Everything seems overwhelming, difficult and I just want to put it in the ‘too hard’ basket. I’m sure you’ve also experienced that feeling at least once before. The good news is, that feeling doesn’t last forever. I have a few tools/tricks up my sleeve which I bring out every time I feel like there’s no hope and I’m ready to give up. Let’s take a look at a few ideas for falling BACK in love with acting again…

Falling in love with acting again is all about connecting with your creativity, tracking back to what made you embark on this journey, celebrating your successes and surrounding yourself with like-minded humans who want to see you achieve your goals. It is all about giving yourself the time and space to be the creative you want to see in the world. 

The Artist’s Date

This concept I certainly can’t take credit for. The Artist’s Date comes from one of my favourite creative self-help books out there, The Artist’s Way by Julie Cameron. When I’m feeling uninspired or unmotivated, I plan a weekly “date” with my creative self. It can literally be anything you like, there are only 2 main rules: it has to be something that you do alone, and it must be for at least 2 hours. Some things I’ve done in the past are taking myself to see a new film at the cinema (in reclining seats, with plenty of snacks, of course!), or visiting an art gallery, seeing some live music, sitting in a park and reading a book, painting on a blank canvas, knitting… you get the picture.

The Artist’s Date should NOT feel like work. It should be fun and something you look forward to every week. The idea is not to think too strategically about it – even though you might professionally identify as an actor, there’s no reason you can’t plan an Artist’s Date which nourishes your love for painting or cooking or writing. The point is simply to nourish and nurture your creative self, there are no limits or boundaries here.

Revisiting Your Origin Story

Sometimes it’s nice to be reminded of WHY you fell in love with acting in the first place. Was it a particular film? A play? A moment in high school drama class? Sometimes I go back and revisit the film that originally made me want to pursue acting and filmmaking. It reminds me of the parts of my creativity that film inspired me to explore. You don’t need to take notes or to evaluate the experience, just revisit whatever it was the got you hooked on the acting bug. Simply watch or read for the sheer joy of it and try to remember what sparked your interest all those months or years ago.

Scene Club

Sometimes it’s really inspiring to be surrounded by like-minded, passionate creatives to help you get back on track. Start a group chat with 4-8 of your best actor friends (the motivated, reliable ones). Buy two (or seven…) blocks of chocolate, an ungodly amount of corn chips and set a date and invite them all over to read a play with you one evening or work on some scenes. It can be as formal or casual as you like – as long as you get together and do some work. You don’t need to film it, or publish it anywhere – the entire exercise is just to surround yourself with people you love and have some fun together.

One of the most wonderful parts of filmmaking and theatre-making is the opportunity to collaborate with other creatives and feed off their creative energy. Getting together with some actor mates and doing some work always makes me feel alive and energised. If you live in a remote location or you don’t really have many actor friends then have no fear, come and join the StageMilk Scene Club, where you can connect with hundreds of actors from all over the world and rediscover that love for acting.

Find Your Pollyanna

I tend to be a fairly positive person, but sometimes I get in a rut. I complain, I whine, and it feels like the entire world is set against me. This of course isn’t true, but at the time, it really feels like it. And at times like these, it’s all too easy to get caught up in the complaining and whingeing.

So, instead, I make a point of surrounding myself with POSITIVE people. You know that friend of yours, the one that is frustratingly positive about acting? Yeah, set up a coffee date or a phone call and let some of that unadulterated positivity rub off on you. It is amazing how human beings can adapt to their surroundings, so spend more time around creatives who are inspired and positive and less time around people who are negative or cynical.

Put Down a ‘Fun-Tape’

This does not need to be a 6-month project with a strict deadline and production schedule. Put down a self-tape this week. Why? No reason at all, except other than to have fun. It doesn’t even have to be a good self-tape – make the entire point of the exercise, to have FUN. And then afterwards, you can always press delete. This is a great way to stop making all your acting work about impressing the faceless masses and remember that acting is actually really enjoyable. Maybe pick a scene that is completely wrong for you, but something you’ve always wanted to try. Put down a scene as Batman, or Wonder Woman if you like – it really doesn’t matter! All that matters is that you ENJOY the process of it.

Take a Break

And finally, I’ll touch on the benefits of rest. Sometimes we feel overwhelmed and uninspired because we’re actually way too stressed and busy to see the woods through the trees. And at times like these, it’s time to take a step back. It’s time to rest and recuperate. There is no shame in it. It took me a long time to accept that – I thought rest was “for the wicked”, that I’d simply “sleep when I’m dead”.  I thought I was working hard, hustling, getting sh*t done. But in actual fact, I was burning the candle at both ends and running myself into the ground. And of course, eventually, I crashed.

Take my word for it – don’t do that. It’s unnecessary and of no help to anyone. Not to mention it’s bad for your own health and wellbeing. And I guarantee you, once you take the time to rest, you’ll come back feeling rejuvenated, motivated and inspired again.

Read more: The Art of Relaxing
Read more: 10 Ways for Actors to Practice Self-Care

There you have it gang, a couple of ideas from me on what to do when you’ve fallen out of love with acting. If you also have some hot tips for falling in love (both acting, and dating-wise) comment them below!

The post How to Fall in Love With Acting Again appeared first on StageMilk.

#1 Define Your Goals

Let’s start from the beginning, of course. It all starts with a healthy mindset. If you haven’t already, now is the time to set clear, actionable and achievable goals for the year (and beyond if you like). Be specific, be realistic, but don’t leave anything off the table. They can shift and change over the course of the year, that’s totally normal. But without a clear set of goals to work towards, you will struggle to find the direction and the motivation to begin anything.

Read: How to Set Goals

#2 Find Accountability for those Goals

How many times have you set a goal, and then completely forgotten about it 2 days later? Write your goals down, stick them up on the wall, or make it your screensaver. This way you’ll look at them every day and be reminded of what you’re working towards.

Now take it one step further and tell 3 people whom you trust: “this is what I’m going to achieve this year…”. I told my creative writing partner, I told my best friend who lives overseas, and I told my therapist. Now they all know exactly what I’m working towards this year, and they will help me to achieve it.

It’s not easy to speak your goals out loud. This is often because we’re afraid we’ll never reach them and then someone else will bear witness to that failure. But truth be told, it’s very difficult to remain accountable to yourself. Telling someone else, someone supportive and close to us will help us to find and maintain that accountability for our goals. So write down those goals, and tell them to a few trusted confidants ASAP!

#3 Begin

Take one step towards your goals today. Yes, right now! No matter how small or insignificant it may seem, I’d much rather you do tiny little things beginning now, than wait 6 months and then try to take one big leap. Your first step might be making a vision board, researching some acting classes in your area, buying a yoga mat for your physical warm-ups or even booking in for new headshots with your favourite photographer.

Remember, taking 100 small steps is going to get you much closer to a goal than 3 large ones will. 

Note: Are you feeling lost, or unsure where to begin? This probably means your goals aren’t clear enough, or actionable enough. Go back, revisit them and rework them if need be.

#4 Develop New Habits

Create some new habits which will serve your career and craft. Such as a daily vocal warm-up, weekly self-tape, monthly play reading etc. The most “successful” people in this industry are all arbiters of great habits and a solid work ethic. A habit takes 6 weeks to make – so pick something that is achievable (no matter how small), and make sure you stick to it for at least 6 weeks. It will become much easier after that threshold. Creating new healthy habits is like renovating your kitchen. Once it’s done, you get to walk around your new kitchen and enjoy the clean surfaces, the organisation, and cook your dinner feeling funky and fresh. Once it’s a habit, it’s no longer an uphill battle, it becomes a pleasure to carry out your daily routine and your heart and mind will thank you for it.

Read: 8 Habits to Live By for Actors

#5 Ditch Bad Habits

What are the bad habits that are holding you back? Do you stay up late and regret it the next day? Do you put off audition prep until the last minute? Do you constantly compare yourself to others on social media? Do you host pity parties for yourself on a regular basis? Do you beat yourself up for not being pretty enough/fit enough/tall enough/loud enough? Negative habits are self-sabotage and will hold you back in 2021, so identify them, and ditch them.

#6 Get Back Into the Classroom

No one will ever “master” the craft of acting. Not even Meryl (sorry, Meryl). The Acting craft is as elusive and mystical as a mermaid. Don’t make the mistake of thinking you’ve learnt all there is to learn about it. That day will never come. Get back into a classroom, and soak up everything you can. The best actors are also the best learners.

Training and studying will undoubtedly improve your skills (who doesn’t want that?) BUT it will also level up your confidence. We all want more confidence, walking into meetings, auditions and even social situations. I know from experience, that I am my best self when I am in the classroom. It’s more stimulating and confidence-boosting than any other drug! (Not to mention healthier…)

#7 Find Your Tribe

Are your current tribe letting you down? Not inspiring you? Are they unmotivated and bitter? We’ve all got that friend who’s a little too cynical about acting, and they’re often not much fun to be around. Instead, surround yourself with people that support, inspire and push you. This includes reaching out to a mentor, or someone who has more experience than you and asking them for advice. Don’t take advice from your cynical friend, they’ll only pass their cynical-ness on to you. Spend time with an inspired, motivated and hardworking person and all of those wonderful qualities will rub off on you. It’s infectious.

