10 Hour Acting Masterclass

1. 10 Hour Acting MASTERCLASS: are you? Where you wanna be today with your acting? Are you coming from a place that you're happy with? The work you put up? Do you like the progress that you're making? Albert Einstein said that his definition of insanity was doing the same thing over and over and over again, expecting a different result. Now, look, I know what it's like to walk on stage. I know what it's like to walk into the audition room. I know what it's like to be on set and to have to be scared to not know if the work you're gonna put up is gonna be any good toe Wonder and mice, they're gonna have a job tomorrow. I wasn't the best actor in the world, but I had something that no other single actor around me had. And that was a workout. And I was able to parlay my own work ethic forward to create better work and to move forward in my own career. And I did that by finding and building my own dream team of mentors. So I had mentors from the best drama schools around the world. I had mentors from Julia, Harvard, Yale, rata a c T. I also got mentors who never went to drama school but were phenomenal actors and my goal. And my job was to find what all the commonalities that they had and they shared. What were the secrets that they used in order to put up great work in order to be phenomenal, amazing, fantastic actors? What was it? And through my diligence of practicing and talking and actually sitting down with them, I was a bit of pot out and find what all their secrets were. What I want for all of you is to allow you to learn from the comfort of your own home and to allow you to work at your own personalized and designed pace. Just perfect for you. This has brought me to create the most affordable and comprehensive 10 hour acting course out there today. There's nothing else like it. I'll tell you this. If I can make a change, if I could get from Point A to Z, so can you. It was Robert Frost who said I took the road less traveled by, and that's what made all the difference. If I never decided to make a change, if I didn't decide to get the world class training that I did to build the dream team that I had. If I didn't get that, I wouldn't be where I am today. I wouldn't be able to sit here and talk to all of you. You want to know why people never make it and get to where they want to go because they get comfortable and complacent where they are at and they choose to stick with what is holding them back. They don't choose to make the conscious change for themselves to move forward. We have some of the best knowledge scattered throughout the world, and I made it my job to find it for acting. I wanted to find the secrets. What was what was it that made all these actors great. What did they have? What were they doing, what with the secrets that they were holding? And it turns out to be much simpler than we all think. Now we just have to see for ourselves. Are we brave enough to take that leap to move forward, to make a change in our career to turn everything around? We brave enough to take that only for our own personal Selves. I'm gonna leave you all with one last quote by Sean Patrick Flanery and he said, Do something today that your future self Well, thank you for 2. Introduction Video: everyone. Congratulations. You have all come. And now you're part of this video course. I wanted to make this because I wanted to put together everything that I wish I wouldn't knew When I was starting out. I want to put everything that I had all the hard work had to go through to get to where I am today. I wish that I have this in the beginning. I wish that I had the things that I know today. I wish that I knew the tricks. I wish that I knew the work that had to be done. I wish I knew the odds of the business when getting into it. There are a lot of aspects and elements that I would have loved to have learned. And I didn't didn't get to I had to go through the struggle. But hopefully, through this course, you won't have to go through that. So I wanted to put together a collection, a collection of videos over 10 hours long. You guys are gonna find Put it all through here So you guys can all learn. You guys can gain the knowledge that I wish I had and that you wish you would know in the next 10 years, cause in the next 10 years, if you happen to find some of this out, you're gonna look back and be like, Oh, my gosh, I wish I knew that. And some things that I'm gonna teach you here you may never learn. You may never have learned in the next 10 2030 years because maybe what's gonna happen is you're gonna be working wrong. Now, I'm gonna try and give a lot of different examples as we go through this course for different ideas and things. So, for example, I'm going to give the example of a basketball player. Your basketball player. You go out to the court every single day, every day and you have your basketball and for four hours straight, you have your ball and you throw it at the pool. You never throw it to the net, but you throw it at the pole. What's gonna happen? You're not gonna get any better. You're gonna be out there. It's gonna be hot, and you're gonna be upset and wondering why in the world and I never able to throw that ball into the basket and that's because you are practicing the wrong way. You're working wrong, and sometimes you need people to be there and guide you to help you. But sometimes the help that we get, we have an acting coach or an acting instructor and their there and they're watching. They're like, Yeah, you're you're throwing it at the poll, people keep throwing it at the pool. They're give you weird ideas. Others say, Hey, you know, instead of throwing it at the pool, just imagine you're going through the hoop and imagine that you are bird flying through the air. The wind is going through your hair and imagine that person that you really hate that you want to beat for the game. So you're a bird imagining that you really hate this person and you're gonna try and not throw it at the pole. There are a lot of actors, instructors who teach that way. I've had to go through many of them, many of them. I've had to go through the process of being very bad at acting, getting worse at acting because of those kind of instructions, and then having to work my way up. You know, one of the great things, I think is because I got to a place where I was so low in my acting that it was really bad that that was actually able to help me and propel me forward. Because if I wasn't that bad, maybe I wouldn't have tried to get as good as am today. Maybe I wouldn't have thought sought out the training that I was able to get. You know, I was able to work with people who went to Harvard. I have my one of my main instructors. It was a Harvard instructor Yell instructor, Juilliard. Rata a C T. These are great, amazing drama schools. If you go on, you have to look up like top 10 drama schools in the world. These are the ones that come up. So I wanted to work with the best. I got tired of saying, Okay, I'm gonna keep going to this class. I'm not doing good, but I'm still going. You know, Einstein's has. This has the same. And it goes something along the lines of If you keep doing the same thing over and over and expecting a different result, that is the definition of insanity. If you keep practicing the same thing over and over. You can't get any better, just like a basketball player constantly throwing the ball at the pole. He's just working on being a bad basketball player. He's never getting any better during the ball in the Net, and sometimes you have to watch what you're working on. Sometimes. Maybe that basketball player needs to work a little bit more on their cardio. Maybe they have to work more in the footwork or handling the ball, though, are different things that you have to do in order to get better. But sometimes instructors don't have a thought out method in order to get an actor good. And a lot of instructors don't care about actors. And those are some of the worst instructors that you can have because there are instructors who just want money. There are instructors who just wanna have their students come in, you know, maybe they tell some jokes that try and say some stuff. Then they leave and they don't make them a better actor, a coach's job. Their job is to make someone a better actor. That is their job. They're hired to make someone better. That should be their entire goal. You know? Maybe what they teach it won't make that person better. Maybe it won't, but it should never be an instructor who's like, Yeah, I just want the money, you know? Come on, come on in. Let's see what happens. You never want to work with an instructor like that. You always have to have an instructor that you can trust. And that's what I was able to get over the years. I was able to find these instructors. So I got my person from a C. T. Then I got this person from Rata that it went to Juilliard, then Yale, then Harvard. I was able to find these instructors and trust me, it wasn't just people who went to drama school, but granted, those are some of the ones that I did seek out. And I thought the Mount because I was thinking to myself, If these people have gone to the best drama schools, they've got amazing training. But these are people who, by the way, they're not. They weren't in drama school when I work for them. They were out of drama school, so they had already been working. They had been on movies before. They've been on television shows they've been in place, so they got the training that they needed from their drama school. And then they tried to go into the real world and apply it, and they got to see what works, what didn't work. And I had to spend long hours with these people sitting down and talking with them and working scenes of monologues and picking their brains and finding everything that they learned and finding what works for them. How did they go about the characters? How did they become so good? What is it that they did? Because these were amazing actors. Phenomenal, and I wanted to learn as much as I could, but I didn't just get people who went to drama school. I also got actors who never went to drama school before. You know, sometimes people call him ST actors, but these are actors who have never gotten drama school, you know, maybe they got out some training somewhere in Hollywood before, but these were some people who are amazing actors, and I wanted to find what was it? What was it that they had that made them great and they didn't have to go and spend a lot of money, go into a drama school and then going out into the real world. How were they able to be so good? What was it that they did? I got to work with this lady who was on Broadway before she never went to drama school. But she was a phenomenal actress, so I got to find all these different people. I got to work with them all, and I got to put it all together into this whole entire course that you're gonna be watching. And I wanted to do this because I know what it's like. Trust me. I know what it's like to not be good because I started from that place is not being good. And then I got poor training that made my acting worse. It was all over acting, trying to force the laugh out of the audience. And it wasn't something that was beneficial. And by the way, the place that I was training that when I was younger, that places Actually, I'm not going to have the name of it. But that place is actually considered a great acting school. There It's considered a school where you get great training. They have a reputation for that. They don't have really a high reputation for maybe people who come out of it. But they do have a high reputation where they are very notable for having good training. But I went there, and from my experience, the training wasn't good at all. So it just depends. You know, sometimes something some trainings considered great, and it may not be. Sometimes it's not. I'm going to give the example through this course. It's gonna be called our refrigerator method and our refrigerator. What it is is we have this imaginary refrigerator and it has a bunch of food inside. Now we can either have food that is good for us or bad for us. So say if you're if there's a person and they're really unhealthy and they're walking around like I don't know why I'm so healthy. I don't know why I have this issue or this issue or this issue, and they're really unhealthy to get, you know, they get up, they walk from their couch to the bathroom and back. And then there really tired. Gosh, and then you look in their fridge and you see that there's a bunch of cake. There's a bunch of ice cream, there's a bunch of candy, and then you realize that, Oh, they're not eating Rick. They're not eating very healthy. So for this refrigerator method, you want to take everything that's in there you want, take everything that's bad out and keep everything that's good in. So if you're going through the refrigerator and you see on your top shelf, you're like, OK, I got some carrots. I got some broccoli your next shelf. Okay, I got Cem breads, celery, some whatever and then the next show. Oh, there's a bunch of mouldy food in there. What would you do as a real person if you actually had? This is a real refrigerator. You have mouldy food. What do you do? Will you pick it up? You throw it up. That's what you would do in real life. That's why I love this example so much because in real life, if you have mouldy food, you pick it up, you throw it out, and that's a little bit kind of what are bad acting it. It's having bad training that was given to us bad ways of working bad habits that we leave in the fridge and we never take it out and throw it away. And that's what we have to do as actors. We have to take everything that's good, Everything. That's good, having enough ridge, everything that doesn't work for us. We throw it up. We don't keep it. We don't give it a name. We don't give it a second thought. You know, if you have food in your refrigerator and it's moldy, you don't think you know should keep it. Should I wait maybe a few days and see what's gonna happen? Maybe it'll get good. No, it doesn't happen if something is bad of its moldy. If it's old in your friends, you pick it up and you throw it up. If you do that in your real life every day, what makes it different when it comes to acting? If you have training, if you've been working somewhere and you're not very good and the training is not working for you, then why do you still work there? Why are you still trying to become a better actor at that place? You know I want you to think about right now. Where you out in your acting? What level are you? Are you horrible? Not so good. Bad, good, really good. Amazing. Where are you on this scale and find How long have you been there for? Why have you been there? Has the training that you've been getting not been working Because if you're constantly working like Einstein would say doing the same thing over and over and expecting a different result, you're never gonna get it. It's not gonna happen. But now let's say you've never done acting before and you want to start Well, hopefully you come from a place where you can get a good basis. You can start from a very good place. That's why I love having actors who have never worked at all before. Because then when they come to me and I get to work with them, I get to say, Okay, we get to start from square one. We get to start from a place of not building bad habits. And that was something I had to break all the bad habits old about having had to break him , and then I had to go through all my instructors and find What was it? What is it that they had that was working? What did they do? What works for me when it comes to acting, I want to put in the least amount of work to get the most out of it. Other actors, though, from training that they've got, they want to get the But I want to put out the most energy and get out the most amount of work. Here's my thing. We've given example real quick if you give. If you put in an energy of seven, you put in an energy of seven year your backstage. You have to go on. This is really big dramatic scene in your backstage, and then you're going to this whole mental physical process. You're tiring yourself out. You know your head. You're thinking of all these horrible things. But block you put out an effort of seven on stage and then you get a result of, say, eight. My job. My goal for my actors when I trained in the approach that I'm going for is to put in an effort of three or four to get that same level of eight or nine or 10 to put in the least amount to get the most out of it. That's the most efficient way. That's what they try to do with even cars Nowadays. They don't try to say, OK, let's see how much gas can we fit in the car? It's saying how how little of gas do we have to use in order to make the car go? That's there going, That's my goal with acting, how can I work but putting the least amount of effort in so I don't have to get, you know, hurt by it mentally or physically or after the show. I can enjoy the rest of my day because I had to go and really experience everything to a degree where I can't just walk away from it. You know, if you're gonna get into acting and you have to experience it and you can't walk away from it at the end, acting can be somewhat of a dangerous thing to get into. It could be something that can be more hurtful for you than something that's fun, because we get into acting because we're trying to play. We're pretending we're having fun. That's the perspective. I like to go. That's what My perspective of my Juilliard, Harvard yell A C T rotter Instructors. That's what they all had. They all had fun with the work. They didn't come off and they were like, Oh, my gosh, I can't I can't talk to you for the rest of the day. I got to get I gotta get going home. They were able to put on the great work on stage, and they were able to walk off and live the rest of their day. And that's kind of the approach that I go for. Put in the least amount, get the most out of it. Um, so how do we do this? Now? I want all of you for this entire course to put your full trust in me, putting your full trust. I don't want you toe have all these different thoughts going on in your head when I'm giving an example. Don't think. Well, what about this? What about this? What about this? Because what happens is is we start to divert from what's actually being talked about. And maybe that question that you would have would get answered if we just paid attention and focused. And now this isn't your fault. Society has kind of created us to be people who try to question a lot of things being like , Wait, what about this? What about this? People who are cynical like Oh, wait, what about this point Weight, but doesn't actually apply to this or this for right now. I want you to drop everything. I want you to really focus, really. Focus in on everything that I'm gonna tell you throughout these videos. Because if you do, if you can focus in on everything, everything I'm giving you, your work can become much stronger. It become convict, come much better. You know, I like to tell a lot of people if you can stick with this, if I can. If I could be with you every single day of the week and I could wake up in the morning with you and I wake you up and say, Hey, we're gonna do this, we're gonna do this And I'm scheduling your day and I'm with you 24 7 Do you think that you're gonna become a better actor? Trust me, you would. And I can't be there with you. 24 7 but I can create this course and this is a close as I can get to helping you guys. But what you have to do for me to help you is you have to drop everything that you've ever learned or known about acting. Forget about it all. Forget about every single thing. Now, this doesn't mean that you can't bring it back because I do have that refrigerator method. And I'm saying, hey, if it's good and it works for you, bring it back, put it in. But right now, we're gonna go and we're gonna take everything out of the fridge and we're going to start putting some stuff in and we're gonna play with this and we're going to see how it works. Does it work for you? Doesn't make you better. Does it help you in the long run? Does this build a longevity for your life or your life being your acting career? Does it help? Does it benefit you? And that's the process that we're gonna be going through now. I'm gonna tell you all this isn't something that's gonna happen overnight. It's not gonna be like, OK, you watch the video and then the next day you're amazing and you're good. I'm sorry. If that's the course that he tried to get, That's not gonna happen and want to tell you why. Because if you wanted to go and be an amazing basketball player yeah, okay. I want to do best. That's my thing. And you get a coach and you guys work. One day, it's, Let's say you guys work for five hours straight. You put a good hard lesson and work into that to that day, and then you go to sleep, you wake up and you're pumped. Okay? Had a good had a good session yesterday. Let me go to the basketball court today. You get your basketball, you start shooting the ball and you're missing. Every single one is not something that's gonna happen overnight. You have to work in practice in order to get better. Einstein. He was very smart, but he didn't just wake up and was instantly I know everything that I know. He had to still study everything he had to study in order to get smarter, to build new ideas, to build concepts, to build theories. He had to study a basketball player. They have to work every single day. Kobe Bryant, Do you think he just I went to sleep, woke up one day and was great? No, he had to work at it. If you want to be a concert pianist, you have to make sure you put in the hours the practice every single day. Music is an art. You have to work at it. You have to practice. You want to become the best. You got to really put in the time really put in the effort. If you don't, then you're not gonna get as good as you want to get. There's people who practice once a week. There are people who practice five days a week. The people who practice five days a week get a lot better than the one who practice one who practices for one day. You know, as long as they're practicing the right way, is not the example of throwing the ball at the pool there, still throwing it, Yemen that. But they get way better because they put in the time they put in the work. So I want you guys to do this for May. You're gonna You guys are gonna watch. Hopefully one video a day. That's my goal for you guys. I say there's hopefully because sometimes people get really excited. No, no, no. I gotta I gotta watch all of them at once When I can do that in the future. For now, I want you to watch one a day, and I want you to apply everything that you learn. So, for example, you go your like day one. Okay. I learned as much. I've learned from the video. It tells me to do this. Okay, That's what you're gonna work on throughout your whole day. Then day two, you get the next video. Then you work on what's in that video. How to apply it into your day and you work on the previous video. So you're having two things. And then on the third day, then you have three. So what they say, scientists have said something about there's different different ideas for this. But they say it takes about 30 days, 30 days in order to build. And you have it in order to break habit that you have. So if we want to build a habit of being good actors then we have to spend at least 30 days on it. If we want to break a habit, we have to spend at least 30 days. I want to give us a little bit more time and go with another study that said, It takes about 60 days, and if you can work every single day for 60 days and you're really focusing on acting, think about this for a minute. If you really focus on and it doesn't have to be acting, it could be anything it could say. You want to be good at basketball. Well, if you work on it for 60 days and you really put in the time you really putting the effort , will you get better? Most people, if not everyone, would say, Yeah, of course I get better. It's gonna be the same for acting like I said, It's not something that you sleep on and then you wake up in your amazing that this is something that takes time. It takes effort. It's just like music. You have to actually work with it when it comes to acting. People like to say, Oh no, I don't have to do everything I have to do to get better on AC, and I don't have to work on it all the time I can. It's just something that I try and I want you guys to start thinking of acting as being more of something that is treated more like a sport or more like a business. It's something that you have to work at every single day. It's not just good. You have to work at it. You have to develop it. You can't be lazy. If you're lazy actor, then that's another reason to leave the course. If you're lazy, don't be here. I want people who are willing to work who are dedicated and who want to become better. But if you're lazy, you're never gonna be able to improve never. So make sure that you start with a blank slate. You get rid of everything everything, and that will help you start to learn more of what's gonna be incorporated within these videos, and you're gonna find different concepts and ideas that will be able to sink in more with yourself. The next thing I'm gonna want you guys to do is make sure that you write everything out, get your pen right out everything. Write it all and highlight the points. That really makes sense to you. The reason I'm having you do the writing parts because this is something I learned from my Harvard instructor and it was a pain in the beginning. Some like it really After write all this down. I have to write this. I have to highlight this, but it does help you remember more, and it helps you understand more concepts. And if we're going through this course and we really want to put in the time in the work to become better if you're really dedicated to becoming better, if you truly do want to become a better actor, then you have to make sure. Okay, you're gonna put in the time and work that you have to sew, right? Everything that you need to down and highlight those points that make sense to in this course and when they would be working at a very high level. So I'm gonna be working on a level with you guys that my instructors would have worked out with me. I'm gonna work at you at the top level. The very, very top I'm gonna work like as if you were gonna be one of the biggest movies. Uran Oscar movie. I'm gonna work with you on that level because even if you don't make it to be in an Oscar movie, well, at least if you're working at that level Hey, if you want to be in a really big play you can or a TV show or movie that's not maybe an Oscar movie, but it's still a great movie. If you can apply these concepts and these ideas that really work at them, it will make you a lot stronger than after last late again. I want to say thank you all for being a part of this course. It makes me so happy just to know that there are actors out there who are really trying to get better, who are trying to learn who are really wanting to do something else to not just say OK, I'm gonna settle where I am with my craft. They really want to go and get to another place, become better, so just thank you all for May. It lets me know that there are still actors out there who want to do good work. So I'll see you guys all in the next video. Remember? Start from a blank slate. We have that refrigerator, we're going to start putting stuff in everything in there. But you had before it's out. We can bring stuff back later on as we go through. But right now it's all up. Once you finish the course, if you want to bring some stuff back, you can. But just wait and see what you get first see what we put in and see how it works for you. And then if you say, hey, you know, all this is great. And now I can throw back in my, um, broccoli by broccoli before was working great for me. I'll put it in. But I have some celery and cabbage and all this other stuff toe have with it, and that'll help. And that will be beneficial for all of you. So again, thank you all makes me happy. And I want to make you guys happy going through this course. So I'll see you guys in the next video by guys 3. Video #2 Believability: thank you for tuning in and staying productive. So today, what we're gonna be talking about is believability. Now, believability is something that we all want. Everyone wants it. The actor just starting out wants to be believable as well as the actor who's in an Oscar winning movie. That's what we're all striving for. Now remember, this video in the next few that you're gonna be watching is to help you get the foundation . If you had a treehouse, an imaginary metaphorical tree house and you could put anything you want inside of it, you could have a game room. You could have a bowling alley. You could have your sports car inside a swimming pool, a basketball court, anything you want. You could put it inside, but now, if you have this great, big awesome treehouse, but it has no roots, what's gonna happen to the tree? Bloom is gonna fall. It's gonna plummet to the ground. The other example I gave was how we have our refrigerators. We have our first shelf, second shelf and third shelf, and on one of our shelves we see there's a bunch of mouldy food. We're gonna try and throw away everything. All the bad stuff. So for these next few videos kind of start to just forget everything that you already know everything that you already know from your training in all of this stuff. Whatever you have, start to forget it and start to pay attention to what's gonna be within these next few videos. Now, of course, I'm not saying don't bring him back. You can bring him back when you want. But for right now, for the purpose of moving forward in understanding everything and getting all the concept down, Let's come from a point of being completely blank listening and trying to follow along so we can stay on top of everything that we're doing. So for believability, how can we be believable? Something that I like to think about is how our personalities that we already have not trying to act, not trying to change anything are already pretty darn perfect. Yeah, sure, There might be some things about yourself that you're like, you know, I would like to change this where I want to change this. Who cares? What you have right now is what you have, right? That's the first thing. Except that whatever you got, that's what you have. And it's OK. It's not bad. You have some things that I don't have. I have some things that you don't have and, you know, our neighbors across the street have something that we both don't have. So that's all right. I just realized that world different were all unique people. And we all have something to offer now in our everyday situation. Right? If we had to have a scene and I said, Here's your scene. I want you to take it. I want you to go to that Starbucks person. Um, within the scene here. So you have your actress, and it's saying, Go to the Starbucks person Say, Hey, can I have a cup of coffee? Um, and you know, did you see that car out there? Looks it looks really cool. Um, say that right? Poorly written script right there that I just made it with 30 seconds. But let's say that's it. So you go up, you say, Hey, how you doing? Um, and you let's say you know, our I order the hot chocolate. And did you see that that car out there right? Poorly written script whatever. But now say if you went into an actual Starbucks in your real life and let's imagine you were going to say this right, No script, nothing. I didn't say I'm not your director. I never came up to you and said anything. This is just you living your everyday life and you just happen to go into a Starbucks to kit some hot chocolate. So naturally you would just walk in there and you'd say, I haven't going. I'm here to order a hot chocolate And then, you know, maybe if you see a car catches your eye and you said, Well, did you see that car? Maybe it looked like like the biggest, baddest car you ever seen, who knows? But that would be believable. What you say, what you put out into the world of that room and Starbucks. It would be very believable because it's just natural you're going up there and you're saying this is what I want. You're not trying to do anything to it, which you don't really have to a lot of actors. What they try to do is they try to make things bigger. They try to show a lot But really, you don't have to do anything now. Don't get this confused. I hesitate to say you don't have to do anything cause then you know you get people who just stand there and they don't have anything going on. But you, uh, you really don't have to do as much as you think Robert De Niro said this before, and he said, You don't have to do anything. You don't have to do nothing. You don't have to do anything. You just keep it simple, keep it, keep it light and I won't even use the word keeping it small because sometimes when that word is used, people tend to think Okay, all not used my regular natural personality at all and all just go really small. When people say go small and third, you're saying small using, you know, really being really using your everyday personality. But a lot of times people go really small instead of saying hi, how are you? It could be something that's like, Hi, how are you? You know, it's just it's a weird thing that people that people mix up with wording sometimes, which is one thing that acting classes don't necessarily, always do. They don't give you a full, better description on what some of the meaning of their terminology is. But anyways, on to the point that I'm trying to make when you have the now a scene and you're in a class or let's say you know you're on a movie set, can you have the same scene? Starbucks saying they hand you the script and then you have it, and then you say, Oh, OK, got it, Got it, Got it. So there, go in there and they might be like, Hey, how are you? They'll have the room, huh? I'll have ah have the hot hot chocolate. Yeah. Great. Hey, did you see that car out there? That's what happens a lot. They're still trying to show you everything the tryingto overactive. So the first thing was, they came and they said, Hi, how are you? The voice was kind of weird. It's just like it's like, boom, throwing it at you, which we don't tend to usually do in our everyday lives. And then, um what was the next thing I did? I did the hot chocolate right. And I said, Oh, and then I'm looking up and I'm trying to choose my car. What do you do? How many times do you go into Starbucks and you see people doing the video? If they want a hot chocolate, usually what's just gonna happen is they're gonna come in and say hi, how are you? But whatever common courtesy and then ask for their hot chocolate, they're not gonna go home. And I want you could have added some nail biting in there. You know, whatever. It's trying over Axel, the audience viewing this is like, Oh, look it. He's thinking the audience isn't stupid. The audience isn't dump their when they see it there, they're gonna know, like something something's up. Something's not feeling right. If