Am I owed more money?

Dear actors,

This is a long post, but an important one. As actors, we have to be aware of what we’re owed for our acting work. Too often we think that because we have a union contract, we’re going to get everything that’s owed to us. But although mistakes happen, most of the pay shortages are honest mistakes, not a producer trying to cheat us.

The three examples that follow all happened to me while I was working under SAG-AFTRA contracts. If you’re working on a non-union project, you’re kind of on your own, but you might be able to use some of what follows as a guideline to negotiate for more money.

I was on a premium pay cable show, working as a day player. I worked on a Wednesday, Thursday, and Friday. However, they didn’t get one of my scenes shot that week, so they asked me to come back the following week and work on Wednesday (I ended up also working that Thursday, as well). So, how many days of pay did they owe me? Five? When I got my paycheck that’s what they paid me for, based on the paperwork the assistant director turned in to the payroll company. And many actors, especially if they’re new to union work, would be very happy with the check.

But ... they owed me for two more days. They owed me for Monday and Tuesday of the second week (even though I didn’t work those days). Why? There’s a union rule that if you work (as a day player) and the gap in-between your work days is less than 6-10 days (depending on the type of project), you have to be paid for the days off (not counting weekends). That’s so that a production can’t string you along working one day this week, then a couple of days the following week, then another day a week later, etc. That kind of schedule can foul up other projects that you might be able to work on. Would the union have caught the error? Maybe, but maybe not.

I called the payroll company, who then contacted the production company and got it straightened out within a day. They apologized and I got the check for the two additional days a couple days later.

Another example: I was working on a major film and as we were shooting, the director got this idea. He wanted me to be jerked off camera at a particular moment in the scene. So the stunt guy came over and put a harness on me, under my coat, with a leash that he would use to pull me out of frame.

Of course, we actors want to be good sports and do whatever the director wants. And, it was an easy stunt – no danger – but it was a STUNT! That means stunt pay. I jokingly said as the harness was attached – “So, I guess I'm doing stunt work, huh?” The director got it and turned to his assistant saying, “Make sure Michael gets stunt pay for this.” Everything was friendly – no hassles – but if I hadn’t mentioned it, I wouldn’t have gotten what was fair for the work I was doing.

One last example: I was called in for some post-production work, for what I was told would be ADR (Automatic Dialogue Replacement). That pays a half day’s salary (what I got per day on the shoot). But they had me do some new scenes – with dialogue only. And that pays a full day’s salary because it’s a new scene – doesn’t matter that it’s only dialogue.

Finally, be aware that if you’re doing background work, there are a number of “pay bumps” you’re due for working under certain conditions, like if you have to work in a scene where they’re using smoke. Even though it’s fake smoke, you should get a little extra pay for that. There are some other bumps as well – just ask one of the other extras; they know all that stuff. And no – principal actors don’t get the same bumps as background actors get.

This was along post, but I like knowing that we actors get what is fair for our work. If you finish shooting, and then realize that you should have spoken up about something that might be extra money, first call SAG-AFTRA to verify it, then call either your agent, or wait for the check to see if they paid you the extra, and if not – call the payroll company.

And be nice – they’re only going off the paperwork that production sent to them. Payroll companies are usually very good at taking care to get you your full pay.

Cheers,

Michael

The Actor's Guide To Auditioning

More about ADR, Dubbing, Looping, and Voice Over

Hello dear readers,

Last week I wrote about my ADR recording session. Since then I've been asked to define what those terms (ADR, looping, voice-over, and dubbing) really mean. Sometimes we use these words to mean things they don't cover. In fact, I've seen a few show-biz websites that have slightly incorrect definitions for these terms.

So, let's take a look at how they are defined by SAG-AFTRA.

All of the terms involve the use of an actor's voice. Sometimes one actor at a time, and sometimes (as we'll see with looping) more than one actor at a time.

ADR stands for Automatic Dialogue Replacement. The original dialogue may need to be replaced if there was any kind of problem with the recording of the actor's voice on the set - such as a passing airplane, wind, crickets, etc., or the actor's voice was too low. Yes, the person recording the sound can raise the level, but that raises all the other background noises as well.

At the post-production facility, the actor will watch the scene that needs ADR and will have to match his lip movements exactly. That means the actor has to do the dialogue at the same pace as they did it on the set. If the scene involves another actor, the one doing the recording will hear the other actor's lines in their headphones.