Read: How to Make Connections as an Actor

#8 Make Your Mark

By knowing who you are and what you have to offer the world, you can leave your mark on your work. What stories are you passionate about telling? Go ahead and tell them. What characters do you want to embody and explore? Embody and explore them.

Don’t wait for the phone to ring and don’t wait for someone to give you a job. You need to make your own opportunities from here on out. I know not everyone is a screenwriter or a producer – but this shouldn’t stop you from making work. The previous point is about finding your tribe. Offer your services to the creative people around you. Find a writer, and collaborate. Find an emerging director who wants to gain experience, and work on a scene with them and film it for your showreel.

In 2021, it’s the proactive actors who will come out on top.

#9 Challenge Yourself

You will not grow or evolve by staying in your comfort zone. Expand your horizons, try new things, push yourself and immerse yourself in the unknown. This could be anything from sending your script to a director you admire, to picking up juggling, to clowning school. It’s very easy to shy away from the things we’re afraid of trying, I encourage you to get in the habit of leaning towards it instead. This will not only build your confidence as a human but also expose you to so many more experiences as an actor.

Too often we continue doing the same things and expect different results! 

#10 Find Balance

2020 was full of uncertainty and instability (understatement of the year.)

Let’s make 2021 full of certainty and stability. Regardless of what goes on in the world around you, what are the things that keep you grounded and sane? Who are the people that keep you grounded and sane? I’m a big advocate of exercise and meditation, this is what keeps me sane throughout the chaos. Journalling is also incredibly powerful. As is therapy. Only you know what will make you feel balanced and grounded. With so much that is outside of your control, it’s vital to recognise what is within your control and do whatever is necessary to make you happy and healthy.

Some thoughts to finish…

These steps can be taken in whichever way you feel necessary. This is your journey and yours alone. Unfortunately, life is not a one-size-fits-all approach. But your art and creative spirit are a constant – you can always come back to that at the end of the day.

Take care, don’t forget to rest and let’s make 2021 our b*tch!!!

The post 10 Steps to Make 2021 Your Best Acting Year Yet appeared first on StageMilk.

But – before we get started, I want you guys to think about two things: 

1. How many self-tapes do you get in 1 year?
2. What else will you be using a camera for? Are you a vlogger? Are you a hobby photographer or videographer? Do you want to be able to shoot your own showreel or short films? (Or even feature films?)

Keep this in mind when it comes to investing in self-tape equipment – I don’t want you guys to go and buy a $2000 camera when you’re only self-taping 5 times a year. Some of the insane cameras we talk about later on in the article are complete overkill just for self-taping. But if you can make use of the camera for other creative projects it might be worth investing the extra $$$

Note: in this article, we include some rough prices. These are just an estimate and based on the camera price without lenses and additional kit.

Entry-Level

If you’re just getting started as an actor, you don’t self-tape that often, or you’re really on a tight budget – I don’t suggest you go and drop $2000 on a new camera with all the bells and whistles, especially if you’re rarely going to use it. Let’s look at some affordable entry-level camera options. 

Smartphones 

Let’s start with the good old smartphone – these days, smartphones have incredible video and photo capabilities. If you know how to use it, you can achieve really professional looking self-tapes on your smartphone. I’m an Apple person, but I know that Samsung and Google also have great smartphones that can also be used for self-tapes. As long as you have a smartphone that came out after 2016, you’re in good hands. So the iPhone 7, 8, 9, 10, 11 or 12 will all do wonders for self-tapes. 

A note on the iPhone SE: Apple have introduced the iPhone SE – which is a super affordable version of the iPhone 11, but it doesn’t have 2 or 3 cameras, instead it’s just got the one. This makes the price point super affordable, and for our self-tape purposes, you don’t need 3 different cameras – you just need the one, high quality one. 

Another note: Because obviously, most people have a smartphone already, it’s not as though you’re investing $1200 in a camera for self-tapes – this will also be your phone, and hopefully will last you a while! So, killing two birds with one stone, as they say!

Canon 3000D 

As far as DSLRs go, I absolutely adore Canon. They are incredibly user-friendly, well designed, and also the colour profiles on Canon cameras are wonderfully accurate, trendy and classic.

The Canon 3000D camera is a great entry-level DSLR which is more pitched at amateur photographers as opposed to videographers. So it’s not specifically designed to have top of the range video capabilities – but for around $399 – including a lens, it’s a pretty great deal if you ask me. 

Sensor: 18MP APS-C Sensor
Movie recording size: Full HD
LCD Screen: No articulating screen or touch screen. 

However, what I will say is – if you already have, say an iPhone 11 or the equivalent – you do not need to spend $450 on a DSLR, to be honest, your iPhone is going to look just as good and probably be easier for you to use. But in saying that, the 3000D is a beautiful camera, and it will take those self-tapes to the next level. 

Intermediate Level

So say you want to upgrade from the smartphone territory, and get yourself a nice, compact, affordable little camera to shoot self-tapes on. You might be self-taping quite frequently for auditions, or perhaps you want to make a nice looking self-tape showreel, or you’re just keen to invest in a camera that’s really going to take your tapes to the next level. Here are some cameras that I’d recommend that come in around the $1000 mark. 

Canon EOS M50

Canon EOS M50 is the first Mirrorless body from canon which has 4K video recording. It came out about 2 years ago, and it’s still holding up as a super affordable mirrorless 4K camera. It’s nice and compact, and whilst you definitely don’t need to shoot a self-tape in 4K, it’s still a great feature to have – especially if you are maybe getting into videography or vlogging. 

Approx. $649 with a kit lens (15-45mm)
Sensor: 24.2MP APS-C Sensor
Movie recording size: 4K

Sony A6000

The A6000 came out around 6 years ago – and it still holds up. This camera has super great autofocus capabilities – which is great for videography and vlogging and it also performs really well in low light. 

Approx. $650 includes 1x 16-50mm lens
Sensor: 24MP APS-C sensor
Movie recording size: 4K – total overkill

Again, you don’t need 4K for self-tapes BUT if this camera is going to serve you in other areas, not just self-tapes, then why not? 

Downsides: this camera doesn’t have an audio jack input – so you will need to either record your sound separately, and sync it later in the edit, or just use the onboard audio. I also find that I don’t love the colouring of Sony images – it doesn’t always flatter all skin types, and so you might find you want to do some colour grading later on. Or, at least make sure that you’re lighting your self-tapes really well, so you don’t look sickly and green! 

Panasonic Lumix G7 

The Lumix G7 came out back in 2015, but it’s still a great camera for entry-level videographers. It’s light and compact, and it’s a lot of bang for your buck – BUT you have to know what you’re doing to get the most out of this camera. In comparison, the Canon DSLR range is super user-friendly and it’s quite easy to get beautiful looking images and video without being a cinematographer. It’s great for guerilla filmmaking – the battery life is great, and you can definitely put some super slick cinematic lenses on this camera to make short films. 

Approx. $498 includes 1x 14-42mm Lens
Sensor: 16MP Micro Four Thirds
Movie recording size: 4K – total overkill
LCD Screen: Articulating Screen & Touch screen

Downsides: the recording format is in an MP4 codec – which are essentially really highly compressed files, which means that your computer may struggle to edit these files. So file-handling can be an issue if you don’t know how to do it. Similarly, I don’t love the Panasonic colour profiles – when I shoot on Panasonic, I always shoot in the “RAW”-est colour profile and then do a colour grade on the footage. But, I’m sure the average actor probably doesn’t know how to do that, nor wants to do that. So that’s something else to think about. 

Professional Level 

Okay, now if you’re serious about investing over $1000 in a new camera that you’re going to use for self-tapes, perhaps make a short film, or even do some photography – here’s a couple cameras I’d recommend. 

Sony A6400

The Sony A6000 range is really performing well in the industry – the A6400 features a much improved AF performance – which vloggers are loving, low light sensitivity has been improved and it also has an updated 180-degree flip screen. Which again, is helpful for self-tapes. Unlike the first of it’s kind, the A6400 has a microphone jack and a hot-shoe mount – so you can put a microphone on top of this camera body. 

Approx. $898 body only
Sensor: 24.2MP APS-C Sensor
Movie recording size: 4K
LCD Screen: 180-degree Flip Screen & Touch screen

Canon 80D / T7i

This camera, unlike the 3000D we mentioned before, was designed for video as well as photography – it has a flip-out viewscreen which is ideal for videographers and vloggers, as well as a larger sensor and better autofocus capabilities than the 3000D. You could also definitely use this camera for photography – it, of course, won’t be as good as say, the 5D or 7D – but if you’re just starting out – the 80D is an awesome package. 

