera to look into. (This is not so much a problem for sitcom and dramatic television actors as it is for broadcasters and commercial actors.)

Each camera has a light at its top. Depending on the camera, the light can be red, green, white, or yellow. When the camera is "live" or "hot," the light will go on, indicating that this is the camera now capturing what is on the set.

CAN YOU HEAR ME NOW?

Many on-camera actors and performers will have to encounter lav mics (Lavaliere Microphones) at one time or another. These are the tiny little black buds you often see stuck to people's lapels in talk shows (or ripped away before they storm off the set when the interview gets too heated).

If you need to wear one, wear it professionally: Slip the mic underneath your shirt so that the mic tip (the head where the sound is picked up) merely peeks out of the edge of your collar. If you're wearing a suit jacket, tuck the cord under your jacket flap. Keep the tip away from any clothing that might ruffle against it and interfere with clean audio.

COMMERCIAL ACTING

When acting in a television commercial, remember that you are there to sell a product. In these instances, it is not so important to have motivation for your character, do a detailed breakdown of his/her character. Instead, focus on the product you are promoting; it is the star.

If you are reading your own copy, be sure to give a little more emphasis to the name of the product or service. This technique can be called either “punching” or “warming” a word or phrase, depending on the mood of the ad. Be sure not to overdo it. Advertising is a subtle art. You want the audience to believe you, not feel pressured by you.

JOINING THE UNION

If you plan to work professionally in television, you will most likely need to join AFTRA at some point in your career. AFTRA stands for the American Federation of Television and Radio Artists. Along the with benefits of being paid the union-enforced day rates for performers, you are also eligible to join the sister union SAG, under certain circumstances.

New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,300 and, as of November 1, 2004, minimum dues are $63.90.

SITCOM ACTING

Acting in a sitcom (situation comedy) is a very specialized talent. It’s something like being in a comedic play, but without the need for vocal projection and larger-than-life body movements. Sitcoms are known for their “laugh-a-minute” standards, so they are fast-paced. Comedic timing is key.

Actors wishing to break into the world of sitcoms should read a few tips on acting in the comedy genre as well as take a few comedy acting classes. Sketch comedy and stand-up are best, since they teach the fine art of timing. Watch as many sitcoms as you can stomach – good and bad. Familiarize yourself with what works and what doesn’t.

TELEVISION ACTING TERM: FRAME

The term frame refers to the area that the camera's lens is capturing. You must learn what this is at any given point when you're on-camera, or you may just go wandering off the screen entirely. Camera frames usually cover close-ups (head), medium shots (head and shoulders), and long shots (full body).

To give an example of how these frames are used, sitcom ensembles typically encounter scenes with long shots (whole groups) and medium-shots (2-3 people). Close-ups are used to focus on one particular character when s/he is speaking.

TO JOIN OR NOT TO JOIN

Be aware that once you join a union like AFTRA, you are no longer eligible to work non-union jobs. If you are just starting out in your career and need to make money, you may wish to hold off on joining a union. Many smaller companies offer work to non-union actors (at a lower rate of pay than union actors). Once you are a member of a union, these jobs essentially become off-limits to you. There are certain exceptions to the rule, but you must research what they are before you accept non-union work. Failure to do so could result in you being dropped from the union.

TV ACTING TERMS: COPY, TELEPLAY, SIDE

Copy refers to the lines you will speak. In sitcoms and television dramas, “copy” comes in the form of a teleplay. In commercial advertisements -- whether on-screen or in voice-over work -- the words you speak are called copy, but the form in which they come to you is called a side. Sides are also what are given to you for an audition. In this case, almost any excerpt of a longer script can be referred to as a side.

MONOLOGUES

WHAT IS A MONOLOGUE?

A monologue is an excerpt of a longer piece written for stage or film. It’s a sample of your work to show agents, casting directors, producers, directors, etc. what you can do as an actor. A good monologue plays up your strengths; it shows the auditor what you can do, who you can play and who you are.