they don't right away. Say he's being fake, they're just gonna physically feel that something is just not right. Just rubbed him the wrong way. And then there's the whole thing with the car where I did, I think it didn't like a double take or something I would Oh, hey, did she? Did you see that car out there? It's just that was over acting it, and that's what a lot of actors do, though that's the problem in a way that was good for you, because you realize that there are a lot of actors out there who some. There's something. There's actors out there who are good, but there's a lot of actors who aren't and that are just like this. What I showed you trying to show everything that's going on. So in a way, it should make you a little more positive about your career because you can say, OK, well, you know, I can at least be better than that. And if you're better than that, well, hey, you get better chances than they get But that's just one. That's just an example of how once a script gets involved. Once once of directors involved or we know we put pressure on ourselves. That's when all of a sudden the believability that we would have gone into a regular Starbucks leaves and we don't have it. We put too much pressure on ourselves. One of the first things to start to realize is to get rid of that pressure. We're gonna talk more about it in one of the future videos coming up here, but you really you really want to try and avoid the pressure as much as you can and just think about it not as being a scene or trying to impress your director or anybody but really just sitting there and thinking, OK, all I'm doing in this scene is going asking for, uh, hot chocolate and then saying, Did you see that car over there? That's all that's being asked And if you could do it and you're really and you're believable, that becomes interesting. It's so much more interesting. Toe watch someone do something as simple as that and be believable compared to having them be like, Oh, I voted. Oh, what? Whoa ho! Did you see that car over there? So much better to just be in their urine. Hot chocolate. Great. Only see the car over that. You know you don't have to overact anything at all. And that's one of the problems that people have. It's the whole overacting factor, and now people might say, Well, well, how do I What if I want to go in and make it interesting or do something with this? Don't worry, We're gonna get into that as well, but just focus on some of the beginning things is, if you're having those thoughts pop up right now, what about this? What about this? What about this? Get rid of them, get rid of him and focus on what's actually being said. Now what's being said now is you have to just be believable. And what I'm saying is don't overact. Just think. How would you do it in your regular everyday life? And bring that Teoh to the table? That's the first thing. Just focus on that. And if you if after this video you go in you and you try to implement any of this you don't want Teoh, you don't want to be thinking. Oh, what about this? Or how does it apply to this, or how does it apply to this? Start asking those questions later on. Right now. Just get used to the first bit that I'm saying and start to realize this is now part of your homework part start to realize what you do in your everyday life, you have to start to become aware of what you're doing, how you're interacting with the world. So, for example, if I was at Starbucks, right, these Starbucks is a big example Apparently, if I'm there and I'm gonna and I'm in line, I might actually just be in line. And just for a quick second, realized like, Oh, what am I What am I doing right now? How my standing in line. What am I looking at? What am I doing? Or if I go and I talk with, um if I go on a chat with someone, I might just think about Oh, how what am I doing right now? How my trotting with them and my leaning discern it weighs my body weight? Doing this is how you know, I'm excited to talk with them. I know, excited to talk with them what is going on. And I start to realize what I'm actually doing in the moment, becoming more self aware of my own self because you have to realize yourself is your instrument. What you bring to the table is what your instrument is bringing, and your instrument has been carved and fine tuned throughout, however old you are. So if you're 30 years old, then for 30 years you've been developing to the person that you are today 20 years old, 20 years. If you're 40 years old. 40 years you've been spending all that time developing who you are not maybe consciously all the time, but subconsciously. And you've learned things and you gained things. And that makes you an interesting person in yourself because you have elements to yourself that are completely different than May. And I have elements that are different as well. And we can bring that to the table as long as were Riel. That's why a lot of my work when it's put up, people like it. It's because I can bring myself to the table. I'm not trying to pretend or force anything or show the audience. They don't look at me. I'm doing all this cool stuff that I'm thinking about. I just keep it all simple and I keep it real. So start paying attention every day. What do you do when you wake up in the morning? Do you? Ah, Do you? How do you get out of bed? You know, how do you brush your teeth? What do you do? I mean, don't go overboard and think every moment of your life like Okay, what? I'm I What am I doing now? Okay. How am I doing this? What? What's going on? One of my doing. You don't have to do that. You know. Still be logical. Live your life. But in moments try to realize Oh, what am I doing right now? How am I reacting right now? How am I having a conversation with this person right now? Conversation a little bit is more important because you're having dialogue. Um, And when you're talking with someone or if you're having to talk for a long time, just think. What am I doing right now? How How my interacting with this person? Um, sometimes you can even wash the person you're talking with, and you can see you're like, Oh, that's interesting how they responded or okay. They When they talk, they they lean to their left side. How would it be if I talked and I lied to my left side? You know, you may not, you know, act like them, but maybe some mannerism that they have. Maybe you copy that. You're like, Oh, wow, that's really interesting. Um, but you have to just start first, being aware of yourself, start being aware of what's going on in your life. What are you doing? How are you interacting with people? And once you start doing that, you're gonna start realizing once you get a script in front of you and your acting, if you overact it, your start to notice it. So if you if you start paying attention to, for example, when you get your coffee it wherever it is, um and you say hi, I'd like to, you know, get 11 coffee, whatever. And you get a script and it has the same lines. And you're like, you go up there and you like, Hi, I'd like to get ah, 11 coffee. Well, then you're gonna start to realize you're gonna pick up on it and like, Whoa, hang on a minute. That there didn't sound right that sounded, you know, fake, which is great in a way, because you're starting to realize Okay, Whoa. I just added something that wasn't really at that point. It wasn't natural from it wasn't coming out naturally. And this is kind of working on, you know, working with your instincts. Still, your instincts of doing whatever you're doing in your everyday life and just taking note of it and realizing what you're doing, and this will help you a lot If you need Teoh, just use your phone as well. Pick up your phone and set alarms throughout your day and, you know, settle him. Start your day. When you when it's OK. When you know if you're at work or you're at school or whatever you're doing, don't send an alarm. Then if you're at an audition, definitely don't have a lot of co off and be like, Oh, well, I I was going through this course and they said to set an alarm when I said it for my audition time. You know, don't don't do that, but set times for when it will go off and you realize like, Oh, okay. And then you go and you turn your alarm often realize, oh, how did I turn my alarm off? What did I do to turn? Turn it off? Was that quick about it? Was I fast? Did I go and use both my hands to use one hand? What did you do in that moment? And that's kind of a way to keep you honest and a way for you to kind of keep on track and fall. Follow along with what you're doing. You have to start realizing that, um, and then when you have your characters, your start to realize that when you're doing a character, it's just a different version of yourself. That's all it is. Make acting simple. Don't think about anything else. Don't have your thoughts Come. Just keep the idea in your head that when you are doing a character, any character, it is just a different version of yourself. I don't have any other thoughts. Come on. Don't think of anything else that you've heard before. I realized that when you are doing a character right, it's just a different version of yourself. That's it. Don't overcomplicate it. Don't think of a ton of other things. Follow along with the course. Stay open minded. Write it down one last time. A character is just a different version of yourself, all right, I've said that about, I think, three times now. They say it takes three times for people to actually hear what's being said. So remember that it's a very important concept to get, because this applies into that when you are realizing what you're doing in your everyday life paying attention to how you interact with the world That is gonna help you realize what it is to be really what it is to be natural, what it is to be in the moment and realize what you're doing. You're paying attention to that, because in the long run, you're gonna start being able to add it into your scenes or your monologue or whatever it is. You know, someone may give you give you a scene and you have to go Teoh, a car salesman. And you have to say, Hey, I need to buy a car from you. Do you have anything in Brett? Whatever. Well, you know that. OK, well, you have to do is go and be believable. So you go. You go up there and you say, you know Hi. How's it going? I'm looking for a red card. You guys have anything in stock? Don't You don't have to do anything complicated jobs ago like Well, hey, Well, what's up, man? Do you, uh, city of ah, red red card in stock? Like it's just weird. I mean, hey, maybe in some in some random world, like some weird comedy you could do that you know, and that that's gonna be a video where we talk about the world that you're in. But for the most part, you just gotta focus on being believable. And once that, it'll be really easy to start shifting to other things. One last point that I want to make here, and it's an important concept is that we as actors recreate private moments in life. Ultimately, that's what we're doing, and that's what people really enjoy when they watch something. It's about having those moments that nobody else gets to see, and we re create them for an audience. So even a dinner table scene in real life, if people are actually eating dinner and it's say it's a quiet dinner, no one's talking. You put that on screen, and it's riel that is very compelling to watch because you're seeing everyone has their own stories going on. Maybe the dads there he's eating and you know, it looks like he's in thought about something. Maybe the mom. She's kind of looking at them thinking, Well, why are we so, so quiet? Maybe you have a kid who's then he's on his phone. Doesn't even care. You could tell a whole story with that, and all it is is just about having a moment in life being recreated. And that's what we're doing throughout all our work and all our scenes, the believability that we bring into a scene. We're bringing that believability because we're creating those private moments in life. If you are faking a scene that private moment in life, we don't we no longer get. We get it when it's believable, because we're compelled and we're in it and we believe it's actually happening. But when you break, when you break that and you're like but are overacting or doing all this stuff where it's not riel? We watched that, and we are no longer in a private moment. We're just watching people on a screen act, but we love being in those private moments. We all relish that, and that's what we're creating as actors were creating those private moments and we get toe watch that and when it's good, it's really, really good. So recap Um, we have character characters are just different versions of ourself. That's all it is. Characters or different versions of ourselves don't make it complicated. That's all it is, then we're working on the believability part. So in order to be believable, what we have to realize that our own Selves are perfect, we're believable every single day in our lives. It's just when we have to go and we do a scene that all of a sudden, for some reason, we stopped becoming believable. Start realizing and paying attention consciously, not subconsciously but consciously to what you're doing in your everyday life. How do you go in and how do you walk across the room? How do you interact with this person? How do you interact with your doctor with your parent with your friend? With whoever. How are you interacting with these people with dialogue, especially how what's going on? How are you leaning? What are you doing? And you start to realize what you're doing. That's riel, so you're paying attention to the moments in life when their riel. So then, when you have to go and you get a scene, you already realize what it's like to be real, cause you're paying attention to what's happening every day in your life. In the third point is realizing that we actors are creating private moments for the audience to see And a private moment is moments that are believable and real If we break that believability all of a sudden the moments are no longer private and we're lost But if we see it and you're believable and we're in those private moments we're gonna be very compelled to see whatever it is the people on screen Dio So write all this down. Do it. Apply it today. Start today Don't think OK, I'm going to apply it tomorrow. Start today. You can easily start finding what you're doing right now. What are you doing while you're watching this? How are you sitting? What are you doing? Start paying attention to those things. Whatever you do, if you call a friend up later realize How are you talking to that friend? You excited when you talk to him? Or is this a friendly like? Yeah. Hey, what's up, man? All right. Yeah. Cool. Or you someone who like you when you call it me like Hey, what's up? You like? Oh, that's awesome. And you're actually having a conversation with them? Start to realize that. So congratulations, all of you for staying through listening writing all this down. I'll see you in the next video again. My suggestion is to watch the next video tomorrow. That is my suggestion to you. There's gonna be some people who don't listen to their like I got to go through it quick so I can get through. You can do it, but you're gonna learn so much more is if you go through a day by day by day. Have a great day, everybody. Thank you. And we'll see you all in the next video, but by 4. Video #3 Unpredictability: Now we're gonna be talking about unpredictability. Eso again Make sure that you all have your pen and paper so you can write this down. And so nothing. It's confusing and you can keep everything in order and your thoughts in process. So for unpredictability first, what is that? Unpredictability is the thing that makes the work very interesting and compelling toe watch . First, you have to have believability and remember these air, the roots and foundations that we have to build upon. So everything is gonna be very important to make sure that we have in these next few steps . So being believable we have to have, we also are gonna have to have unpredictability now unpredictability, usually the people who are using this or of the big time actors. So if you're watching Oscar movies or Oscar nominated actors or one actors, they're going to see that a lot of them or using this, the work that is predictable, maybe good and believable that you're watching. But it's if it's predictable. Sometimes the work maybe is considered flat. You might hear that term, people might say, Oh, I don't know. It was kind of flat, and people don't always know what they mean when they say that, but usually by saying it's flat, it's not saying that the work wasn't believable. It's just saying that there wasn't any dynamic and there wasn't that unpredictability, unpredictability. It's kind of like the way to win the game. So if we think for a minute of acting as being a game and in order to win, you have to get that thing in there that's unpredictable. That's the way to win. And if we think about our every day life and what we have with unpredictability, let's think about sports real quick. The boxers, what boxers air going and they're going in there fighting each other and they're throwing their punches. It's the punch that's unpredictable that allows them toe win the match because if they know the punches coming, if they're predicting that the punch is gonna come, well, then they can easily dodge it. Punches coming. Aiken duck. I compare e. I can move back. I could do a ton of different things. Someone's gonna punch. I see the punch coming. Whoa! Well, then I'll try and counter punch first before they get me that. If it's predictable, then you can't win. But the unpredictable punch is the one that goes, and it knocks the other fighter out. Same with sports. If you're playing. Ah, if your plane say baseball, the ball is coming at you, you swing, you hit the ball great. But if you don't know where the ball is coming and it comes, you can miss that ball. Its unpredictability that wins the match is so with acting. It's the same thing. It's the unpredictability that allows us to move forward and do well. And that's why so many actors love good writing, good riding, good scripts. Because if you have good writing and you have good scripts, it's so easy to have the unpredictability be there because in the riding, it's already written in for you. But that's where a lot of people sometimes get confused about when they pick their scripts in the work. It's because some scripts you have to work harder to put in the unpredictability. It's already right out for you. It's already there, all the words on the page. You really don't have to do much at all. But when the writing is not very good, that's when you have to try and work the unpredictability in there yourself and your know that if you've done a lot of auditioning that there are a lot of scripts that are not very good, there are some that are great, wonderful scripts. But there are a lot of scripts that are not good, not solid. They don't have a great foundation it off. So we have to find how we can work through it and how we can try and portray our best work and still have that unpredictability in there. So there is this actor Paul Newman. He got he started any big about in the fifties or so. This is an actor that a lot of people should look up to. He's done a lot of work. He's been in Butch Cassidy and the Sundance Kid. He's been in Hustler. He's been in Cat on a hot Tin roof. Or you may know him if you know the car, Disney's car movies. He was docked cuts and he was the voice. So he's done a lot of work, but he's also had his own. I think it's like a food company or something that he does, um, where all the money that it makes. He gives all that money off the charity. So I think, you know, last year, he the company that he had had gave away, I think in total of 485 million altogether. So he all that has been able to go to charity. So he's an actor that you should aspire to, because he not only puts up good work, but he also helps the world in the process of everything that he does. But the reason I bring him up is because he is an example of someone who has used unpredictability before. And unpredictability, by the way, doesn't have to be something that super Bic. It can be something that could be something that small and very simple. So one example that he did is there was this scene. I forget the movie and he was there, and he anything. His character is that kind of drunk and, you know, he drink his beer bottle. And then there was one of those, um, there was one of those, uh, pay machines that you have to pay. You know, you park your car, you put your coins in, and then it has the meter, the little the meters and he drank his drink. Then you walked up to the meter. He stopped there for a little bit and then just went down, give it a little kiss and then walked off. And that right there, that seem. And you might be thinking, Oh, well, what? He just kissed it. That's it. But that scene is so much more interesting than if he just drink his bottle and walked off . It adds another layer to the scene, and it's just a very small point. And you can put a bunch of those little unpredictable things throughout your movie or throughout your play or throughout your season. If you're on a television show, you can scatter it throughout, and then you can have those big moments where you have those hi arcs of unpredictability that you put within the work. But you have to find How do you get the unpredictability in there? Something you wanna watch for, though, is don't get so used to say no. Okay, well, Paul Newman, he's a great actor in this scene. He just, you know, kissed the meter real quick and walked off. Well, I'm going to do that. And they say, and you start kissing everything. That's not what I'm saying at all. You don't. You don't wanna be known in Hollywood as the actor who will kiss whatever. Um, so so you want to be careful that you don't overdo it too much? Because if you are, for example, having that be something that you're doing in the scene, well, you don't want maybe every scene to be something, you know, that you're kissing everything you're gonna have different things that are unpredictable, that are not always the same. Um, and that's something that you want to try and see if you can add in. But you don't want to just do something unpredictable to make it unpredictable. I mean, it has to still flow and work within the moment of the scene. So in that moment, he was kind of drunk, and he went, and it's like, Okay, weakened by that. But now let's say that, um, your character is, um, on a date right on the day. And this is supposed to be a movie. It's a dramatic movie, right? Your character, He's on a date. They're walking there at the park and then all of a sudden he runs off and kisses the swing set and then runs back and starts talking with this girl. Well, that if I'm watching, it would be very unpredictable. I wouldn't expect it at all or if he's there, and then he just dropped to the ground, starts doing the worm. I wouldn't expect it, but it wouldn't be good. That would just be something where that would be stupid. Really? You'd be watching it. And you'd be thinking Why? Whoa, Why did what's happening? Why is this happening? Um, you know, if the script in no way calls for that all of a sudden, just put in. Don't put something unpredictable and just to put it in. But if it works within the scene and it works within the moment, then sure, then you can put it in. But don't just say, OK, I want to just be unpredictable. So I'm just gonna it's do something random, not saying to do anything random. Don't do random things be unpredictable, but within the scene don't just think. OK, well, I have to do something unpredictable. So ought to do something random. You have to still live in the world that you are in. But now let's say you're shooting a comedy movie, and in this movie, your character has random moments of dance. FAZ ums, right? Whatever comedy this is, there's been so many movies out there that this could literally one day be a movie, a character who's dance, spasm if it hasn't already been created. And this character, let's say he just randomly, he just has to do some kind of dance move. So then, while they're walking at the park, all of a sudden he drops to the ground, starts doing the worm. Okay, that one you can buy more, you can say OK, in the world of what we're watching, I realized that this character has this issue and then that's why this is happening. And it works in that in that scene. But if it's not supposed, Teoh have that at all. It's not, you know, within the script or in the world that your characters in of being some random crazy, you know, have to dance guy. Well, then you don't want to put that in because it's just going to seem very random. We're not trying to be random. We're just trying to be unpredictable because remember, the unpredictable person can win the game playing tennis. It's the ball that you hit and that we don't predict going into position, that it is that we miss. If we predicted, then we know for playing chess. It's the unpredictable moves that beat us. If we know Oh, this person moved his Pontier. I see what they're trying to do with that bishop there. Then we know. Then it's not. Then, you know, it's not fun. We know we're gonna win. But when it's unpredictable and you see it happening, Van, it's super compelling. Storylines love to do this to like the rocky movies in Iraqi. It's very unpredictable. You have this person who's the underdog, who he doesn't, you know. He doesn't think he's gonna ever go anywhere. And then all of a sudden he gets the chance to fight one of the best boxers you know in the world at that time, and then he trains and he prepares and then he goes and fights, and then when he goes and fights, he does very well. He doesn't he doesn't get beat down every time he gets hit he comes back in again, he comes back and again. It's the underdog story, but it's also there's hints of unpredictability in there throughout the movie. And then in the very end, some people might say, Okay, well, it's the underdog. He's coming up. He's gonna he's gonna just win and then he doesn't win. But he stood through every single match, and that's what's so powerful and compelling about that movie in many other movies that throw this in. So you can see, for fact, how unpredictability is vital. And it's something that we should all have and that we all need to use and that we should implement into our work. Um, you know, like I said by Viola Davis, she has mentioned before. She's like, since scripts are so important and if the script is written really well, then you don't have to do anything. But she said that she admires the actors who have bad scripts, and then they make something magical out of it. And I agree. If you have a bad script and you have to work and make something magical out of it, well, then you're gonna have to really work and find what you can put in there and how you can be believable within the work and include unpredictability. So when you're trying to include unpredictability, how can we practise this? How how do we How do we work it? What do we do first? What you have to do is for your script that you're given. So if you're auditioning or if you have already got in the part, they're either gonna have. You have the full script, We're gonna have a scene of what you're working on. You have to know what's going on. So you have to look at and you have to know. Okay, this is who I am. This is what's happening. But but But But, Block, we're gonna talk more about that later on. But you have No, you have to know that. And then you have to find aware within here Can I start to try and add something unpredictable and you have to see Okay, what makes sense within the world that you're in and what type of character you're playing . And this sometimes it takes practice. And sometimes a good way to practice is if you do have classes or if you are on the movie set or if you are in a play, you can try these things during the rehearsal process. Or you can run them by your director and say, Hey, I have this idea. Do you think we could give it to dry? Then you can see how it works. And then if it doesn't work, you throw it out. If it does work, you keep it one way to kind of build up our senses for learning what's good and for unpredictability is to watch movies and really watch the actors that your liking and seeing okay, what are their do? What are they doing? When is unpredictability happening? When are they doing something where you're like, Oh, I didn't predict that it could be a simple as a character is so, so confident that when we watch it that where that's what surprises us were surprised about how confident someone can be, how unpredictable that is, like, Wow, how does that happen? Sometimes it's a joke. Sometimes it's a joke that said that we don't that we don't expect and that makes the movie so funny or we see that character. We think that's the funniest character in the movie. It's because things are happening that we're not expecting it all. But like I said, if you keep doing the thing that's unexpected so much, that's unpredictable, then well, then it becomes predictable. If you're a fighter and you're constantly throwing some punch that you're doing a hook and you're like, Oh, this is always whatever unpredictable for people. Well, after you do it 10 times that 11th time, it's gonna be pretty darn predictable that someone's going to be able to stop it. Dodge hit you first, whatever. So you don't want to use it over and over. There's this actor. I know who he's not Too bad. He likes to cry crying. Crying is his thing. He could do a comedy. He could do a scene where nothing's really happening and he'll just sit there. Then his eyes will start toe water. Or it could be a high intensity. Whatever it is, every single scene I've seen this person work always. There's always like his eyes were getting watering. The tears are coming out, and at first when you're watching this, it's kind of like OK, that's kind of neat, like, because it's unpredictable, your because you start to wonder and you're like, Why? Why? Well, what's happening? Like what's going on? And you know, there's different. There's different tricks. Crime. He's using his but, um but I have his eyes, water. It is It does depend. Sometimes it a little water and then moments. Then it will start to pour out, depending on the scene he's doing when he wants to let it out within that scene. Um, but that's his thing. That's his thing, that it's unpredictable when people are first initially watching. But if you see this actor multiple times, then you see every single scene that this person ever does. Always there crying always and it gets very boring after that. At first I thought, Okay, that's interesting. Like I don't know how they came up with that, but that was interesting. Toe watch. Um, but then after you start to see it in every single piece of work, then it just becomes born, and it's like, Okay, when is he gonna cry? Today, when one of the tears coming out okay, one isn't gonna happen. Then you start to expect it, and then it's no longer unpredictable, and you know this person. He's done a lot of a lot of theater work, so it doesn't get in the way as much because people may not recognize him from theatre work to theatre work to theatre work. But when he goes and if he ever does television shows or movies, um, if it ever happens for him, he's gonna It's gonna become so predictable that every time people watch him, it's just gonna be like, OK, when you gonna cry is gonna cry this time Oh, he's gonna cry now at some moment you know it's gonna crack Could be the happiest movie in the world There's gonna be tears coming out of his face Given the funniest movie in the world, tears of coming out Most dramatic movie in the ward, A horror movie. Tears are gonna just gonna come out at some point. So you want to be careful to not have the tears or the thing that you have that's unpredictable, that you're doing it so much. You don't want to carry through toe every single movie that you're working on. But you wanna have Maybe for one movie you have one unpredictable thing that you're doing throughout the movie or that's the same or you have inconsistent things that are unpredictable. You do one thing, one other little thing, another little thing. I like that more personally. I think that's more interesting, and you can see that the, um, actors who are in Oscar movies it's there, and a lot of it is because the script and the writing is so good that it's there. But then the actors are also bringing it, and that's what makes it so darn powerful. So if you start watching movies and you start paying attention to the things that are unpredictable, that's gonna help you out tremendously, because you're gonna start watching it and you're gonna start paying attention to him. That's the whole point. We've got to start rewiring ourselves a little bit to start looking at acting differently and thinking about it differently. We have to think, you know, if you are wanting to become a basketball player, will you also you have to see if you're trying to, you know, do these different cool tricks, right? And you see a basketball player who does it, will you start watching them and seeing Oh wow, that was cool. They did that and you watch another basketball player. Oh, that was cool. And you start to learn by watching, and then maybe even implementing it. Would you help? A lot. So in order to build that unpredictability, we have to start looking at the script and finding inside. Where can we find the moments that we can be unpredictable? Or where does the script itself land of the unpredictability? And if it does, then you've just been given a whole huge golden nugget that can help you a lot. It can make. It'll make your seem so much more interesting. I can't necessarily say do this, and this will be 100% interesting because every scene and every script is different and every actor is different. Some things that might be interesting for me that I might do that's unpredictable. It may not work for you. For whatever reason, Um, or an actor that you know, or yourself whatever you have, may not work for me for whatever reason. Some things that just works for people better, and everyone has it, though, Like like I said before, we're all really interesting people. We spent all the years of our life coming up to the people we are today, and we just offer different things. We bring different things to a scene. We bring different things to the moment. So within the moments of these scenes for being unpredictable, we're all gonna bring something new. The actors, though, who can really be believable if you get stuff one down. That really helps a lot being believable because one, once you're believable, things naturally start to happen and come out. That's why there's a lot of actors I've seen who are really their non actors. But they've just, you know, took an acting class and try things out. And the reason that some other stuff is so interesting is because they're unpredictable. They're trying new things, and they're not thinking too much. But the actors who are thinking and they're getting really heading