Approx. $799 body only
Sensor: 24.2MP APS-C Sensor
Movie recording size: Full HD
LCD Screen: Articulating Screen & Touch screen

This is the camera I often use for self-tapes – it’s not cinema-quality, but it definitely doesn’t need to be. Because I’ve got some nice lights, a great backdrop and good audio equipment – the 80D is more than capable of shooting a fantastic self-tape. 

Canon 90D – StageMilk Favourite! 

The Canon 90D was released in late 2019, here at StageMilk we use the 90D for our YouTube content as a B camera – it’s basically the 80D, but new and improved. It’s got a bigger sensor, and 4K shooting. Which makes it perfect for those wanting to do some videography, photography and potentially even make a short film. The sensor size is the biggest we’ve seen so far on this list – which means you can get some incredible looking images and footages on this camera. 

Approx. $1199 body only
Sensor: 32.5 MP APS-C size sensor
Movie recording size: 4K
LCD Screen: Articulating Screen & Touch screen

Size-wise, it’s a little bigger and heavier than the other cameras we’ve mentioned – but for self-tapes, you’re just sticking it on a tripod anyway.

Filmmaker Level

So, I figured I’d mention some mirrorless cameras that are in the $2500 and above price range because I know some of you might be looking to invest some decent money in a camera that will double as a self-tape camera, as well as a camera for shooting short films. Or perhaps you are a tech nerd, with a desire for shiny things – I know I certainly am! 

Canon EOS R range – StageMilk Favourite! 

Personally, I’m pretty excited about the Canon R range – these cameras are mirrorless, with 4K shooting and great in low light (all of the qualities I loved in the Panasonics and the Sony mirrorless cameras) BUT it also has the beautiful canon colour profile that I love! It’s truly a win-win, which is why I bought the Canon EOS R earlier this year, and I’m absolutely loving it. With some great lenses, you could easily shoot a short film, heck even maybe an Indie feature film on these cameras. 

The EOS R will cost you around $1799  for the body only.
The EOS R5 and R6 are about $3899 and $2499 respectively (body only). 

Panasonic GH5

The GH5 is one of the most impressive compact mirrorless cameras out there – it’s been heralded by filmmakers, vloggers and videographers for packing so much into such a compact body and at a brilliant price point. 

The GH5 is $1997 and the GH5 S is $2497 (both body only)

Again – you could shoot short films, feature films, vlogs, wedding videos – whatever you want on this camera! So total overkill for self-tapes, but like I said – if you really want to go all out, then I say go for it! 

Sony a7S

And finally, I’ll mention the Sony a7s – there is no limit on what you can do with the a7s – like the GH5 and R range, you can 100% shoot some incredible short films, feature films etc. on this camera. With great low-light capabilities and a full-frame sensor all packed into a compact, light body – this camera is a dream for most. 

Approx. $2498 (body only)

Conclusion

There are so many cameras out there, and if you’re not a trained filmmaker, it can be really hard to see the woods through the trees here. We wanted to give you guys a good solid list of some cameras which would be great for filming your self-tapes, but also could be used for hobby photography, videography, vlogging and maybe even some short films. 

Again, take some time when investing in equipment – do all the research you need and if you’re not sure if you’ll make use of the camera that often, we don’t advise you go spending $2000 straight off the bat. Happy taping guys! 

Any questions about gear? Hit us up on Instagram or Facebook, we’re always happy to help! 

* Images taken from retailers of these cameras are used here for the purposes of reviewing these products * 

The post Best Camera for Self-Tapes appeared first on StageMilk.

First up: always, always, always prioritise your health. An acting career should never come before your own health and safety, no matter what. It’s great to be ambitious and passionate – but not to the extent of putting yourself in harms way. Now that that’s out of the way, let’s look at how we can maintain an acting career and a healthy spirit during Covid-19.

The light at the end of the tunnel

Although we don’t know when exactly, this too shall pass. Humans are incredibly resilient, resourceful and responsive. We will do whatever it takes to overcome the hurdle that is Covid-19. We’re already seeing some big shifts in the post-pandemic world – the creative industry is suffering on a logistical and financial level. But since when did creatives simply give up when they were presented with a challenge? Well, never! In fact, creativity often thrives under pressure and within boundaries. Creatives are great at adapting and leaning in to a challenge, instead of shying away from it, or dancing around it.

In the past 2 weeks I have watched one of my best friends perform in a Live Streamed Musical, I’ve seen a new television series written, filmed and launched via Zoom and StageMilk has seen over 2500 self-tapes submitted by it’s members since February. 2500!!! So, whilst there are still some HUGE roadblocks standing in our way, that does not mean we should crawl under the doona and wait for a vaccine. There is a light at the end of the tunnel, I promise.

But what does that light look like? What will the film and theatre industry look like post-Covid? Well, no one knows for sure, but we have a few armchair theories…

#1 The industry has suffered financially, and it’s going to need to bounce back somehow. Government funding would be nice, but that’s not guaranteed. There will always be the demand for content, but I suspect that there will be less risk-taking for a while. It’s likely that we’ll see a smaller pilot season, and instead, new series for already popular shows. We’ll see more book adaptations, movie remakes and comic-book superheroes. Most of us will probably want something safe, inspiring and comforting to watch for a while.

#2 Independent filmmaking will hopefully surge and rise! A lot of creatives have been stuck at home, marinating wonderful story ideas, and we hope that we’ll see a lot of independent, risky, unique and challenging content released in 2021 and beyond. They may not have a lot of money to make it happen, but I doubt that will stand in their way.

#3 Online content will prevail and thrive! Straight-to-stream content such as webseries and short films will be pumped out through whatever platform will take them! These productions often require less man-power and woman-power, which make them cheaper and safer to produce. This is a great opportunity for entry-level filmmakers to make their ideas come to life.

#4 Theatres will take a long time to recover. This is sad, but true. It is no longer safe to have 1000 seat theatres, let alone 100 seat theatres. It will be a while before we can enjoy a Sunday night at the theatre, and production companies and venues will need to come up with some serious strategies in order to survive. This might mean that actors will perform in a theatre, and audiences will watch a live stream from the comfort and safety of their own home. Creatives will need to think of a way for this to be financially viable, but also still entertaining!

#5 Auditioning in the room will be less frequent. We are seeing this a lot already with most auditions taking place as self-tapes.

#6 More local content. The industry over the last 20 years has become increasing international. I think we will see entire economies going more local. So understanding your own industry and telling local stories will be a big part of all our futures.

#7 Activism and content with strong messages will prevail. Activism is on the rise from climate change to social inequalities. We will likely see more content that has a strong message and call to action. Shows about drunk men hanging out will continue to be shelved for more political content.

One thing is for sure – we are ALL going to need to lend a helping hand to get our own industry back up and running. So, humble actor, what can you do to help? Instead of hitting pause on our acting career, and waiting for the phone to ring, here’s how you can gear up for post-Covid creative industry: 

#1 Oil Change

It’s probably been a while since you last auditioned, read a script, or put down a self-tape, right? Well, to further extrapolate on this car metaphor, it’s time to change your engine oil. To get back in the saddle, to grease the chain… you get the idea. Here’s my simple, tried and true method for getting better at acting.

1. Put down 1x self-tape per fortnight. (or even 1x per week if you’re feeling ambitious!)

That’s it! The only way to get better at acting is by bloody doing it – so pick a script, it can literally be anything! Make it fun and make it challenging. Get a friend to read for you over Zoom or over the phone, or work on some monologues instead. But the important thing is that you make a commitment to yourself, and you stick to it. I recently decided to put down 1x self-tape per week with a neighbour. We met up every week, put down a scene each, sent them to our agents and uploaded to Vimeo. And we both were shocked at how rusty we felt initially, and also how amazing we felt after 6 weeks of this ritual! If you’re like me, and you struggle with self-confidence – this regular self-taping will be a serious game-changer! So read the rest of this article, and then go put down a tape!

(You can also join our online scene club if you need a kick up the butt/helping hand!)

#2 New Tyres

I don’t know about you guys, but the busier I get, the more time I spend working, and the less time I spend working OUT. Exercise is a huge part of my life, and some weeks I just completely neglect it. But, since Covid, I’ve made a commitment to put my health and wellbeing at the forefront. This will look different for every single one of you – some of you might want to learn how to do a handstand, run 6km every morning, get 6 packs, 8 packs or 10 packs! It’s completely up to you – but I encourage you all to use this downtime to get in shape, and to be healthy. And this includes vocal and physical warm ups. As performers, our bodies are our instruments and they need regular tuning up. Remember those daily voice warm up’s you’ve always wanted to do but never had the time? Well – you’ve really got no excuses now!

Here’s an actor’s workout that will warm up the body, voice and mind!