Nothing is more important than choosing the right monologue for your type and skill level. Remember, monologue auditions are your moment to shine. They are perhaps the only time an actor has complete control of the situation.

FINDING A MONOLOGUE

Finding a monologue can seem like a young actor’s most daunting task. Just keep it simple. Start out with books of monologues from plays or movies. Don’t use a book of monologues written just for auditions, rather than monologues that really come from scripts; monologues written just for auditions are invariably terrible, and won’t show you off at your best. While it may be tempting to skip the search and write your own, don’t! The auditors want to see you handle material written by other people.

Pick a piece for a character you can play easily; someone your age and your type. Don’t use accents or dialects; you want the auditors to be able to understand you without having to strain. And your piece should be contemporary -- that is, written within the last 10 years.

Make sure you always have at least two pieces ready to go. They should contrast each other; if one is dramatic, the other should be lighter or more comic. You can also have a classical piece ready if you’re likely to be auditioning for classical material such as Shakespeare. Nothing beats having several monologues in your back pocket, ready to do at a moment’s notice. The more prepared you are, the more confident you’ll be. Keep your pieces short. 90 seconds is ideal, two minutes is the absolute limit. Don’t worry, the auditors can see what they need to see immediately. Remember, you’re showing them a sample of your work; 1-2 minutes is plenty.

Try to seek out material that has not been overdone. Think of the poor auditors! Imagine a day full of actors reading Hamlet’s “To be or not to be” soliloquy or Juliet’s “Romeo” speech! Be a little more original and consider your audience. What might they enjoy hearing?

GIVING A PROFESSIONAL AUDITION

When you arrive at the audition, greet the auditors and offer your headshot and resume. They may already have a copy, but always have one ready. Most likely they will ask you your name and what you will be performing. It seems obvious, but have the answer ready. All they need to know is the name of the play or film, and the character if it’s not obvious who you would be playing. Don’t give them a synopsis of the story, the scene or what your character is feeling. Simply do your piece.

GOING UP

Forgetting your lines is every actor’s nightmare. In the business, this is called “going up” on your lines... and it happens to everybody at some point or another. Of course you should always be prepared, know your monologue inside and out, be able to recite it in your sleep, backwards, on cue, etc. But if you do go up in an audition, do not panic. Act professionally. If you are doing a piece no one has heard of, improvise a few lines until you get back on track. If your piece is well-known, then pause a moment to gather yourself, but stay in character. This is vital. The auditors are looking at you as an actor. Your composure and confidence can sell you on the rare occasion your memory lets you down.

MOVE!

Some actors make the mistake of staying rooted to the floor when they do a monologue audition. Don’t – it’s boring to watch. Play the room. Move around. Work believable physical business into your monologue. Think of the entire 1-2 minutes you are performing as a mini play. You don’t need to come in full costume or have a bag of props (in fact, this is not recommended), but do stay mobile in a natural way.

TAKING A STAND

Position yourself close to your auditors, but not in their laps. Give your audience some space. Your auditors will generally be sitting behind a desk, so use the desk as your centering point. Stand about 10 feet away (or as the space of the room permits) to begin your piece. If you’re on a stage, don’t hide yourself so far upstage that the auditors can’t see you move properly or hear you clearly.

AUDITORS ARE NOT SCENE PARTNERS

Never directly engage the auditors in your monologue. They can’t be free to watch you if they are required to perform with you. In an actual performance, you wouldn’t normally look an audience member directly in the eye while delivering your lines. The same is true in an audition; remember, auditions are like your own mini one-man or one-woman show. Instead, create a scene partner. In your rehearsals, imagine this person very vividly so that you can bring him or her into the audition with you. Place your “scene partner” in front of you, not to the side, so the auditors can see you fully.

SAYING GOODBYE

At the end of the audition, most auditors will simply say thank you. Return the thanks and leave. Do not linger, do not ask questions, do not compliment their previous work, do not tell them you have a friend in common, etc. Stay open and polite. If you are asked some follow-up questions, have a friendly, pleasant conversation. Be alert for cues that the conversation is over. A little respect for the auditors’ time goes a long way.