Voice over is used for narration or in animated films. In an animated film, the character's lip movements will often be drawn after the actor does his lines - this makes it much easier on actors because they don't have to match lip movements on the animated characters.

Looping is used for things like background voices. For example, if a crowd of background actors need to be shouting, as a group, "Go team!" or "Grab that guy!" then a few actors will be brought in to the post-sound studio to record that "wild dialogue."

Dubbing is used mainly for creating dialogue in a different language than the film was originally recorded. So, if a film was shot in Italy and the actors spoke Italian, and now the producers want to release it in the United States in English, they'd dub it. Actors consider this the most difficult of the voice jobs, because you have to act a role that you haven't performed before. You have to capture the mood and emotion of the original actor, as well as the pacing. Dubbing used to be done a lot more than it is today. Thirty or forty years ago very few English speakers were used to reading subtitles on films. Nowadays audiences that go to see foreign films usually expect to see the film with the actors speaking the original language, with subtitles in English (or whatever language of the viewing country is).

There's one more type of recording that falls into the category of "pick up" scenes, and it's part of what I did in my last recording session. I recorded an entirely new scene - one that I hadn't shot on the set. It was a phone call. The other actor - the one who made the call - was shot on film, calling me, during the original shoot. But I wasn't recorded on the set. In the post-sound studio, I watched, and heard, the other actor speak, then I did my lines in between theirs, so it sounded like a natural phone call.

So, how come this isn't simply called "voice-over" since you only hear my voice - you never see me? It's called a new scene, because it's a brand new scene. It doesn't matter that it's only my voice - it's still a brand new scene for me. It falls under the general category of "pick up" scenes, where a new scene is done after the main production of a film or TV show has wrapped.

Hope that gives you an idea of the difference between these voice categories as they are defined by SAG-AFTRA.

As always, drop me a line if you have a question. And thanks for reading.

Cheers,


Michael

Let's talk about ADR, Looping, and Dubbing.

Hello!

Today I'm going to talk about ADR (Automatic Dialogue Replacement), also sometimes incorrectly referred to as looping or dubbing. 

For a film or TV show, ADR is often done because the original dialogue wasn't clear or there's some sound that we could hear in the background. For example, if the shoot is on location, there may be a bird, or a distant plane, or the wind in the trees -- it could be anything that interferes with a clear, crisp dialogue soundtrack. It could even be the fact that the actor was mumbling too much.

The reason I'm using ADR as a subject today is because I have an ADR session in a few days. It's for a TV show that I worked on 10 months ago!

I'm not allowed to reveal which show - but it's on Netflix, and it's on this screen shot:

I've got to get into the same character with the same emotions as I had on the set when I was working with the other actors. Except this time I'll be alone on a sound stage with just the sound crew and the director. They'll play the scene on a big screen and I'll have to match my original lines to the movement of my lips on the screen.

So, besides the technical requirements of matching the dialogue, how does the actor reconnect with their character from months ago? Well, for me it means pulling out my sides (dialogue) from the shoot -- which is why we should always save our scripts or sides after the shoot is done (and have a place where we put them so that we can find them if needed).

I'll study the scene(s) again and picture the scene as we shot it. I'll remember how I responded to the other actor(s) and hear their lines as well as my own. And if possible, I'll try to have the same body language as I had when I did the original scene.

One last thing - unless directed to change your reading by the director, you'll want to do the role (and the emotion) the same way you did it on the set. Don't come in with a whole new (better?) way of doing the dialogue. For all my ADR sessions so far, the director has not changed my way of doing the dialogue -- they've always wanted it the same way as I originally did it.

PS - See my next post for more on my recording session.

As always, if you have any questions about ADR work, or anything else, drop me an email.

Cheers,

Michael

You want me to do what!!? When does a physical action become a stunt?

A couple of years ago I booked a nice role on a fairly big feature film. After we had shot for about six hours on the first night, and done most of my dialogue, the director walked up to me and introduced me to the stunt co-coordinator. Why was I meeting the stunt guy I wondered. I had not been notified about doing any stunts when I auditioned for the role, nor had my agent been told about any when he negotiated the contract.