like, Oh, how do I do this bubble of a block? That's when they get into trouble. And if you could just be believable and think, OK, you're living in the moment, and then whatever happens comes out. Whatever is gonna come out is gonna be interesting in itself, and then, naturally, the unpredictability will come along. But sometimes if the next, if it's not coming along naturally, well, then we have to work it out. And we have to put it in because we know that's gonna be interesting. And if we know that, Hey, what we're doing is feeling kind of bland, and it's feeling predictable. Well, then we can start to try and add things in. And if you have a good director and you're already being unpredictable with some of your things there let you know, don't let you know if you if you're trying to be, do other things that are super, super unpredictable and it's too much. But what's great is if you have a good director of the company and say, Hey, okay, you know that That's okay. Tone it down a little bit. What? What you were doing before was perfect was great. And that's one thing you have to realize if you can keep trying new things. If it's not working, your director is gonna tell you Hey, it's not It's not working. That's the beauty of it. So you get to try, you can say, OK, got it, got it. I'll try. You know you have to be able to take directions, and when they tell you hey, tone it back down, you could bring it down. But that's where this this training and practice comes along. If you're working on being believable and you know what being believable is, which is just you and your everyday life. You're always believable. It just bringing those moments into the scene. And then you include the moments where you can be unpredictable, where you're bringing your own unpredictability to the character that makes it interesting for you. If you're doing a scene, that may be a moment where you're really quiet and then all of a sudden you burst out and you're allowed and you're you're crazy and you're acting out for you. That might be the thing that you do for unpredictability. You, your character. It's very light. He's very mellow throughout the whole entire play or seen or movie. And then, boom! There's a moment where he just jumps up and he's like, I can't deal with this anymore. And he goes, Not that could be something or it could be the opposite. It could be something where your character is really hard. Ah, hard character who doesn't let any feelings or emotions get in. And just think about movies where you've seen this before. The tough character, the character who's really tough. But then there's that moment towards usually the end of the movie, the climax where they break down and then they start bawling their eyes out and there really sad, and you see this super strong character all of a sudden fall to their knees. There is a moment of unpredictability there, and when we see that, it's very powerful, cause there's that contrast also, that we're getting to see, and that's the stuff that we like. So unpredictability is something very important that we have to try and include in tow all our work. Now, if you don't have unpredictability, it's not the end of the world. You can watch a lot of television shows in your see that there's a lot of it's predictable . So if you are unpredictable, it's not the end of the world. There are so many actors out there right now who are so predictable on TV that you watch that the actions not that great, because it's bland and you know okay, this is what's gonna happen. You know what's gonna happen. There's no one who is like doing anything that surprises you. And if you don't have unpredictability, that's okay. Because you can know that you can still get jobs if you're not being unpredictable. But what I'm trying to give you is I'm trying to have you stand out because this is gonna help a lot during the audition process. If you could be unpredictable because they're going to see thousands of people come through their door and do the same scene over and over and over the same way. And then if you're able to come bring something new, try something different that they haven't seen before. Well, you're going to stand out as long as you're being believable and your unpredictability is working within the world of the scene that you're playing in. But what I'm trying to show you is things that the top actors air doing trying to give you the training that I've got from people have gone to a CT, Juilliard, Harvard, rata, um, Broadway actors all these things, and to let you know that if you can do this, it's gonna make your work so much more powerful. When you're going to stand out, you mind as well try and do the best work. You might as well try. I mean, there's no reason to say Okay, well, I'll just settle for being okay. Like some of these TV actors, there are some TV actors who are amazing, who are great by all. The Davis is one of them. She's a fantastic, but there are a lot of people who aren't that good. And I'm just saying for those ones, don't try and settle to be low. Well, you know, they could get jobs. I'll just settle. Do you know, do what they do? Do your best work Put in the effort, Put in the time find where you can put moments in that are unpredictable. That will be interesting to watch and to put into the scene, do the work, do the work, do the work. It'll be so much more interesting just and there's so money. There's so many shows that I have seen before that are bad. This could be plays. This can be movies are TV shows or even movies and just watching it and seeing Wow, that was kind of poor. That was kind of bland. What they did, they could put so much more into it that could did something else that made it way more unpredictable. Um, that surprised us. You know, unpredictable could be a good thing. Or it could be a bad thing. Whatever direction you go to be unpredictable within the world, that urine stained logical within the scene. But it will help out a lot. I'll go back one quick time to the moment where I was talking about Paul Newman. Paul Newman. He went, you know, drink his beer, went to the meter, kissed it, walked off right. That's not the only way to be unpredictable. This is again. You know how we're different. Maybe he would do that. Maybe for may I wouldn't have thought to do. That's maybe what I would have done to make it just interesting. So the scenes not just me having a quick drink and walking away, Maybe it have a quick drink. I walked by and I could just pat the meter. That in itself could be enough. Or maybe you might go. You may drink your bottle. Then you may go, and you may do a little spin right next to the meter, and then maybe you grab onto it like you're dancing with it. Maybe you don't, and then you walk off. It could be anything it could even be. You drink the drink, you look around, you walk off, and then you throw your drink to the site. Anything. There's so many different versions that it can go So many different things that you can do . What's great when you're shooting this for like, say, a movie. You could try A with those things. And then during the editing process, they can choose. They can say, Okay, I want this. I want this. I want this offer director likes what you're doing here, lets you keep doing it. If he doesn't pull you back or say, Hey, um, go back to what you were doing or he or she may say, build upon that more what you just did, do what you just did. But make that make that movement bigger. Do that dance, but be even bigger with it. Or if you're gonna throw that bottle, be aggressive with it, or throw it and be happy or their do a ton of different things because it's a collaborative process because they're all working together. So just know that unpredictability can make a scene so much more interesting if the script is given it to you. Fantastic. You're so lucky. The script gives gives it to you. But like I said, there's gonna be a lot of times where the script doesn't. And then the actor is gonna have to make the work interesting. Just think about all the movies. You've seen all the bad movies. Well, how was the writing? If the writing is not so good that it's not, it's not easy toe have good work put up. So anyways, thank you all for watching this video. You have now completed it. Make sure that you guys have wrote old this stuff down. Make sure you have your pen and paper. You're writing this stuff all down because they're gonna be really helpful. Beneficial for you And then anything that made ah lot of sense to you or your Like, while this really resonated with me, make sure you highlight those points, you know, underlining Get a highlighter highlighting because that's gonna help you tremendously. So this next video that we're gonna get into It's gonna be a very a very important one. These all are. But this is gonna be one that you probably have heard a lot of actors talk about, and we're gonna start getting into it. So save it, though, if you can for tomorrow and then start trying to implement what you've learned today. What you learned yesterday Put it all through. Keep going. Step by step by step by step. So thank you all. I'll see you tomorrow. And congratulations for completing this video by guys. 5. Video #4 Listening: today we're going to be getting into a very important video that I'm super excited to share with all of you because we're gonna be talking about listening and listening is something that gets so thought after with too much, too much thought in confusion is put into it. And it doesn't have to be something that is hard or confusing for us to understand. But let me just make a point about how important listening is the top actors that you see on film always, always always talk about. How important listening is Meryl Streep, Tom Hanks, Alan Rickman, Many actors, the top actors are all saying that listening is very important in Some of them even are saying that listening to them is the most important thing, the most important aspect to it. So we have to make sure that we have listening. So let's just agree on that so far, we have to have listening within our work. Whether we do television, whether we do film or we do place has to be there. I worked with she's so money actress before I can tell you that they will be that right, and they'll be standing there We have dialogue going on and there's nothing happening. There's no listening coming from them. And when that happens, when they're not listening, the director has to stop everything and have to go. Okay, look, so something's going on here. You have to be reacting. You have to be doing something and you hear this A lot to listening is reacting. I think to simplify this that if you're truly listening, you're naturally going to be reacting. You don't have to think as listening is one thing reacting something totally separate. It's just if you're truly listening, the reaction's gonna happen because you're listening to what's happening. In the moment, it's react is more of a byproduct of listening. I've worked with Actress before, understand that and basically it's just it's blank. Nothing's going on with them. And then right after I'm done, I'm done talking, then boom! Then they start talking and they say, Okay, great, now, like it's my turn to talk. I can say my lines And don't worry, I'm not perfect at this. I've fallen into the trap to before. When I was starting out, I would be there and I just be like, yeah, OK, I'll be staring. Not in my head. Okay, okay. Okay, great. All right. Now it's my turn to talk, and then I go into something, So just make sure that listening is something that you put as a priority that you're looking for, Um, in that you want to work into your work. So here's the first thing for how to start practicing this. Start putting away all your phones, get rid of the phone, get rid of the iPad to put it away. Don't pull it out all the time because this is what's happened over the years, technology has really taken over and our phones air almost something that's like it's glued to us. It's like sewed onto our own hands every 10 minutes. Just notice when you're talking to someone like every 10 minutes, 15 minutes, they have to come pull out their phone, take a look at it, and then put it away. Even it's even if it's something quick. Just like that. You're notice they're there. It's like 10 30 10 40. Boom. They have it out and they put it away. Who cares? 10 minutes went by, like you know how to check your phone every 10 minutes. And it's not just that. There's many other times where people are pulling out the phones and they're like, Oh, let's see what's going on Social media today O r o you know, on board, Let's see what other people are doing That's really exciting today, instead of making something else exciting for me and living my everyday life, um, or it's like, Whoa, something's really cool. Cool is happening. I'm really present. I'm really in the moment with everybody. Okay, let me pause real quick. All right? Let's take a video of this. Shoot for everybody. So people on here can watch me, um, or your Some people say, Oh, that was really funny. Hey, um, let let's Ping unless let's stop the listening. Okay, let's Let's go and redo that same thing again. Tryingto over popularizer yourself. Technology has been something that has really taken the listening aspect away. And this science has proved this. If I'm here and I'm on my phone and you're talking to me, I'm not listening to you. Sure, I hear you, but I'm not listening to you, which happens a lot in acting. People are like, Well, I'm hearing what they're saying, but you're not listening. You're not listening to what They're what they're saying. An example of this is gonna, you know, do a big example would be if you were here in front of me, and all of a sudden I started yelling at you. Well, you're gonna have some reaction. It's gonna be either you're gonna say something, you're gonna physically do something and you're gonna emotionally feel something, you know, we're seeing in your face or take a step back. Something's gonna happen if I just start yelling at you for no reason. But say in a scene when you have your partner and you guys are working with each other all of a sudden for whatever weird reason is when you go and I and you're there and I start yelling, yelling at you Well, then, for whatever reason, the reactions not there. And it's just there either staring or they force a reaction. That's not really This is why the believability thing that we were talking about earlier in the previous video is really important. Because we're getting used to how we react and act naturally were working on knowing what being riel is and really focusing on what it is to be, really. But we we break away from that every time we go when we have to feel like we need to look at our phones. So if we realize that, okay, so if I'm on my phone here, I'm not really listening. This is why you know it's illegal to drive and text or not being able to pay attention to anything. So put the phone away. And if it if it's like this and someone's on their phone and someone's talking and it's not , you know, the listening is not really happening. Well, you're also know that every 10 minutes force, but second, you're not listening. You're not listening, you're not listening. And then what's happening is you are practicing, not listening, not consciously or not consciously thinking about. I'm trying to not listen. But you are practicing, not listening. You are practicing a bad habit. It's basically like if you have ah, you know you're gonna play baseball. You have a baseball bat, but you keep you keep putting your hand like you hold a weird, weird grip like this, and then you go and you swing in a weird direction. It doesn't make any sense. That's kind of the equivalent. You're not listening. So what you're doing is you're practicing about habit. Well, when you're playing baseball, will and you're practicing about habit how you swing or if you don't have your right footing, you don't want to practice bad habits. Because if you practice a bad habit, well, what do you think's gonna happen? You're gonna do bad work. If you practice a good habit, you're gonna do good work. You practice a bad habit. Whoa. Think about it. Logic says if you practice about have it, you practice the wrong thing. Well, anybody can tell you a two year old could tell you Well, you're not gonna do good work. It's a simple is that so? If we know that technology is something that's taking us out of the moment, then we have to make sure that we limit it. You know, I'm not selling. You throw away your phone. It's not practical. We still need your phone. But I'm saying don't use it as much When you're in conversation with somebody and you're talking with them. Don't have your phone out. Put your phone away, be present in the moment with them. This is something that also screws people up because they're so used to looking at their phones when they have to be on stage or beyond film or on TV, and they're looking at the person. The eye contact isn't very strong because they're not used to it. They're like, Oh, wait, I have to stare at you. You stare you in the eyes. It becomes awkward for a lot of people, You great thing that not everyone falls for that one. But there are a lot of people through the eye. Contact all of a sudden becomes somewhat awkward because they're not used to it. They're like, Oh, my phone's hero. Now I have to stare at you, And that's why it's very beneficial to just put the technology away, to be present with somebody. Even if it makes even if it feels nerve racking and you don't like it, you feel uncomfortable. I don't care. Still, sit there, be present being the moment. You know, if I'm somewhere right and say for whatever reason, moment, it's like it's an awkward moment. For whatever reason, it could be anything could be just the night. It could be the day it is. It could be. The people are weird. Whatever it is, don't pull the phone out because then what happens is you're trying to take yourself out of the situation. I'd rather live in the invading the awkward moment. If it is awkward, then I'll say, Okay, I'll tell myself internally. All right, this is kind of awkward, but let's just see what happens. And this is something that allows you to want you be you You'll be in the moment. But also you're gonna be taking in experiences in life. You're gonna be much more open to everything that's happening to you because you're gonna be experienced. It is experiencing everything right when you go over here like this, all of a sudden and your attention is here. But when you're open, your attention is everywhere. You have a 360 degree attention. You know everything that's going on, you hear the noise, you smell stuff, you taste things. You see things, your senses air coming back alive. So just don't let technology be something that's controlling your life. If it controls you, it's not benefiting you. it only hinders you. Granted again, not send it. Throw it away. You know you still need it. You need to call your agent. Sometimes you need to have a phone. But just make sure that you are not having it be something that controls your life because you're not gonna be listening, and it's gonna really not be something that's beneficial for you. Um, all right, so I have this here, So Okay, I want to say first that I mentioned before How if you are being completely believable and you have the believability because, you know, you've worked on noticing all the moments in your life just taking note of what you're doing right now What? You're what you were doing five minutes ago. You're taking notice of when you're in the moment. What's happening? You're practicing being present. If you're in a scene and you're really present than the listening, it's gonna come naturally. That's that's one of the great things that if you can be really present in your believable in the moment for yourself, for the audience and everyone, it's gonna come naturally. That is one of the super amazing things about this. But now if it doesn't come naturally to you. Well, then we have to find tricks in order to get this. And this is something that also some frustrated because you don't learn this from your typical classes. You know, a lot of this that I have been able to get is I had to really sit down with my instructors , you know, chart out my own things and then really, individually go upto everyone of woman. Be like, Hey, do you agree with this point? Do you agree with this point and seeing which ones correlated together? Which ones didn't who had commonalities who didn't have commonalities? Right, So you're working and you're finding that you know the believability thing. It's what working. It's kind of going along. And you're finding that for whatever reason, you're not listening. And you're like, all right, something is happening. Something's happening. I'm not missing. It doesn't matter what it is. It's not working. If you can figure it out, great. If you can't figure it out, don't spend 20 hours sitting down thinking and stewing about this because all it's going to do it's gonna hinder your work. It's gonna slow your process down and it's not quick and immediate. The one thing that you have to be careful of that I see actors doing. They might have work, and it's great they put it up. But once they start thinking about one thing too hard, like if it's especially something that's a challenge. If they start thinking about something that's challenging too hard, then they start getting too heavy about it. It is not challenging, and it's like benefiting them, and it's great to keep thinking on it. But if you know that it's a challenge, you keep thinking on it. Then when you go on to set, that's the thought you have in your head. You're constantly thinking Wait, that thing Oh, how do I get that element to it? Um, so when you're doing a scene when you're working, you are going to have one of these four things being completely present. Now I hope you can see this with the light and everything that is not blinding it, um, I'm sure you can, but if you can't, um, you're gonna hear, may hear me say that you can even write your own visual boxes. My suggestion for you. So even you guys have it, so I have four boxes here. One, it says your feelings. The other one says What you are trying to make, the other person to feel. It's just a casual moment is in the third box, and the 4th 1 says, What are you trying to do or what are you trying to make them do? Make the other person do something? So when you're doing your work naturally, one of these things is coming out more with the listening, because when we're when we're there and we're listening, we have to make sure we have some. Something else has to be going on. You're here. This, like the director may tell you are an instructor, they may say, What are you feeling, or what is the other person trying to feel? If we have that? If we have the basis of that element to it, what's the other person feeling? There's the casual moment. What? We're trying to make them do something. If we find that that it's much easier to be listening in the moment because you're not trying to find what you're listening to or how you're listening, you just realize that you know what it is. You know what the point is, and then it's much easier to listen. So I'm gonna give some examples of this. So, for example, your feelings. How are you feeling? How how are you with your character powers, you feeling in the moment? So that might be there might be a scene and something's going on. And you feel sad that that that's that. You know that you feel sad, right? If you feel sad and say, there's this over here, what are you trying to make the other person feel for one person? For them to be listening better in the present in the moment it works for them to have their own feelings down to have that be their focus? Because I could be I could be in the moment, and I could really be feeling sad. And someone's trying to talk to me, and I'll just have reactions Come when I'm sad. You know, sometimes if they're trying to look at me, maybe I'll look away. Maybe if they're trying to talk to me. You know, maybe if they're saying something that's kind and polite, maybe I'll look back up at them or if they're saying something that, um, you know, demeaning towards me, then maybe I look way different. Things will happen with that listening process, but some people in the moment that may not work for them, so they have to go to the next one, which is what you trying to make the other person feel. So instead of focusing on your sad, then you might focus on what you trying to make. That person feels to say, if a person is trying to be demeaning towards me, maybe I'm trying to make them feel bad for making me feel that way. Or maybe I'm trying to make them feel good about themselves, like, yeah, you have. You do have all the power, but maybe I'm trying to make them, um, feel guilt. It could be anything, so sometimes it depends on the person. One is gonna work better than the other. Sometimes it might even be multiples, but these are going to be the main things that you have going on, and it's not. It's not like, Oh, it's always this one, or it's always this one. It just depends on the moment. It depends on the scene. It depends on the project. You know, you may have tendencies to go more towards one or the other, but it's not. It's not always gonna happen. There's been times in movies where I'm working and I'm like, OK, my feelings, How am I feeling in the moment? That's what's working for me or it's like what I'm trying to make the other person feel. That's what's working for me in the moment to be a better listener because for whatever reason, this is just how it works. For us, subconsciously is when we have one of these and we know what's going on, it's easier for us to listen. It's easier for us to listen if we know that you know, the sadness that we have is fueling this through the scene. It's easier for us to listen if we know that we're tryingto our goal is to make this person feel a certain way. Um, the 3rd 1 we have on here is it's just a casual moment, so there are moments where people are like, OK, what do you trying to do? What are you trying to do here? Here, here? Sometimes it's just a casual scene. It's just a dinner scene. It's just you and your buddy and you guys are all You guys are just hanging out. You don't have to do anything spells you don't have to think about. Okay, I'm here. What am I trying to make my body feel? I mean, I usually usually for me, That's not how I think. When I'm sitting with a friend when I'm there, you know, just hanging out, we're just We're just chilling, you know, if there really sad, maybe I'm trying to make them feel better. But if he's just a regular casual moment, then I'm not trying to think about all this stuff. I'm not thinking about how my feeling I'm just there and I'm just having a good time. We're just hanging out. We're making jokes. So that's why when it comes to your feelings or what you're trying to make the other person feel that usually works better in those moments of when the emotions are hiding. If I'm not hide and then it doesn't, it doesn't really benefit it that well. So it would be awkward for me, maybe for you if it is for you that this is beneficial. The 2nd 1 The second point, then used that. You know, I always tell you guys, if something is working for you, then use it. If it doesn't work for you, then you throw it out. You don't need it throughout the old food keeping the good stuff. So for the casual moments for me just realizing, Hey, it's a casual moment is best. I'm not going to try and think during this scene. Okay? I'm gonna try and make you feel this. I'm gonna try and do this. And if you are working, if something's not working during the scene, well, then you're get guidance. The director will say, Hey, now let's try this. Let's do this. Let's do this. But you can kind of tell with the scripts that you're reading. This moment is just a casual moment. That casual moment may turn into something, though that counter a moment could turn into a moment where it gets hiding and it's very emotional. Were then, Okay, you're like, all right, I gotta go. It's gonna shift into one of these points that can happen. All movies that you watch, there's moments where there's it's casual and then something happens it has that contrast it brings. And then the last one that we have here is what are you trying to do, or what are you trying to make them do? So for this one, this one, it's more if, instead of thinking emotionally of how you're feeling or how you're trying to make them feel and it's not really casual. Sometimes you could combine casual with this, but usually it's not, I found. But you know, there's different products where will be. But for what you're trying to do, it's more of like a physical thing. So it might be, I'm just trying to leave. I'm just trying to go. That's what I'm trying to do, and that will fuel me through the scene. And that will help me be able to listen to what's going on, because this person might be talking to me and I might be there, Mike. Okay, great. All right, now I'm gonna go. It might be that type of thing because it's still listening. But I'm like, OK, I'm listening. I'm listening. I'm listening for when I can go. That's how I'm listening. Or it can be that you're trying to make them do something. So Okay, maybe they're talking and you're listening, and you just want them to leave. You're like OK? Huh? Okay, now just go. Just go. Now you can do different out. Like I said, though, something for work. Better for different people. So, like, for that example, if you want them to go well, you could always resort back to this one and think, OK, what am I trying to make them feel? I could be like, I'm trying to make them feel like they need like they need to leave. Like I don't like. I disdain them. I don't like them. It could be that. But I think it's much easier. And it's much more simple to just think. What am I trying to make them do? It's more of a physical thing. This last one, the 4th 1 here it's more of I try to think of it more, being physical instead of emotional. So it could be What am I trying to dio? What am I trying to make them do? So like I said before, with these four points here, usually what's gonna happen is naturally when you're working. If things were starting to work, you're gonna have one of these. Be working more than the other. And if you find which one it is if you're working and you're like, OK, this is what's working for me this first point here, that that's the point that you lean into. That's the point that you start, you start working and working on for your listening so you could be more present in the moment you start working on. Okay, How am I feeling how my feeling in the moment? I don't think about it being casual. Don't think about how my trying to make them feel. Think about how you feel. If you find that that's what you're doing more and that's when it's working for you, then that's the one that you put your your time and effort into once that starts working, if you feel that hey, it has to branch out, then sure haven't branch out, but you need to get this one first. And usually if you have this one and you're listening, it's gonna get you into the moment that then boom, things are gonna start happening naturally. That's what we want it. We want to have the instincts come out. That's our goal. So once we get one of these instincts, if it's flowing, it's gonna come out just fine. But now let's say this was not working for you and you're doing your scene whatever. And you find that you know, the moments that it's working is when you're trying to make them do something. Well, then that's what you're leaning into. You're thinking through the scene, Okay, What am I trying to make them do? Am I trying to get them to leave, trying to get them to do their work? We're trying to get them to just come give me a hug, trying to get them to tell me it's okay. You know? What am I trying to make them do or what am I trying to do? So you have to find which point you're falling into, and it's going to be one of these four and the one that you're falling most into. That's the one you lean into. It makes sense. If it's working for you, use it. Lean into it. If it's not working for you, you throw it out. I'm telling you all I wish more actors have this common sense. I wish they knew that If something isn't working for you, leave it alone. Put it away. If it's working for you, then that's what you gotta use. So with those four point examples, when you're doing a scene and you don't really know what's going on, you don't you know you're trying to do the whole listening thing, but it's not completely working for you, where you're gonna find that you're gonna be leaning into one of those four points more than and then another. So if you are leaning into the point of what am I trying to make them do, that's getting you into the moment more. That's making it feel like you're listening better than that's what you gotta lean into. You have to do what works for you. That's why everybody's different personally with those ones. It switches for one project. One works better than the other, and just it just changes. For some people, though, it might be that you know most the time trying to make someone else do something is what works for them. It depends all on the person depends on the scripture, given it depends what is happening but you have to use what works for you. So thank you all for being a part of this watching through this video, I hope you wrote Old is down because this is very important toe have. This is one of the things that I wish I wish people were teaching. This I wish when I was in my class, is that this is what they gave me. Because this is such a simple process. It's so much simpler to just have those four points and know what to choose. But instructors, what they like to do is they like to say, All right, So what are you trying to make them feel for everything. For this For this play that you're in? What are you trying to make them feel for this movie that you're in? What are you trying to make them feel? Sure, you can have elements of it through them. But that shouldn't be the only thing. And I have not found any instructor at all who gives those four points like that? I have not found anyone who's done it. I think I mean, I think I think I'm the 1st 1 to have maybe created that I haven't seen anyone else do it. I've had my yell. Harvard, Juilliard, rotter! People, They've never give me anything like that. I had I had to create it. I had to make it and put it into a simple form. And then now you guys have it as well. Use it. It applies to everybody. It helps a lot. So make sure you're putting that in and make sure you're implementing all this stuff. So make sure you're putting your technology away. You're implementing it. You're implementing the past videos into your work every single day. Make sure that with this stuff here that we talked about with the four points it a script or not, maybe a script. Get a scene, get a friend, start working together and find which point it is. Are you Point number 123 or four. What's happening into the scene and try different things? Try a little points and see what works. You know You can give 10 different scenes, try and with their friends, see which ones air flowing for you, better in which you're working. You know, maybe when you're doing them, one might work better through maybe you're going in your plane, it more casual. And that's working best for you through those you know, 10 scenes. But then as you get better your find, whoa, I could be casual and I can shift into this Or, you know, maybe I'll try this, And as you go along and you get better, then it's gonna become easy. And you're like, Oh, I can do this. I can do this. I can do this. The more you practice this, the more it's gonna just be second nature. And you're going to be like, Oh, of course, it's just this I'm doing 00.10 I'm just doing point to or 0.0.3 point four, it's gonna become easy, but you gotta practice it and implement it. This is one of the benefits. If you do have, you know if you are in a production, if you're in a movie, you're in a show. You're in a play. You get to try these points out. You could see Okay, which one is working for you? You know, Anna. Granted, if it's happening naturally, boom, it's already coming out. But if it's not happening naturally, then we have to find out, OK? How can we bring it alive? What? What can we do? What can we put into the process? So thank you all again for being a part of this. Congratulations through making it through this video. This is one of the most important points that I think you can have. So thank you all. I'll see you in the next video and again, congratulations. 