If you want to win an award, write your own role!
Don’t wait for something to happen to you, make something happen for you.
Actors, how many of you are waiting around for that perfect role or, for that matter, that one audition that will give you the role of a lifetime?
WHAT IF instead of waiting for something to happen to you, you make something happen for you? Write your own role, win an award, and create your own destiny.
My mom has always said, “You become who you hang around.” Such true words! Think about the influence our friends or acquaintances have on us; hey lift us up to their level . . . or drag our asses down. Misery loves company, but not our company! We’ve got goals to accomplish and real friends by our side to help us obtain them.
There’s been a lot of insightful sayings in my family, so let’s pretend you’re at my Sunday dinner. Another serving of veggies for you? Okay, kidding, couldn’t help myself. Grandpa would look dead in your eyes, “You choose your friends, you choose your future! Now what’s it going to be?” My cousins and I would laugh as kids, but man, this makes so much sense. Surrounding yourself with friends who have a positive outlook, set goals, work out of their comfort zone, and always strive for greatness will have a huge impact on all those areas of your life too!
Know who you are, encompass the character you want to play, and target the shows that have your type of character.
All the hard work you put into being a good commercial actor can help you transition into a career in television.
Here are six elements from your commercial career that can help you make the transition to television acting.
1. A Commercial Spot Running
If you have a good commercial spot running, you have a body of work that may be recognized. Theatrical casting directors watch commercials and frequently search for someone they have seen in a commercial who they feel will be good for a TV role they are casting. I can tell you first hand as a casting director, I have had many television casting director friends ask me who is in such-and-such commercial.
The power of creativity.
“Virginia Woolf when starting out as a young writer described the curse of the phantom woman whose shadow used to watch over her shoulder as she wrote, the phantom insisting that Woolf mustn’t offend, that she shouldn’t let the world know that she had her own mind. Woolf killed that phantom woman with her bare hands. She had to.” – Felicity Wentzel
All artists have their phantom; actors, directors, writers, casting professionals, indeed anyone engaged in the artistic process, must wrestle the voice of fear and doubt in order to create. In such a subjective medium, often tackling life’s heavy-hitting moments, how do we overcome self-doubt to trust inspiration? How can art lend voice to stories that we feel deserve to be told? How can we use humour to heal and unite?
Tim Burke is set to make the biggest independent film of all time, Planet X: Gold of the Gods.
If Hollywood loves anything more than a box office success, it’s the emerging filmmakers who deliver the large-scale extravaganzas. In fact, a recent article in The Hollywood Reporter looked at the strategy of using highly creative first-time directors to helm their big budget blockbusters.
The studios’ faith in the rising helmer continues to be evident with the recent success of Gareth Edward’s Godzilla and Colin Trevorrow’s Jurassic World, both breaking the box office with record figures, the latter taking in a monstrous $1.5 billion USD—pun intended.
In June 2016, Sony Pictures and Marvel Studios hired Jon Watts to take over their beloved Spider-Man franchise on the strength of his minimalist thriller Cop Car, which was shot on the modest budget of $800,000 USD.
“Successes are a bonus, but life is made of the process of following your passion.”
“…two weeks later, I was on a plane flying to Mauritius to shoot the first episode.”
October last year, I was sitting on my couch on a rainy Sunday night, throwing myself a pity party. The party involved me sitting in sweats, eating Postmates, and watching murder mysteries. I hadn’t left the house for the entire day. I was ignoring text messages and just generally feeling really sorry for myself. I had been to countless auditions that month and hadn’t booked a single job. I felt lost. To top it all off, and I had acute bronchitis. I mean oh my god, how long do you have?
Talayna Moana Nikora
Continuing on from last month’s superhero focused edition, this month I talk to Talayna Moana Nikora—actor, stunt person, and, in my opinion, all round superwoman! Any actor that says they haven’t dreamed of doing an action flick and smashing their own stunts is lying. The adrenalin rush you get from watching those films is insane—can you imagine being the one performing them? I know that growing up, and even now, one of my most coveted roles is a Bond bad girl! Give me the fight sequences, the death defying stunts, and, in the long run, the usually explosive death scene . . . argh!
This week we speak with Sami from Signature Pictures, a London based production company that helps more young, unemployed creatives get real on the job training.
Casting Networks: How was Signature Pictures come into fruition?
Sami Larabi: Signature Pictures was formed in 2012 by our creative director, Jon Max Spatz. He had worked in the camera department on several Harry Potter films, but found himself unemployed afterwards. He went to the Jobcentre and told them that he would like to work in the creative industries, only to be told that there were no relevant opportunities available. Following this, he decided to create a production company that would offer this opportunity for others in similar positions going to the Jobcentre.
The cast & crew of ‘No Pain Whatsover’
If you’re an actor, chances are you’re working too much. In the beginning, you’re working three jobs, by default: the job of training yourself as an actor; the job of working as an actor (which includes auditioning, performing, and attendant/appropriate business activities you have, such as marketing and networking); and, unless you’re independently wealthy, the job that puts food on the table while you work the other eight or so jobs you have of “being” an actor.
With all of that working, you somehow need to free up time to play, relax, and stay fresh. (Or not, but trust me, it’s going to be hard to keep that acting fresh if you’re a scattered, nervous wreck.) You likely don’t have much wiggle room in that day job, so it’s up to you to learn to manage your time and energy on fronts performance-related. That’s going to mean saying “no” as well as saying “yes”: simple in principle, but never easy when there are carrots being dangled or guilt trips being booked for you.
For many years I went to improv shows to be entertained, laugh, and discover the work of clever, quick-thinking actors. I have always said, improv is important—it loosens you up, gets you ready to think fast on your feet, and strips away the self-censorship that blocks creativity.
There is More to Improv Than Being Funny
Improv is important to the art of acting itself. Improv enables you to open up the door to your creative power and is a conduit to better dramatic acting.