This happens a lot - especially on films. The director or writer gets an idea to add a small stunt for your character during the shoot. Not a big, dangerous stunt like driving a car through a ring of fire, or jumping off a four-story building onto an air bag. I'm talking about things like jumping into a cold lake, running a sprint, or doing a somersault.

We actors hate to look like a wimp on a set. With the crew standing around, it's difficult to say "No" to the director. Especially when he or she applies pressure - "You can do this." "It'll look great!" "Come on - be team member, we won't let anything happen to you."

First, even the simplest of stunts should be done under the watchful eye of a stunt coordinator. He's the one who can tell if something could go wrong (unless of course he's really new to the job).

Too many inexperienced directors, especially on low-budget films, have no idea what the difference is between a big, obviously dangerous stunt, and one that seems mild, but on which you could get hurt performing. In fact, because professional stunt performers are hired to do the big stunts, it's usually on the small ones that we actors get hurt. Cuts, sprains, pinched nerves, muscle tears, lung damage (from smoke and dust), etc. are some of the things that can cause short or long-term health problems.

So, how should an actor handle it when he or she is asked, while shooting, to do something physical that isn't in the original script?

First, you need to have a clear understanding of what they want you to do. Sometimes they'll start small, and then ask you to do it faster, longer, higher, etc. If you agree to do it, but it starts becoming too much for you - say "That's it, no more."

Next, you need to have an honest idea of what you're physically in shape to do.

Lastly, you have to have the confidence to stand up for yourself. On many films and TV shows, you will be the only one to do that. I've seen actors get hurt - actually bleeding - and the director says "You okay for one more take?"

Last thought - be extra careful if the director springs this new stunt or physical action on you on the last day of shooting. If he thinks you might get hurt and not be able to work for a while, he may do this physical action at the end of your scenes, so that if you do get hurt, it won't interfere with the film's schedule. Does that sound like the director is a real a**hole? Yeah, but not necessarily intentionally - often he just wants to get whatever ideas he thinks are "cool" onto the film or video.

NOTE: This same issue comes up with nudity. It gets thrown at you on the set. Ultimately, we have to protect ourselves. That means reading our contracts, getting enough sleep, water, food, etc., and saying "No" when something doesn't feel right.

And what about the stunt I was asked to do on that film a few years ago? After talking it over with the stunt coordinator, I felt I could do it with no problems. However, I declined the stunt coordinator's help, so that I would be in control of the stunt - how hard I fell - instead of having him jerk me to the ground using a leash. It worked great, and I didn't get hurt. (But I still was not happy that it was sprung on me at the last minute.)

Cheers,

Michael

When you don't fit the character description

Last Monday I had an audition for a role that I was sure I wouldn't get. I was younger than the description in the breakdown, but since it was for a casting director who I liked and who has called me in for other roles - several of which I've booked - I went off to Paramount Studios in Hollywood.

I did my audition and two days later my agent called to tell me I had booked the role! This isn't the first time I've gotten a role when the breakdown description sounded really different from who I am.

We have to remember that a casting director isn't going to waste their time calling in actors who are not going to be considered for the role - especially if the CD knows you.

We can end up sabotaging ourselves with negativity before we even get close to the audition time with stuff like: the breakdown says the character is six feet tall, but I'm only 5'10", or it says blonde and I'm a redhead, etc. (Or, in my case, it says "full head of hair," and I'm bald.)

And even if it turns out that the CD can't convince the director to change his mind about how tall the character should be, or whatever, it still gives you a chance to do your thing in front of a CD. And if you give it your best, they will usually remember you and call you in for something else.

There's also been several times that I've read for a director and when I was done, he handed me the sides for another role and asked me to take a few minutes while they auditioned other actors and then come back in and read for the new role.

And then there are times when I'll use the negativity for the character (if he's a negative type guy), or to take the edge off an important audition. But, you really have to know yourself, and have enough experience, to use negativity in a positive way. Otherwise it can mess up your whole performance.

It's best, especially when starting out, to carry a positive attitude into every audition. Remember, out of dozens or hundreds or - in the case of professional auditions in Los Angeles - maybe thousands of submissions, the CD has called you in to read for the role. That alone should give you a boost of positivity.

Cheers,

Michael



P.S. - Next time, I'll talk about getting physical on the set.

The frustration of too many directions.