#3 New Skills

(Yeah, I’ve run out of car metaphors)

There’s a lot that feels like it’s out of our control now, so instead, focus only on what is WITHIN your control. Take this opportunity to learn new skills! I’ll mention a few ideas to get you started…

• Learn to write: this is first on my list for a reason – now, more than ever, actors need to take even more responsibility for their own careers. Pre-Covid you couldn’t just wait for the phone to ring, or your inbox to buzz, and you still can’t. You are creative, and I’m sure you’ve got a story or an idea floating around in that wonderful brain of yours. Put pen to paper, and see what happens. Worst-case scenario? You write a wonderful story.
• Learn to produce: this is 2nd on my list, because once you’ve written a story, you’ll need to learn the skills to bring that script to life. Whether it’s a short film, a play, musical or webseries, I imagine you’d like to share your work with the world! So learn what it takes to produce, and get started. Producing is mostly learning on the job – and in this new pandemic-world, everyone’s making it up as they go! Even if you can’t physically shoot your story until after restrictions ease, you can use this time to prepare, prepare, prepare! My favourite quote: “Time spent in reconnaissance is NEVER wasted.”
  Additional reading: How to Make your Own Work
• Accents! Learn or brush up on your accents! It’s a global industry, and I’m sure you’d all like to work and travel the world at the same time. You’ll need to master a few accents in order to do that! If you haven’t at least nailed the General American and/or Standard Southern British accents, you’d better hop to it! Once you’ve got those two down, you can diversify and start learning those fun accents you’ve always wanted to! For me, it’s Irish. Hehehe

#4 Perfect Your Self-Tapes

These days, pretty much all casting is done via self-tape. And whilst in some areas, restrictions might ease, I can tell you now that self-taping is going to be a huge part of your acting life moving forward in this post-pandemic world. So, you’ll need to get REALLY good at it if you want to succeed. Crinkly sheets, traffic noises and out-of-focus self-tapes are simply not acceptable. It’s a tough industry and actors will not be able to get away with sub-par self-tapes anymore. No matter how great of an actor you are, if your self-tape is blurry, eye lines are all over the place and your dog’s barking in the background – you won’t be booking any jobs. We’ve got a great self-tape guide available here. If you need to invest in new equipment, then that is something to seriously consider. If money is tight, split the cost with friends, or find hacks to achieve professional quality self-tapes for a fraction of the price.

Click here for self-tape equipment guides for both small and larger budgets.

#5 Explore New Content Avenues

Come on creatives, get creative! Don’t give up – how can you continue to create, to produce and to express yourself post-Covid? Think outdoor theatres and performance spaces, interactive experiences, online straight-to-stream content, smartphone filmmaking, social media content, Zoom musicals, Instagram Live etc. etc. Think outside the box now, because the box is gone and we need to reinvent the wheel a bit here. Are you going to sit by, and wait for the world to tell you how you can be creative, or will you forge ahead and find your own path?

Conclusion

So there you have it – some practical ways to help you get prepared for post-Covid-19. The most important thing I’ve learnt from this pandemic is that I can take absolutely nothing for granted. It has made me more ambitious, more grateful, more accepting and I’m also super-ripped now, so there’s that too…

So change those tyres, oil that engine, and do whatever it takes to remain sane and keep creating during the chaos. Be the change that you want to see in the world, and remember that this too shall pass.

The post Maintaining an Acting Career Post-Pandemic appeared first on StageMilk.

Already have a showreel? Here’s why your showreel probably sucks.

Why are showreels so darn important?

Besides your headshot, and perhaps your CV/Resume, a showreel is an actor’s only calling card. To put it simply – you will not get auditions without a showreel. A casting director wants to see your work before they spend 15 minutes with you in their office. Basically, they need to know you can act. So not only is it important to have a showreel full stop, but it’s also important that your showreel is working for you.

How do I make a showreel?

You have three main options here, or you can employ a combination of all three!

Option 1# Showreel Company

There’s some great showreel production companies out there, and… some not so good ones. If you’re going to employ a showreel production company to make your showreel from scratch be prepared to dish out a decent sum of cash – these services aren’t cheap. 99% of the time you’ll end up with really slick looking footage, but the quality of the script, or the other actor will take away from that. It’s a lot of money to spend on something you might not be 100% happy with in the end. So make sure you do a tonne of research on these companies, check out their previous work and be sure that your hard-earned money is going to be worth it.

Option 2# DIY Showreel Production

Your next alternative is grabbing a bunch of filmmaker/actor friends together and getting them to help you out making your own showreel. This will require a lot of proactivity and hard work on your behalf – but it can be done! This means you can work to your own schedule, and your own budget. All you’ll need is a great script, a camera operator, a sound operator and another actor to act with. The camera operator and the audio person will ideally have their own equipment, otherwise you can rent equipment you need from a rental house. Now, because they’re your mates, you can either pay them in beer, or throw them some cash to say thanks.

Option 3# Self Tape Showreel 

And the third option is the good old self-tape showreel. This is by far your cheapest and easiest option. I always recommend actors who are new to the industry, or who are strapped for cash, go with this method. Hit up a local self-tape studio, and mention you’re looking to put down 2 or 3 scenes for a showreel. They’ll know what you need, and you just have to show up! This option is easier, but it means you might need to be more mindful of the scenes you are choosing. Because this option will just be you on the screen, you might choose a scene that’s shorter, faster paced, and with minimal action involved. We don’t want to be seeing millions of props and jumping up and down on screen in a self-tape. We need to be tactical about how we convey meaning, without distracting. But, more on that later…

And of course, you might end up doing a combination of all three of these options! Now that you know which direction you’d like to take with your showreel, here’s what to do next. 

Choosing a Showreel Scene

Scene or Monologue?

There’s nothing wrong with doing a monologue for a showreel, however it’s hard to come by a short, sharp and slick monologue that works on screen. If you’re feeling creative and up to the task, go for it. But if you’re wanting to keep it simple, a showreel scene is a sure thing.

Where to find scenes?

Unfortunately a Google search just doesn’t cut it these days. The showreel scripts you’ll come across on the internet will be likely over-used, old and too recognisable. I encourage you to do some research, AKA are you ready for a fantastic excuse to watch more Netflix? First, make a list of some actors that you admire, and who are of similar look and vibe to you. Are you in your late 20’s, female, brunette, quirky, American and enjoy comedy? Perhaps check out Zoe Deschanel’s work, or Alison Brie. Or are you in your 40’s, male, rough, Aussie and enjoy dark thrillers and drama? Check out some of Ben Mendelsohn’s work, or Guy Pearce. For showreels, we’re going to be playing to our strengths, and in order to do that, you need to know what your strengths are. Ask some mates or your family for help here if you don’t know where to begin defining your “type.” Put together a watch list on IMDB and start watching! Check out film and TV in your favourite genres, with actors in your type range. If you come across a scene that you like, pause it, and scribe out the words. It’s really as simple as that!

Choosing the right scene

Now that you’ve got a list of around 5 or 6 scenes that you like, it’s time to choose the right one for you. Go with your gut here – which scene gets you the most excited, the most fired up? And go with that one. Here are some things to look for: 

• Great dialogue: a showreel scene shouldn’t be too wordy, but it also should have a tiny bit of poetry and flow to the dialogue. It should make you excited to get to say these lines and rehearse this work!
• Strong relationship: whilst hard core break up scenes aren’t encouraged, it’s imperative that the two characters in the scene have some relationship. A scene where someone’s walking into a grocery store, and interacting with the store clerk is largely uninteresting. Unless, perhaps that film was written by Martin McDonagh… Scenes where character’s are meeting for the first time work great,  It’s a fine line, but trust your instincts. What makes your scene interesting to watch?
• Character arc: Ideal showreel scenes also have some arc, even if it’s just a small one. The character should start somewhere, and end somewhere else.
• Context: it’s very hard for an audience to get on board with a scene when they have no clue what is happening. Part of that will come down to your acting, and making your choices nice and clear and the rest will be written on the page. So when you’re reading the scene out loud, try and approach it as if you’ve never heard it before – what questions arise? What is unclear? Are there any confusing elements? Avoid having too many big questions. This is why scenes between characters who are meeting for the first time often work really well – there is no context and we’re okay with that.
• Length: And finally, make sure your scene is not too long. 1 – 1.5 minute scenes are great. You don’t want your overall edited showreel to be more than 3 minutes ideally, so choose some nice short scenes which you can splice together nicely.

Here are some things to avoid: 

• Too much action: for obvious reasons, scenes which involve combat, weapons, stunts and supernatural elements are strong discouraged. Out of context, and with no special effects or music to back you up, you are guaranteed to look a little silly… So please avoid Lord of the Rings and Vampire Diaries.
• Long chunks of text: Make sure both character’s have relatively even amount of dialogue – you don’t want to be left standing on screen listening to the other character for 2 out of the 3 minutes in your showreel.
• Accents: Unless you are looking to do a scene specifically to show off a particular accent you’re working on, always do your showreel in your NATURAL ACCENT.
• Obscure references: some scenes you might want to avoid because they reference a particular event, place or thing that the audience has no idea about. It’s going to make it hard to connect with your character and the situation. Keep it simple.
• Big challenges: If you’re naturally not a comedic person, a showreel is not the place to try and figure out if you have comedy chops. Save that for the classroom. Choose scenes that suit you, and are within your range as it stands right now. If you love romance and drama, and you’re good at it, chances are you’ll nail a romantic/drama scene. Play to your strengths at all times.