FILM ACTING

BACKGROUND ACTORS

A great way to enter the world of film acting is to work as an extra on film sets. (Although you won’t be called an “extra” on-set; instead, you will be referred to as “background.”) You can find calls for extras on the Internet as well as in publications like Backstage, Hollywood Reporter, and Variety. Background casting calls are also sent out by agencies that specialize in background casting. You can find these agencies listed in Ross Reports or online. Doing background work or taking a small role in a student film is another excellent way to cut your teeth. Any university with a film department will have postings announcing casting. When you get a background job, find out if you need to bring your own clothing/make-up. Also, be sure to arrive on time for your call and/or your pick-up location. Unless you are told otherwise, plan to stay on location all day. If you have any other appointments that day you should either reschedule them or do not take the background job. PAs (Production Assistants) will be your main contact for the day, and are not interested in hearing about anything else you have to do besides their film!

EXTRA TIME

When you are doing background work, be prepared to do a lot of waiting. Some background talent may get booked for a day and end up spending 15 hours in “holding” usually a large hall or space that serves as a waiting room/dining hall/lounge/dressing room. Sometimes, background actors wait all day long and are never called to work. You’ll still get paid; don’t worry. Two important tips:

Bring a book or knitting or something to do while you wait. Don’t sleep; if you get called, you’ll need to be up and energetic at a moment’s notice.
When you are on-screen, remember you are background. Do not call attention to yourself. Keep your movements at a minimum, even your facial expressions.

HIT YOUR MARK

One of the most important tips about film acting is “hitting your mark.” It can also be the hardest part to learn. Unless you’re in film that’s being shot with a handheld camera that is following you around, you will need to learn this important skill.

Before cameras begin to roll, your spot for the scene will be marked on the floor, usually in a n X or T formation with some glaring piece of colored tape. When you enter the scene, your job is not only to walk directly to that spot and stay put or you’ll wander off screen and make the director very unhappy. On top of that you need to look natural doing it! See why it’s hard? If you have a video camera and tripod, try setting up shots for yourself at home as practice.

ON BEING "NORMAL"

Film acting is very appealing to many performers because it allows them to be “normal.” There is no need for over-the-top physicality as stage acting requires. Sets are actual places, not made of wood and canvas. There is no immediate audience; your only concern are your scene partners. (Of course, you have tons of crew, equipment, lights and camera in your face, but when you’re living in a scene, these factors all away.) Actors are able to delve into the roles they play as though putting on the suit of another person’s body. When they appear in front of the camera, they are not acting the characteristics of that person, they are that person. Actually, it’s the most abnormal thing an individual can be! There can be a danger in this dissolution of self into the role you are playing. Remember that once the cameras stop rolling, you have a life – your own life. You must respect it and take care of yourself. If you don’t, you will inevitably be unable to tap into your resources to bring life to future characters you play since there won’t be anything there to tap into.

PULLING BACK

There is a misunderstanding about what it means to “pull back” in film acting. Let's clarify: by no means does it refer to lowering your energy or the strength of your character on screen. It does, however, refer to pulling back on your physical gestures. Watching someone wriggling around gesticulating wildly is more than distracting on screen. If you must move, make sure your movements are in-character and germane to the scene. Even if your character has a twitch, choreograph it so that you are not distracting from the other actors who share the scene with you.

SAG

SAG is the Screen Actors Guild – the union for professional screen actors. In order to join SAG, you must have performed in a SAG film, television program, videotape, or commercial. You can also join by having worked as background on a SAG film as long as you were paid SAG rates and worked a minimum of three consecutive days. Members of affiliated performers’ unions such as ACTRA, AEA, AFTRA, AGMA or AGVA can also apply for membership once they have been in their union for one year in good standing (i.e., paid dues) and worked at least once as a principal (lead role) on-screen or in voice-over work. Rates and benefits of being a SAG member can be found on their website atwww.sag.org.

SHHHH!