6. Video #5 Physicality: So today we're gonna be talking about physicality. Congratulations first, all of you who have made it all the way through to this video video number five. I congratulate all of you, I hope also, you're taking the steps to write everything down and implement it into your everyday life. Start working on this stuff. Start practicing it because it doesn't do you any good to have something like these videos for knowledge, having the knowledge on what to do for your acting, how to make it better, and then to not implement him to not push it forward. So make sure that you are writing this old down and you are implementing it into your day and you're practicing, and you're making time to do it. A lot of this stuff you can even try. And especially with this one we're gonna talk about with physicality. You can try and do this right now. You could do it today. You could You could try. You could try it right after this video. And you could do it. You could be in line somewhere, and you could do it. So this is something that you can start practicing for sure. and working on. But we're also going to be talking about the importance of it. Physicality. It's something that we all need to work on, and we all need to implement into our acting work. So there are so many constructors out there who don't really talk about the physicality of what you have to do. They kind of bring it up. Sometimes they might be like try, you know, do this kind of thing with the physicality or work on your physicality. Do this, but it's nothing that's really concrete, and no one's really given away to practice how to work on your physicality. And if it's something that's so important and it's brought up, then we should have something in order to practice it in order so we can try to get better at having physicality within our scenes. Now, when I say physicality, I don't mean that like we don't already have physicality because our our bodies already naturally being physical, you know, just just being within a scene. Even if you don't do anything and you stand there, you are being your physicality is there's a neutral physicality. That's what it is when I'm saying physicality I'm saying physicality, that gives you a new character or makes you seem like a new person. It'll make you appear like an even better actor because this is what the best actors do. They do their physicality. A lot of people think when they're doing ah, character, that they have to really change the voice and the voice is something that we're gonna be talking about in the next video. Actually, that's what we're gonna get into. I think physicality is a little bit more important, though, than the voice. But there are actors who like to combine, changing the voice and changing physicality. That's fine. That's great. Some characters. Maybe you will only change the voice, and you can keep your own physicality. That's fine. But for the purposes of this video and working and exploring physicality, I just want to give you an example of of actors who do this. They don't change really their voice, but they are changing their physicality from role to role to role. So think of these actors really quick. Think of Ryan Gosling, James Dean, Paul Newman, Amy Adams, Angelina Jolie, Robert De Niro, George Clooney. Think of these actors real quick and picture the roles that you have seen them in before. Don't picture just one roll picture. You know all the roles of you can or like five rolls. Think of all the things that they've done before. Now, out of all those rules, how many of them have they actually changed their voice for? So they have done some, but for the majority of all their work that they put out that they've given to the world most of it. They haven't really changed their voice that much in terms of putting on an accent or completely changing it where it doesn't sound like themselves, they're always still sounding like themselves. But actors what they try to do a lot of times when they're not very good per se is they try to change their voice. So it's not like there's at all. This is still your instrument. You're working with you yourself. You are your instrument, so you have to play with what you have. You don't always want to try and change it because it can come across those forced sometimes for certain roles, though, you're gonna want to change your voice. But for the most part. Just look at the body of work that they've done. They're not the only actors. There's many more. These are just a few that I mentioned, but think about what they do. How many times do they change their voice and how many times today just keep it in their voice most the time it's staying within their voice. The thing that does change, though, is the physicality. So when you look at a character that's a Ryan Gosling is played. If you look at the movie, I think it's called Lars and the real Girl. He played this guy who was very closed off, you know, he's he's kind of sheltered. He was kind of nervous a little bit, not the most comfortable person you'd want to be around. Well, his physicality was much more different that his own natural physicality, his shoulders might have been up a little bit. He might have had a little bit of a tilt to his head. He might. His movements could have been kind of small, you know. They stayed close to his body when someone talked to him and respond. He and I have big nods of his head and the smile on his face for that character. But if you think of, um, his movie that that he was in LA La land, well, if you think of that movie completely different type of character, he has confidence. When he walks in the room, he stands up tall. He smiles. He has his smile is different, then his smile and Lars and the real girl. If you compare movie in a movie, because the physicality has to be different, depending on the type of character that your plane now you have to make your own judgment on your character. You have to find OK, Do you think the character is gonna be small? Or do you think the character is going to be big at first for practicing? When you want to practice your physicality and you're working on it, it's good to at first, use your own physicality what you have to. Sometimes that'll be enough when you're working, sometimes you don't have to come up with a completely different physicality. Just use really your own physicality, and that could be fine. Not all the time, but sometimes it can, and a lot of times is just a little bit of different transitions with your own physicality that you're working with. So if I have to play a character who say is really, really rich, have to play someone who's really rich And, you know, maybe they started, like, their own, like, big business or whatever. And you know, they're gonna first. They're gonna give me the costume pieces so I may give me a really nice, expensive looking suit. Get me all done up. You know, I'll have whatever I have to to sell the character. You know, maybe there have, you know, $40,000 watch the gift. Maybe we'd have a nice car behind me, whatever it is. So there's all these different points that everyone's working to sell the character and then for me, what I have to dio while if someone says, play rich, will you? How do you play rich with your physicality? You don't have to really try and be like Oh, rich. See, I got money over here. All it is, it's just you. You could be here and you could stand up tall. And, you know, you're really calm in the moments that you're in so you don't have to think. OK, so I have to not showing money. You have everything you need. Everything's been given to you for the physicality part. You just stand up tall and then your emotions. You, you ground your motions within your yourself, the motions of your hands. They don't have to be anything that's really fast and saying Good. Get that over there. It could just be something like a that things over there Go get that. If you have all the elements, it will sell it for you. So when you're practicing, try and have your physicality be something where you play first with tempo, so see what happens when you have a character and you start moving fast or you move a little bit slow, slow down a little bit, see what happens. Does it change in Naturally, it might change the way you're already speaking. So if I'm you know, moving slow and doing all this, my voice will change. But if I'm moving really fast all of a sudden, naturally my voice is gonna try and follow along because it's trying to keep up and you can play with having your motions be really big. You can play with big motions moving your arms all about. You know, you have these big turns, whatever. Or you could play working really small. You know, it's just little things could be the way you do. You look at something the way you move your eyes. Whatever it is, you can play with it being big, you can player that being small, you can play. They're going fast, going slow. You could do it with the script that you have or you can do it with your own self and a way to monitor it is not necessarily going in front of a mirror in trying to do all this stuff . And then watch yourself while you're doing it. Because not truly, riel. Because if you're looking over here, we're gonna move your eyes this way, sir. Kind of trying to see what you're doing while you're looking this way and you're looking here, which isn't always an honest representation of what we give, because we're not usually doing that. If we're looking over here, we're looking here, Um, depending on what's going on. So if you have, like, you know, just take out your phone, take out your phone put it up and then record yourself. Record yourself telling like a story, whatever it is, your own personal story. Or it could be a monologue that you have. Whatever it is, doesn't really matter. Just put the phone up, record it, do it, then recorded and change your physicality a little bit. Make it a little bit smaller. Make it bigger. Make it fast, make it slow and just watch it and find what you like and then find what you don't like. So if you see something and you're like, that was really weird that are that looks really fake doing it like that. That that doing it really big that looked fake. Well, then make it a little bit smaller and then see what happens. And then, if it's still too big, make a smaller Oh, that's too small, making bigger you're playing with it. You are your own instrument, so you have to kind of find how to play your instrument. You have to see if you if you think about it like a guitar, you have to see how do I tune this instrument properly? Does this one Do I have to turn the knob a lot when I'm tuning this instrument Or do I just do it a little bit? Can I strum the instrument? Heart? It doesn't have to be soft. You're playing with your instruments who? It's gonna be a little bit different for each person. Ah, one of the things that I like to do when it comes to recording is all pull up while villages YouTube, an actor that I like and off I'll find, find the scene that they're doing And they don't look at the scene and they'll say okay, or watch a few minutes of it and I'll go great. And I'm trying to see what they have in that scene. And then what I'm gonna do is I'm gonna recording myself and then I'm gonna try and copy it . Now, I'm not gonna copy. Exactly. Motion wise. I'm gonna try and copy the essence of what I see. So, for example, if the character walks into the room feels the space of the room, they own the room, the presence is on them. Well, I'm gonna have to see how I can get that essence down, because if I try to copy everything that they do well, it may not work, say I find a scene of Dwayne Johnson and he walks through the door. He of whatever scene he's in it. He owns the room, and that's the scene I'm trying to copy. Well, if I go and I try to copy that scene, I have to realize that we both are totally different people. And we have our own two different instruments ourselves and Dwayne Johnson, much taller than me, much bigger than me. So for him to fill up a space, it may be a little bit easier. One. He's actually bigger where he can fill up that hole space. So I have to find if I do the exact same thing that he does, and I find that it doesn't fill up the space the way that I wanted to. Maybe it does a little bit, but I'm like, Ah, he had a lot. I didn't have very, very much in there, so I have to find How can I do that? And maybe what I do is I walk in. I try to do some of the physical things that he did, and then I put a smile on my face And maybe it's that smile that makes it look like I own the room and it could be anything. And if it's not that, then I will find something else. But you're aiming for the essence of it, because if you try to copy exactly what they're doing, you may not always get the result, but that's why you aim for the essence. Now, don't get discouraged if, while you're going through this and after, you know 5 10 minutes, you're like it's not working. You're like, I'm trying to copy him and I'm not able to do it. Well, probably not, because if you think about anything, it's hard. Things are hard at first when you haven't done it before. So if I tried to teach you to play piano and I sat you down to play the piano, well, it's gonna be a little bit hard for you if it's the first time we've ever played. But after 10 minutes, you're like, this is too hard. I don't want to do it anymore. Well, then, yeah, of course you're not gonna get any better. Or if I say, you know, try to teach you to play basketball and I'm like, Hey, let's go, Let's go shoot some hoops for a little bit And then I bring you out and then after 10 minutes, you're like, OK, I'm done. I can't. I'm like, this doesn't work for me. Well, if you only try it for a little bit, it's not gonna work. You gotta practice it every single day, and that's why being through this process and with these videos, you're committing yourself to being a blank slate and really focusing on everything that's being said and implementing it and trying it. It's one of the easiest things you can dio watch other people watch the essence that they bring with their physicality, physicality, and then try to mimic the essence, using your own instrument, using yourself, you yourself or your instrument, and you have a lot to bring. If you think about actors pick, you know, 45 actors, whatever you want. And if they all had to play the exact same role, they would all approach that role, and they'd all be different because they all have their own different back stories. They all bring their own thing to the character, say, if someone had to play a character who was businessman, awesome, high corporate company and to say you have Robert Downey Jr. You have Johnny Depp, Matthew McConaughey and Tom Hanks. Well, all these people and they have to say they have to be like they're the cocky CEO of the company. Well, they're all going to approach character differently, but they're all gonna aim for that same essence. So they know what they're aiming for is that cocky essence. So that's what they're gonna aim for. And now, if they wanted, they could go and they could look. Some people love to say OK, they can look at the cocky at essence and see some similarities and see, Maybe they can bring it into the room and see if it works. Sometimes it may not work. Sometimes it may. You can use other people, you know, that's what actors do. And I think was Pablo Picasso. That said, Ah, good artist, copy and great artists steal. So you confined every you can use the stimulus of everything. But now these actors went and tried to portray the character. They're all going to be different. Johnny Depp portraying the character well, he his character, I don't know, but it could be. Maybe his character wouldn't say very much. Maybe his character would be, you know, a little bit more quiet, not his head. And then when he did talk, you know, would be slow and there'd be purpose to it if Matthew McConaughey was doing it. Matthew McConaughey A. To bring out the cocky arrogance of this businessman. Maybe he'd be louder. Maybe his movements would be a little bit bigger. Maybe he'd have different gestures with his hands. Maybe he would get close to the other actor. Maybe Johnny Depp. Maybe he would be a little bit further away. Maybe Tom Hanks. If Tom Hanks had to be the character, maybe he would speak somewhat condescending and that that's how he would show his dominance and show that he's a cocky guy. So it all depends on who's playing the character, but everyone's gonna play it differently. There's gonna be similarities that they have. They're going for the cocky essence. Maybe they're not all jumping up and down. Maybe if they all had to do a party scene, they would be that similarity. They'd be higher in energy. They'd be jumping up and down they're not jumping the same way because they're all different people. But they're still That's still gonna be a similarity that's there. And they're having to play that high corporate CEO. Well, there will be similarities that will be there. But ultimately it's gonna be different because there are all different people and they're all bringing ah different energy to the mix. So physicality is something that's very, very important toe work with, and to realize how important that it is, because that's what makes the difference between our characters. When you see Ryan Gosling people, some people may say, Well, he place the same characters throughout. But if you look at the roles, there are similarities that you're saying because you're seeing the same instrument play within these different roles. But they are having differences to their characters. If you think that if you're watching him and you're thinking well, he could have done this in there. Well, then, great. That means that you're seeing, Oh, there's something that could be added in. So if you are to have done the character, you could do that. Plus add something else, you could add another layer into the character, so you want to be, you want to be active observers. When you're watching, you want to see Oh, that was great. You're like, Wait, they could do that. That might be great. Or they could try this or what they could do is they could add in that thing of unpredictability, what's something unpredictable that they could put in there If you want, Watch Ryan Gosling. He's pretty good at adding in some of that unpredictability, but a lot of it, too. Is it with the scripts, the scripts, the writing. The writers have written some pretty good stuff for people to or with some of the films that he's been in. The writings been really good, and you have to pay attention to the writing when you're when you're trying to figure out your physicality. Because if you are in, say, some wild comedy, well, then your physicality, it's okay to be bigger. You can be bigger, you can do certain things. You're see it because you know there would be these golden nuggets within the script and you could find okay, this is an example of where I could do that. So it builds on your character for you could do. Or if you find that this character through the script in the world that it's in is someone who's maybe more quiet and reserved. Well, then you know that that's the path you can go down because in good writing, you're gonna find that within the works. And good writing is it might be a common thread that you see throughout some of these videos cause I bring it up because it's so important. And there's a reason that all these actors talk about it and bring it up. There's a reason that my my yell instructor told me that a good script give me one of most important things and helpful for an actor because it really is. If you have good writing, it does a lot of the work for you, but you have to read it and you have to pay attention to it, and you have to mind the text. You have to find what's in there to give cues because you got to know what world you're in , what game? Your plane. Each script is kind of like a different world that you're in. It's a different game that can be played I have to as the actor know what game on plane, What? I'm going through these when I'm going through the scripts and my playing basketball Are my playing football or am I playing tennis? When I'm going through, I have to find what's happening. What's the world I'm in? What can I play with? What are the little cues in there? And then once you're there and you find out what what world it is, well say if I, um, I'm in the tennis world, I'm like, Okay, I'm in the tennis world now as my character in there. Well, there's different ways that you could play it. You could say, OK, I'm gonna be build. The character's being great with the backhand. There's no metaphorical, by the way, not actual tennis place, but elements that you could add in to the work are you could use like I could be great in my back, hand or eye could be great at serving, or it could be poor serving but great with my back. And there's different ways that you can play with it. But you get that by going through the script and finding what it is that's in there. The secrets, the little the little, the little cues that air that are within text. Now, if you have bad writing, though, that's what you have to do a little bit more work. Because if you have bad writing, you have to start finding you have to start finding and creating your role, your own golden nuggets. It's kind of like if you are on a basketball team, well, if you're really good and your whole team sucks, well, you're gonna have to pick up the slack form and they're gonna have to try and make this past work, and you're gonna try and have to get the ball here. You're gonna have to try and go around. All these people are gonna have to try and guard more people than maybe you would like, Whereas if your whole team is good and you're working well, then you get to focus on one thing. You don't have to pay attention to what this guy's doing, What this guy's doing, you can say, OK, I have the ball. I can focus on shooting. I know my teammates here. They're going to guard me. They're gonna keep me safe. I can shoot the ball. I'll be fine. That's kind of one of the perfect examples to thinking about it. Good scripts help you. Basically, if you think about it with games, wins the game, bad scripts, you have to do a lot more work. So that's why a lot of actors cherish those good scripts. And within those scripts, that's where we start to find our physicality. We confined how we can use it. What can we do? So start today, start practicing it. If you're going and you're standing in line, I want someone and see how they're standing. Are they leaning on the right foot? There, left foot is their head. Tilted is their shoulder and more to one side. What essence are they giving off? And then just see if you can just for fun, try mimic the essence. You don't have to do it for 10 hours long, but you know, 30 seconds. So you're trying to find what it is that you can use for your physicality, and it's and it's all open ended. So it's not just like, well, my physicality has to be only this. I can only do this. You don't have to you. That's why by watching other people's physicality, you start to learn and you start to see ideas and you could find what you can maybe put into the character. And you can find that you know, there's some things that you can do really well. And another thing is that, Oh, it that's a little trickier to portray with my physicality. And then you work on it and you're trying to find What do I do? Do you? I smile more us, Maya less. Do I take big steps? Do I Don't take big steps. Is my head more down? Is it more up? Is it tilted? You find different things. It doesn't have to always be the biggest movement in the world to use for your physicality . It could be something that's just small and simple like that, You know, right now in my hand, whatever this tales, you know, this could be something for whatever character. I could do this, you know, I could have a character. I could be doing this. I have my arms crossed. It just it's tells a different story. It shows another, another element, another side. So pay attention to the physicality and what it can offer you. You know, find those actors that you really like. Watch them and then try it. Try and portray their essence, and you can copy elements of their physicality. And maybe by doing that, you'll find some stuff for Oh, that really works for you and you like it so you can keep it. And it's just the more you practice it, the easier and easier it'll get, because eventually or get to the point where you do it so much that when you have to suppress a portray, it's a character who's more smaller than you can do that. If you have to portray a character who's bigger or the funding guy or whatever you're trying to portray, you start to get more used to it because if you're practicing that every day, your body starts to become aware of different ways that you can interact with the world and try new things. So practice this guy's implemented into your everyday life. Start watching other actors and start doing what they dio. You're you're in line somewhere. See someone, whether there was the essence they're bringing, try and bring that record yourself record yourself what you're doing. It's also kind of falls into what we're talking about in one of the past videos, which was Watch what you do. Analyze everything that you do. You know, there might be a moment we're standing somewhere than you realize. How are you standing? What's your physicality? What essence are you bringing right now? Wherever you are watching this, what essence are you bringing? So we all have a different essence, and we've built it up over our years, and you get to start to figure it out and start to play with it. And just think about it as being an instrument. This is an instrument that you're starting to now. Pay attention to yourself, and you're starting to find how you can play with it. What you can do differently, what you can add in what limits you have, what limits You want a break and you find all that. But you have to work at it because we're using ourselves. So we have to know what we're doing and what we're bringing. So thank you all for sticking through. Congratulations. You've made it through to the end of this video. I hope you that you've wrote everything down and that you're going to start implementing it right after this video, right? When you turn it off, start implementing it, try it out, including everything else that you've been learning. So I'll see you call in the next video. The next video. We're gonna be talking about the voice. So how we're gonna also be able to implement that and you'll see how you can combine. You can have the voice and the physicality, or if you want, you can just stick with the physicality. And that will be enough. So anyways, I'll see you guys next time. 7. Video #6 Voice: welcome to video number six. So, as promised, this video is going to be talking about our voice. So remember, pen and paper have it out, right? Everything downs down track, implement what you're about to learn. So we talked about physicality and how physicality is very important. And it's one of the more important things, I would say, because that's what we're gonna use more when switching and changing back and forth to different characters. But we are also going to have to use the voice at times and depending on what roles your plane there may be. A lot of rules were having always change your voice. If those are the type of roles that you're getting and auditioning for and trying Teoh act in, Um, so when it comes to the voice, I want you guys to first think of actors who change their voice. So you have examples. So Gary Oldman does this a lot. Meryl Streep and Philip Seymour Hoffman. Now, if you look through all their bodies of work, they have a lot of rules. Many roles where their voice stays the same. It's their own voice that they use because our voices is our instrument, so they're not necessarily trying to change their instrument for every role, for most roles that they're actually playing. They're keeping their voice. They're not thinking of Oh, I have to change my voice for the character. Their voice works because it's still a real voice. It's their natural voice that they're using. And I picked them specifically because they do a lot of roles more than other actors that you might see. They change their voice more often, Um, and when they do it, it still sounds believable. It doesn't sound like a fake put on voice. So a lot of actors that you see, like if you go to an acting class, they put on this actor voice, you see a lot more. If you watch Shakespeare, Shakespeare, see people who they go up there. And instead of still using the real voice saying to be or not to be, they go up there and say t to be or not to be. That is the question. All of a sudden, there voice changes into this very crisp and clear and clean as possible actor voice that they put on. But with that type of voice, it makes the work appear fake and less genuine, whereas when you use your real voice, it sounds much more present riel. And in the moment. And if you watch a lot of Shakespeare work, your noticed that between different actors, the ones that we usually tend to go for and like are the actors who can have her sense of being very real and very present, not putting on an act. Ary voice Marlon Brando did this when he did his Shakespeare work. He wasn't putting on this Shakespearean voice to come and talk. He was able to use his real voice, be president being in the moment with that, he didn't have to try and create something else because there was no need for it. Sometimes with your own instrument, you have to realize that you don't have to create anything new in some areas, like with your voice. Some things you will, depending on the character you have to play, especially if you have to play. Um, like a riel riel person who has actually lived in your representing them, Then, more often than not, then you will change your voice to be able to match them you just have to make sure that you know which characters you're doing that for, in which, not more often than not, though, you want to use your real voice. That's the first thing I want to mention. More often than not, you're gonna have to use a reverse. It has to be very comfortable because you have to start to realize that your voice is your voice. It's perfect. It doesn't have to change, doesn't have to do anything. You start to have to get comfortable with your own voice. This is one of the problems that actors have when they're not comfortable with themselves enough. When they try to put up work, there's that dissonance of being fully in and fully connected. You have to start getting very comfortable with your own voice and not have to think to put a voice on, because usually when you put a voice on, it goes back to that actor voice. That's one of the big problems that people have when they try to put on the voice. It doesn't go into that, um, that place that they want it to be. For example, when Philip Seymour Hoffman does his characters or Meryl Streep or Gary Oldman. When they go up and they do their work, it doesn't seem fake. It seems very believable, even when the voice does change, and that's what we have to get to. But before we can start to change your voice into doing someone else's voice, we have to first become very comfortable with their own voice. In realizing that our own voice is enough. We don't have to try and put on this actor voice. And sometimes there are actors who fall into the trap of not trying to put on an actor voice. But naturally they do put on an actor voice. So an exercise that I like to try and work on this to keep your voice natural is say, you have you have a scene, you have a monologue. Whatever you have, you have the lines here, and all you do is you just start talking saying a sentence. You could say I went to the park and Botha data data, data data, and then you have the lines that are on the page, and let's say the lines are where you Shakespeare lines to be or not to be so I have it and I'll go. Yes. So today went to the park? Um, I got an ice cream cone. And then to be or not to be that is the question. Whether it is nobler in the mind, that's what I would dio for it just to get used to. You have in your natural regular voice, depending on the scene, though, of course. Or you may have to get loud in that moment or soft in the moment. Sure, but first, just get used to your base voice. Just get used to where it is usually, and then you can start to build up from there and go higher or lower in your range. Because there are moments when you might be talking with someone you might go, that's so awesome, and then your voice gets a little bit higher. Or if there's someone that you maybe don't like talking to, you might talk to them back. Okay, right, Okay, cool. And maybe your voice gets a little bit lower. It depends on who you're talking to, and that's kind of comes down to circumstances. But a good way to practice just that being natural and being comfortable with your own voice is toe. Have the script, say a sentence and talk about, and it's just easier. Instead of making up a sentence to say what you did in your day and then you say what you did in your day and then boom, you go straight onto the line. And then if you notice yourself reverting back to a fake actor voice while you're saying that you know there's your voice starts to act fake and not natural, then what you want to do is you want to. Then stop pause, say that sentence again of what? How your day's been or it's a completely different sentence. Say how your day was last week, Whatever, and then go back