You have license to edit!

If you’ve found an amazing scene, but there’s a frustrating reference in there, or not enough context – don’t be afraid to edit! You have creative license here, it’s your showreel. Edit out that reference, or change it to something relevant. Trim some dialogue, or add some more dialogue in for context. But of course, be careful. Some actors are gifted writers and storytellers as well as performers, but writing isn’t everyone’s strong suit. Ask an acting teacher, or a writer friend to help you out if you’re unsure.

Finding a great scene partner

Now you’ve locked in a great scene, you need to find a great scene partner to match! This is your chance to be a casting director, and finally have some say in a casting process! First and foremost, they must be a fantastic actor. You want someone who’s going to push you, and make you work. Also find someone whom you get along with, it makes the whole experience much more enjoyable. And finally make sure they suit the character – in terms of type and age range. If you’re struggling, don’t give up – just keep searching. You might not think it important to find the best scene partner, but trust me, it makes all the difference! If you’re going with Option 3#, and making your own self-tape showreel – then you need to find a great reader – this person should also be a great actor, and definitely not your mother! Even though they’re not on screen, their performance will ultimately feed into and affect yours.

Prepare thoroughly

If you know me, you know I’m a huge advocate of extensive preparation. This applies to filmmaking, auditioning, and of course – showreels. Showreels can sometimes take weeks to plan, prepare, shoot and edit (particularly if you’re shooting your own reel). And that’s absolutely fine! Showreels are important, and important things deserve time and attention. Take the time to really dive deep into your scene work – we have literally tonnes of resources on breaking down scenes, developing characters, objectives, stakes, backstories, and more. So go forth and explore all of those resources to your heart’s content, and then put that work into practice. Whilst I don’t always recommend rehearsing your scene before you shoot, it’s definitely an option. And every actor is different. But to put it simply – just learning your lines is not enough I’m afraid.

Preparation also includes things like accent work, blocking, physical work and vocal work. You want to put all your efforts into this one, and really make it count. It’s important not to rush it, and to enjoy the process. Treat it like you would an acting gig.

Read on if you’re producing your own showreel, otherwise jump to the conclusion…

Post Production

Flow/Editing

Not everyone knows their way around Premiere or Final Cut, so it might be worth getting someone to edit your showreel together for you. Whilst yes, this is an additional cost, iMovie doesn’t quite cut it anymore (literally).

Make sure that your showreel is upbeat, fast-paced and has a nice flow. It shouldn’t feel like a chore to get through, but it also shouldn’t be too fast and confusing to watch. It should have a nice rhythm and flow well, and each individual clip should be roughly similar in length. It’s a bit jarring to have a 15 second clip, and then a 2 minute clip, and then a 30 second clip. Always make sure your best work is first – and if there’s any material you’re not sure about, or feel like didn’t turn out too great, then leave it out altogether. Your showreel is your best work, so you need to be honest with yourself and always make sure you’re putting your best foot forward.

Music? Sometimes. On a case by case basis – sometimes music can really add to the production value and enhance the flow and intrigue of a showreel. So yes, if done well, and no, if it’s distracting and takes away from your performance instead of enhancing it.

We want to avoid montages altogether please! I’ve seen a few crazy showreels which are 5 minute compilations of various acting scenes, TVC’s, presenting jobs and even selfie’s from the past 10 years, underscored by very uninspiring pop music tracks. Please, for the love of Dionysus, no.

Length

No showreel should be longer than 4 minutes. I don’t care if you’re Jennifer Aniston, keep it under 4 minutes. Your sweet spot is around the 2.5 minute mark. And most likely casting directors and agents won’t watch longer than 30 seconds anyways. It’s for this reason, that I always encourage people to find scenes that are no more than 1.5 pages long for their showreels. There’s no point doing a 4 minute scene, you’ll only be able to use 1 minute of it in the edit.

An outside eye

Get a friend, or mentor or an agent (if you have one) to look over your showreel for you, and give you some notes. They’ll be able to give you an objective view of your reel, and help you find the best edit.

Conclusion

A showreel is one of your most important assets as an actor, but at the same time, try not to put too much pressure on yourself, otherwise you’ll never do it. I’ve known actors who’ve told me they “need to update their showreel” for months on end, and they never ended up doing it. Make the commitment to yourself, set a date, and work towards it. There is nothing more daunting than putting yourself out there, and I totally get that. But that’s part of the job of being an actor. Your showreel should be an accurate representation of your talent and comfortability on camera. It should give casting directors, agents, directors, producers etc. a solid idea of who you are as an actor. It’s for this reason that showreels are imperative assets, but remember that it’s not meant to be “perfect”. There is no such thing as a perfect showreel. Aim for a great showreel, aim to do your best, play to your strengths and you’ll be okay.

For affordable showreels in Sydney, click here. 

The post Ultimate Showreel Guide appeared first on StageMilk.

Paradigm Talent Agency

Paradigm Talent Agency is a large agency with branches all across the world – Los Angeles, New York, Monterey, Nashville, Austin, London, Berkeley, Chicago and Toronto. Paradigm provides global representation to a diverse and dynamic roster of artists and content creators across all media channels. With over 140 agents, and over 2,000 clients – Paradigm are one of the largest agencies in the world.
“For the art. For the artist.”

Clients: Frances Conroy | Tom Payne | Rosa Salazar | Molly C. Quinn | Travis Fimmel | Yvonne Strahovski | Kira Kosarin | Holland Roden | Emily Procter | Annet Mahendru |

The Characters Talent Agency

The Characters Talent Agency as branches in both Vancouver and Toronto, representing 1,300+ actors with 28 Talent Agents to look after them. Another big agency, with lots of experience and industry connections. They represent some great working actors such as Tatiana Maslany, Avan Jogia, and Donald Sutherland.

Clients: Laysla De Oliveira | Mena Massoud | Lauren Holly | Avan Jogia | Lindy Booth |Vincenzo Natali | Tatiana Maslany | Donald Sutherland | Tia Carrere | Katharine Isabelle |

Meridian Artists

Based in both LA, and Toronto, Meridian represent 246 artists, managed by 7 agents across both locations. They are an established leader in the representation and management of Actors, Screenwriters, Directors, Authors and Key Creatives.

Clients: Jayne Heitmeyer | Craig Olejnik | Paul Sun-Hyung Lee | Lilah Fitzgerald | Mark Lutz | Lisa Codrington | Amber Goldfarb | John Hemphill | Daniella Evangelista | Stefan Brogren

Talent House

Talent House represent a prominent roster of Theatre/Musical Theatre, Film, Television, Youth, Commercial, Voice Over and Creatives talent, with 7 agents/managers and 300+ actors between them. It appears that Talent House represent a lot of Theatre and Musical Theatre actors.

Clients: Melissa O’Neil | Carlos Valdes | Nicole Power | Bailey De Young | Jennifer Cody |Sydney Meyer | Tessa Mossey | Donna Lynne Champlin | Tonya Pinkins | Karen Holness |

GGA

GGA was founded by Gary Goddard but it now currently run by Pam Winter and Kishwar Iqbal. This boutique agency is well-known as a home for many of Canada’s top actors, writers and directors, including Stephen Amell of CW’s Arrow.

Clients: Annie Murphy | Stephen Amell | Brittany Allen | Eric Johnson | Cara Gee | Raoul Max Trujillo | Luke Kirby | Hannah Emily Anderson | Dani Kind | Noah Reid 

Amanda Rosenthal Talent Agency (ART)

Amanda Rosenthal Talent Agency is a boutique agency representing actors for film, television, theatre, voice, animation and commercials. They have offices in both Toronto and Montreal. Their 4 agents represent 181 actors.

Clients: Martha MacIsaac | Michael Cera | Kaniehtiio Horn | Diego Klattenhoff | Keir Gilchrist | Kelly Kruger | Cindy Sampson | Steve Lund | Andrew W. Walker | 

Fountainhead Talent

Fountainhead represent over 250 actors in Film, TV, Theatre and Voiceover.

Clients: Shay Mitchell | Greta Onieogou | Joe Dinicol | Erik Knudsen | Steve Byers |Heather Doerksen | Ashley Leggat | Katie Lunman | Helena Marie | Melody Johnson

Ambition Talent

Started in July, 2006, by David Ritchie, Ambition represents actors, directors & writers in the Film, Television, Commercial, Voice and Theatre market in North America. They acts as an agency in Canada and double as a management company in the US. The company has just under 100 clients based in Toronto, Vancouver, New York and Los Angeles.

Clients: Melanie Scrofano | Jordana Lajoie | Dominique Provost-Chalkley | Jocelyn Hudon | Jessica Sipos | Eliana Jones | Nick Bateman | Kiana Madeira | 

AMI Artist Management

AMI represent 212 actors for film, television, live theatre, voice-over and animation, with their base location in Toronto.