Hi

It's been awhile since my last blog and it would be great to say I've been so busy acting that I haven't had time to write. But the truth is we're just getting out of the slow casting season (April - July). Finally things are picking up for major auditions. Yeah!

What I've been doing these last four months when things get slow is the same thing I advise others to do - stay busy doing creative stuff. Writing sketches, doing some improv work, reading an acting book, watching good films, updating resumes and headshots online, that kind of stuff. I've been teaching an improv class out in beautiful Malibu - and I join in on the warmups. That way I get paid to teach, and I get to keep up my improv skills.

Anyway - today's post is about the frustration off getting too many confusing and conflicting directions from a casting director (or more likely, a session director).

Okay, you have an audition - co-star role, three lines. What do you do if, when you enter the room, the CD says something like this:

"Okay, the character is angry, but not too angry, and we really want to see that he's actually vulnerable, but with an edge."

There's no way to do right by all those emotions in three lines. In fact I just recently had an audition like that. So, what did I do? I did what I thought was right for the character and picked the one direction the CD gave that jived with what I had been rehearsing. When I was done the CD said, "Okay, let's try it again and bring out the edginess a little more."

Once the CD saw my interpretation of the role, he was able to narrow down his direction a little more, which helped me on the next take.

So, in those situations, pick one or two character emotions, especially if it's a short audition, and use those. If you commit to them - and that's key - the CD will almost always do another take with you. And that's a good thing - CDs are seeing a lot of actors and they are not going to waste their time doing multiple takes with an actor they think sucks. In fact, in most cases, the more takes they do, the more interested they are in casting you. If they see something they like in your first take, they will work with you to get the role on tape that the producers want.

As always - enjoy the journey. And send your questions!


Cheers,


Michael

My film's in the theaters!

Hi Dear Readers,

It's been awhile since I last posted. I've been working on a post-production budget for my feature film, Night Tour," as well as writing some sketches for my friends and I to shoot for Funny or Die.

Last week I went with a friend to see the film I'm in - "Little Boy" - that's been playing in theaters around the U.S.

I'm Gilliam, the owner of the general store

Going to see the film

I had a few good scenes, but they also cut some of my stuff. And that happens to many actors, both unknown and known actors. There's all sorts of reasons why that happens: sometimes the film is simply too long and the filmmakers need to shorten it, or maybe it just drags during the subplot that you're in. Dropping a slow subplot is an easy way to cut a chunk of time from a film. It usually has very little to do with your acting, and more to do with the editing of the film.

A friend of mine - a very good actor with lots of television credits - was hired for a TV role a few months ago. After they shot it, the producers had to trim the show down to fit in a half-hour format (usually about 24 minutes). And, you guessed it, they had shot a bit too much and just chopped out my friend's scene.

Because of this, I'm usually careful of how many friends and relatives I tell about my new role. It can be embarrassing to have all your friends tuning in to see you, and you're not there! But that's the nature of the business - sometimes it happens. And it can happen in a TV show, a film, or a commercial. I usually wait until I've seen the TV show and then send a link if it's online somewhere - and most TV is online someplace. 

If it's a film, I might check it out on opening day and then tell my friends. Or, if you've been called in to do some ADR work after the film is shot, you can be pretty sure you're going to be in the final version.

Anyway, it was fun to see myself up on the big screen, because I've mostly been doing TV since my last film, "Priest."

Don't forget - if you have a question, feel free to write in the comments, or email me, and I'll get back to you with an answer. And thanks for reading this little blog - I do appreciate it.

Cheers,

Michael

A "Modern Family" audition

This post is late because I was preparing for an audition for "Modern Family." The scene is a funny one with one of the stars. The audition sides came in at 6 p.m. and the audition was the next day at 10 a.m. Fortunately, memorizing the sides was easy, because the writing was great (and funny) and because the scene was fairly short.

Deciding whether to "dress" for the audition took me a little longer. Many times I go to theatrical (film and TV) auditions fairly casual. Just a regular shirt and slacks. But sometimes a voice in my head tells me to dress a bit more in character, especially if the character is a bit weird or offbeat.
So, wearing a bow tie and an old cardigan sweater, I headed off to 20th Century Fox Studios in West Los Angeles. Unfortunately, President Obama was visiting on the Westside and the streets all around the studio were blocked off. I got a little nervous about being late (which I definitely was going to be) until I realized that everyone else was going to be late as well.