When you are on stage, projecting your voice is essential. On film, however, the set is full of audio recording devices from lav mics to booms – all designed to pick up your tiniest finger-tap. A dead giveaway that an actor has transitioned from stage to screen with no additional training is when s/he appears to be yelling lines. There is no need. In fact, film is designed to be true to life, so the same vocal level you use to talk to anyone in your daily life is the same you’d use on a film set.

Monday, 10 February 2014

The 5 Stages of Blocking a Scene

Published on June 18, 2009

By Peter D. Marshall – When a first time Director steps on a set, blocking a scene can be one of the most frustrating and terrifying parts of their job.

If a director doesn’t understand the concept of blocking and staging, and they also don’t know how to speak the actor’s language, they could end up wasting valuable shooting time.

Every film shoot is divided into five parts:

1. Block – determining where the actors will be on the set and the first camera position

2. Light – time for the DOP to light the set and position the camera for the first shot

3. Rehearse – camera rehearsal of the first set-up with the actors and crew

4. Adjustments – making lighting and other adjustments

5. Shoot – shooting the first scene (then repeat the process)

Blocking a scene is simply “working out the details of an actor’s moves in relation to the camera.”

You can also think of blocking as the choreography of a dance or a ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.

Here are 5 important blocking tips:

1. Having a shot list will help you during the blocking process. The shot list is like a map: it gives you a path to your destination but you don’t always have to follow it

2. Let the actors show you what they want to do first, then, when you make a suggestion, it is based on something you have already seen

3. Where the camera is placed is determined primarily by what is important in the scene.

4. Blocking is like a puzzle: directors need to keep working at it until the whole scene works.

5. In Television and low budget films, speed is essential, story and block some scenes so that your action takes place in one direction (to avoid turning the camera around for reverses.)

For a more detailed explanation about blocking a scene, check out Filmmaking Article

Peter D. Marshall has worked in the Film and Television Industry for over 35 years. He also publishes the free monthly filmmaking ezine “The Director’s Chair. You can check out his website at: Action Cut Print and his film directing blog at Film Directing Tips

The 5 Stages of Blocking a Scene, 6.3 out of 10 based on 3 ratings

Author Frank Pasquine.

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Monday, 3 February 2014

STAGE ACTING

FINDING YOUR LIGHT

Much like finding your mark in film, finding your light on stage is a tricky technique. Unlike film, where a mark is set up specifically for an actor, lighting in a stage production is set up more generally – to light the scene. It’s up to you to find your light. The easiest way to do this is by feeling the light on your face and in your eyes. Stage lights are set from above, so when you step into your spot, per your blocking, feel where the light shines on you. Ideally, you should feel the heat of the light on your face and if you were to look up, you’d see the light angled at around your forehead. Be careful of standing directly under a hot light, however, as you will get “washed out” by the light’s glare.

HAVE A VOICE

A thespian’s voice is one of the most precious possessions s/he has. Here are a few ways to keep it safe and warmed up:

Only drink water that is room temperature or warm. Cold water will constrict your vocal cords.
Before a performance and between scenes, sip hot water with lemon.
Slippery elm lozenges are a great quick-fix for scratchy throats.
Support your voice by using your diaphragm, not your throat, to control your breath and vocal cords.
In between shows, keep your jaw loose. Bette Davis used to walk around her apartment with a wine cork held loosely between her upper and lower front teeth. Try it, it works!

LEARN YOUR DIRECTIONS

Acting on stage requires the knowledge of a new kind of navigation. When you are on stage, directions are oriented to you as the actor. (Conversely, House Left (HL) and House Right (HR) refer to directions oriented to the audience.) In a script, you’ll see blocking that may read any of the following: SL, SR, DSL, DSR, USL, USD. Here’s what they mean:

SL: Stage Left – Your left when you are standing on stage.

SR: Stage Right – Your right on stage.

DSL: Downstage Left – Moving toward the audience, to your left.

DSR: Downstage Right – Moving toward audience to your right.

USL: Upstage Left – Moving to the back of the stage, left.

USR: Upstage Right – Moving to the back of the stage, right.