Clients: Amy Forsyth | Jake Epstein | Ana Golja | Addison Holley | Millie Davis | Spencer Macpherson | Zachary Bennett | Alexander Eling | Christian Martyn | Lola Tash 

Creative Drive Artists

Creative Drive represent some great working actors in Canada and the US, with 125+ actors and 4 agents to manage them.

Clients: Rachel Skarsten | Emily Hampshire | Jessica Paré | Rachel Wilson | Sarah Gadon |Lauren Lee Smith | Anna Hopkins | Charlotte Sullivan | Julia Knope | 

Hero Artists

“Our artists are our Heroes.” A Boutique agency with just 140 actors between 4 staff, Hero Artists have offices in both Toronto and Vancouver.

Clients: Kamilla Kowal | Dennis Andres | Alice Amter | Sheila Shah | Joel Gagne | Lovina Yavari | Stephannie Hawkins | Melissa Cultraro | Keara Graves | Zahra Anderson

Butler Ruston Bell

With 120 clients, and 6 staff, Butler Ruston Bell is a boutique agency based in Toronto with departments devoted to film and television, to commercials and voice, and to theatre.

Clients: Tyler Hynes | Sadie Munroe | Dempsey Bryk | Jefferson Brown | Stefan Brogren |Ana Sani | Johanna Black | Bernard Robichaud | Anjelica Scannura | Jessica Clement

Oldfield Talent Management

Seems like a small dedicated team of 4 agents, managing over 200 actors in Canada.

Clients: Mat Fraser | Kenneth Mitchell | Sitara Hewitt | Jenessa Grant | James Cade |Pat Kelly | Chantal Craig | Ayisha Issa | Andrew Phung | Helena Marie

Ritter Talent Agency

Ritter represent a diverse group of both Union and Non-Union actors that are working in all areas of the industry (Television, Film, Commercials, Theater and Print). 90 actors, with 3 agents.

Clients: Boomer Phillips | Charlie David | Neil Affleck | Chris Gleason | Jennifer Willis |Mihály Szabados | Brian Christopher | Megan Black | Alex Bird | Maya Ritter 

Parent Management

Louise Parent along with Barb Godfrey represent a small group of 60 clients who work in all areas of the entertainment industry in Canada and internationally.

Clients: Michelle Mylett | Lauren Ash | Zoie Palmer | Amanda Brugel | Joshua Close | Kate Corbett | Cory Lee | Inga Cadranel | Lisa Ray | Michael D. Cohen

Integral Artists

5 staff, 160+ actors – including prominent actors in film, television, theatre, and voice over; some of Canada’s leading screenwriters, showrunners, directors and producers. Integral is also a leading firm in the production talent arena representing various key crew members such as line producers, cinematographers, editors, production designers, costume designers, hair and make-up.

Clients: Ali Liebert | Evan Goldberg | Rob Grant | April Mullen | Danishka Esterhazy |Christie Will Wolf | Lanette Ware | Benjamin Ratner | Adam Kane | Marita Grabiak 

Edna Talent Management

With 7 staff, and 162 clients, Edna represent performers in every category, including film, television, theatre, commercials, industrials, animation, and narration. They also have a French-speaking division on their books.

Clients: Tim Rozon | Sasha Roiz | Sarah Power | Amanda Walsh | Geoff Pierson | Carlo Rota | Saamer Usmani | Mara Marini | Paul McGillion | Natalie Lisinska |

Vanderwerff Talent

Established by Mirjam Vanderwerff in 2000, Vanderwerff Talent is one of Toronto’s most respected boutique principal agencies, representing children and young adults.

Clients: Donald MacLean Jr. | Alexa Rose Steele | Devan Cohen | Sophi Knight | Carol Huska | Jason Spevack | Jake Sim | Olivia Presti | Jack Fulton | Lyle Lettau

da Costa Talent Management

Founded by Peter da Costa, da Costa represent over 250 actors in both Vancouver and Toronto.

Clients: Troy James | Sash Striga | Madeline Leon | Ellexis Wejr | Jonny Wexler | Kyle Strauts | Cassandra Naud | Roberto Campanella | Jordan Poole | Menina Fortunato

Bella Agency

2 agents and 110+ actors, with the focus being on people – Bella pride themselves in being “boutique” sized as it allows them to foster real relationships with their clients.

Clients: Shailyn Pierre-Dixon | Hannah Gordon | Kent Boyd | Blair Argust | Dana Christina | Alana Schober | Sandy Duarte | Rachel Boyd | Andrew Anthony | Monica Knox 

The post Toronto Acting Agents appeared first on StageMilk.

1. Start meditating. It is proven that meditation contributes to a more grounded sense of wellbeing. If you’ve only got time for 5 minutes of quiet, then so be it. 5 minutes per day, is better than 1 hour every 3 months.
2. Train for a marathon/triathlon/competition. An actor’s career lacks structure and often we feel like we’re floating and not working towards any definitive goals, because most of it is out of our hands. Signing up for a marathon, or a competition of some kind, is a great way to feel like you’re moving forward and working towards something.
3. Try something new. I’m a big advocate of challenging yourself, stretching yourself and trying new things. Flame throwing? Flamenco? Flute? Why not! One day I tried Horseriding for the first time with my cousins, and I discovered it was the most enjoyable, relaxing and adrenaline pumping activity I had ever done! If I’m ever feeling stressed, now I just jump on the back of a horse and walk around the countryside for a while – you physically CANNOT wipe the smile off my face! You never know what your saving grace activity could be, so why not explore?
4. Assess your diet. You are what you eat! If you’re putting junk into your body, it’s likely you’ll feel like junk too. Cook your own meals – it’s cheaper, and much healthier. I also find cooking to be therapeutic – after a big day, I sip on some Kombucha and chop veggies and enjoy a home-cooked meal. Good food is also essential for energy – if you’re on set from 4am – 6pm, or have 4 auditions in a row, you want to have the energy to not only get through it all, but smash it out the park.
5. Reach out to friends.  We are inherently social beings, so reach out to your circle of friends and spend some time around other creative, inspired people. The best remedy for feeling down, is to surround yourself with people who care, and who can help pull you out of it. (However this does not mean coffee-shop bickering about this actor, and that director. Gossiping helps NO ONE.)
6. Go to the theatre or cinema once a week. Get yourself to the theatre or the cinema as often as possible. Find ways to stay inspired. If I see a great film, I’m riding on a high for about a week after it! You are creative, and you are an artist – nurture that side of yourself.
7. Retreat. Sometimes it’s okay to retreat – to take yourself out of the busy city and the hustle of life, and just take a few days to rejuvenate and revitalise. This could be a structured yoga retreat, silent retreat or meditation retreat. Or it could be renting out a converted shipping container AirBnb for 2 days, turning off your phone, and disconnect from reality for a little bit. If we don’t take time away from the grind, it can wear us down and become unbearable.
8. #TreatYoself. Donna and Tom from Parks and Recreation treat themselves once per month. And I think you should too! Do something for yourself each month that makes your feel warm and fuzzy. It could be anything from buying a new pair of jeans, to watching movies in bed all day on a rainy Sunday. If you separate your ‘treat yoself’ times, from your work times – you’ll find it much easier to focus on the path ahead. If it’s all blurring into one, and you can’t see the light at the end of the tunnel – draw some lines. I’m so busy I have to schedule ‘Treat Yoself’ sessions in my Google Calendar otherwise I won’t do it!
9. Organise your finances. I’m not exactly Wall Street material, I hate organising my finances, in fact I avoid looking at my bank balance as much as possible. But it’s important to put some sort of system in place, so it’s not always on your mind. We’ve got a whole article on budgeting here, check it out!
10. Vision Board. And before you ask, NO – vision boards are not just for teenagers! It’s awesome to visually remind yourself of what you’re working towards and collate images that inspire you. My screensaver is a digital vision board – I look at it first thing in the morning and before I close my laptop at the end of the day. You could also do it on a pinboard, or collage, or in your diary. Whatever works for you.
11. Learn from the best. There’s not much use in taking advice from an actor friend who’s on the verge of giving up, and has lost all their passion for the craft. Learn from the actor’s who are passionate and in love with the work. I find Podcasts a good way to discover and listen to artists, and I often find myself taking note of things that are discussed to add to my vision board for later! Check out the top podcasts for actors and how to consume them here.
12. Write out your goals. Set goals for 1 month, 6 months, 1 year, 3 years and 5 years. Don’t overthink it – they can be ever-changing and you can adjust as you go. It’s important to physically write down what you’re working towards to cement the idea into your mind. Stick them up in your room somewhere you’ll notice them, or stash them in your wallet if you’re a more private person. It’s important to remind yourself why you’re doing this, and what you’re working towards.
13. Declutter. Marie Kondo the s*#t out of your house! Reduce the objects surrounding you that no longer hold purpose for you. Holding onto those old audition scripts? Chuck em in the paper shredder, and let go of the resentment you were holding on to at the same time. When I’m feeling down or frustrated, I just reorganise my wardrobe and take a load to the charity shop. I often feel bogged down by the amount of physical belongings I have, and doing a clean somehow makes everything seem clearer.
14. Sign up for a team sport. Not only does releasing endorphins make you feel less anxious and stressed, but working with a team and being social also leads to a sense of achievement and happiness. Either join a pre-existing team and make some new friends, or make your own team. Sometimes I get so tired of being competitive about acting, and playing a competitive game of Touch Footy is like pressing the reset button.
15. Connect with family. We are busy! But whether family is 200 miles away or just down the road, make sure you make time to connect with family. They are the people who love you unconditionally, and though they can frustrate you to no end, they can also offer lots of support.
16. Ask for help! Whether it’s seeking professional advice from a counsellor or psychologist, or talking to a friend, let someone know if you are struggling. When you genuinely reach out about your struggles you will be amazed by the response. Saying how you feel out loud can be a massive first step.
17. Work on your acting! It’s amazing how many actors I know that are struggling, and it’s simply because they aren’t doing the thing they love. You don’t have to book a feature film to do some acting. Find a monologue or scene, and work on something.
18. Give away something. Ok, this article is already bordering on some self help advice, but this one is massive. I think so many actors struggle because they see themselves as lacking. But actually you have a lot. A lot more than most. Can you give away some books, or clothes, or even better – some time? Volunteer at a charity or with your local community theatre.

