March 2012 - S-Films

What To Bring to Screenfighting Workshops

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I’ll be sending an email out to all registered students… but thought I would post this first to let you know what to wear and bring to the screenfighting seminar this weekend.  (If you haven’t registered, click here to sign up). Weapons Classes (Saturday) First of all, do not bring any actual weapons to this workshop.  Our weapons master, Doug Williams will supply all equipment.  And especially don’t bring any live ammunition whatsoever.  If you have a concealed carry permit, please leave your weapon in your vehicle, locked. Next, you will need to wear pants and a shirt you can tuck in.  This includes both male and female students.  You will need a solid belt you can clip a holster to.  And wear shoes that you can move around in.  Think about the role you might audition for– is it a police detective?  Wear what they would wear. Screenfighting & Special Effects (Sunday) Wear clothes you can easily exercise in.  You’ll be throwing punches and moving around.  And for special effects, for those purchasing a…

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Theatrical Truth

Theatrical Truth

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(This is for all my actor friends… one film director to actors.  I see a lot actor to actor, but very little from directors to actor.  BTW– we’ve got the screenfighting workshop coming up in a few weeks– click here to make sure you get your seat.) The Quest Constantin Stanislavski– often referred to as the father of modern acting, defined acting as the quest for theatrical truth.  I believe this is a great starting place for the craft you’re working in.  It all boils down to this– is your performance as close as possible to theatrical truth?  Personally, I believe that truth cannot be achieved in a theatrical performance (you’re performing, pretending– it’s not truth, but theatrical truth).  Does your performance ring true with the audience? Sure, many factors go into you achieving theatrical truth in a film role.  The writing can be decidedly “untrue”.  The directing.  The production value.  The editing.  All these have to work together to achieve theatrical truth.  but as the actor, you can’t control many of these other factors. …

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In the audition room

One Director’s Biggest Advice for Local Actors

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If I could say one thing to local actors to immediately help their performance in film and give them a much better chance for landing that role in auditions, I would say this: Big is Bad. My advice to feature film and television actors is to bring it down.  In some cases… way down.  Now this advice is not without controversy.  I’ve had one agent tell they think I’ve got it wrong… that it’s better to be too big than too small… that a director can bring a performance down to the right level more easily than bringing it up.  Not in this director’s experience. You see, in the audition room, using a 0-9 scale on “bigness”, I have many local actors coming in at 7, 8 or 9.  I’m looking for 1.5.  Now we have to go from an 8 to a 1.5?  Sometimes on the second read through in the audition, they come down to a 6.  But you see the problem– I don’t have time to keep this up.  However, if the…

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