The Perdekamp Emotional Method (PEM) is a relatively new style of acting training developed by German acting teacher Stephan Perdekamp that offers classes and workshops across the globe. Some of the actors endorsing PEM include Garrett Wang, known for playing Harry Kim on Star Trek: Voyager (LA), Sven Rygrock, known for Zulu alongside Orlando Bloom and Forest Whitaker, and Jon Sidgwick, known for EastEnders. We went to PEM instructor Sarah Victoria for more info on this new style of instruction.
As with any interview we conduct with someone in the entertainment industry who’s offering services, this should be taken as informational, rather than an endorsement. We always encourage you to do your own research and decide if any photographer, teacher, class, school, or style sounds right for you. That said, more on PEM!
CMI: Firstly, can you tell us a little bit about yourself and how you came to learn about PEM?
SV: I am an actress trained in the techniques of Strasberg, Stanislavsky, and Meisner at institutions in London and Vienna. I came across PEM during my second year of acting school and immediately decided to train PEM full-time with its creator Stephan Perdekamp.
The reason for my immediate and clear decision was on one hand due to PEM’s direct and effortless access to authenticity, intensity, quickness, and ease in approaching emotions and on the other hand, because PEM offered me the missing link between mere psychological acting and the instinctive, guttural biological and organic level of performance I always strived for.read more
After the successful launch of our London Casting Director event series, we will be back in June for our second event.
The FREE Q&A will take place on Wednesday 29 June with Casting Director Sue Needleman (The Dumping Ground, Young Dracula, Banged Up Abroad) and theatrical agent Paul Spyker.
This is your chance to ask Sue and Paul all those burning questions you have about what a casting director or agent is looking for in an actor, their likes and dislikes, what gets actors called in, as well as info about headshots, video footage and how Casting Networks can help you to showcase your skills and credits to their fullest potential.
How to get a ticket?
You can apply for a free ticket from 6 June. To do so, please log into your Casting Networks account and go to “Casting Billboard”, we have advertised the event here for you to submit yourself as you would do for a job. Any questions you can email email@example.com.
As always, we give priority to pro services subscribers. With Premium Accounts actors can upload up to 50 photos, add showreels, and attach unlimited video and audio clips to individual credits or skills. If you aren’t already subscribed to pro services, you may want to consider adding them to your profile as the demand for video footage from casting directors as part of the digital CV increases. Click here to find out more about our pricing structure.
“If you’re doing a self-tape you really have to treat that like a proper audition and prepare”
“There’s always one wildcard slot available for the actor who sends the right email at the right time”
In case you missed out on our event with Manuel Puro here are a few highlights.
Read more choice quotes from the event here #CNIeventLDN.
Casting Networks will be back at the 3 Minute Theatre for the next installment in our regular series of Casting Director Q&A events.
The FREE event with our special guest, Casting Director Emma Stafford will take place on 19 May, and all Casting Networks members will receive an email with information about how to submit for a chance to secure a ticket nearer to the time. (The event is strictly invite only)read more
Over the coming months, we’ll be featuring articles written by our many friends within the industry to offer advice and tips to independent filmmakers. First, we kick things off with Rebekah Louisa Smith, the founder of the The Film Festival Doctor.
Obviously since I work within the film festival industry I’m a huge lover of film festivals and I could write a whole book (or even another PhD thesis) regarding the benefits of attending film festivals, especially industry focused ones which always produce useful networking.
It’s also important to remember that as an aspiring film industry professional you should go to film festivals even if you’ve not got a film screening in competition, as festivals are the places where the unexpected happens. There is a wealth of abundance and opportunity waiting for you to take advantage of and create for yourself at film festivals – an unlimited amount in fact. The anecdote below describes how that magic works:
I first attended the Cannes Film Festival in 2010. I had a huge rush of adrenaline run through me before I was about to leave. This was also the year that I started up my company; The Film Festival Doctor so I went to Cannes with a business plan and my idea to pitch to people for their constructive feedback and advice. I remember buying a book called ‘The Virgins Guide to Cannes’ just to ensure that I had done as much research as possible and was prepared to cope with being within a big festival full of all different types of people. read more
The film industry can feel very London centric sometimes and so it’s always fun to get out of the city and discover new and exciting organisations doing great stuff for the creative indie community. We meet with Emmeline Kellie of Nottingham’s Film & TV Tweetup.