20th Century Fox - Stage 22

When I finally got to the casting offices, the CD told me that they were also late getting in, so no worries. The audition itself went very well. Don't want to jinx it, but I may be a bit younger than they're looking for - we'll see.
The lessons from this audition are - listen to the little voice in your head. It's your instinct trying to tell you something.

And don't sweat the things you can't control (like the President being in the neighborhood).

Cheers,

Michael 

Do you need a publicist?

This subject comes up often when actors start getting some roles - either in film or television. Here's my experience with the one publicist I had.

A few years ago I was in a futuristic vampire film - "Priest" - and the film was going to be opening in theaters in a few weeks. So, I decided to take advantage of that and hire a publicist on a "trial" bases for two months and see if it was worth the expense. He was the publicist for a friend of mine who was a writer. He was very excited about using my role in Priest to get me some gigs at sci-fi conventions where I could make some extra money by telling stories about the shoot and signing copies of posters and stuff.

But he really didn't come through with all the things he said he would do. For example, he wanted some publicity shots of my character, from the film. He asked me to call the production office and have them send me copies of any publicity shots that I was in. 

Here's the problem with that: If an actor - who's not a star - calls the production office, he's probably not going to get anything from them. Why? Well, it's extra work for them, and since I wasn't one of the stars of the film, they would most likely drag their feet getting me shots. But, if an actor's publicist calls, that carries a lot more weight as far as getting the shots. It's like an actor submitting himself for a role, verses having an agent submit you for the role. Your chances of getting an audition are much better if your agent submits you - it just makes you look more legitimate to casting directors.

It was like this with other stuff as well - he wanted me to be doing the work that I was paying him to do. So, after two months of him not coming through with anything, I dropped him.

Would I hire another one in the future? Maybe. A publicist is good to have if you're doing a major role in a big film, or have just been hired to be a regular on a TV show. But, since they can cost you anywhere between $400.00 a month to several thousand per month, you need to not only have the money to spend, you need to have something substantial in the way of a role in order for the publicist to really do anything for you.

And what do they do for you? Get you interviews in entertainment mags (hard copies or online), get blurbs in the media about what you're up to in your real life - like going to charity events or doing unusual physical stuff like skydiving or earning your black belt in martial arts - that kind of thing. They might get you on TMZ by calling the production offices and telling them you're going to be at a certain trendy restaurant on a certain day and time.

So, the short answer for most of us regular working actors is - no, it's not worth the expense of hiring a publicist. But if you decide to try it, do what I did - don't make a long-term commitment until you see what they can do for you.

Cheers,

Michael

"...what are my chances of getting an 'upgrade' to principal?"

Cassie M. asks "If I do extra work, what are my chances of getting an 'upgrade' to principal?"

Great question, Cassie. Unfortunately, the answer is not so great. And I'm saying this as someone who got into SAG (before it was SAG-AFTRA) that way!

Before I joined the union, I was cast as an extra in a feature film. The producer and director were still trying to fill one last principal role, and so they took a look at the interview tapes that the background casting director had made of us. The director liked my "look" and brought me in to read for the principal role and I got it. But, that was a very big stroke of luck!

It just doesn't happen very often. Let's take a look at the different mediums.

Feature Films: The roles are cast before the film starts and the director has a "shooting script" with all the parts. That will rarely change because it means that they are going to add a role that is not in the script to begin with. Rarely, but sometimes, a director will get the idea on the set that he wants a non-speaking actor to say a line. Example - a friend of mine was doing a bit part (background with a specific bit of action). He was working in a lunch wagon and was supposed to simply hand the star a sandwich that the star had ordered. However, the director decided it would be more natural for my friend to say "You want anything else with that?" after he handed her the sandwich. Boom! Instant upgrade and SAG eligible. (Ironically, the scene was cut from the final edit, but my friend still got his upgrade and SAG card.)

Television Shows: Upgrades pretty much never happen. TV shows are on a very tight schedule, and there is rarely, if ever, a deviation from the shooting script. Because time is so tight, the director will usually stick very closely with the script and not make changes. Possible exceptions might be on a sketch-type show, or if an actor has been a long-time extra on a show and is finally given a line.