into it and start reading through, and you're starting to get used to using your own natural voice. Oops! Hit the mike here in your own natural voice and being present with what you're saying and in the moment and working from the text that's in front of you instead of putting on the line and saying to be or not to be. That is the question whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune you could do, you could do it. And there are actors who play with that, changing their voice. And sometimes it can work, depending on the world that you're in, what your directors creating. If he wants everyone to do that, then we're being it. But you have to make sure that you can work from that place of being yourself and being really and with your own voice, because that's your instrument. And that's what you're gonna be using most of the time. Not all the time. You know there are exceptions to things just like how Meryl Streep, Gary Oldman in Philip Seymour Hoffman get their roles, but you have to make sure that when you are working that you can come from a place of your natural voice working from there, you want to try and first, then start to play with levels. After that point, you want to try and play with levels in the voice so you want to see can your voice in your natural voice bring it to ah, higher tone when you're talking, but not to a point where it starts system cartoonish. There are actors who when they start to go and go higher or go lower, it's a fake low on a fake high. It's like if you see a kid and they come and they pretend to talk alone and go whore, you're talking really low, right? No, off they go talk high next. I don't really high right now, but no one really talks like that. There's still more variations in the voice or for your voice. It's your instrument. You may not be able to go that low or that high. You have to see where you can play and you have this vocal range. And maybe here. Here's the range. Here's the top. Here's the bottom. Maybe we're more. We play in this range. You do have the ability to go up to here, and you do have the ability to go down to here. But now, if you go and you go past this range, you go to high. Well, then that's when it starts to become cartoonish in it starts to become to fake Samos. If you go too low, if you go too low and it sounds like you're trying to put on a fake voice and it won't sound very riel or present. Just think about any movie scene that you've seen where someone tries to mock the other person by copying their voice. And then, you see, it's like affecting where my car, I'm talking like you. But that's not really it won't sell it. People will listen and be like that Sounds bake. You have to play with your own range. So if you're arranges here in the middle, then you have to see how low can you go when you're actually talking. How high can you go when you're talking? You can go this high. Maybe, but maybe if you try to go any higher than that, it just sounds weird. So you have to play with it, and you have to find it within your own self. You can get a tape recorder out or you get your phone. Record yourself and see it. Which range doesn't sound really natural in which one doesn't? This is something that you have to play with. It's not something for one day, like OK, you can start to find in one day the range, but you may have more that you could go up or down you also want to be able to play with the speed of your voice. So when you're talking, though, you may be going really high or going really low. You have to see how the speed applies into that. So say, for example, when I'm talking really low. If I'm talking low like this, you know even that even that for me right now it sounds that sounds like it's more to cartoonish for me, but I'd have to Really I'd have to go and listen to it and see how and see how that works. But just for the sake of example here, if I'm talking low and then I want to talk fast for the speed back in, sometimes be tricky because if we're talking low or turn to talk fast, it doesn't always come up very clear. We can understand what the person saying sometimes when you're talking lower, you may have to talk slower. Or if you're talking higher, though, you can talk smaller. But and again, this is my This is a cartoon voice, but it's over doing as an example, but you may, when you're going higher, talk faster, so I'm talking really fast right now, I know my dad did it at all these different things, so you have to just make sure when you are working with the volume, you also apply that you can also apply and see how speed falls into it as well. And if you're not playing, even if you're not, by the way going high or low in your playing in that middle range, what you're going to be doing more often just by playing in this middle range and just bringing the volume up just a notch or bring it down a notch is enough. I'm not saying you have to go and hit your roof here or hit the floor. You don't have to do. You don't have to go to the top or the bottom. You just want to know what your ranges and what you complain. For the most part, though, you're gonna be playing in this range. And if you go this high, that's enough. If you go this low, that's enough. You stay in this range, that'll be fine. That'll be enough. And just by being in this range and playing with the speed, they can create a totally different character in a totally different scene. So if you're in a scene and there and there is, Ah, something that has to happen really quickly, like there's a birthday happening and you're like, Hey, we got to make sure we get everything planned and worked out really fast. Wolf, your there you may not say and go really self slow like, Hey, so the birthday is happening. Bobby is gonna be here and five minutes. We've got to make sure we get everything all set up. We want to get the balloons up there. We want to get ah, over the cake over there, and we want this over the presence over here. If we talk slow like that, that's gonna that that's not gonna work for this scene. Because we also have to see what is the scene. What is the scene wanting? Were playing with the voice and we're playing with right now. It's the speed element of it. But you know that for that you may want to talk a little bit faster. Say hey. All right, we got to get ready, guys. So we got to get the balloons over there. We want the cake here. We want the presence over here. We don't want to talk slow in that moment unless, like, say, a comedy. If it's a comedy than sure, maybe you're the character who's like, just like so off the wall. I'm different than everybody else were like. I talk really slow in all the important moments, and then maybe there's a scene where and not the important moments your talked really fast , like no one cares like, Hey, there's a water bottle over there when everyone's like Okay, so there's different things that you can play with the speed element to it and playing with speed. Just get a script, get a monologue in play, working the lines, going fast, working the lines, going slow and just seeing what it brings out. Sometimes the best way to know what you're doing and how it's all working is to get your recorder out. Record yourself going fast, going slow, and don't pay attention to much that you're if you can, that you're being recorded. It's kind of a tricky things. They might have to do it a few times, but just have the script and do it a little bit faster, a little bit slower and you don't have to go as fast as you can. Maybe you bring up to speed just a notch, and you can see how it changes and shifts character when you're playing with your voice, there's all these different elements that get involved. Are you someone who talks in your higher range? Are you someone who talks in your lower range? Are you somebody who talks really fast or you somebody who talks really slow? So this is how we can build a more deeper connection into the character and what we're creating and have something that appears more well rounded of a character, so to speak. So we want first that physicality, the physicality has to match if we just have the voice right. And if I talked really fast like this and I'm high or if I talked lo and I'm slow, whatever you figure out your high your low your fast, you're slow. Well, if you have no physicality and your addressed, you're basically like a dead body and just standing there, saying the line you're not really gonna be able to sell your point. Probably you're gonna want to also have the physicality down and that would be the first thing I'd say to get. Once you get the physicality down, then you can start to go for the voice. Not all the time, though Sometimes maybe the voice work for you if you know that you're an actor and you know the voice works better for you if you get that first and then your physicality. If you're building this type of character, will then do that, do what works for you. But most the time when I find works for people is if they get the physicality down and then they get the voice just depends The last thing that's very important to have. So you know, for the voice you wanted to be your own voice. You want it to be natural. You have to first learn and get your natural voice down. Get used to that. Do the exercise of saying a sentence and then reading the line. Then you can start to play with your own voice, going higher, going lower, talking faster, talking slower. This next part that I want to say is a very important part, which is the tonal inflection, so the inflections that you have within your voice. So, for example, when people are talking what they get into the trap of, say, if they have to have a low voice, it becomes a low voice. And is all one note like this. There's no level. There's no fluctuation. There's not like it's not. It's basically like this. Hi. I went to the park and then I saw a car drive by. Then there was a dog that ran through the street, and then I saw a bird fly by. That becomes very boring. It's very flat. There's no levels in there at all. But you can say so. I went to the park. There was a car that drove by. There is Ah, dog that that I saw. And then there was a bird that flew overhead. There was levels in there. It's not like that. At other, there was like there was this and they didn't do, did it? It'd to do, and you can play with it. You can have even more levels and valleys and then you say, Yeah, I went to the park and there was a dog that went by. I saw a car that drove and then the bird just like flew overhead. You can you have to play with the tonal inflections cause that's what really hope sells it once you do the work. If you just go and you're talking high, you're talking fast. But it's all like this then that because very flat and very, very boring toe watch and it becomes very fake. It just seems like an actor who is really trying to act. And you're seeing that with a lot of Just go and see and see, um, go and see a play or go and watch actors audition and you can see that that's a lot of sometimes what happens. It just becomes a very flat or one note. Or they may have levels that are going on, and then all of a sudden it goes boom and this flat, and then that becomes something that turns us off from the actor. Because naturally, in our everyday life, we have levels. We're always playing at working with levels, but we want to make sure that we see that because if we don't, then we start to get turned off by it. So I want to make sure we have that vocal color in there, and part of getting that vocal coloring is just not thinking about it too much. Once you decide, OK, I'm gonna be higher and my voice will be faster or it'll be higher and my voice will be at his normal pace. There's normal pace just higher. Well, then you want to make sure that there's still the inflections in there. So if you can, if you figure that out, then once you do is you just start doing another activity and you just start trying to talk like that and you can imagine you're telling a story so it could be that your clean up your house and while you're cleaning your house, you're using this voice because what you're trying to do is you're trying to not think too much about it. You may have it in the back of your head because, of course, you if you're talking like that, you're somewhat thinking about it. But you're not thinking about it to the degree of where you're focusing on every single word that you're saying, because that's when it can start to get flat. So what you're doing is, is that your kind of half way in the back. Your head, You're thinking of it, But you're doing another activity. So then, naturally, the voice may start to have some levels in there. So if I had to talk higher like this and I'm going, I'm cleaning my room. I'm here. I'm looking around. I had my hands here and then, you know, there, you know, I have I have nails on my hand. I have ah, have a watch and I have a lot of things are no doing this. I'm very my face and whatever. It just changes depending on how you're talking. And and sometimes, you know, if you're talking like this, yeah, the voice, it could go higher, you know it can. Or sometimes maybe it does go softer. It just kind of depends. And sometimes you have to go in talking this voice for just a little bit of time to get used to it. So, like, if I talk like this for, like 10 seconds, I might take while for my voice to get into the groove that it has to get into. But if I start talking like this for 5 10 minutes now, truly the voice is going to start having levels that going just like when I said, Not truly, it went up. There is so there's levels in there and judge that how and judge that how you will. That's just an example of how you want to work at it and go and go with it. But just watch other actors watch the what want Watch Meryl Street watch Gary Oldman want to Philip Seymour Hoffman and see how they play with it, cause even when their voice change is, it still has the levels and fluctuations in there. If you don't have that, then it becomes boring. Try and think about it if you can. If you know a little bit of music at all, if you have music plane in its old one level that it becomes really boring. That's why when you listen to a song, well, the song it goes up and it goes down and up and it's down and it has a bunch of levels into it, and that's basically what we're doing with her own voice, our voice. We're playing with it and we're having all these created great levels flown along. We want to make sure that we have that in when we're acting, because if we don't, then it's flat because again like I like I've been saying through these videos, What we want to do is we want to present riel life and you yourself are the perfect instrument. You've spent so many years already developing yourself. Your instrument is perfect. You just want to make sure when you go in front of a screen or you're in front of people that you're bringing that instrument to them. Because otherwise what you're doing is you're going up there and you're not and you're not bringing yourself. If you're going up there, you're only talking like this. And it's very plain that's not bringing yourself because there's no person in the world that talks like that that I have met. You know, maybe there's maybe that, you know, there's always exceptions people. So what about this person? Sure it's an exception, but 99.9999% you're gonna have to make sure that you have levels in there that your fluctuating and you're just having to be a real person. Like I said, I think physicality is more important to get at first. But if you are gonna be playing with the voice and you are gonna be incorporating it in, well, then that's what you dio you incorporated and you do this stuff from the video, make sure that you also while you're paying attention, Teoh for the believability, what you're doing in the moment of everything when you're talking, pay attention to how you're talking with every single person that we talked to. We always talk differently with every person because every person to us is unique. And it's a new stimulus for us that we work off of when we talk with and it's natural we don't think about it. When I go and talk with my teacher. I don't think. Okay, this is how I'm gonna talk to her when I go and talk with my parents. I don't think. Okay, this is how I'm gonna talk to them. It just naturally comes out that way because our instrument we adapt or natural. That's how we work. That's how we play in the moment when we're acting. That's all we're doing. We're just plain so remember. Like I said, having the voice being natural and being comfortable with your own voice is very important , very, very important. If you don't have that, then the work dies. It's gone. It doesn't work. We don't like it when we watch it. You have to have your natural voice and you have to get used to your natural voice and accept it. That's your voice. That's what you have eminent actor before who said, I don't like my voice? I don't like how it sounds. It doesn't sound like you know, there's other famous actor that I like, and that's OK. It's not supposed to sound like another actor. Your voice is your voice. It's unique. It belongs to you, your voice. Naturally, it's something that you have to bring to the table that another actor doesn't have. Now there's great actors. Matthew McConaughey's voice is different than Bradley Cooper's voice. Bradley Cooper's voice is different than Robert Downey Jr s voice, their all their different Tom Hanks. His voice is different than all of them. They don't all have the same voice because they're not meant to have it. They each bring something to the table with their own voice, and we accept it and we like it because it's honest and it's true and it belongs to them. So you have to make sure that you're using your real voice, and that's what you're bringing forth to the table. Now, of course, you know, we've been going to the video. You can change it if you want, but most the roles that you're gonna have is gonna be your real voice, your own voice. You don't have to try and change it and bring an actor voice and have everything be really crisp and clear and flow off the tongue. And I feel like it's rolling on air like just bring your own self. Bring your voice, be present in the moment with it. Just talk. That's what you're doing. You're here and you're talking, That's it. And have fun with it in the process, so make sure that you follow along and you do. You do the first exercise of you have a script. Whatever it is, you're reading the lines because for whatever reason, sometimes once we have something and that we're reading off of the voice sometimes can go boom into the actor voice or into like a presenter voice where we don't have levels and everything's just flat. It's kind of like in those doctor shows when you see I forget what it's called. But the thing that beeps that beat, beat, beat, beat well, that's the levels we have. Once it goes flat, it's dead. It's dead after that point and we don't want it to get dead. We wanted to have levels when we're playing, that's our goal. That's what we go for. So make sure you include the exercise into your practice where you have a script, have a monologue, Whatever it is, you know, Google something up, your find it, have it and then just say your lines naturally Say, you know, I went to the park and I did this. This, this is this does this and then you just go and then you read your lines and you if you have and you're saying and you're excited about the story that you're saying that you went to the park, that's great. Then you can tell it like you're excited. Yeah, I wanted the story want, you know, I went to the park and I did a, B, C and D, and then to be or not to be. That is the question you bring whatever you bring the story, however you're saying it, and that's what you bring in to the text. You don't have to think, Yeah, I went to the park it at ABC and need to be or not to be. That is the question. That's not the goal. You want it to flow. So if you're telling a story you're excited about, then you're bringing it in and you're just using your natural voice. Your natural voice is getting used to working with words, working in text and you're playing with it. And then when you want to change things for certain characters, may be your talk a little bit higher again, and you don't have to go extreme and say, Okay, now I'm gonna talk all the way up here. You could just be talking here. Maybe you bring it up just to a degree, or you're talking here and then you bring it down a degree. You don't have to change it a lot. That's what the great actors do when they have their roles, and they're using their own voice if it's changing its slight degrees in slight degrees of change or they just keep it out their normal voice. And they have the fluctuations in there, But they're playing with or they have everything the same, and they just play with speed. They talk a little bit slower to talk a little bit faster, you know, they talk louder, they talk softer or if they include an accent. That's another thing in that. And when you include an accent that starts working and changing naturally the way that you're saying your lines, you don't have to think, OK, when I'm doing a character, I have to have. You know, I have to have this. The speed I have to have this. I have to have this after this. You don't have to worry about having all of it. Maybe it's just one thing that you have to do, and that's it for this character that you're doing. Maybe you just have to talk higher or lower or faster or slower. You don't have to think about 1000 different points. You can make it as complicated as you want, but in simplest short form you wanna have your natural voice. We have an exercise for that to start working on it. Also working on believability that we're talking about and focusing on your everyday life and how you're interacting and what you're doing in the moment, you can pay attention to how you're speaking. Naturally, you know, like, if you're talking with a friend, focus on what you're doing in that moment, how you're talking, how you're speaking, your focus in the physicality. You're also focusing on how you're talking. That's one way that's helping you get used to what you're doing naturally, because naturally were being perfect. So we get used to what we do naturally so we can bring it into the work. So we have that. And then we also have this exercise from the video, which is tell your story of your day. How has been tell something you did in the morning last week, Whatever. And then how you say how you bring it in is how you bring it to the text. That's it. That's the first thing we have to have a natural voice. We know that great. Then we say, Are we playing with volume? We're making it loud or soft, so we have the exercise here, and then we're saying is that loud? Is it low? What is it? Louder. Low you have that you can play. That's easy. We didn't talk as much as being soft on that, But that kind of comes a little bit more naturally. You know, naturally, if we're speaking, lower tell, you tend to be softer, but you can speak lower and still be loud. These things, but that that that's more natural that comes in. But then you have the next one, which is speed. So it's really three points that you have have the natural voice and then, ah, you know, is your voice hires at lower. And are you talking faster? Slow? That's it. We don't have to complicate it and think about all these different things. It's just those of your points. And then, if it's not happening naturally, it's not coming naturally the way you want. Are there something missing? And then you're like, I think it's with the voice. Go to these points and then find it, and then practice with it. If you think your character should have a lower voice, then play making it lower. You know it helps if you practice playing with your range you know if you record yourself doing the monologue or a sentence or whatever it is and just playing being higher or lower if you practice it, your body is starting to get used to playing within this range, which is helpful because if a director says, Hey, change something, you can change on the spot. You can do it because you're practicing with it yourself is your instrument, so if you practice your instrument, you get better at it. If there's things that you don't practice, you're not gonna get very good if you play piano and you play your cords all the time, where you get good at your cords. But then, if someone asks you to play your scales, it's not gonna be so good if you don't practice it. So everything you practice, you get better and better and better at, and it lets you be adaptable. So if a director ever says, Hey, give this a try, or can you do this or try this out? Do something different here. You have the ability to be able to do that, and it can be in just simple steps that you have like the steps that we made here. So thank you all for watching. I hope you out. All this stuff down right at all. Make sure you're writing it down. Highlight the points that really make sense to you and resonate with you and then implemented into your day. Practice it. Use this because the voice is something that we really wanna have come out naturally once you have it, naturally, that it's really easy to play with how you're working with it. It's really easy to play with the fluctuations, the speed, the volume. You just have to make sure that you can come from that natural place. And already throughout your everyday life, you're always talking from a natural place, always so you have the capability. Just have to make sure that you put in the work for it. And if you have it and you want to change the voice more, building your character make it simple on yourself. Don't make it complicated. So congratulations to all of you who have finished and watched through this video. You have the next video that's coming up. Make sure that you are watching these one day at a time. I know it's very tempting to want to watch all of it at once. I get that when there's something new that I'm learning. I want to watch it all. I want to get it all, but you get the most out of it. If you go through it one every single day, it's kind of like basketball. I could have someone I could teach him. I could work with him for 15 hours and one day. Or I could spread that 15 hours throughout a week and they were gonna get so much more out of it because they're able to practice more and remember, everything better. If I give you, you know, 15 hours of knowledge here, well, you're gonna have to try and remember all that. That's kind of hard. That's tricky. If you can't congratulations to you. I'm not like that. But if it's spread out, it's easier to learn new things. But also, as you go along, you can start to implement the past things that you've been learning. So it's a constant flow of learning and developing, and as long as you implement the work and you stay with it, you can keep growing and developing. So congratulations again to all of you. I'll see you in the next video by 8. Video #7 Understanding a SceneScript & Knowing What You Are Saying: So today we're gonna be talking a lot about scripts going through them, the process of it. And then there's gonna be a really important point that we're going to get to within this video. So once you get the script from the director or the writer, you get a part of this project, you get the script or if you're auditioning the supplies, so what happens is you get either for auditioning purposes, you get either a scene or a script. Now what you get also with this, your agent will send you a breakdown of who the writer is and who the director is. Make sure that you do your research on finding out who is the writer of this project. What have they reading before? How is their writing style? What do they usually do? Because what you're find is is your finding common commonalities between their works from previous times? And then you can kind of start to guess and find when you're reading this script the type of script that you're reading because sometimes we get a script and we read it and we don't know it can sometimes be looked at as a comedy or can sometimes be looked at as maybe a dramatic piece you don't know. Sometimes there's that middle line where it's hard to tell, and that's why you want to do your research to give you the best chance possible. You know, I could still be something that blindsides you, and it's in complete shock. And a comedy writer all of a sudden writes this dramatic piece. It could be it's possible if you can't tell through the text and you see you can only be one of the other and you're not quite sure doing some research on who the writer is. We'll give you some insight on that as well as looking into the director because you can see the projects that the director does and you confined and try and relate and see. OK, these are some of the past projects that this director has done. It kind of gives me a clue and insight into maybe how this piece will be So you're basically doing background research at first trying to find Okay, what is the What is this writer done before? What is this director done? What kind of projects have you know they worked on. What are they looking for? So you can see for the director. Okay, well, these are the projects he's done, and then you can look at the actors within those projects and see OK. He likes to cast these type of actors for these types of, um, works. So if it's a comedy, you could see Okay, he gets these type of actors. You could find a commonality. If it's a dramatic piece, you can find the commonalities in there. So we're basically trying to create a puzzle, and we're trying to do our best guess at finding Okay, this is what they want. This is what they're looking for. So we can kind of try and adjust and adapt. You know, like I've said before one of the previous videos, Meryl Streep, has said, This is that when word portraying a character, it's just another version of her own Selves. So if you confined that these you can find the type of characters that maybe this director goes for and likes well, then we have to find those characters within ourselves. But in order to find that within ourselves, we have to know what we're looking for. It's kind of like if we're if we're in Ah, in a room and there's an object we have to find Someone says, Hey, here you go. I put you in this room Go find the object And you're like, OK, what's the object? If they don't tell you what the object is, how do you expect to be able to find it becomes very difficult. You can use clues. You can see. Okay, they handed me this. There's writing on this page. All right, All right. Cool. Great. But then if the writing, it's kind of teeter tottering and you're not sure you're like it could be this I'm looking for or could be this and you're not entirely sure? Well, the final piece that's missing is the director. What do they like? What kind of projects have been done before? And this will give you insight and you know how to then try and pursue the character that you're going for next. What do we have next? We have to make sure that we're able to go and read the script. So we have we have it now. We got to read it. We got to do the work And if you don't get the whole script cause sometimes you won't, you may get just the scene and Okay, well, then you got to read the scene. Whatever you have. If you get this script and the scene where you can, you got to do both. You got to read the scene for sure, but you also got to read the whole script because the script is going to give you a great sense of back story and you're not always going to get the script. You won't always get it. But if it does come to you, use it. It's an advantage that's given to you. You have the script, you can go through it and you can read it cause I'm gonna tell you this. There are a lot of actors who they're auditioning for, the same part that you are, and they're getting the same breakdown the same size they're getting in the scene that they're gonna be auditioning with. And they're also getting the script now. Not all of them are going to read the whole script. They're going to read the scene, but they're not gonna read the script now. Of course, if you get booked on the part and you have the whole script, then you definitely want to read it for sure. But if you're just auditioning and you're trying to get the part and you want to give yourself the best advantage a leg up over everybody else well, then you got to make sure that you're willing to do the work. You can't be lazy if you're lazy, then someone else who works harder than you has a much better chance of getting the part to be in this business, you can't be lazy. You have to be willing to do the work and put in the time and effort. Laziness will only get you so far to get you far enough to then get to the point where you're like I don't know if I'm doing everything right. I got I got to try and work and do something different. And maybe, you know, there's a lot of actors who quit, but they quit before they even worked, not worked on being a part, but worked at trying to get the part. So many actors I've seen, they just quit and they stop because they spent years trying to become actors, but they didn't ever put in the work. They moved out to Hollywood. They said I want to be an actor. They got a job working in a restaurant and then they just want to auditions. But they never worked. They never did what they had to to get from point A to B. You may try everything to get from point A to B and, of course, as the element of luck that gets involved. But you have to be prepared for luck. When it gets to you, everyone's gonna get opportunities that come to him. But if you're not prepared for the opportunity, then there's no way you can ever get it. You have to be prepared. They're giving you the whole script for a reason because they want you to know what you're reading. What are you getting into? They want you to know that they're actually trying to help you by giving you the script along with the sides. So make sure if you have it, you read it. You go through it Now. How do you read it? How do we do this? Well, first, what you gotta do is you have to make time for it because what happens if someone gets the whole script and then I go, I'll get to it Eventually they're reading the scenes, whatever they go to do. They got to go toe work that day. They got to do something in that day that takes up their time. And then before you know it, you don't have time to go and read through the whole script. It's just time leaves at that point because we had other things that we're doing throughout the day. We didn't have our great time management skills. You have to block out time for when you are going to read the script. You have to do it so you have to decide. OK, I got it. I got the breakdown. Now I know I have script. I have the signs. Well, I'm auditioning and say, three days, two days. One day, depending on when you're auditioning, is when you have to try and schedule on. When you can go and read through the whole script, you have to say OK, at seven o'clock, I'm gonna go and I'm going to read through the whole script or in two hours from now I'm going through the whole script, and I'm going to read it through and know yourself for how long it takes you to read. If you are quick reader, that you can read through it and still understand everything, then Great. Then you do that. Then you read it quickly. You have You have a time. You say Okay, I can read through this in about an hour and 1/2 2 hours. You schedule that time if you know you need longer than you're gonna have to give yourself a little bit of time. Of course, while you're reading through it, read through a good you know, 30 40 minutes. Take a 10 minute break, 30 40 minutes. Take a 10 minute break. You don't want to burn yourself out, But you have to make the time in order to go through it. Because if you don't make the time, time is just going to leave at that point and it'll leave before you know it. Just think about how there's thinks you want to do in your day or in your week. How many things air there that you want to do that you want to accomplish and you're not able to, because all of a sudden you're like, I don't have enough time for it. You're like I thought I did, and then I didn't realize it. Oh, I was watching Netflix and I watched four episodes of the show I love instead of just one or two that I was planning on doing. You like, I just really wanted to know what was gonna happen next. And before you know it, you watch two more episodes. Well, how many people say that they're gonna go on, Do do some work that they have to do that they have to get done. And then they say, though my friend, they called me up. You know, I want to do something. I'm going to go hang out with him. You have to make sure that you have good time management skills. Because if you're gonna be in this business, you're gonna have to make sure you're willing to put in that time and effort, because don't forget. If you're auditioning a lot, you're gonna have a bunch of traffic driving to the audition and driving back home. That's gonna be a factor in that as well takes up a bunch of time in your day. That'll about will take up more time than you realize you're spent more time driving than actually being in the room auditioning Just because traffic is horrible in L. A or New York, it it'll take you forever to get from point A to B. But you have to make sure that time management you have it planned and you have it ready toe work. Once you figure out the time, make sure that the place that you're reading your script is a place where you could actually concentrate and stay awake. So the next problem is people say, OK, great. I know when I'm gonna I know what I'm gonna go and read through the script. I have that time scheduled out for me. But then they go and they go and they sit in their bed and I said, OK, cool. I'm gonna go and read the script. They take it, they start reading it, and before you know, at the when they fall asleep, that happens because you didn't figure out the best place for you to work. You have to find everyone's different. You know, everyone's different, but don't be the person, is it? So I can read in my bed and it's fine. That is one of the biggest mistakes that people make they. Either they go to their bed and they start reading their script or they're going to the couch and they lie down and get too comfortable. You know, you don't want to be uncomfortable when you're reading, but you want to be comfortable enough where you know you can be awake and you can go through it. So if you can sit at your table and literally, you know, have like a cup of coffee with you, whatever you're there, you're ready to work and then you go through script. But you have to make sure that you can find that place where you can work. Say, if you go to the table in your right next to a window, where you here, all the traffic going by outside maybe is not the best spot, you know. Sometimes people think I'll go to Starbucks and read it. Well, if you could go to Starbucks and read it without getting distracted by anybody else and being able to focus on your work and being able to complete it within the time. From that you give yourself. If you could do all that, then find you started. You know yourself better than anybody, but help yourself because you can do things that will benefit you more than other things. You have to find a place where you can work. Usually for me. A quiet place where I can be completely concentrated on. What I'm doing is what's gonna work best for me and also making sure I have little breaks. If I can have a quick 10 minute break in between my readings, then I don't get burnout cause you don't want to go reading through this and then you get burn out and then you start hating it. Are you start thinking Oh my gosh. One When I'm going to be through this, when am I gonna be done reading this? Because if that happens, then you're not. Then you're not able to concentrate on the script as much because you're thinking Oh, my gosh, in one was done. Alright. 