| Fly like a bird, and be free my friend- | | | | First and foremost: Unknown today=Famous |
| | | | tomorrow. |
| One of the most special things about being an | | | | |
| actor is expression, and there is a place for | | | | Sacreeta, everyone has to start somewhere, |
| every actor, old or new, to express | | | | actors, directors, writers, filmmakers and on |
| themselves. It is a garden to roam in a | | | | and on. Being kind to everyone who crosses |
| playground, plentiful in the film industry | | | | your path in the business is not only proper |
| and found in every city. | | | | etiquette, it is smart business. It involves |
| | | | understanding what's going on around you, |
| Now hold on, don't be asking what Sacreeta is | | | | reading up on the latest trends, keeping up |
| smoking. | | | | with the direction on what's pleasing the |
| | | | crowds (and it is a matter of public opinion |
| For one thing, Sacreeta doesn't smoke; but | | | | who becomes famous-no matter what the critics |
| she does play in this playground, and I | | | | tell you.) Keeping abreast is as important as |
| implore you to go out and discover your own. | | | | knowing the difference between hair spray and |
| After this message we'll find out where. | | | | shampoo. |
| | | | |
| *** Quick Break *** | | | | Ok. Let's shift back to freedom for the |
| | | | actors, with a few basic considerations. |
| Want to take your acting to the next level? | | | | |
| Want to know how the industry really works? | | | | A good low-budget filmmaker most likely would |
| Check out The Science of Acting: The Kamitic | | | | look for actors who are capable of inspiring |
| Guide To Breakthrough Acting Techniques ==> | | | | and filling in the gaps of a character more |
| | | | than they would in a big-budget production. |
| ***Thanks for listening*** | | | | The actor may be chosen because of a spark of |
| | | | personality that strikes everyone upon their |
| We're back, and now for the answer. You'll | | | | grand entrance to the casting session. The |
| find your playground among the independent, | | | | writers of low-budget films concentrate more |
| low-budget and student filmmakers, with their | | | | on the development of the storyline. The |
| auditions, sets and films. | | | | direction in which the story takes the |
| | | | character can be influenced by the actors |
| And that's the truth of it. Of course it's | | | | themselves. |
| not all fun. It's demanding, hard work, often | | | | |
| full of growing pains. But that's exactly the | | | | Having a strong character that is able to |
| point. It's one of the best places to grow, | | | | take the audience through the story is vital, |
| and also an excellent place to practice the | | | | and landing a role where you have the luxury |
| techniques taught in the Kamitic Acting | | | | of such artistic freedom is an excellent way |
| System. | | | | for the actor to grow. |
| | | | |
| Independent filmmakers -- what comes to mind | | | | The writers usually create the script with a |
| when one hears that is what makes me feel bad | | | | particular mold in mind, such as gruff |
| for those guys. Most are fresh from college, | | | | exterior, soft soulful eyes and a charming, |
| or were interns, have no backing, are pressed | | | | no-fuss attitude. In walks Johnny, his eyes |
| for time, cut down scripts to fit the | | | | are dark and mysterious, not the soft soulful |
| criteria. There are sacrifices and | | | | look, but his raspy voice and devious grin |
| compromises made. They aren't always happy | | | | are irresistibly charming, inspiring the |
| with that, but they make the best of it. | | | | entire crew. They can foresee sequels, and in |
| | | | turn rewrite the script to suit the actor. |
| What if new actors had empathy for IFM? What | | | | |
| if they crafted their audition/acting talents | | | | Room for change, room for freedom of |
| toward making life easier for these guys | | | | expression, enhancing your resume, networking |
| gals? What if you, as a real actor, walked | | | | - these are certainly benefits to the actors |
| into the audition with sincere compliments on | | | | for being in an independent film. |
| the script handed to you? | | | | |
| | | | A few extra things to think about: |
| It has been proven that directors do consider | | | | |
| respect those who consider them first, and | | | | The director and crew may be a little wet |
| understand that they too, have a dilemma. | | | | behind the ears. Have as much patience with |
| They must produce a screenplay of value that | | | | them as you would appreciate them having with |
| can be shot with proficiency, while being | | | | you. |
| believable and persuasive, within the | | | | |
| boundaries of the filmmakers' budget. | | | | Don't be afraid to question them if you are |
| | | | confused about your character's actions. If |
| Instead of actors considering this an | | | | the director and scriptwriter are in |
| encumbrance, spot-on actors would take up the | | | | agreement, then it will be a quick, smooth |
| challenge, and act within the boundaries of | | | | resolution. |
| what's available with contentment. Working in | | | | |
| these conditions forces the actor to … | | | | Politely and amicably suggest things that may |
| well … ACT. The emphasis is no longer | | | | sum up the scene with a different perspective |
| on what the film can afford, it shifts to | | | | that you feel strongly about, which could be |
| what the actor can do. Spot-on actors, | | | | helpful. But keep it neat. Abrupt criticism |
| willing to work with little to no pay, are | | | | could simply have you taken off the set. |
| hard to come by, and it's understood. | | | | |
| | | | Study the script. Get a good impression of |
| The IFM know the competency of the actors is | | | | the plot, the conflict, the climax-and break |
| what will give the picture its credibility, | | | | down the script as you would with a |
| and the actors should be aware that the | | | | big-budget film. |
| experience can do nothing but enhance their | | | | |
| own career goals. | | | | And finally: There really is no difference |
| | | | when it comes to putting your best |
| My response would be, "What an interesting | | | | performance into your work. Take pride in |
| concept," and I'll tell you exactly why. | | | | every acting project you take on … make |
| | | | it your own … and you'll do great. |