The post 18 Ways to be a Happier Actor appeared first on StageMilk.

#1 Overall Objective

“An actor must learn to use emotions, not as an end result, but as a tool to provide the passion to overcome the conflict of the script”

The Overall Objective, refers to what your character wants over the course of the entire script. It gives the script a beginning, middle and an end. All the tools to follow should serve and be in support of the overall objective.

Examples:
‘To find love’
‘To get power’
‘To have a great career’

Whilst there are no right or wrong objectives here, make sure it’s something that ignites a drive or passion in you, and propels you into every scene. Choosing something more passive like, ‘Enjoy this holiday’ – probably won’t bring about many exciting choices for you to play. That being said, during your rehearsals try out a variety of different overall objectives, and find what feels instinctually right.

#2 Scene Objective

“You have to change the other person to ultimately get what you want”

The Scene Objective refers to what your character wants over the course of one particular scene. It cannot negate your overall objective – often it will tie into, or refer back to your overall objective. It should be specific, and informed by the dialogue and activity of the particular scene you’re breaking down.

Examples:
‘To get you to love me’
‘To get you to give me hope’
‘To get you to worship me’

#3 Obstacles

“Winning is only satisfying when there is a possibility of failure. The possibility of failure emanates from obstacles”

Obstacles are the mental, emotional and even physical hurdles that stand in your character’s way, and make it difficult to achieve their objectives (scene and overall)

Obstacles can be internal or external, imagined or real. This could be anything from the weather being too cold, or too hot which makes it hard for you to focus, or could be another character cutting you off or interjecting, or it could be an injury that’s impeding you. Make notes on all the obstacles your character is facing in the scene, and think about how they might inform some choices about your performance.

#4 Substitution

“It’s important to use real people in your acting work because you don’t know how you’ll really behave in front of a person when there’s a lot at risk. You think you do, but you don’t.”

You’ve probably heard of this one before, and you’ll either love it, or it may not work for you. That’s okay – I encourage you to give it a go regardless.

Substitution is the process of endowing the other actor in the scene with characteristics of a person from your real life. Ideally this person best expresses the need in your scene objective – this will really connect you to the other actor you’re working with, and ground your performance in truth. This is a great tool for when you need emotional history between yourself and another character in a scene. Sometimes there isn’t a person in your life who matches up with your scene objective, and that’s okay. Perhaps this particular scene you won’t end up using the substitution technique. Try using something else instead.

#5 Inner Objects

“When we listen, we don’t try to imagine another person’s life, we relate everything we hear to our own world”

Inner Objects are the mental pictures in your head that you see when talking or hearing about a person, place, thing or event. These images can also be based on your Substitution.

This is something a lot of actors overlook – often your character will mention other people, places, things and events – which are entirely made up. And that’s how it comes across. So we need to endow those people, places, things and events – for it to become truthful and connected during performance. It could be as simple as using an image of your actual dog in real life, when talking about your character’s dog. Or using your real life 25th birthday party, in place of your character’s wedding. It’s also good to relate these to your substitution, if using, and your Scene Objective – to tie everything in.

#6 Beats and Actions

“Ask yourself, “What do I want to win (Scene Objective)? And how is the best, most effective way (both verbally and behaviourally) to achieve it (Beats and Actions)?”

You may be familiar with beats and actions already, and there’s a myriad of ways to use them when breaking down a script.

Beats are the different chunks of a scene in which your character pursues a particular tactic in order to achieve your scene objective.

And Actions are like mini objectives, the aforementioned tactics within in a beat, you use to achieve your scene objective.

Sometimes it’s easy to identify where a beat should begin and end in a scene, and at other times – not so much. I encourage you to grab a pencil, and try out multiple versions of breaking down a scene in beats. Get up on the floor, and test it out. Your director will help you with this too.

Within a beat, you might employ Actions such as “woo her” , “intimidate her” , “appeal to her”, “impress her” – as part of your overall objective to ‘get her to love me’.

#7 Moment Before

“A scene doesn’t begin where it begins in a script. There is an assumed or implied event that has occurred to motivate the text.”

The Moment Before is what you will visualise before the beginning of a scene or take which will give you a place to come from (emotionally and physically.) It should be tied to your substitution, and help to ramp up your need to win your scene objective.

It’s a great tool to help launch you into a scene, especially if you’re shooting a film or tv series, where you might be on a soundstage, with 45 crew members and you’re waiting around for 1 hour before they finally call ‘action!’ and you’ve got about 18 seconds to get it together.

It’s up to you what the moment before should entail – it could be a real event from your life with your substitution, or it could be an imaginary event with your substitution. It could involve imagining words they’ve just said, or a place you’ve just come from or a phone call even. It should be something that gives you emotional charge, and plunges you into the scene from a grounded and connected place. As opposed to warming into it half way through the scene.

#8 Place

“Place/Fourth Wall infuses the history of your work, making it not only the event of the script real but where it is happening real, too. It acclimates you.”

Another endowing technique – where you endow the stage, set, audition room, camera or rehearsal space with characteristics of a place from your real life. This should heighten your need to win your scene objective, and also be based on your substitution. It also creates a sense of privacy, history and intimacy. This can be a very powerful tool for connecting you to your objective, and the other actor – it requires an open mind and healthy imagination!

#9 Doings

“Words can lie. Behaviour always tells the truth”

Doings refer to the handling of props to produce behaviour. Doings are essential – they create a sense of unpredictability, and it tells us more about the who-am-I of a character. This doesn’t mean randomly adding doings into every script you pick up, you must honour the text and if there are specific Doings already laid out by the writer – follow them. But there’s no reason why you can’t make it your own. How are you going to pick up that cup? Will you drink straight away? Is it hot? Will you have to blow on it first, and then take a ginger sip? Do you not want to drink, but like the comfort of holding the cup anyway? Whatever you decide, ensure your Doings further your scene objective.

#10 Inner Monologue

“Inner Monologue provides information that the actual dialogue does not – helping you earn the right of future events in the script, which is not often in the written word because it would reveal too much too soon”

Inner Monologue refers to the thoughts you think in your head that you don’t say aloud. These should also be based on your Substitution, and serve the Scene Objective. On your script, mark all the thoughts your character might be having when you are speaking, or when another character is speaking to you. It gives you something to say when there is no dialogue, and can give purpose to moments that might otherwise seem insignificant.

#11 Previous Circumstances

“Your past constructs your present and future, thereby making you a three-dimensional human being.”

Previous Circumstances are the character’s history that makes them who they are today. It is the accumulation of past events that has lead them to this current moment – doing this work is invaluable for informing your Overall Objective and Scene Objective, and help you to get in character by understanding where they’ve come from. Why do they make the choices they make? Why do they say the things they say? Why do they tell the truth, lie or avoid? You can write this out however you like – in first person as a diary, or as a biography of your character from third person.

#12 Let It Go

“Stay open, take risks and work hard.”

Trust all the work you’ve done with the other eleven tools and just let it go. Don’t think about the work or try to remember all the choices you’ve made and all the notes on your script. Simply trust all the information is there and trust that your rehearsal and preparation will allow your feelings and needs to organically come to the surface. Don’t be lazy – there is no such thing as too much rehearsal!

Conclusion

I know. A lot of imagination work here. It’s important to stay in touch with your playful, childlike side – where your imagination lives and thrives. All of these tools are beautiful explained in more depth in Ivana Chubbuck’s book – ‘The Power of the Actor’.

The post A Guide to the Ivana Chubbuck Method appeared first on StageMilk.

What even are budgets?

In order for any of this to work, you’re going to need to open a spreadsheet. You’re creative, so I’m assuming you probably hate spreadsheets and accounting software, BUT it’s the only way to organise your finances. I recommend Xero, Quickbooks, MYOB, or just Excel if you want to go offline.