20 pages left, 15 pages left. Then you're in the back of your head. You're thinking, Oh, my gosh. I want this to be done. I wanted to be done. I want this to be done, and that only puts you in a bad mindset when you're going through it and you're not gonna be able to finish it. So make sure you put out the time when you can work, and you find a place where you can get the job done and you're not getting distracted by 1000 things that you can concentrate on, what it is that you're reading next. When you're going through the reading and you're and you have it with you, make sure that you are finding bullet points for what you're looking for. So we're trying to find what world you're in. You're trying to find the tone of the piece, and then any questions that you might have about it. So you want to find those three things to the world that you're in when you're going through it, You find that when you're reading through the script, Okay, what type of world of man and sometimes knowing the writer or the director, that will kind of give you an idea of maybe what type of world you're in if this is like a reality based world or of this is some mystical, magical world. And by knowing the world, you know the limits that you have within the piece a little bit more. You know that within this world there's dragons and magic in different elements to it. So you know that there's a different element that maybe you can bring to the peace by knowing that factor, and then you want to know the tone. Is this a piece? That's funny? Movie? Is it? Is this a comedy that you're working on? Is this a dramatic piece? Is it Ah, horror piece? What is it? What? What's going on? You have to figure out the tone and you do that by going through reading it, having the times goes without and where you can focus on it. Because when you're there and you're focusing, that's gonna help and knowing who the writer is really help a lot. That's something that people don't usually do. They don't think about the writer or the director. They don't think about the past works that they've done because they don't give you a really good insight on the type of world and tone. Maybe that's going on, especially If you can't figure it out, usually you can. But if you can't, that's gonna give you a stepping stone to get to where you need to be, or it can help you if you know it ahead of time. Once you go into it, you kind of know what you're getting yourself into. And then it's a little bit easier when you're reading through it to understand. Okay, this is what's going on. I know everything that's happening, and then you want to find any questions that you may have. So there might be questions on things like you maybe don't know it. Maybe you have a line that you're saying and you don't know the meaning of the phrase or you don't know certain words within the piece. Well, then, that's something that you can actually work on and try and figure out, and you can google it and you can say, OK, I'm going googling this, they say, Okay, these are the questions I have, and you can and hopefully answer the questions because you want to know what it is that you're saying. So if you're going through, if you're going through a piece and you don't know what you're saying. That makes it very difficult to get your point across to say what it is you're saying. We have to know what's going on. We have to know what we're saying. That's why were going through and finding all the details in here. We're finding the world rain. We're finding the tone of the piece. We're finding the director. We're finding the writer out. We're reading through the whole script because we're trying to get all the information that we can. It's kind of like we have a painting and the paintings all covered. It's covered in white and we're trying to get rid of that white veil so we can try and see through and see what it is that's behind it, because at first, when we get it, we have no idea what it's about. Until we start breaking away, the layers will start figuring things out, and then we hopefully can put out good work. But you have to find what don't you know. And then you also are finding things that maybe you can answer. Maybe there are some things within the piece that you cannot answer that you're confused about it could be that this dispute this piece could be in a world that's completely like magical and whatever, and they have weird names for things. And maybe you have a name for something that you're bringing up and you don't know what it is that you're actually talking about, which makes it a little difficult. So then what you do is you find it. If you do your research, you can't find what the answer is. Well, then you have a question that you can bring to the casting director or the director. If you get lucky enough with the casting director, they may ask you, they say, Hey, do you have any questions about the piece? And you can tell him? Yeah, Yeah, I was going through it and trying to figure this allow I'm like, could be really helpful if I had to do what this piece of information is. Could you give me a little insight on that? And then there be more than happy to tell you, and they say, Oh, this is this. This is what this is. And then you have a better insight and understanding. So say there was something that was supposed to be a magical object and you didn't know what it was, and you're creating it as being like maybe a toy. This is it's a crazy example an idea, But you portray that seen much differently. If you're saying if you're giving someone a toy or you're giving them a magical object, two completely different things. But it's an idea of contrast. If we don't know what it is that we're talking about, then we're going to give a portrayal that isn't in line with what the script has. I mean, it's just is just simple enough to think about. If we're portraying something that's not within the script, it's not gonna be what the script has a saying. But if we know what we're saying and then we portray what it is that we're saying and it's within the script, then we're following along, and if our goal is to follow along, we want to know what we're saying. So you want to find those questions that you may have, and then if you don't have the questions and you understand everything that's perfect, that's good. You want to be able to go through and understand what you're saying and know everything that's going on within the piece. Some people ask how many times should I go through the script? And some people have built numbers. They say Read it through 13 times. You know, you're finding 33 different things each time around. I say that if you can read it as many times as possible and do that, go through it as many times if you can. If you have the time to do it, go through because you're always gonna find something new. You're always gonna find gold within the piece. Some people say, Well, if I go through it too much, then I get to I get to heady about it, and I and I can't. I lose control of my own part. Well, then read it enough where it works for you and you're reading your part and then do a bunch of readings of it. And if it really doesn't benefit you to read through your parts for whatever reason, I don't usually find that to be the case. But if that happens to be the case with one of you, well, then read through it. You have your parts and then we throw it in. Any time you're part comes up, skip it and then keep going. Because if you know the world that you're in in the tone of the piece, you're always gonna start finding little golden nuggets within the script and you're gonna find out I can pull off this. Oh, I can use this. Oh, this is a need idea. You start to find things and you get more used to the world that you're in, and everything will just her to roll off the tongue a little bit easier. When you know everything that's going on. It's trickier if you don't know what's happening and you don't know all the little nuances within the piece, it's kind of like you're trying to go through a maze and you're hoping that you find your way through. But if you know oh, I go right here. Then I turned left. Then I go straight. Then I go left again. Make another left, go right and you know which way to go. You'll be able to get to start at the bangs and get through the very end easy, but if you don't know where you're going and you're starting to guess you could easily go into the wrong direction. So you want to make sure that you're really paying attention of finding what everything means within your piece, then the most important thing that I want to get into. And this is what I mentioned at the beginning, what I really wanted to say after you get all this stuff down after you've done the whole research part of it, then you have to realize that any time we speak really most any time at all and you have a script, you have a scene and you're trying to speak. What you're doing is your trying to say something. We're all trying to say something, and we may be able to say it, but we're all trying to do it. Some people say, Well, we're all world doing something. When we say something, we all have an action. When we say something, we don't have a BCG. When we're saying something, I think the easiest way to think about it is when we say something, we're old trying to say something, So if I'm telling someone that you know I love him, I'm trying to tell him that I love you, I'm trying to tell you, and sometimes we may not be able to say it, and that's what a lot of conflict happens within movies or television shows. Everyone's trying to say something, but they're just not able to, and it's that tension that build that we relishing and that really, really enjoy. But we have to realize that instead of like we're saying something, change the wording around and say We're trying to say something now this doesn't have to be a struggle. Sometimes when people think trying to say something, it's like trying to say I love you and it's really hard to say it. But maybe what it actually is is that it's something happy and is trying to say, I'm trying to say I love you It could be something that the struggle and it could be that I'm just trying to say that I I love you. You know, I could be a struggle, but it also doesn't have to be a struggle. You don't have to get into the pattern of thinking OK, so if I'm trying to say something, it has to be very hard, like I'm in quicksand. I'm trying to get out. Doesn't have to be anything like that. It could be like I'm I need to go to Target. So I'm just trying to leave the house and walk out to my car. I'm not saying I'm trying to break through quicksand or not making it a struggle on myself . It doesn't need to be. I'm just saying I'm trying to say something to someone you know if I want to go. If I'm a character and say I say I want to go to the park But I'm telling my partner I'm trying to tell them I'm trying to say I want to go to the park or if you're saying something that I don't understand it. I'm trying to say I don't understand you. I'm trying to say something. I'm not I'm not just making a statement. I don't understand you. I'm trying to say and have you understand with me? I don't know what you're saying. We're all trying to say something with her acting when we have a scene. Were trying to say so sometimes were able to say, and it comes through sometimes it doesn't. But that wording has seemed to help me a lot when I'm going through my work realizing that I'm trying to say something, I'm trying to get a point across and it's in the act of trying that we really find the magic in the golden it and it's so much more interesting and compelling to watch someone who's trying to just say something and make a point across that is interesting. And there's tension when someone is trying to say something and they can't and they can't because of their own internal reasons. Or they can't because the actor across from them isn't allowing them to say it or they can't because some external force comes in and doesn't allow it. It's kind of like in those movies when you see in someone's just trying to say I love you and then before they can even say it, someone comes into the room and interrupts the moment that we're old there were like all your just trying You was so close. You were just about to say it and it's in the act of trying and that wording really was beneficial for May it really Waas and I told some people about this, Um This was something that I had that was like was just mind boggling to think the wording of this of saying how you're just trying to say something, whether it is a struggle or it's not, if it's good, if it's bad, just the act of trying to say it. I told some other actors about this, and they were like, Oh, really? That's interesting That's kind of interesting to say and some of them really listened to it and the ones who listened and tried it, they came back and they were like like I wasn't even sure how it was gonna work. But I just realized that I'm just trying to say something, and I felt a deeper connection to what I was saying. I felt more connected with the words that and then some people couldn't even explain it. They were just like I don't know what it was. But after you said that when I tried it, it worked out for me and I was able to accomplish what I thought I couldn't. So it's a real benefit to try it and give it a shot, so just realize that in this video what we have it's You got to do the work, all right? You can't be lazy. If you want to be an actor, you got to do the work just like anything else. I'm not saying if you're going to do acting that you should just, you know, kind of, you know, give it half of your energy. If you want to do anything you want to be great at anything, you gotta work at it. You want to be a great basketball player, you better work at it. You want to be a great tennis player, you gotta work. You want to be a great musician, you gotta work. You have to make sure you're doing the work in your practice thing, and you want to make sure that you're practicing the right way because there's actors, you know, they go and they take these acting classes and the practicing the way that they're doing it isn't benefiting them. And the example of this is just seen. How many actors have you seen who have been taking classes for years and you watch them and they're not that good. There are so many of them and there's more than there should be you don't want the ratio to be that there's more bad actors in the past than there are good actors. It's not all the time is not like that. You're get some classes where it's more good actors and there are bad actors. But if you go to a lot of classes, you're gonna find there's a lot of not so talented actors and there who have been working for years that there overacting but not believable. There's something about it that they're giving, that you just don't believe, and they're constantly doing something that's not working for him. It's kind of that idea again of the refrigerator. Have a bunch of things in there that's not working for him, and they keep it. You know, they keep going to the store that keeps giving them cake, and then they walk around all the time, and that's only the cake in there. Like, Why am I so unhealthy? Like I I go running every day I do this. I do this and I'm still unhealthy. Wolf, for your diet consists of only cake. There's no way to be good, and how do you stop getting cake stopped going to the supplier that's giving you cake and go to someone else. Someone else may give you something. They may give you all the stuff that you need. They can give you all the healthy food. You could put it in your fridge. You use what works. You throw out what doesn't work. So you have to make sure they're willing to do the work because it's not an easy process, but you can get good at it. You can get good at anything if you're willing to do the work. Don't just think about it an act. And if you want to do anything in your life, as long as you put in the work in the time you can really accomplish a lot, you just have to be willing to do it. You have to be willing to turn off Netflix and go in practice and go on work. You have to be willing to get off your phone off social media so you can work. That's what you got to do. So a recap of this video make sure you research the writer and the director. Those will give you clues into the work that you're gonna be working in or you're auditioning for And you're gonna find elements that they've written before in the past or they've directed, and you can get a glimpse into maybe what project you're going for right now, or if you could luckily get cast what type of project urine and how to work through it. Then you want to be able to set times for when you can actually go and work setting times up in saying Okay, I'm going to read through the whole script on this time. I know it will take me two hours to go through it. I'll do it. I'll take me an hour to go through. You set the times you read through it as much as you can. If you have three months until you shoot, you better be reading through it all the time, doing all your actor work developing the character, all this stuff and reading through it all the time so you can understand what it is you're trying to say, and you're going through and you're finding places for where you can work. Can I can I work in? Can I sit in my bed and really go through the script? without falling asleep. Most people that can't. So you have to be able to focus and find good places for you to be able tow work and understand what you're reading. Then you have those bullet points. You have it. What world are you in? Um, what's the tone of the piece and what Don't you understand? What questions do you have? Can you figure out those questions on your own by doing Google researches? Or do you have to go and ask the casting director or the director? You have to know what you're saying. If you know what you're saying, then you could get your point across. If you don't know what you're saying, how can you talk about something and then realizing that we're all just trying to say something, all trying to say, I'm trying to say something. I'm trying to say I love you or I'm trying to say, I hate you arm trying to say something, and it could be something that's good. It could be something that's bad. It can be a struggle to say it. It can be easy to say it doesn't limit you by trying to say something, but realizing The idea that you are trying to say something to someone is very important, and you have to realize that someone, it's different every time. Trying to say something to your mom is different than trying to say something to your best friend trying to say something to your neighbor. It's different for each person, and you realize that by working on believability and all the stuff and realizing that each person is different and you also find that. But being in the world that you're in and knowing the tone of the piece for how you're going and how you're talking with the person, you're doing all the work to be able to get there and realize that you're just trying to say something and watch other actors plot a CD, put it in and watch everyone. They're just trying to say something to each other. That's what's happening. So congratulations on making it all the way through this. I hope you wrote this old down, highlighted the important points and you've been going through each video one day at a time . So congratulations. I was really excited to make this video because this is one that I think we really beneficial for all of you? Um and this is some stuff that you're not getting toe learn when you're in other classes. I'm trying to get all the information that I have gotten. Put it into hacking. Just simple and easy for all of you. Doesn't have to be stressful. Doesn't have to be hard. You have to put in the work, of course. But you can realize that if you can work the right way and we can make things simple, you know, you can make acting amaze. You know, you have to go on. You have to find which way to turn. You know, that could be your way if you want it to be. I like to have it be. We have a maze. It's a straight path. We were at the beginning. We can see the end as what I wanted to be. And if we can't see the end that I don't want us to have to go through 1000 turns to get from point A to B as they're okay. We can't see the end right now. We're gonna make it through. We're gonna have 10 different turns. We're gonna have to make until we get to the end. So congratulations to all of you for making it through this video. And I'll see you in the next one Goodbye. 9. Video #8 Confidence: welcome everybody to video number eight. So this video is gonna be one of the most important videos. I I feel like all these videos are very important because if you think about it, you can't have good acting without one of the points that we've mentioned before. So we can't have good acting without believability. Believability is one of the most important things. If it's not believable, the whole thing gets thrown away. All the work that you've done, it's not believable, the work that you've put in and we watch this character and we say It's not really I don't believe it instantly were thrown out. You're not a good actor at that point, we zero. It's just an actor trying to act if we don't have the right physicality down, if we're on stage and we seem really random and we're moving or on screen where random we're moving or for really stiff and we don't move at all, and it feels like we're locked in place. If we have that, then we're not very good for our voice. If our voice isn't natural, if we don't have a natural voice and it feels like it's put on or it feels like it's a presenter and it doesn't feel real. It feels again it's fake, then it's not gonna work for us, and those things fall into believability. How we talked about, If we're believable, then things will fall into place naturally, because everything that we're doing, we're working and practicing our believability, working on their instincts, doing things that we're doing every single day to put into our work, bringing ourselves to the character. And it's like what Meryl Streep said. We bring ourselves to the work and we're just portraying different elements of ourselves. Different sides of us were showing different areas of ourselves to people. That's all we're doing, and that's why believability is so important. But now we can't have believability until we have confidence, and that's what this video is about. So if we want to be believable, that's great. If we're practicing at home and we're doing our work and more believable, that's awesome. That's a stepping stone forward, but we have to make sure that we can bring that believability into the audition room onto the stage in front of the camera to the director. Can we bring that believability to them. Can we show our believability when it counts? That's what we have tohave. And in order to do that, we have to have confidence because if you go into an audition room and there's a casting director and you walk into the room, they've seen a ton of people throughout the day. You walk in and you go to do your scene with them. If you're nervous, that's gonna show, and they don't want to hire someone who's nervous or uncomfortable. One. Your work's not gonna be good. And two, you're not trustworthy to put onto the set. It's kind of like if you have a doctor and he's gonna do surgery on you, you do not want a doctor who comes in who's kind of nervous, and it's kind of like Ah yeah high. So I'm going to do my surgery on you and I'm not really comfortable with it. We don't want that type of doctor, So if we wouldn't want that type of person operating on us, why would someone want to put us into their movie that they're putting millions of dollars into millions of dollars of their own money and they want to make more. They want to get something out of it. If the actor that they're looking at is nervous and they seem really uncomfortable, that's how they're proceed. And that's what the casting director things that when this person goes on set, they're gonna be nervous and they're gonna be scared. And if they are, they're not gonna be able to put up their best work, and that's going to make them look bad. And besides that, you're not gonna be able to put up your best work. Just think about all the times when you've been somewhere and you been nervous. Are you able to do your best? Because what usually happens is we get the butterflies in our stomach. We get nervous. Maybe we get a little shaky or palms get sweaty or senses or all hide, and we hear everything. We see everything that's going on, the lights are brighter, everything's louder. We don't want fear to be something that controls us. If we have fear, start controlling us in deciding things for ourselves, then we're not gonna be able to move in the direction that we want, because this business is a little bit of a scary business. Sometimes there are nerves. We want to do well. We want to go on audition and we want to do well, so that's good. But we get so nervous and afraid because we want to do so well or were afraid of getting judged because a lot of it we get judged. We go into the into the room and people are judging us. Not maybe in a super negative way, like this person Bob about it. This better this but this. But we are getting looked at in judged for the part. Are we able to betray the character properly? We're judged on. Do we look like we do? We look at the character that the directors looking for, we're judged on. If we're gonna be comfortable when we're on set, Are we trustworthy because they have to trust you? If you haven't been on anything before and they see you and they and no one's ever hired you, they want to make sure that they can trust you, and you have to have confidence you can bring yourself to them. You can be your own self. People think that confidence means that you have to be the loudest person in the room. Everyone has to notice. You may notice you when you walk in, you have to be the extroverts. But really you don't. There are many, many phenomenal actors that I've met that I've worked with, that I've watched who are introverts and do very well, very strong actors better than extroverts that I've seen. But they are confident they're comfortable in themselves to put up their work. They're not nervous in the sense that they get nervous and that and they can do the part. And they're scared. And they keep forgetting their lines. They're comfortable in themselves. They have a confidence in order to push forward and do the work. Extroverts have it to some people, though they they see an extroverted because the really loud they think, Oh, my gosh, they have confidence. Maybe they do. It's good to have confidence. You want to make sure if you're an introvert, that you also have confidence. You don't have to, though become an extrovert. If you're an introvert, that's okay. You be yourself. You could be an introvert. You don't have. If you don't like being around a lot of people, you don't have to. You don't have to change what you like, But you also don't want to let fear control you. So all you're doing is you're just becoming comfortable and confident in yourself. And you don't care when you walk into the room. If the casting director likes you or not because we're so worried, we're like, like us to do they want to or do you think we're OK? Or once we booked the part? We're like just a director like us A. My doing the job, right? Am I doing everything I'm supposed to do? We just start becoming comfortable and confident in ourselves in our own work that we are able to go up and put up everything that we've worked on. Put it on the stage, put it in front of the camera because when you're unconfident, the camera sees it, it picks up. It amplifies everything. Will Smith had a great interview he was with. I think it was with his son Jamon. They have this interview together. One of the best advice is that I thought he could give He said that you have to have confidence in you have to not be afraid to make a fool of yourself and that you have. You can't let fear control you and you know what he did. He got up there. He around around the room. He was screaming is like, You have to be able to do this and yell into all this stuff and he's not afraid. He's not nervous. It's not scared. He doesn't let fear control him. He jump up and down on a chair and cry like a little baby If he had to, He doesn't care. It doesn't matter to him. And we have to have that. I thought it was the best piece of advice because it's very, very true could so true. If you want to be able to put up a good, strong work, fear is something that can hinder you. So you have to start working on getting the confidence. So how do we do this now? How can we start to get our confidence up? What can we do? What are the tricks? Is there a trick to become confident, really, really fast? I think so. In a way, there's not maybe a trip to become common funding on day one. That's kind of tricky, but I can get you to become much more confident in one month. Maybe not one day, but one month I can build your confidence up tremendously. Now, this is gonna be a very simple, very easy thing that you can do. And I expect you to apply it today because my actors, I want my actors to be able to go up and put up good work and not have fear control them. Fear doesn't control my actors. That's my goal. Fear doesn't control you. You have control over yourself. Now this is gonna be something that may seem really simple. The idea is simple. It is good. We want things to be simple. Why make things complicated on ourselves? Doesn't make sense. So this is very simple, but it seems to be very hard for people to implement sometimes and what we have to do The Onley riel true way to get rid of fear is to face your fear when things make you nervous. When things make you uncomfortable if you let them control you no matter how small they are , it builds up over time. If you're in a classroom starts when we're young, remember in high school, you're in a classroom, or if you're still in high school, there may be times when you're sitting in class. The teacher asks the question. You know the answer. You don't want to raise your hand. You don't want to raise your hand and say, I know the answer. I know what it is because you're nervous and we let