Downstage and Upstage refer to the old days of theater -- think Shakespeare -- when stages were "raked," or sloped. When you moved toward the audience you were literally moving in a downward direction and upward when you moved to the back of the stage.

STAGE ACTING TERM: BLOCKING

Blocking is the term used to describe where and how an actor moves on the stage during a play. Most playwrights incorporate basic blocking into their scripts. Since stages come in different sizes and may have different special needs, the director will draft out his/her own blocking before rehearsals begin. Blocking includes elements such as where an actor takes his place at the beginning of a scene, “crossing,” when an actor moves across the length of the stage to another actor or part of the set, and any action that asks an actor to employ the use of a prop.

In musical theatre, blocking becomes especially important, particularly when choreography is introduced. It's imperative that every actor is in the right spot on stage before and after a musical number. Oftentimes, this positioning becomes a cue for the orchestra or for other actors' entrances.

STAGE COMBAT

Stage combat, quite simply, is fighting on stage. Of course it is more complex than that. In order to stage a fight, actors must look convincingly as though they are fighting – whether hand-to-hand or with swords (generally rapiers or broadswords). Fight directors are hired to actually choreograph moves for any fight you see on stage or on screen. It’s a serious business; no one wants injuries! Once the actors learn their fight “dance,” it is up to them to bring the final element to the scene: the acting. It’s one thing to see an exciting wrestling match, punchfest, or duel, but the scene is raised to a higher level when the actors deliver the emotion of the moment with each blow.

STAYING OPEN

Oftentimes, novice actors make the mistake of “closing” themselves off to the audience. In physical terms, this means you have positioned your body on a slight diagonal so that the side facing the audience is blocking the rest of your body. This is also calling “upstaging yourself,” as you have essentially shoved half of your body upstage, toward the back of the stage. Many young actors do this unconsciously, as a way to protect themselves from the very vulnerable position of being in front of an audience.

It’s important to remain open, both physically and emotionally when you are on stage. In terms of your body positioning, always angle your body out toward the audience if you’re not facing them outright. Any movements that require you to turn, always turn in the downstage direction. If you need to cross furniture, cross in front of it whenever possible. And as every actor knows, never leave your back turned to the audience. As many directors say, “They’re paying to see your face, not your behind.”

THE SCOTTISH PLAY

One of the biggest faux pas any actor makes is to utter the name of one of Shakespeare's most incredible plays, "Macbeth" under the roof of any theater. It's an old superstition that has lasted many years, and it's one many young actors are not aware of.

The superstition goes back to several accounts of terrible things happening to actors and sets alike, from the first performance of "Macbeth," when Shakespeare himself had to play the role of Lady Macbeth since the boy who was to play her suddenly died. King James hated the show so much, he shut it down. Over the years, there have been tales of injuries, bad luck, and even death at performances.

In order to reverse the bad luck, the person who uttered the word must exit the theater, spin around three times saying a profanity, and then ask for permission to return inside. Other variations require spitting over your shoulders or simply spewing a lot of curse words. The best thing to do is not say the word at all. If you must refer to the play, call it “The Scottish Play.”

Don’t say you haven’t been warned.

RESUMES, HEADSHOTS + PORTFOLIOS

BE HONEST!

Just like any other job resume, your acting resume should reflect your talents and highlight your skills. When putting together your acting resume, only include truthful information. While the industry is big, it isn't that big. People talk and network, so there’s a very good chance that someone with whom you have an audition knows someone who knows someone who you say you worked with – so it better be true! No one expects a young actor to have a stellar resume. A small, credible resume is much more effective than a large one padded with lies; eventually, you’re bound to get caught! It’s better to earn your credits the hard way. In the end it will pay off.