Commercials: This is usually the best place to get an upgrade. Although still rare, it does happen more often than on films and TV. This is because you don't actually have to say a line in order to be upgraded. All that has to happen is that once on the set, the director decides, because of your "look," he wants you in the foreground where you are recognized.

A tip - if this happens on a commercial, ask the second AD about getting the upgraded contract right after the shoot, while you're still on the set. Yes, you could still get downgraded or cut from the commercial, but it's always better to get the new contract right then instead of waiting to see if you are still a principal when the commercial airs (because it might not even air where you can see it). It's often a big hassle to get the upgraded contract after the commercial airs. Besides, even if you are cut in the final edit, you're still owed principal pay for the shoot.

Web Shows: This can be another place to get an upgrade, but the show must be working under a SAG-AFTRA agreement to begin with. Some web shows are very tightly scripted and some are very loose and improvisational. The latter type will increase your odds of an upgrade.

Final word of advice - never, ever, say something (even one word) without being told to do so by the director. In order to qualify as an upgrade, you must be directed to say that line (or word, whatever). Shouting out a word or two while you're in a big crowd of extras will not get you an upgrade and could even get you kicked off the set. 

Cheers,

Michael

What do the terms day player, co-star, guest star, recurring, regular recurring, and recurring regular mean?

Let's start with the ones that are clearest in terms of their use among professionals in television.

Day player and co-star are the same in terms of the work that is done. The only difference is that one term (day player) is contractual, and the term co-star is a credit.

If you are hired on a TV show to speak a few lines (usually between 1 and 10), and perform in 1 or 2 scenes, your contract will be a day player contract, meaning you are paid by the day - usually the SAG-AFTRA scale, plus ten. Day players with several scenes in different locations, or over a number of days, will sometimes be given a weekly contract.

A guest star is usually on a weekly contract (they are paid a weekly salary) and their credit is at the "top of the show," meaning it's at the beginning of the show as opposed to a co-star which is at the end of the show. As you might guess, a guest star has a bigger role that is an integral part of the story line.

A recurring role can be a co-star or guest star who appears in more than one episode as the same character.

Regular recurring, and recurring regular are a little less well-defined, but here's my take on the terms.

Regular recurring is a co-star who shows up on a somewhat regular basis. They may be in episode 2, then in episodes 5, 9, and 13. (In a 13 episode cable series.) Often this actor is not "on contract," meaning they are not critical to the story and if not available they could be written out of that episode.

A recurring regular is a character who is more central to the on-going story. For example, he may be the owner of a soda shop where the characters hang out and there are scenes at the shop every 2 or 3 episodes. Maybe he gives a few words of advice to the other characters. This actor may be given a contract because the producers want to be sure that he is available whenever they need him.

Hope many of these roles are in your near future.

Cheers,

Michael

Making choices at an audition.

I had an audition this past week for a popular procedural show - one of those long-running crime/mystery shows. And the character I was reading for was a really intense character. But, it could have been played a couple of different ways. So, what did I do in the few days I had to rehearse it?

First I looked at the different choices and what clues I could get from the dialogue. For example, if another character asks your character - "Do you know Jeremy Jones?", and your response is, "I ain't got no knowledge of that person," you can assume that your character is not an educated person. Now, if the line is the same, but he adds, "… so just leave me alone." What does that add to the character? He's hostile? He's a loner? He doesn't like the person asking him the question? Maybe the person asking him is a cop and he doesn't like any cops.

The casting people don't want you to be asking them what they want - or what they see as the character - they want to see what you bring to the audition. If you're a beginner, you might get told what to do, but if you want to move up the ladder and get better roles, you will be expected to bring a fully realized character to the audition.

At my audition, not only was the casting director in the room, there was also the show's director, the producer, and the writer. And since this was for a TV show, they simply don't have the time to have a conversation with every actor about the character. This is why no one asked me if I had any questions. If they had given me an adjustment after my first read, then I could have asked a question to clarify the adjustment.

As actors, we aren't just puppets, we are expected - most of the time - to be creative and to make the choices ourselves. And believe in them and commit to them. There are some exceptions, mainly in commercial auditions, where the casters will usually tell us what they want from the character. Since I talk about that in another post and in my book, I won't go into it in this post.