fear control us. That might be something that happens one day. Maybe there's something else that have is the next day you're in a group conversation with a bunch of people. They're talking about things. You don't really know what they're talking about, and you don't want to ask the question. Hey, what do you mean our I don't understand. Could you explain that to me? I'd like to know because you don't want to appear dumb. You can't let fear control you, caring about what other people think. We have to get over it. We have to face our fears. You know, one of the things that science says is the most fearful thing for people to do. It's talking with others, talking to other people. Talking to a stranger is really hard for people to dio there is a science study that was done. I don't remember which one it was. But it went something along the lines that people rated death as one of the most scary things to have happened. Death is one of the scariest things and they also rated talking with people, especially talking to someone that you find attractive very, very hard, very difficult. I think public speaking was on there too. If we see that that that fear is a strong is death, then we know that something that we have to face and get over. So what I'm telling you guys to do is to start facing your fears every single day. And any time you get that little nervous feeling in your stomach, those little butterflies, you get rid of him right away, right away. So if you're in class and you don't know the answer to something and you have a question about it, raise your hand. Ask the question. Don't let fear control you in that moment, even the small moment, you know, in answer to something, raise your hand. You're in a group conversation. You want to contribute something, then you say it. You may be nervous. That's okay. You say you speak. Some people say, Well, I want to be confident for the auditioning purposes. So I'm just going to audition a lot to get over my fear. Two problems with that one. Great. You're going out there. You're auditioning a lot to try and get rid of your fear. Okay? It can work. But if you only focus on getting rid of your fear by auditioning one you don't know, you don't know if you're gonna be about audition a lot. You could be very confident and arrogant about yourself and think maybe you can and maybe you will. And if you do, congratulations. But not everyone is able to audition a lot. Not all the time. So you don't know that. And then if you Onley practice auditioning to be in the room and you're not focusing on fear in other areas of your life outside of the auditioning area, Well, then you're practicing during the audition trying to get rid of your fear. Fine. It's an idea. But during point A in the day you left your control, you you may be the classroom situation. For example, you don't want to raise your hand. You're scared. It controls you. So you let fear control you in that moment. Point B, you're in the audition room. You're trying to not let fear control your kind of nervous point C. Now you're nervous again. Something comes up, you let fear control you. So fear is controlling you more. Because if you go into the audition room, you're auditioning for, like, 5 10 minutes and then boom, you're back into the world of fear. Fear starting to control everything you do. So that doesn't work very well. We don't wanna have our only time. We practice be when we audition. So here's where my second point comes in. Imagine basketball players. You have a basketball player. He's on the team. He only practices when his team versus another team. Any time. He doesn't go against never team he doesn't practise. Will that basketball player get any better? Not at all. He is not going to improve in skill. He may know that Hey, when I go and fight that when I go against that big kid over there, he's gonna knock me down because he's really good. He may get that, but he's not going to become a better player. And that's the same thing with focusing on Oh, well, I'll just go on audition a lot. You don't know if you're gonna be able to audition a lot. That's a problem. And if you Onley are focusing on auditioning a lot to get rid of your fear, you're only practicing. Once you get the ability to audition. When you don't get that ability, then you're not practicing and you're gonna spend more time not practicing and having fear control you rather than you getting over your fear and taking control of it yourself. So here's what I want you guys to start to. Dio, I want you define 10 people 10 people every single day and talk to them 10 random people. So if you're sitting in the Starbucks, you're sitting there, someone keep walks in cute guy, cute girl and you want to talk to him, you find him attractive, then you go up to him and you talk to them. You do not let fear control you go up, you talk to him. You don't have to talk to him now for 10 20 minutes. Just talk to him for 30 seconds to a minute. That's all you have to do. You have to have a little bit of time on their You don't want to just walk. Okay? High. But you need to get into conversation a little bit. 30 seconds to a minute. That's it. Now, if you go there and you go and you talk to him and then you're talking to them and they're and they don't want to talk to you at all and they walk away, you can't go. Oh, my gosh. Look, if they don't want to talk to me like I just got rejected, like if you're thinking of that, you're you're trying to get something totally different. You want to be a good actor. I assume if you want to be a good actor than you gotta do the work, So if they blow you off, doesn't matter. Your whole goal is to get over your fear, and you're just going up. If you go up and you talk to him for 30 seconds or a minute, you've completed your goal. That's all. You don't have to worry about getting their number asking about on a date. I'm not telling you knew to do that at all. I'm just saying you find him attractive. You feel in your stomach that if you're gonna talk to him, that it's kind of nerve racking. You feel those butterflies that you go up and you talk to him. And you do that with 10 people, go to the mall, find 10 people, talk to them for a minute long. A minute long. That's 10 minutes of your day. 10 minutes. You confined? Trust me, you confined 10 minutes. Anybody says who they can't find 10 minutes in their days lying. You confined 10 minutes in your day to talk to 10 random people. Now, picture this really quick. You're talking to 10 people every day in a whole month. 30 days. If you do that every single day, how many people will you talk to? 300. Now answer me this. If you talk to 300 people, will you become more confident? Yeah, You bet you're, but you will. You're gonna become so much more confident compared to day one all the way to day 30 if you would become more confident and you know that. And this is just logic. Now speaking you're talking to 300 people in a month, 300 minutes total. You're gonna get a lot out of that. You're gonna get so much out of that now, If you know that that will boost your confidence. And trust me, one month that's been along, that's not a long time. That's pretty good. Boost your confidence in one month. Remember, we're going through this process for whole two months, changing your idea of acting changing the mentality because you're working on the acting part of it. You have to have confidence in order to do. You're acting so you can have the believability so you can bring that in front of the director. You're not scared and letting fear control you. If I had to give an actor a piece of advice and I couldn't do tell him anything else and like, what can I do to become a better actor? This is what I tell them, because if you can build your confidence up and become much more confident, your acting is gonna naturally become much better. And if you can walk into a room with confidence, that's very powerful. And a lot of times they made choose the person who walks into the into the room, who's much more confident. The acting is not as good as the other person who came in. The other person who came in their acting was better. But the person who comes in who is very confident and they can do their work. Those are the people that are gonna get hired more because they're confident they believe in themselves. They're comfortable being in the room. Now you may. You may start thinking I have ideas right now. You might start thinking, well, 300 people. How can I talk to 300 people? That's a lot of people that IHS fear trying to make excuses for why you can't You can trust me. You can find the right of people to talk to you cause you're finding 10 a day. You're just finding 10 a day. You go to the mall, you confined 10 people, and it's only 10 minutes to barely. Anything you can do more if you want, but 10 minutes that's the minimum. You're gonna find improvement so you can go to the mall. You can go to a store. You can walk around park and you find someone and you talk to him, you confined people. So don't make excuses for why you can't. You can do it and you can build your confidence this way. And you may be nervous. You may have that Those butterflies in the pit of your stomach, like I don't know, maybe you're sweating by. Maybe it's something that makes you nervous. But my question to you is How badly do you want it? How badly do you want to become an actor? You know that you're gonna need confidence. Every celebrity actor that you see has tremendous amount of confidence. You want that confidence so you can have your act to become better. You want it, you know you need it. So now how badly do you want it? Do you want it badly enough to put in the work? If you're like, well, I'll do everything else. Except that, yeah, if you decide to do that the people who implement this and build the confidence, they're gonna be better than you. I'm telling you right now you have to implement this today. So I'm hoping that you're all writing this down. You're putting it all your writing it all highlighting the important points. Will Smith made the point about this. You have to have confidence. You have to be comfortable being crazy being in while doing what you have to do. And if you really want to be an actor and you're willing to put in the work, your confidence will build tremendously. So make it ago. You're starting to day. You're watching one video a day. You're starting this one today still implementing doing all the other stuff you've been doing. Now you're putting this into your practice for a whole month, every single day. Don't cheat yourself. Find 10 people, talk to them all for one minute long and through a whole month you're gonna talk to 300 people. Now, if you choose to do more, that's great. But just think about this bare minimum wise. You're gonna find so much, you're gonna become so much more confident with this. And the more you do it, you get more confident and more confidence, and it's gonna help your acting tremendously. Trust me on this one. This one I can't tell you. I can't explain it any more than just telling you to trust me. on this one. It will make your acting so much better. So thank you all for sticking through. Congratulations. This point is one point that I wish I could tell everybody and everybody would follow it. If you dio you are gonna become so much more confident it's gonna help you in many areas of your life. Not even just acting your find it. And when you have to have that conversation one on one with their director, you're gonna be comfortable with it. So congratulations. And I'll see you on the next video. 10. Video #9 Your Instrument: welcome everybody to video number nine. So congratulations on making it all the way here and making it through again, going through each day one of the time, writing everything down. So take notes in this video because this one's gonna be very important. What we're gonna be talking about is our instrument. Our instrument is us. You are your instrument. I am my instrument. Everyone is their own instrument. And we have been spending however old you are that many years developing your instrument toe what it is today. So if you're 18 years old, you've spent 18 years developing yourself what you are today. If you're 30 you've spent 30 years developing into what you are today. Don't think about whether you like it or not. It doesn't matter. Just know that's right now where your instrument is at. And that's why everyone's instrument iss so interesting and different. That's why I say we're all unique people because we all have our own unique instrument. We basically all have guitars, but your guitars maybe bigger or smaller or heavier or lighter. You have different strings on it. It takes different times to tune in. You have to tune it. Turn your knob a few times, or maybe a little bit. Maybe your strings are older or newer. We have our instruments. And if we think about our instruments being like a guitar, well, we have to take care of a guitar in order to play it for a long time. So I have to make sure I change the strings. I don't keep the guitar in the sun all day long. I don't let dust collect on it. I tuned the guitar when I need to on, but maybe polish it keep it nice and clean. So I take steps and do things in order to have my guitar be playable. Basically, for the longevity of it, I can go ahead, go out by guitar, quickly, get it tuned and start playing it. But if I never do any of the other work on it, if I never tune it again, if I never clean it, if I never do any of the steps that I just mentioned needing to do well, then what's gonna happen? It's really simple thing to think about. Well, it's not gonna sound good, and eventually it may not be playable. It's just like with a singer of a singer sings with the wrong technique or screams really loud or eats the wrong food. Or does certain things that could harm her vocal cords If she eats something is way too hot for herself or constantly is drinking things that are cold. It's not gonna be great for her voice. So you have to make sure that you're doing things in order to take care of yourself. And we have to know what those things are sometimes. But the first thing is is realizing that we are our instruments and we have to take care of it for the longevity. You know, you could do things right now that are not so good for yourself, and maybe you'll be okay tomorrow. Maybe we'll be OK next week, but you don't know what will happen next year or the year after the year after that. This is for longevity. So when is it Cumberbatch Tom Hiddleston? They're doing things in order to keep themselves proper enough to have the energy that they need to in order toe work. So they're not getting tired when they're on set, where they can't say, You know, I can't do the work. I'm not capable of doing it. You don't want that to happen to you if you have the option to work at it. So here are some of the things that's gonna help you a lot. And there's gonna be simple things and it's gonna be things that are gonna help you in your life. So every single day, you can live your best life, and you're also not gonna let yourself get in the way of your work. So you're gonna be a few things that are very easy and simple to do, but you have to apply them and not a lot of people do this and we're gonna go through one at a time. First thing, get enough sleep, get the proper amount of hours asleep. Don't go to that party that you've really been wanting to go dio and stay up toe four o'clock in the morning at this party, drive home, sleep for two hours and then go to work the next day. Or go to your audition or memorize your lines cause you're not gonna be put. Be able to put up your best stuff your best work because used your spent all night long hanging out of that party, trying to have a good time, and then it's gonna hinder you from doing your best. Because if you have an audition the next day, how do you expect to put up the same amount of work if you're tired? Because if you're tired, it's gonna be a lot harder to have your lines memorized. So if you're there on your tired and you forget your lives, well, that's not gonna be so good for you. The casting director is gonna be looking at you and saying, OK, all right, great. Next. They're not gonna be sympathetic to you. And now people do this, but they do it every single day. I can't How many actors I know right now they think that they have to go out and party all night long, and the amount of actors who do this is insane. It really is. But a lot of these actors, the ones that I know comparing the ones who do this and don't do this, and it's gonna be more on this list. But the ones who take better care of themselves are the ones who typically do better. There are some of the ones that I know. They've got unlucky. They haven't taken very good care of themselves. And yes, they've got and work. But I know that I know the ones who have taken care of themselves and who have gotten more work. And they've also secured themselves for having hopefully longevity in their career and not something that's cut short. So you want to make sure that you are getting the proper amount asleep. You got to do it. You got to take care of your health. You gotta mentally be able to work the next day. You know, if you don't get enough sleep, your mental capacity is not gonna be completely. They're not gonna be able to focus 110%. So you need to get in that sleep. You got arrest number two, eat healthy. So even though that cheeseburger looks really good every single day, every single day, you drive by that McDonald and you want to get that cheeseburger and maybe it's a habit and you're getting one every single day. You're getting a coke with it, and then you're getting whatever else, maybe, or any of the desert later in the day. Even though it tastes good right now, it's not gonna help you in the long run, it's gonna cut your energy. There are a lot of different foods, and you can do your research and which ones will keep Keep your energy up, which ones will deplete your energy. But I'm gonna tell you that a lot of sugar, you know, in a bad shape or not like, you know, the sugar and fruit, but mainly bad sugar. If you're gonna eat a lot of bad sugar, it's gonna really deplete your energy. A lot of you eat a bunch of sugar throughout your week, and then you gotta work. Well, you're gonna get tired really easily. It's gonna deplete your energy and it kind for me, For me, it even affects my sleep. And we just talked about how you have to have the proper amount of sleeps. You're able to be able to work, go up and do what you have to do. You don't want to be on stage and get tired after working for two hours cause you're gonna have rehearsals. You're gonna have long rehearsals of your on the stage and then you're gonna have to perform for eight nights a week, and you want to be able to have that capacity to do so. But if you're not getting enough sleep in your life and you have a really bad diet, it's gonna cut your energy. It's not gonna allow you to focus either, so it depletes what you need to be able to work. And this is even if you're on a movie set, you're gonna have long days and they're gonna have They're gonna have a table with a bunch of food and you get to make the choice of what you want to eat Now, I'm not saying that, you know, you have to eat perfect all the time. But if you notice in your diet that your diets, you a lot more things that would be considered not so good for you compared to what is good for you, then you want to make sure that you're eating more good stuff instead of more bad stuff because in the long run is gonna help you and is going to help you achieve the longevity of your career. So can we agree that if you don't get enough sleep. You're partying all night long. Don't get enough sleep. Are you gonna be ableto work at your fullest capacity? Anyone who thinks about this logically will say no. Like if I don't get enough sleep. No, of course I can't work at my fullest capacity. Great. So then we agree. Number two If you eat a bunch of junk food and a bunch of bad food, feeling your system up with things that aren't good for you that aren't beneficial for you , that's cutting your energy, not allowing you to sleep enough, making you tired all the time. Can we agree that if you're not having a good diet with yourself, that that's gonna hinder you? Yeah, we can. So this this brings me to tip number three. Make sure that you are exercising. You're getting up. If you go every day for run, you wake up, you go for run. That's gonna boost your energy. Throughout your day, I forget what it was. It was like the scientific study. I think that it said if you run in the morning, it gives you 40% more energy throughout your day. A lot of us could use that energy that energy could be. What can fuel us to go through those rehearsals to get us going through on set for that day . So we have to make sure that we exercise. We work out Now, Look, you don't have to become the buffets person in the world. You don't have to be the next Arnold Schwarzenegger. I'm not saying that at all. I understand you have to work out enough to be able to have energy toe work throughout your day to be able to work for the next 30 years. This is something that that Ah, Sir Laurence Olivier's head. He said that he had energy where he was able to go in work. He wasn't getting tired. It he was even. He was even outlast in some of the younger people because he took care of himself. He worked at using his instrument and keeping it clean and tune. When we don't take care of her instrument, it's almost like we go up to a guitar and we give it one little scratch. Well, little scratch, it's not gonna do anything, but over days of scratching, scratching and scratching, eventually it's gonna hurt the guitar and eventually we're not gonna be able to play it anymore. And that's what can happen with our acting. If we don't take care of our instrument in our instrument, it's our body. It's our voice. It's our mind. We have to make sure we're state staying on top of it and taking care of it. So this brings me to point number four. Stay away from any kind of drugs. So throughout this business there, there may be someone who tries to come up to, and they try to give you something, something that's gonna be really not beneficial for for you. Stay away from it. It's not gonna help you in the long run. It's gonna hurt you more than you think. Now they're they're actors who I know that they may be doing some things that they shouldn't be doing. And I know right now they're okay and they're fine. But I also know actors who have gone down that path the drug addiction path and who haven't been able to come back from it, and they're not acting right now. I don't even know what some of them are doing. They've kind of just flown off the map, So you have to be very, very careful when it comes to when it comes to. Your whole self isn't as an instrument. You have to take care of yourself. You have to make sure you take care of yourself, because here's the thing when you go on set, if you could be ready, you're prepared. You're focused. You have energy to bring. People will notice that. And that's one thing that I have that is sometimes an advantage to my other castmates, depending who's in the cast. Who is there because there may be people I'm working with and you can still go out? You could still part of you can still have fun. But, you know, I maybe leave a little bit early. I don't stato four o'clock in the morning when I come to work. The next day I'm ready. I'm prepared My same partners. They don't have some of their lines memorized. They're not feeling confident. They're not ready to go up there going to kind of just wing it. And the director knows, trust me. They know you don't want to be on the other end. One of director screaming in your face saying, What in the world was wrong with the you? You're supposed to come here, You're supposed to work. I hired you. I'm paying you for a reason. You don't want that to happen And trust me, it will happen if you hinder yourself. And if you don't take care of yourself in the short run, maybe you'll be fine. But eventually there will become a day When you're not able to work anymore, something will happen. Your scratch your guitar too much, and they don't come a point where you realize that maybe you should have taken a little bit more care of yourself and you can start today. Today is the day that you can start now. I'm not saying you have to be perfect again. It's not like you can't ever have, like sugar or anything like that. It's not like you can never that it's not like you have to work out and be like Arnold Schwarzenegger. But take care of yourself, you know, Do you think you know, have moderation? You know, stay away from all the drugs but otherwise have moderation with your things. If you lose, if on one night you lose some sleep, it happens. But you don't want to become a consistent and repetitive thing. And if you can avoid it, well, then avoid it. Because something that happens is is what we say. OK, I won't get, you know, a lot of sleep tonight, and then the next night comes and like, well, do it said it's only two night. It's only three nights, and then before you know it, it's gonna become a whole week. Two weeks, three weeks, four weeks And before you know what, you're gonna be a tired wreck all the time. So you want to make sure that you're taking care of yourself. Take care of yourself. Do something today that your future self is gonna thank you for. I love that quote. Make sure that you're taking care of yourself. And if you have to remind yourself on what to dio and you're and you forget things, well, then get posted. Notes. If you have to put him on your door, put him on your mirror. How badly do you want it? How badly do you want to have a good instrument toe work with? How badly do you want to be able to work for the longevity of your career. If you wanna have a long time that you can work and you want to feel good and you want to be able to last your whole rehearsal and you want to show up to that audition with energy and make sure that you do what you have to do in order to achieve that. So if you're someone who's like, you know, I'm gonna forget to drink enough water today for myself, I'm gonna forget to eat something healthy. I'm going to forget to do this. Set reminders on your phone if you have to. The go off and they don't forget this. Don't forget this and you're going to your fridge. Have a reminder on your door when you're leaving the house. Half a reminder there in the bathroom. Have a reminder that put do put post its out and that will actually help you more than you think. Trust May you put those out every time you look at it, you have no excuse than then. At that point, if you don't do what you're supposed to dio, then it falls on you. You can't say, Oh, I forgot. I forgot Bob above a block you won't forget because it's gonna be there. You're gonna take the steps in order to remind yourself on what you have to do to make sure that you take care of your instrument, feed your mind, feed your brain. You know, don't Don't sit on the computer for five hours every single day. Make sure you're doing things to activate your mind. Play chess. You know, hang out. We have a good laugh with your friends. Read a book, do things that will help you all around. So enjoy this video, guys. I hope you wrote all this down because it's very important. You have to do things that are going to benefit you. This is gonna help you for the longevity of your career. If you want to be able to go on set and have energy, you're gonna have to follow these steps. Don't do things that are gonna harm. You do things they're gonna help you and benefit you. And people will respect that. So congratulations on making it through this video. I'll see you guys in the next one. Goodbye. 11. Video #10 Speaking Aloud: So I hope you guys have been eating all your carrots and getting enough sleep and doing all that good stuff from the last video yesterday. Um, I always think it's so funny when I tell people about how their body is their instrument and how you have to take care of it in health is a huge part about that mentally and physically. And when they think about and they're like, You're telling me I gotta eat you know, Carrot every day I got to take care of myself. I got to do a, B, C and D. They like I just want to act. No, I get that, you know? I mean, we all just want to act. That's what we want to do. Um, but, you know, you can act if you can't get out of that. You can't act If you know you don't get you don't get enough sleep your type throughout the day. Trust me, I've worked too many actors who come to me. You have been doing whatever all night long, and in that it's not even party. They could do what they could just be up binge watching the Netflix series all night long and they come and they want to work and so tired that they can barely give what they need to give. And I'm just like, go home, get rest for work more tomorrow, whatever. So, okay, get your rest. It's it's important. And trust me, it's gonna be super beneficial. But in this video, this one's about read everything out loud. This is gonna be something that's gonna help you a lot in so many different areas. First area that this is gonna help in just gonna help in with the aspect of reading. If you keep reading every single day, will you get better at reading? Yes, you will. I mean, we've been over this so many times. Now, if you practice something, you do it the right way every single day. Are you going to get better? Yeah, you are whatever it is. As long as you're practicing your putting in time, you're paid attention. You're putting the focus in on it. You'll get it. Um, and reading is something that's going to be very important. If you're an actor because you have lines all the time that you're gonna have to read, then there will be many moments. Many moments. Well, you're gonna have to read out loud, Mike. It's just a thing that happens because you're gonna get a lot of auditions. Hopefully where they're gonna have you cold read. So they're gonna give you literally a script that you've never seen before, Like a scene. And they're gonna say, OK, great. We're going to do this. We're gonna play this character. All do the reading for you. Uh, great. Let's go. Or you know most the time. There be polite most the time. And there say, Hey, do you want some time? You know, go outside for 5 10 minutes, read it to yourself and then come back in. It's still a cold read because it will be the first time that you're reading it with them. Um, and you haven't done been able to work on it before, So being able to be a better reader will help you with that. Because if you have to go and look down at your lines and you have and you're gonna look at your lines anyways, well, you're gonna want to make sure that you're able to read it right, or there'll be times where you'll be at a table read. You know you won't have to have it memories, you better table read. You'll be there with the rest of your cast mates, and you'll just look at your script and read, and it's just it's a little embarrassing if you're going and you're, like on. And then I went to the the park and then, um and then there was that over there. Oh, right, right. And then there was that. It gets embarrasses a little bit. You know, it's not too bad, but doing this exercise, reading everything out loud helps with fat, so it improves your area of reading. And that will just help you in other areas of your, uh, your life, which I like. And then we have it where homes, out with your voice So we get to start working on our natural voice a little bit more. So we talked earlier in one of her videos. How having your regular voice or natural voice is very important because it brings an honesty, truthfulness, which is yourself. So this helps with that, and what we do is we literally read everything out loud. So if you're in a room and you have things around you. You start reading. You know, you could be like, um uh, h and m hot Topic forever 21. Whatever's around you, you read it or you pick up a book and you start reading what is there and that will help you. And what what I'll do. I'll be driving. We driving. I might pass by the freeway. Science all re whatever it says. So I'll go. OK, First Street, second Street. Whatever. Just getting used to reading it out loud. Speaking out loud. I'm making sure I'm reading and my energy is going direct and its forward. And this helps a lot with just the natural voice getting used to hearing your own voice here in your own voice. Speaking out loud will help you because it won't become a foreign thing because what happens is naturally. When we go in, we start reading like a scene or script. All of a sudden, we start, you know, getting hyper where we everything's brighter in the room. We start hearing things more. We really start paying attention to our own voice. All of a sudden, were like, Is that how I sound do. Is that home saying, Is that really what's happening? It kind of gets that effective. When you record on your on your voice, mo your voice and then you take a listen to it and you're like, That's what I sound like. That's my voice. So it gets us more used to it, and we get a little bit more comfortable with what we're saying and what we're doing. And in order to get the most out of this, yeah, you do it while you're driving little moments when you can have you in the store and owns around and you can say you could start reading the things that are there. You could start reading prices. Whatever it is, you can pick up your phone even if it's a little awkward. And you could just pretend you're reading prices like you're talking to someone on the phone. You can say right. $3.30 $5 for 99 2 50 Ah, buy two, get one free. Just start reading it out loud. It just gets your voice used to it, and you're physically, you know, looking and reading things visually in front of, you know What I like is I get a book, so I'll get this book and I look at it and I'll just start reading it, just reading it out loud. At first, I'm getting used to it. This is the beginning stages the beginning process of it. As I start going through this and doing this practice more and more and I start getting comfortable reading out loud. What all the ven do next is I'll start trying to have it become like an audiobook. So if you've heard an audio book before, you have these great voices all the time. We thought it went all the time, but you know a lot of time to get these great voices, and what they do is they start reading the text. There's an emotion behind it, and then they start playing voices for the other characters. And then it's just a little bit of a way to start playing and using your imagination while you're working. You don't do it. Maybe for all your text, but you do it for some of it, and then you go through and then you read it and then you read it out loud and that will help you. That will help show your imagination. Fourth, it will bring it forth, and then you could just try different things. Not everything will work. Some things will sound weird. You'll be reading it and you're like it. I just make that voice that I do. That doesn't matter. This whole thing is a practice is not a performance. You