We thought we would shake things up a little in our series of Q&A events by inviting Sarah Victoria from PEM Acting to speak with us on Wednesday 24 August.
The Perdekamp Emotional Method (PEM) was developed and designed by German director and playwright Stephan Perdekamp. PEM is an innovative acting method based on a biological process. PEM provides performers with a direct, effortless, and guidable access to authentic emotions on a purely physical basis, without recourse to personal experiences or emotional memory. Its organic and fast approach grants security, flexibilty, and reliability in the professional careers of actors, singers, dancers, and other performers, and works with an unheard-of simplicity and effectiveness in creating emotional depth and expressiveness.
“Stephan Perdekamp has created something extraordinary, a method for producing emotion using only an actor’s bio-physiology. This is the acting technique for the twenty-first century – it would have amazed even Stanislavsky!” Peter McAllister (Acting Teacher at The Royal Central School of Speech and Drama and certified PEM Instructor)
We all want to be in the room – participating in castings, getting seen for the next big show or film. But there’s another magical and interesting time to be in the casting room; it’s when you’re invited in to be a reader for a casting director.
Why is this so magical? Because it’s the one and only time an actor is given the opportunity to sit in a room and learn through active participation and observation without any pressure. It’s the one time an actor gets a free lesson one-to-one with a casting director without even knowing it. And it’s the one time you don’t have to perspire, freak out with an urgent loo visit beforehand, focus on your affirmations, or play your tune to get you in the zone. Instead, your role is to make the actor auditioning look as good as possible, through supporting both the actor and casting director, effortlessly making their exhausting day that much easier for the duration.
Over the years, I have been fortunate enough to participate as a reader for over half a dozen casting directors in this capacity, as well as helping smaller producers and directors out when they’ve had auditions for their personal projects. So I thought, why not share some of the Dos and Don’ts from an actor’s perspective? We all hear it from the casting director, but what about that general overview from one actor to another, you know, just telling it like it is?
Here at Casting Networks we love new and exciting filmmaking initiatives across the country, so we are very happy to get involved with MAP48, a new event in Manchester hosted by our good friends at Manchester Actors Platform (MAP).
Simon Naylor and Alexandra Jones are the fine organisers behind MAP48, grouping together filmmakers of all different abilities, skill sets, and experience for a wild 48-hour journey to create a short film. And what’s more, sponsorship of the event by ourselves, meaning the winners of Best Actress and Best Actor will receive free Pro Services for a year!
It may not seem like it right now, but apparently Summer is upon us, and that means braving the outdoors (and possibly the wind and rain) for a few months of special outside events, from outdoor film screening to plays in parks. We round up the best of what Summer 2016 has to offer across the UK.
FILM4 Summer Screen at Somerset House (London)
Bring a big comfy pillow, grab some popcorn, and sit back and enjoy the big screen delights in the beautiful and ornate 18th Century surroundings of the central fountain court area. This popular series of outdoor film screenings has been running for a while now, and this year will take place between 4-17 August with screenings including the UK premier of Pedro Almodovar’s new offering Julieta, as well as themed double bills like RoboCop + Ex Machina.
The musical festival season is upon us and horrendous stories of toilet nightmares and not washing for 3 days emerge. We read a lot of reports in online magazines and newspapers regarding how to prepare in advance for surviving the festival season – what to do if you over indulge in beer and the standard good hygiene codes and conventions.
However, it’s not just music festivals where one needs to plan ahead regarding looking after yourself as the same thing kind of applies to film festivals too. Whenever I’m going to a film festival I always prepare a key packing checklist.
For anyone who knows me, perfume is my vice. I get through around 2-3 (large) bottles a month of Britney Spears’ Midnight Fantasy perfume. Also, to be honest, during a festival it’s more. Since I’m out for 12 hours or more per day, I constantly need to freshen up, so I always take about 2 bottles with me.
Below are the key items on my list. You will more than likely already have some of these on your list. However, if you don’t, feel free to include them, as they may come in use! 😄
Tom Paton’s impressive directorial debut, titled ‘Pandorica,’ revolves around the leadership trials of the “Varosha Tribe.” Eiren, Ares, and Thade are all in line to lead the next generation of their people. They journey out of the safety of their home toward a dark forest miles away, with the tribe’s current leader, Nus. Here they will take part in an age old tradition where Nus will choose his successor. Only one of them will return as leader, but who will it be?
‘Pandorica’ is an edge-of-your-seat action/horror that keeps the twists coming thick and fast. Paton took time out of his busy filmmaking schedule to speak with Casting Networks, and answer some questions about his debut film.
Casting Networks: Pandorica is an epic achievement, both on and off screen. You came up with the idea, wrote, and shot the film before delivering it to UK cinema screens in under 12 months! Was it always your plan to make the feature film that quickly?
Tom Paton: To answer your question simply, yes. I was working on another movie I had written that was doing everything the traditional way – higher budget, Hollywood sales agent, all that jazz. The film got stuck in development for two years and during that time I learnt a great deal about the movie industry. My dad always told me that if you want to be noticed, then you need to approach an old idea from a new perspective, and so that’s exactly what happened. I formed The Film Label with Nick Sadler and George Burt, with the idea being that we would co-opt the digital record label model for creation and distribution of music, and plug it into indie film, i.e. made for a small amount of money in an exceptionally fast amount of time, and released using new age outreach like social media and cross pollinated marketing with brands/people with existing followings. Pandorica was written shortly after as a method of proving the model worked, and so here we are, one year later, with a theatrical release in the UK and the worldwide release just around the corner.
Written by Elisa Armstrong.
I’ve been back in Australia – Melbourne to be precise – for over two years now. I first moved to London to study at Drama Centre and ended up staying for five-and-a-half years. The transition back to Australia, and acting in a much smaller industry, has been challenging, but ultimately rewarding, and I am thankful for my time working the hustle in London.
When I left Drama Centre, I was without an agent, but quickly learned which online casting sites to use (and which to stay away from), and found people who were supportive and gratefully passed on contacts. Even when I look back on my London CV, there are so many others I haven’t listed, like rehearsed readings, workshops, and masterclasses. London gets the best of the best people that we can learn from, even though they sometimes come at an elite price.