THE RESUME RULES

Want to land an acting job? Follow these basic resume rules:

Your resume should never be more than one page long.
Never make the font on your resume smaller than 10pt. It is difficult to read in any situation, whether it's in a well-lit office or a darkened theater.
Staple and trim your resume to fit the headshot, or even better, print it directly to the back of your headshot.
Don't staple clippings or reviews to your resume; they will just get in the way.
Make sure you put your email on your resume. The best, and easiest to remember, is your first and last name, whenever possible (i.e. janesmith@yourserver.com
Put your education and special skills on your resume. Useful skills besides acting count, such as foreign languages, driver’s license and valid passport. Make sure that you can do what you say you can do – and do it well. You don’t want to promise you can ski if you won’t be able to make it down the Bunny Slope on set.

SELECTING A HEADSHOT PHOTOGRAPHER

When selecting a photographer, use one who specializes in headshots. Portrait artists may be great to make you look nice for Mom and Dad’s album, but not to sell you as an actor. Research several different photographers, and ask your contacts in the industry for recommendations. Ask to see a portfolio of the photographer's work. Negotiate rates beforehand and get an agreement in writing before shooting begins.

Also find out if a make-up artist will be available to you. If so, pay the extra money and hire them. It’s well worth the cost to have someone making sure you look your best you during the entire shoot.

THE HEADSHOT AND RESUME COMBINATION

Since you'll be handing your resume over with your headshot, you need to have the resume attached to the back of your photo. Many photo reproduction houses offer the service of printing your resume directly to the back of your photo. If this option is in your budget, take it. If not, neatly staple your resume to your photo. Be sure to staple each corner to the photo. Never use paper clips -- the last thing you want is for your photo and resume to be separated; one without the other is useless! And above all, make sure the resume size matches the photo! Nothing says amateur like a big 8 ½ x 11 resume flapping over the edges of your 8 x 10 photo.

Many reproduction houses also offer the option of your photo on disc. Be sure to take the option; it’s an important tool. Whether submitting yourself for student or independent films, or contacting agents and casting directors, you’ll need to be able to send your headshot electronically if that’s what they want. So be sure you can!

TYPES OF HEADSHOTS

There are two basic types of headshots: commercial and theatrical.

Commercial: These should be attractive, warm, and open. Always smile for these shots, with teeth showing, if possible. (You never know if you’re going to be up for a toothpaste ad.)

Theatrical: These can be more “natural,” and should try to represent your characteristics as a person.

The general rule is to use your commercial shot for television and commercial work and your theatrical shot for theater and film. If you're in a showcase, you can use either, depending on which industry professionals may be there.

The format for headshots varies throughout the country – from close-ups to 3/4 shots, from bordered to borderless. Make sure you use the preferred format for your area. It’s often best to wait until you get there so you can find a photographer who knows the market. In other words, do your New York shots in New York and your L.A. shots in L.A.

YOU AND YOUR HEADSHOT

Casting directors use headshots to get a feel for an actor's type. The headshot should show off your best qualities. Don’t dress or use make-up that covers your true nature; let the shot be true to you. Most people need some retouching, but don’t go overboard. And by all means, get new headshots if your look changes drastically and/or after a few years have passed. Misrepresenting yourself will only lead to trouble later in auditions. Remember, headshots aren't glamour shots. The casting director is calling in the person he saw in the photo. Make sure the “you” in the shot is the “you” who walks through the door. Often you will be judged by your headshot even before you are called in to have an audition. Let your photo speak for you by being professional, compelling, approachable and, above all, you!

SENDING YOUR HEADSHOT AND RESUME

If you’re sending your headshot and resume electronically, you will need to send separate attachments for the resume and the headshot. Be sure the file with your headshot is small enough to attach to an email.

If you’re sending them by mail, enclose your headshot with resume attached in a regular 8 ½ x 11 manila envelope that is easy to open.

In either case, send a small note (or email) with your headshot saying who you are, why you’re writing and how you can be reached. Keep the note short, professional, friendly and to the point. If you have a connection to the person you’re contacting, be sure to mention it in the first sentence; you want them to keep reading!

ABOUT PORTFOLIOS

No doubt you’ve noticed the title of this tip includes “portfolios”. You may have heard about “acting portfolios,” but the truth is there is no such thing. Portfolios are used by designers and models to show off a range of photos. So if you’re planning on doing some modeling, you’ll need one. But if you’re an actor, all you’ll need are a headshot, resume and a demo of your work, and you’re ready to go!