Casting Networks: What exactly is the Film & TV Tweetup for those not on the know.
Emmeline Kellie: Film & TV Tweetup is the largest industry-networking event in the Midlands, UK. It allows all professional and aspiring filmmakers to come together in a creative and friendly environment to socialise and expand their network of professional contacts. The event takes place on the third Thursday of every month and is free for all to attend.
The award-winning feature film by Chris and Ben Blaine, Nina Forever, has just been in the cinemas in London, after it debuted at SXSW and later FrightFest in London, amongst other festivals. StudioCanal picked it up for UK distribution and the feature has been storming it in the UK and abroad. We caught up with the brothers behind the award winning feature film to find out about how this incredible feature came to be, what’s next and what you can learn about feature filmmaking after you’ve made your debut film.
CNI: Congratulations on Nina Forever. It’s taking the independent film arena by storm. And made it’s way to SXSW. How do you feel about the success of the film?
Blaine Brothers: Relieved, honoured, all the nice emotions. When we started writing we told ourselves it was a film that no one would like but us. That wasn’t strictly true, we always knew there was an audience that would connect to it. But we also knew that the way we needed to tell the story went directly against a lot of industry logic. This isn’t an easy film to sell. The coffin isn’t the only box that Nina refuses to lie easy in.
Creatively it was very hard to achieve what we aspired to on the money we had but even when we felt the edit starting to come close to our ambition for the thing, we still had no real idea how audiences and critics would respond. So yeah, it’s been a huge relief that people have understood it. If nothing else, it feels really nice to prove that audiences are smarter than they are often given credit for.
The Casting Networks team has been introduced to some amazing and inventive filmmaking initiatives over the years, so we were excited to learn more about the Reel Film Challenge when our good friends at MoFilm mentioned it to us.
Rob Prince, Fin O’Sullivan and John Grigg are the brains behind The Reel Challenge, a 10-day European adventure that challenges teams of filmmakers to get from London to Budapest by any means necessary. Along the way, they must create their own short film in time for submission to the ‘Finish Line Film Festival’ in sunny Budapest!read more
After our numerous successful Casting Director events in Manchester we are very excited to announce we will be holding our first event in London.
The FREE event will take place on Wednesday 23 March with Casting Director Manuel Puro, and all actors signed up with Casting Networks should now have received information about how to apply for a ticket. (If not please check out our Casting Billboard within your account!)
This is your chance to ask Manuel those burning questions you have about what a casting director is looking for in the audition room, their likes and dislikes, what gets actors called in, as well as info about headshots, showreels and how Casting Networks can help your acting career.
Upbeat: a state of mind and a play on words with regard to the river beats – stretches of water looked after by river keepers.
I am ‘Upbeat‘ at the moment – as we are in our last day of rehearsal for a play of the same name. It’s my first tour experience and it is a complex and beautiful memory play with music, singing and fiddle playing with just three of us all on stage all of the time. It is quite an undertaking. And I’ve been anything but upbeat during times of the rehearsal process, being honestly overwhelmed by the pace of learning. But it’s all coming together just in time for our previews this week!read more
What is the best way for an actor to get your attention if seeking representation?
When emailing in regards to representation with StevensonWithers, make sure you have something to say rather than a general “I’m looking for representation.” What is most important when sending an email is the format in which it is written. Emails need to be clear, concise, and straight to the point. For example, emailing us to invite us to a play, or to have a look at your new headshots, or to tell us you’re in an episode of Doctors/Casualty/EastEnders etc. that is airing on a particular day is worth letting us know. This means you have a story to share with us and it grabs our attention.
A huge red flag is when an actor sends in a general email, which is not addressed to us personally and is obviously sent out as a mass email; know your audience. Take the time to research each agency.