A budget is comparing your list of income streams, to your list of expenses, and making sure they at least balance out. If your expenses are higher than your income, well you’re in debt, and that’s not a great place to be. What we want to achieve is a nice decent amount of income, with a few expenses which add up to lower than your total income, so you have some room to save for a rainy day / go to LA for pilot season. Now open that spreadsheet.

Income

Let’s do income first. Type in all your streams of income, and how much you make each week. If it’s inconsistent, you can average it out.

Then add up all those streams to see your weekly total income on average. Some weeks might be higher than others, but it’s best to play it safe and underestimate your income overall.

Expenses

Once you’ve done that, move down to expenses. In one column, list all of your expenses – that’s everything from rent to groceries, to petrol, to acting class, to IMDB Pro membership fees. If you get billed monthly for some of these things, just divide by 4x to see your weekly results.

Once you’ve listed everything you can absolutely thing of, add it all up and write your expenses total.

Results

Your expenses are higher than your income:  It happens, I’ve been there. This just means you need to either increase your income, or lower your expenses, or both. Take on a few more hours, ask for a pay rise, or cut back on your spending (groceries is a good place to start).

Your expenses are lower than your income:  This is a good place to operate in. If you were a business, you’d be making profit. So with that extra money, you can either save it, or spend it (I obviously recommend saving most of it, and maybe treating yoself every now and then). I also always encourage you to increase the gap between income and expenses, the more profit, the better. If you save just $40 per week, that’s over $2,000 a year!

So now you’ve got your budget written up in a spreadsheet, print it out and hang it on the back of your bedroom door. Get into the habit of knowing where your money is going week to week. It’s much easier to just know off the top of your head how much you can spend at the supermarket, or how many coffee’s you can get in a day (just one I hope!). That way you won’t get to rent-day, and find you’re short $50!

Here’s a few other budgeting hacks to help you:

Rent to Income ratio

As a general rule, you want your income to be double what you pay in rent. If you pay $250 in rent each week, and earn $500 per week, you’re pretty safe. If you own a car / want to save / are paying off a loan – you’re going to want to earn more than double your rent in order to stay in the clear.

Multiple Bank Accounts

I recommend opening more than one bank account to make it easier to see what’s coming in and what’s going out, what you can spend and what you can’t:

• Everyday spending account: this is where your income will come from, and where you will pay rent and all your other expenses. It will be a busy account, lots of transactions, but at least it’s all in the one place.
• Tax deductibles: this can be a VISA card, or an account with a debit card attached to it. This makes it really easy to see what you’re spending on your acting, and when it comes to tax time, to claim your expenses.
• Emergency savings: make sure you don’t get a card with this one, you don’t want to be able to withdraw money whilst you’re out and about. Money should flow in to this account, but only come out when in an emergency. Such as being unemployed for an unexpected 2 weeks, or car troubles.
• Long-term savings: a second account for savings is never a bad idea. This could be saving for a house, a car, something long-term, where the bank encourages you to add money and discourages you to withdraw. Love a bit of forced savings!

Cash

Cash can become another great tool for budgeting believe it or not. If you do some work where you get payed in cash, such as babysitting, or tips from a hospitality job, I’d put it aside and reserve it for “treating yoself.” Put it away in a box somewhere safe, and then whenever you want to, you can take it out and spend it. Whether that’s on a new pair of shoes, going out for dinner, or seeing some theatre. This simply means that you will always have a bit of money aside to treat yoself, and you won’t ever be tempted to go overboard and spend $500 on a new skateboard – because you will only have a certain amount of cash on you.

Set up automatic transfers

If payday is on a Monday, and rent isn’t due til Friday, it can be all too easy to overspend throughout the week and then get a shock after rent is taken out. Setting up an auto-transfers on payday is a great hack. As soon as I get paid, immediately certain sums of money get moved around to separate accounts – rent gets moved to my expenses account, along with insurance, phone, internet, gym, gas and electricity – all of these are fixed expenses, and I might as well get them out of the way up front. That way whatever’s left in my account, I have for everyday expenses. It means I don’t have to do any maths on the go, I know that all the important things are already taken care of. If you’re saving money each week, set up an auto-transfer of $20/$40/$100 to go to your savings account on a regular basis as well. Because it’s all too easy to spend it while you got it…

If all else fails

If you’re working 40 hrs a week, losing money, and none of these hacks are working for you – get a sugar daddy/mommy.

Conclusion

That’s just about all the hacks I can think of for now, I’ll keep adding to the list as I go. But the important thing is, remember that the path you’ve chosen was never going to be an easy road financially. It’s rough, it’s inconsistent and it’s unstable – but at least we get to do what we love. Good luck!

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The Training Actor

Every actor’s career should begin with training. You simply cannot skip this phase, and yet so many do! We get emails every day from actor’s asking us how they get on “Netflix” – but they haven’t got any foundational acting training behind them, no experience and no agent. Oh and they also live in remote Alaska. It’s tough, but we have to break it to them. If you do not train as an actor, you will not make a career as an actor. Just like if you don’t train as a musician, you won’t make a career as musician. You cannot just pick up a guitar and expect to be The Beatles, and you also cannot pick up a script and expect to be Judi Dench.

I love philosophical rules. My favourite is Malcolm Gladwell’s ’10,000 hour rule’. Gladwell looks at people at the top of their field, and adds up the amount of hours they spent on their craft whilst growing up and training. He found that consistently around 10,000 hours is what is needed to become an expert in any field. A bit less, say around 8,000 hours, and you were “good”. Around 5,000, and you were just “okay”. So how many hours have you spent on your acting?

I loved being a training actor. It was fun, I was encouraged to take risks and try something new, and most of all – I was learning. All day, every day in a classroom. I was the most inspired I’ve ever been, I didn’t have to worry about getting an agent or going to auditions yet, because I was training at full-time drama school. I added up all the hours I spent training in Drama School – it came to around 4,000 hours. After I graduated, I still had 6,000 to go! My point is, get thee to a classroom and never leave. The first phase of an actor’s career is training – but your training should continue throughout your entire career.

The Emerging Actor

This is a great phase. You’ve graduated Drama School, or some other training institution, and have loads of energy and an untapped well of inspiration. You’re eager to get out there and start making your mark on the industry. It’s an incredibly important phase full of first impressions and meetings and new experiences. A lot of actor’s try to skip the Training Phase, and jump right to the Emerging Phase. And to be honest, I’ve never seen it work out.

If you’ve been to Drama School, you’ll graduate and have your showcase. And hopefully, you’ll sign with an Agent off the back of that. If not, you’ll have to submit to agencies yourself. You’ll then need to get headshots, and have a showreel edited together. You are far more likely to sign with an agent if you have solid training under your belt, great headshots and a great showreel. Once you sign with an agent, you’ll receive an influx of auditions. A small amount of buzz will be created around you – you’re fresh, and the industry LOVES fresh. And this is the scary part – first impressions are everything in this phase. Which is also why training is so important! If you’ve got those 4,000 hours behind you, you’re less likely to have a nervous breakdown in your first audition. A few actors book amazing gigs in this phase, and immediately become a paid, working actor. This is the dream! But that doesn’t always happen. All you need to focus on is nailing every audition. This doesn’t mean getting it perfect – but it means leaving a good impression on the casting director. Do some great work, and doesn’t matter if you don’t book the gig – you proved to the Casting Director that they should bring you back in. Use this phase to get into as many rooms as you can, ride your “fresh” momentum and leave good impressions.

The Hustling Actor

Now this is where your momentum might plateau a little bit. And it’s often where a lot of actors go wrong. Instead of working to maintain the momentum, the inspiration – instead they become bitter. They feel they’ve been ‘duped’ by the industry, and spend their time getting drunk, or whingeing at cafe’s to their other actor friends.

This phase is hard, no doubt about it. So either you work through it, or you give up and sink. You’ll need to work for free to build a body of work, you’ll need to continue your training by doing weekly classes and masterclasses, and you’ll need to develop relationships in the industry. Make friends, be positive and work hard. Be a detective, get into make audition rooms as you can, and if you can’t – put down a self-tape and send it to your agent anyway. Keep in touch with your agent, keep game-planning.

Gear up for a long ride – this phase could last years. It’s a lot of hard work, and little to no reward, until…

The Working Actor

Holy Macaroni! You’re in! You book a great job on a local TV series, or in an Indie feature film which travels to some international festivals. Life is great, finally some reward for all that Hustling!

But then the hype dies down again, and you’re back where you began – hustling. A few months go by, you continue to train, you continue to do your research and maybe you even write your own work – you don’t stop, because momentum is everything. And what do you know, you book another job! And so it goes on, peaks and troughs, highs and lows, employed, and then unemployed. This is the life of a working actor.

The Celebrity Actor

Only 1% of you will reach this point. We have millions of actors visit the site each year – so about 10,000 of you. For some, it might take 20 years, for others it might only take 2, and then some will never reach this phase. You’ll each have your own path, so there’s no tried and true advice to give here. All I know is it comes down to hard work (10,000 hours) and luck. So, I guess you better get started…

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