FILM ACTING

BACKGROUND ACTORS

EXTRA TIME

Bring a book or knitting or something to do while you wait. Don’t sleep; if you get called, you’ll need to be up and energetic at a moment’s notice.
When you are on-screen, remember you are background. Do not call attention to yourself. Keep your movements at a minimum, even your facial expressions.

HIT YOUR MARK

ON BEING "NORMAL"

PULLING BACK

SAG

SHHHH!

ACTING FOR THE HORROR GENRE

ACTING HORROR

Serious horror films require just as much preparation for a role as other genres. It's imperative that the audience believes in the world of the film. The believability of your character is an integral portion of that believable world.

Do your research. Ask yourself the following: What lies at the emotional core of your character? What motivates him/her? Why does he do the actions s/he does (pay particular attention to scenes where s/he puts him/herself in danger)?

ACTING WITH BLOOD...AND OTHER SCARY THINGS

Remember that any horror film you are acting in is a world that needs to come across as believable. True, it's not every day that you might get stabbed in the heart or have your friend's head fall in your lap, but it is your job as an actor to make these moments as real as possible.

You may wish to take a few moments before filming a particularly gory scene to meditate on the darkness of what is about to occur. Imagine what it might be like to step onto that set and actually lose your life...or see someone else lose his/hers.

Once that meditation has ended, however, forget it. You don't want to anticipate the dramatic moments once the cameras are rolling. Trust that the energy you called up during meditation will resurface when the time is right.

HORROR ACTING: CALM BEFORE THE STORM

One of the biggest elements of horror films is the shock factor. As an actor, you can learn to use this convention to your advantage. In most horror films, there is a scene that seems relatively benign, or a scene that begins calmly. Don't ignore the importance of this peacefulness. If anything, you should play the calmness to its fullest potential. The calmer you are in the scene, the bigger the pay-off will be when the shocking action occurs.

HOW TO SCREAM

Believe it or not, many actors have a terrible time screaming convincingly. Acting in horror films almost always requires some sort of noise of distress at some point or another...usually it comes in the form of a scream. Here are a few tips to make yours a better one.

The Warm-up:

Go far away from other people.
Take a deep breath through your nose, filling your lungs. Feel your diaphragm lower.
Drop your jaw open.
Exhale through your mouth in one long forceful (but silent) ha-aaa.
Repeat two or three times.

The Scream:

Go far away from other people.
Take a deep breath through your nose, filling your lungs. Feel your diaphragm lower.
Drop your jaw open.
Exhale through your mouth in one long forceful (but silent) ha-aaa.
Repeat two or three times.

An important note: Screaming is very bad for your vocal cords. Be sure to drink fluids (preferably warm) before and after you need to scream.

PLAYING DEAD

Nothing ruins the magic of a horror film than being able to see the dead guy breathing. It happens, though. After long hours and many takes, the actor playing the newly-killed often is not aware when the camera is on him. Something as small as a breath can ruin the integrity of the entire film. Should you have to die in a film, here's how to make sure you are not the cause of the film's demise:

Always know when the camera is rolling, and when you are in the shot.
When your "body" is part of the scene and the scene's length is too long for you to hold your breath, take slow, shallow breaths.
Stay focused on keeping your breathing in your neck and throat. Of course, your lungs will be working, but this visualization on your part will help keep your chest cavity from moving.

SUSPENSE & PSYCHOLOGICAL THRILLERS

Suspense films and psychological thrillers require a bit more subtlety than horror acting. Much of the time, the very nature of a horror film is to go over-the-top with fantastical elements and gore. Your acting can and should stay true to the feel of the film itself.

In suspense and thrillers, what frightens the audience is not the shock value of blood and guts, but the deeper fear hidden within our own minds. Investigate the deeper essences of our character and look in particular for pockets of fear in him/her that you can bring to your portrayal. Find his/her neuroses and discover where in the film they can be played for maximum benefit.

