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