The one thing you want to avoid in a film or TV audition is trying to play all the possibilities. You must make a choice and stick with it! Then if the caster wants to see a different take on the character, they will give you an adjustment. If, in the above example, you were a little too angry, they might say, try it again more frustrated than angry. And this is why you want to go through several possibilities when you are rehearsing, so that you can make a change if they give you an adjustment. You just don't want to try to play all your choices in the hope that they will see something in your audition, because all they will see is an actor who has not committed to a choice.

And how do we make those choices? We do it by supplying our own answers to to our questions. For example - is the character angry or frustrated? Try it both ways. Which way feels most right? Go with that. You may be wrong, but you'll be strong. And strong and wrong is far more interesting than weak and blah.

Cheers,

Michael

Do you like your roles?

Well another week, another audition. A new Comedy Central show and another weird character. This seems to be my calling - to play weird, offbeat, or grungy roles. which is cool - they are the roles that are often remembered. I'm not knocking actors who play the straight roles like doctors, lawyers, etc., or the roles that give important information - called exposition roles. These are important parts because they give us information that we need in order to advance the story. But I like the more offbeat stuff - like playing the Baker on Eagleheart, or my latest role of The Undertaker on Westworld.

Here's a link if you want to see a scene with me as The Baker:

Eagleheart - The Baker

We actors sometimes have to make a choice in our careers between who we see ourselves as, and who others - especially casting directors, agents, directors, and producers - see us as. Are you the funny guy who gets cast as the angry guy? Maybe you see yourself as a leading young lady, but keep getting called in to play the nerdy best friend.

So what do you do? Well, you can try and change the way people see you by doing the type of theatre roles that are more how you see yourself, and making your own videos where you play the type of characters you see yourself as and hope that others will come around and see you as that as well.

Or you can be happy that you are being called in and cast and are able to support yourself as a performer. I write and play songs, but no one's paying me to do that. However, the money I make doing my "weird" roles allows me to spend time on my songs. But I'm also lucky because I really like performing most of the roles in which I'm cast.

You can always do your own stuff on the side. For example, if you're the funny guy who is cast in dramatic roles, go to comedy clubs and do stand-up. Charlize Theron, known for her dramatic roles, has been doing comedy sketches on Funny or Die to show her comedic side. Will that get her cast in a comedy film? Maybe, maybe not, but at least she gets to express her funny side.

There's enough to deal with in our acting careers without being unhappy with the type of parts we get to play. You have choices and ways to fulfill your inner spirit. So embrace the paid work and give it your all, and then go do some unpaid work that feeds your soul. 

Cheers,

Michael   

What are your walls?

We all have certain walls that get in the way and block us from growing as performers. Maybe we're afraid of letting our angry side out. Or maybe we're shy about appearing to be weak, or we don't want people to think that we're really stupid, or a cry-baby, etc.

The more honestly we act and the closer we are to our own dark side, the more some people will think that that is the way we really are. So we will often hold back – we don't want people to think we're really like that, right? But then we aren't doing our job as actors.

Would you rather people thought you were a bad actor, or that they thought maybe you really are a racist or a slut, or a weak, sniveling coward?

I dealt with this issue when I was starting out. I thought of myself as really cool. You know – I rode a motorcycle, had long hair, and keep it all together. In class, I always held back on my emotions. Then I was doing a scene and my teacher said to do it again and really open up and connect with the other actor. I did and it worked. After class I asked her why her direction helped me so much. She said, “You were waiting for someone to say it was okay to be emotional.” That advice was the best I ever got from a teacher.

Sometime later I got a great part in a play, but the part was of a somewhat dumb, super silly, goofball. So, I had a choice – turn the part down; do the part, but play it cool and not do a good job; or throw myself into it and go for it – which is what I did. And yes, there were people who didn't know me and thought that character was me. They expected that when they met me after the show that I would “entertain” them with my silliness. And they were disappointed when they realized I wasn't my character. But so what? I got great reviews, and more importantly, finally broke though that wall. Now I have fun whenever I get to do a role that is outside my comfort zone.

It does take work. And awareness of our walls. But if we work through them, the payoff can open us up to all kinds of wonderful opportunities.

Late news flash!!! My agent called while I was writing this post and I booked a role on the new Westworld pilot for HBO. Love getting paid to play – even if the character is not always “cool.”

Cheers,

Michael