USING YOUR IMAGINATION

Oftentimes, actors need to act opposite things that are not there. This is particularly true for horror films that may have CGIs (Computer Generated Images) as monsters. In these scenes, you must rely on your imagination to create your scene partner.

As the director of the film to give you an idea of what this creature will look like. Try to get a hold of some sketches or models so that you have a better idea of how to react to it on-screen. The more you know about the creature, the more realistically you can react to it (or where it will later be placed by the film's graphics team).

ACTING FOR THE DRAMA GENRE

ACTING IN SOAP OPERAS

In the old days, soap opera acting was synonymous with cheesy acting. Crying women, brooding men... Some soap operas do still hold that honor, but most have begin to hire actors who can bring a bit of reality to their roles.

Think of a soap opera as real life with the intensity knob turned up a few notches. In a moment of conflict, don't go overboard with your emotion, but simply intensify it. Audiences thrill at living through their favorite characters vicariously. The more vivid your emotions, the more you give your fans something to experience and enjoy.

DRAMA SCHOOLS

Drama schools focus on the development of acting technique, usually focusing on work in the theater. Although the work is performance based, students typically also learn about stage craft. Classes on set building, lighting design, and even dramatic writing are often offered so that students get a well-rounded education.

Because they are so specialized, they tend to have a highly competitive admissions process. Applicants must submit to an audition process before they are granted admission. Previous school transcripts can also be taken in to consideration, as well as any previous professional experience in the field. Take time to prepare your audition materials as well as your curriculum vitae in order to present a professional package to the admissions board.

EXERCISE: PLAYING FOR STATUS

Status is a huge part of acting technique. Much of human interaction can be broken down in to shifting issues of status. During the course of a normal conversation, a person's status may shift from high to low, and back again, depending on the topic of the conversation.

Be conscious of your body language. What kind of status is your body projecting? You should also take note of the timbre of your voice. Is it clear and confident or low and quavering? These factors help determine your status in a scene, and thereby establish your position and goals within it.

Try this: You and your scene partner take one card each from a deck of cards. Do not share the number you have. Begin a scene you are working on. The higher your number, the higher status you should play. Once the scene is finished, compare numbers to see how accurate your portrayal was.

MANTRAS IN DRAMA

A simple strategy for creating honest drama is through the use of mantras. This is often referred to as the subtext in a scene. In other words, it's not what you're saying to the other character(s), but rather what is going on in your mind behind the words , as it were.

In order to make subtext work for you, while you are acting in a scene, recite an appropriate phrase over and over again in your head. For example, if you are playing in a scene that involves a fight, you may want to try reciting, "I hate you," in your head during the scene. This subtext mantra will subconsciously affect your performance, making it seem more natural.

THE ELEMENTS OF DRAMA

The primary elements of drama are theme, plot, and character.

Theme: The central idea of the work, or the message the writer wishes to impart on the audience. The theme governs the progression of the plot.

Plot: The storyline, or the "what happens" of the piece. Plot governs the characters actions and emotions.

Character: The players in the piece. They move through the plot's conflicts, thereby helping to further develop the theme.

Other elements such as irony and symbolism can be added to lend more subtle touches to the drama, making it more human and accessible.

WHAT IS DRAMA?

The definition of drama is a piece that involves plot and characters that are governed by a certain overriding theme. Your job as an actor is to investigate and understand this theme. Work within the themes of the drama and let it flow through you and the relationships that you build with other characters. Once you have thoroughly read the piece, discuss the stage- or screenplay with your fellow actors, the director or the dramaturg, if one is available. Developing a sense of unity concerning the motivations of each character will help round out the production as a whole.

YOU ARE NOT YOUR CHARACTER

There is a saying in drama: Leave your personal problems at the stage door. In other words, don't let your current mood affect your performance. You are not your character.

While on stage or in front of the camera, you are the character you are playing, not the other way around. Although you and presumably your character are both human beings, your feelings must be put on hold in order to give precedence to what your character is feeling. When you are no longer in character, try to patiently observe your own feelings so that you can call upon them to breathe life into your future roles.