know, performing for anybody just practicing with yourself, and you're trying to become the best actor that you want to be. So you don't judge yourself. Don't be your own critic. Just say OK, it's a practice. It's an exercise. I'm going through it. All I'm doing is I'm reading, and I'm trying to pretend it's like an audiobook, that's all. So you have one exercise where you just have it, you're reading next. Next one you're reading, you're pretending it's an audiobook. The third thing that I like to do because I like to start reading and what we'll actually do is all just get a book that's not like a story. I'll get a book where maybe it's like a cookbook, something as simple as that, because a cookbook doesn't have any emotions going on. They don't have any put forth emotions. And what I do is I pick up the cookbook. I literally start reading it, and I place an emotion to it, and you can pick whatever you want. So you like. Okay, I got a cookbook here. I'm gonna start reading it, and I'm going to read it. Happy? That's that's the emotion. I'm gonna be happy. And you can use whatever word and you want. Some people are, like, happy That doesn't feel anything for me and use. I feel splendid. I feel delightful. Whatever you want. Whatever works for you. Keep what works in the fridge. Throw out what doesn't work. Simple image. So for this cookbook now, analogy, I have had my cookbook and I'd say, Okay, I would be happy, so I'd say I'd start reading it and I go. Okay, so I need to cup of two cups of eggs. I need to get some milk. I need to do a B, c and d whatever is there, and I go through it and I do what? Happy. And then maybe I'm like, OK, I'm gonna do it again, and I'm gonna try doing it's sad. And then you do it and then you can I want pop above Ah, and then you say I'm gonna do to get I'm gonna do it Excited. So then you're doing it on a whole excited way. Then you're doing it. Maybe Matt, you're playing with emotions. And what happens is is you're doing this as an exercise. It's a practice, but you're going to start noticing that the emotion will be able to come out because you're not thinking about you're not thinking, How am I gonna be angry? How am I gonna be doing this when we have a script and we have it? And we're like, Okay, I'm angry. What type of angry am I am sad. How sad am I? You're just doing whatever comes, Whatever flows, you just have your cookbook here. And then you put an emotion to it, and then you just start doing it, and that will help you a lot. This is an exercise that I dio all the time. I just pick up a cookbook or whatever I have. I keep I keep a book in my car. So then any time I'm going to more if I have to. You know I'm waiting for a friend and I'm and I'm outside our farm at an audition and I'm waiting. I'll pick this book out and I'll just start literally going through and reading it. Sometimes it will be just neutral. It'll be all reading, and I'll just be like I'm hanging out with a buddy. That's what it is. We'll do another one. I'm happy. I'm sad. I'm mad. I'm throwing things in there. And if I like it, then I'll keep it. If I don't like it, they don't try something different. I'm like, Oh, you know, I'm really not feeling it today when I'm trying to be sat, so you know, I'll try it a little bit. I feel that way. That's OK. Let me try a different one. I'll drive main angry, happy. You play with different things, and it's just an exercise. So I'm not hard on myself and I'm not thinking, man, I suck or I can't do this. How in the world can I try to become an actor? If I can just read a cookbook because it's an exercise, you're just reading ingredients or just reading instructions. If you don't get it, your first time. That's okay. He's just try it. You're doing different things in your plane with it. But for, like, 90% of actors, 90 95% of actors who have used this and actually stuck with it didn't give up on the first day. Have really found it to be beneficial. Um, this is one of one of the things that one of my instructors had given me before, and this one was actually from an instructor who had not gone to any drama schools before. This is with the thing I was talking about. Like, you know, the street actor. They they took classes, you know, in l A. When they were younger. Before then, they had been working. And then they just said, This is something I used to do. And this is what worked for me, and I tried it. And then this is something that Yeah, it has worked for me, too, And I have enjoyed it. And it's just good exercise of practice tohave. Most actors don't know what to practice. Like why I have my my my scene. I'm just gonna practice doing my scene work. But you can. That's great. But you also have to have other things to practice. If you're a basketball player, you can't just practice. Trying to do is, you know, a slam dunk. If you only practice that, you're not gonna be able to do anything else. So you have to have exercises that you can play around with. You can try different things, and you're not set to being able to do what's given to you. You're like, you know, for this basketball game, I'm gonna have to do a slam duck. So that's all I'm gonna work on. You have to have different things that you're working on and being able to practice. And that's what's great about all these videos that you're gonna be getting through here is because it's giving you a lot of different things that you could actually use to practice. It's simple things, and you're writing it down, which makes it great because you can go back to it and it's simple and just say no. Yeah, this point was great. I have it. I'm working on it, you know, and you do all these exercises, you work on it for a whole month. Two months you'll find a lot of progress that you're get going through it and you want to make sure that you know, all you do is you write it down and you implement it. So make sure that you put in that commitment and that you put in the work because that's gonna help you a lot. So again, when you're going around, read things out loud, you're going through a store. If it's embarrassing to say to say some of the things that loud, if you're trying to find an ill that no one's out and everyone's filling up the aisles, pick up your phone, put it to your year. I just pretend like you're having a conversation with somebody they're going through. And you're like, Yeah, right. Okay. The corns over here. It's for 2 50 Okay, there's some bread for 5 99 Yeah. Wheat bread. Wheat bread made by a bubble bubble. Bubble block. Um oh, yeah. Okay. There's water over here yet Water for 6 99 whatever it is, and then that's your way of doing it. And that could be something that lasts for two minutes. Three minutes. And that'll help your driving. You're driving to the store. Just read the signs. Better around. Read. Read the store name, you know, be safe. I'm not saying you're driving, and then you're looking for everything, and then you find a story like, Okay, there were guys that stories boom. And then you hit somebody in front of you, you know, got to be reasonable. You know, use logic, not just logic and acting, but use logic in your everyday life. Be safe. You know, you have to be safe with it. But there's a lot of times when you're going and you have to, you know, look at the freeway to see what street you're gonna get off. That all you do is while you look at it, you just speak it out loud, that's all. Or when you're at home and to get more in depth practice on it, pull out a book. You know, pull out like a fantasy book or whatever. Start reading it. You know, you have your first reading where you're just, you know, just going through it. You have your regular voice. Then you have your next one where you're trying to make it like an audiobook. You are the reader of this audiobook and your try different voices. And this is something that just plays with the imagination. So you can have fun with it And then the 3rd 1 which you can do like with this type of book . I just like to get a book that doesn't have any emotion put into it at all. It's like a cookbook take a cookbook and that I placed the emotion. I say, OK, this is the emotion I'm gonna play with. So this is what I'm gonna do, and then you implement it and you try it. So congratulations on making it through this video. I'm super happy that you guys stayed through and wrote all this down. Hopefully, um, going through one at a time. I make such a point at writing this stuff Hold down because it's really true. Really does help. It is super beneficial. My instructor that I had who I went to Harvard, this is this was one of his big things. He always said, Make sure you write everything down. We'd have our private lessons together. You know what he would do? He would make sure that I got out my pen and paper and I wrote everything that I had to down making sure I remember it. If we're working the scene, we're working a monologue. He'd make sure that after we talked about the points, I'd go on, I'd write it down. Not that he didn't think I wasn't paying attention, but he knows that as well as listening. When you write it down, you're putting extra attention onto the work of what you're doing. So then, when he tells me something, I go, I write it down and then you know what? I would remember it better when I go to practice it. And then if I had to if I forgot something, it was so easy to just go back to my book and look and be like, OK, right. This is what this is what we talked about. This is what we're working on. This is what we're doing. And it's a practice that I've taken on. And this it has helped me when I've have to work with my other instructors. You know, my Juilliard yell instructor, making sure I write everything down because it allows me to remember everything. And it allows me to work better. And you're noticed this As you start working on television shows or movies or plays, you're gonna be taking notes all the time sometimes, or your get used to directors. And maybe you're keep a little journal. You're like I worked with this direct director today and you write about them and then you know that if you ever work with them again, if you're like, oh, what are they like? What are they going for? What are things that they don't like? How's the process of the rehearsals? You literally can go back to your book and say, Oh, I wrote about them. These are the notes I took and then that makes it that makes it helpful. So make sure that you right all this stuff down and highlight the important points because it's really gonna benefit you. So congratulations on making it through this video is one that I was really excited to make , because this is something that I love to do. And I didn't know it was gonna be as beneficial as it has been for me in my life. So thank you for sticking through. And I'll see you guys all in the next video tomorrow. Goodbye 12. Video #11 Your Top 10 Actors: All right. So we're gonna be talking about how walking things is going to be very helpful and beneficial. So when it comes to acting or really anything, everything that we've learned toe like or that we enjoy, we got from watching. So the reason that you for say, like acting is because you've watched actors before and movies or television shows. Or maybe even you saw great commercial. And you were like, I want to be an actor. I like that. Well, we learn from watching and we gain wants from watching. So that wants to be an actor. You got it. You've gained that already. Whether or not you've gained it because you want money, he want fame. You love the art you like to play. There could be a ton of different things and aspects to why you built this walk. But just we can see how visually watching something, having seen something is so powerful. It's given us the want to go down this path as a career. Or maybe some. It's an extreme hobby. Either way, watching has allowed us to have that want. Acting has come to us from a want because we've watched so we can understand that that makes sense. So if watching is that powerful to give us a want, it's also powerful enough for us to watch and learn at the same time. You know, this has already been proven. How just watching something enough you can start to learn it. I mean, you do have to put in the work and actually do it. You can't just watch all the time and expect for and expect to put up the work without any practice. You have to still implement. But everyone incorporates watching you think about boxers when a boxer is getting ready and he has to fight an opponent, well, he has months to train. And do you think that this boxer never watches a video of his opponent? Of course he does, because he wants to find out how to win so he will find out that guy's strengths, his weaknesses. He'll go forth and try and find what he conduce to win the fight. He's trying to find his way in. How can he win? What can he do? Basketball players, basketball teams? They watch the opponent cause they can see what other strengths What are their weaknesses. What can they do? What can I do? So we they include watching all the time and watching other actors is something that we can do now. Sometimes people say, Oh, well, I'm in this great play. There's this great actor that I'm with I can watch them all the time and you could you could That's an idea. But when I say after I'm talking about, pick your top 10 favorite actors, the best actors that you can think of the actors that you would consider the top 10 greatest actors. In your opinion, everyone is gonna have different opinions. And some people have different goals that they're chasing with their acting. Some people, maybe you want to be more of a character actor. Maybe you want to be a very realistic actor. Maybe you want to be something. Maybe you want to combine them both. A character actor can still be very realistic, so you watch both. You depends what you're wanting and what you're looking for. So everyone will pick different actors and some actors resonate more with you than maybe they do with me and vice versa. So what we want to do is we want to start trying to pick 10 actors, 10 actors that we consider the greatest actors. Now, when it comes to, say genders of the actor, I typically find that it benefits you more if your guy to watch other guy actors or if your girl watch other girl actors. But it's still you can still learn a lot by watching the other way around, too. So it just depends for for the most success that I've seen him. Benefit wise, it seems to benefit more a female. They watch more female actresses or melt. They watch Mel actors. But with that being said, I can also be hypocrite because I also watched like they Kate Winslet is great. Meryl Streep is great. So all still watch the great and I'll just put him into a bundle. It just it's up to you how you want to organize and what you want to do. You get to choose that, and you get to have fun and be able to watch. Their work is that's where this homework part comes in. You have to watch all their movies not all in one day, but out of all the times that we choose to watch movies. Sometimes we choose to watch the dumbest movies or movies that the acting's poor and or we consider the acting to be okay. You don't always have to go and say Okay, always have to watch great acting. Great actors go up not all the time. But we do want to make sure that we have our ratio being more great actors watching than maybe OK, actors or good actress. This is a lot of good actors, but we're watching the ones that we consider to be the best, and these actors for us start to become role models. So there are role models for us, and we see that this is the peak toe, what we consider great. So then we now have something to reach for a lot of time. People don't pick who they consider to be great actors who they would put on the top. So we sometimes then don't have something to chase. We have to have something that we're going towards. If you don't have something that you're trying to reach towards actors that you think are great, then what happens is that sometimes we start working and we maybe get a little better, but we have nothing to judge it on. We're like, Okay, we're here or a little bit better. A little bit better, but we don't judge a We're getting closer. We're getting closer to what you're trying to achieve. So you have to find those role models and we watch them. And then we see What is it that they do that we like? What is it about these actors that compels us so much? Is it the believability? Is it how they change their characters? Is that the type of roles that they choose? What is it that compels us toe? Watch them now. The next point that I want to make is is that these actors start to become your mentors. So if I could tell you that I could give you right now the top 10 of your best actor choices and they could come and they could teach you Well, most people say, Yeah, that's great. If you give me the top 10 actors that that you would consider the best and they could all teach you, you get very good at acting. Well, if you pick 10 actors and I give you a stack of older movies, all their collections of works that they've done over the years. And I put him in front of in front of you from old 10 actors. Well, depending on who the actor you choose is, a lot of actors have done more than, say, 10 films. So you have over 100 bodies of work to be able to watch. And if you can watch those actors, you can see great acting and you can spread these. You could spread all these out. You could have 10 actress and, like, I'm gonna watch all their movies and you could spread it out throughout a year. And you're watching them and seeing how they change from each character, what they do Is it their physicality that they're changing? Is it the essence that they're bringing forth? They change. Is it their voice that they change? Is it a combination of all of it? What is it that they're doing that's so compelling to watch? What is it that they're bringing to the table that were like, Wow, that's really cool. I like that. I want to try and copy that. What is it that they are bringing, and we watched them and they start to become our mentors. Our teachers, they're teaching us by doing. And what's great about film work is that we're going to watch the best work put forth. Sometimes with theater, it's hit or miss. You know, one night the beginning scene could have been the best. The scenes ever been done the next night. That same scene could be great, but it's just not as good as the night before. But seen to was fantastic. So with Theatre, it's a little trickier because you have days that you know you're better on some parts than others. Though all of it might be good. Some parts are a little bit better. So what's great about when we watch film work? Is that the editors who's putting this together? They are correlating together all the best scenes that they can and putting them all together. So one scene that could have been shot 45 times they choose the best take from that scene, and then they put it into the work. Most the time you know you there could be arguments for things that are like, Well, I saw this movie and this scene wasn't that great. Well, there could have been no great takes or it could have been the editor put in a bad take. It is possible, But most the time the editors are putting the best work fourth. And then these actors are going to work with great directors, and they have the cost of me in a good budget. So there's a lot of benefits to being able to watch these actors. So you're getting to see the best work put forth. They're basically showing you now they can't. They can't stand by your side and and say, OK, this is exactly how you have to do A, B, c and D. But if you say had your the basketball player that you consider the best basketball player in the world and they're standing right by your side here and they're saying Okay, now, look, I can't necessarily tell you what to do. I can't tell you to do this to do this to do this. You have some of the basics already, but I can't specifically say, you know, bend down a little more, raise your hand up here, but what I can do is I can take the ball and I can show you. However, I can show you a 1,000,000 times if you want the perfect shot and you can keep trying to copy as much as you want. I can keep showing you the perfect one as many times there is no limit. They could show you 1000 times. That could show you a 1,000,000 times. There's no limit, and they can keep doing that. Well, then, are you going to get better? We That would be a whether you could get better and you could really learn. And then they're showing you Hey, I can show you me doing a shot from here, and a different movie would be like, I can show you that shot from a different angle, or I can show you it over here are can show you over here or let me change positions a little bit and show you how I could do it from this position here. So it's an ability that we can keep being ableto learn by being able to watch these actors , you know, it be the same as if you were wanting toe be a boxer and the boxes like I can show you the perfect punch. I can show you over and over and over. Sometimes there will be times when yes, you may need people to be there by your side. But if you are constantly practicing and working with your believability and finding the honest moments in your life, it makes it a whole lot easier. So then you're being ableto watch this correlation of works. The next step to this is to include and Mrs One that I want you to start making sure that you implement this month, the other one finding the 10 actors toe watch the tow, watch their films. When you do watch films, you have to first find those actors. Now, those can be hard to find in the day. I don't want to say OK, find all those actors today because I don't want you to rush it. Take your time with it. Don't get lazy, though, and say you have to take two months to find these actors. You could find the top 10 in about a week, and if you find that you want to change amount and you're like, you know what, I don't think this doctor should be in my top 10. I want to switch met with another actor. You could do that. You have that ability, so that's perfectly fine. You just want to make sure that you have those 10 and you don't have to watch. Like I said every single day, you have to make sure you're watching a movie, and it has to be from one of these 10 actors. But there will just be moments in your life where you're gonna have a day and you're going to sit down and you're you have a choice. You can go on Netflix and you confined, you know, some movie that maybe won't be considered the best acting in the world. But, you know, you're like the movie, or you can find a movie that you'll still like, But it includes the actor that you think is great. And the easiest way to be able to find those movies is to first have your top 10. So you have to have those 10 and then that will help you being able to find films and choosing. Hey, today I'm going to go and watch this film. I'm gonna watch this and have a ratio for every too bad films you watch, you watch great eight ones. So maybe throughout the week you're watching eight films from your favorite actors. And then you're watching two films from actors that, you know, maybe you don't care about or the act is still good is just not the top 10. If you constantly feel yourself with watching the best actors, you're gonna get better and better. It's the same thing if you have the professional basketball player with you, well, their constantly showing you all the time and then you have someone who's okay, who's trying to show you is not It's not gonna hurt you cause you're always watching the perfect way for how to shoot, how to get the shots that you're trying to get. So the next point that I'm gonna make now is to make sure that you do include this into your practice, and this is now for every month. You don't have to do this every day you don't want but find to, um, Oscar nominated movies or one movies to watch. Each month she find two of them so you can have Oscar movies that have one or that have been nominated because in there, your finding, acting, that's good work. The acting is good. They put in all the work they put in all the time. There's a reason it's been nominated. You have good directors. Everything about the piece, for the most part, is pretty good. You'll have some that maybe you won't like, but you don't have to watch all of them. You just you can pick. You can pick whatever year you want. Any genre you want, Just pick to Oscar movies to watch a month, and then you're going to start being able to learn more about what good writing is cause you're really going to be watching and seeing what good writing is and how it benefits the actor. When you're watching tryto watch with a productive, I don't just sit back and kind of your your on your phone in your watching. If you can have a little bit more of a productive I where you're really looking and seeing what is it that they're doing? What are the great points in here and finding what was really interesting? And if you see things that you don't like than take note of that and say Wow, you know, that was something that I didn't really care for. And then you take note and you can see maybe you're doing your work one day that you're like, Hey, I'm doing the same thing that I didn't really like And maybe you'll change your mind. You think you know that was pretty good, actually, or your think I think change I need to try something else so benefits you to be able to watch at least two Oscar movies a month. And now, if you want to do more, you can. You could watch three Oscar movies for Oscar movies. The great actors that you choose, they may be in an Oscar movie. You can put that on. You can watch it if you watch great work all the time, you're gonna get really used to seeing what is good. What work being put up is actually good work. So when you do see work that isn't good. When you do see films that isn't that you don't like, or when you see acting, that's not good. When you watch these films constantly and you see the acting that's not very good. You're instantly going to spot it. You're instantly pick up on it. That's why for me, when I'm watching different actors on stage on film, I see him and I'm watching and I'm like, Ah, it's not very good But it's because my standards are so high. You know, there are people who watch it and they're like, Oh, that was really good But their standards air right here. My standards air here. So anyone who doesn't reach these standards and they may not be that good their standards, you know, And my standards were lower, though, than they may be great. It just depends, you know, for specific works. You may expect more from actors who have been working a long time. You expect more work from actors just starting out? Well, it's a little bit more understandable that I'm my lower the standards a little bit, but I still have in the back of my head these standards. So if my standards air here and an actor reaches it, I'm like, OK, they're not too bad if they go beyond those standards and they're getting close to what I consider to be great, I said, Wow, that was pretty darn good, and I can respect that. So it just depends on what your standards are, but your standards will be raised. If you are always watching good work, there's no way that you your standards can't be raised. It's like listening to good music. If you if you grow up and you listen to great music all the time and then you listen to music that's not so good, you'll instantly be able to pick up on it because you notice it. Just think of any if you have a skill right now that you're good at that, you that you have a skill that you're better at than other people. Well, then you're noticed that you have higher standards than they do because you've worked at it more. You've seen what's good and what's not good, even with acting. If you don't consider yourself the best actor, well, you still maybe have higher standards on acting. Then say the random person on your street. So maybe both of you would go and see work, and maybe your standards aren't here with mine, but maybe your standards are right here, and maybe some other random person who's not into the arts, their standards right here. So then when you guys go on watch work, if you see work that's at this level, you're like, Oh, that's really bad. That's overacting They didn't do any character analysis is letting study the script. There's no no work at all done. Well, then you would think it's not very good right here. But the common person who doesn't know much about acting or anything, they don't really care about it. They go and see it that wow, that was really good. That was great. Did you see how they ran and screamed on the stage? You'll be like, How is it really, though I don't I don't even know what happened with that. So was great about going through this course and learning all this stuff and getting the believability and confidence that's going to start raising your standards. And when you start watching all these great movies with actors that you really admire and that you think are great, you're gonna start learning a lot from that and you're gonna learn a lot by just watching them and you're acting will improve by just watching great acting all the time, and you start to understand what great acting is, what good writing is, what a good film actually is in your start building your own opinions and standards, and this will also help a lot in the long run, because you're also as well as acting for the camera or if you're on stage, wherever you are as well as acting. You also have to communicate with others one on one personally, so there will be times when you have to go and talk with your director or you have to go and talk with your Um, if with the casting director or writer, there will be times when you have to communicate. And it does help if you're going into this industry, knowing a lot, having a lot of different information. So if you are an actor, knowing a lot of other actors is good having in your back pocket. Thes 10 actors. Knowing who they are is great. You don't have to go around to say, Hey, everyone care my top 10 actors that I have those. It's like you're a little secret treasure. Those were those of your little golden nuggets. You keep them in your back pocket. It's just yours to keep. But if people bring these actors up, you know who they are? Oh, yeah, I think so. You know, I watched this film that they were in. That was great. And maybe they saw, like on the you guys can communicate on that. Or maybe, or Director is someone who directed a film that they was that they were in. And you can talk about that with them. It's like, Oh, yeah, I watched that film Baba block or you have an idea what the director tries to go for because, you know, some of the previous work that maybe they've done so It helped you in the sense of becoming a better actor. But it also helps you socially being able to interact in the business because you're have in your pockets knowledge on different movies. What great acting is what great writing is your have opinions? If a director says, you know, I saw this film and you know I don't know what I think about it because they Oh, I think it's this and you can have opinions. Why? You think it is not just Oh, yeah. I thought it was good or I thought it was bad. Like I thought that was really good because it really reminded me of this movie that I saw before, and it had these elements to it, and the storyline had A, B, C and D. You start to raise your standards and build your own opinions so it helps you a lot with your acting. But it also will help you socially when you're gonna have to communicate with others one on one. Whether that be casting directors, directors, actors, writers, whoever it is. So make sure that you wrote this down. Find this week 10 actors that you consider great and put them onto your list and make sure when you have the choice toe watch films that you choose to watch good work and you choose to watch works that they're in. So then you're constantly exposing yourself to people who you admire who you think are great, and then you have a bar that you're trying to reach. So congratulations on making it through this video will see you on the next one. Have a great day 13. Video #12 Making The Camera an Ally: this is gonna be one that I think either a lot of people are gonna get or it's gonna be kind of confusing at first. And I'm going to start explaining that because I'm gonna be talking about recording yourself and sometimes there's controversy in that. But I'm going to explain why this is probably going to be a good idea for you and how, if you use it the right way, it's a benefit. It can be a hindrance if you do use it the wrong way, but we're gonna talk about that and how you can use it the right way to benefit you, to improve. So here's the thing that I will say that I do agree with that. People will mention what not to dio, and it's not with the camera, but it's about working a scene or a monologue in front of a mirror, which is kind of the same thing, because we're watching herself, but just differently. Um, so the mirror one I don't agree with because constantly, if you're tryingto work or seen in the mirror, your looking at yourself always. So you're looking at yourself here while I'm looking forward, and then boom. I look away, but my eyes, they're still darting towards my reflection, which is a natural because just a constant trying to focus the I back to the reflection of you. And if you're constantly trying to look back at what you're doing in the reflection, it's not natural because naturally we don't go on. We're here. Boom. In her eyes, turn. It's just not a natural thing. And that would be bad practicing. Because if we're working on our believability and constantly trying to work and have our scenes be riel and do things that are not fake, Well, if we're looking this way and then we have that I turn, that's gonna be something that's fake and we don't want to practice things that are going to hinder us. And now I'm going to take this even a step further. So there are actors who they have a monologue or a scene or whatever it is, and then they have a friend that they want to bring and say, Hey, come over here real quick And judge uh, my scene for me or my monologue. Tell me what I need to do. Tell me what I can work on what can I improve? What can I do better? The problem with this is is that you ever especially, especially if they're an actor, Not that they're trying to mess you up or have you do anything wrong or whatever the most the time, they always feel like they want. They feel like they have to interject. They have to give their opinion and they see something and they don't even have an opinion to give. They feel like they have to give an opinion and they will give you an opinion where at that point, if they don't even have anything that give, no one should be giving you an opinion. I don't care if you're a great actor. If you don't have an opinion to give, you shouldn't be giving one, because if you're making something up on the spot to try and just put out there, it doesn't help the other actor in any way. You're just throwing out information, or what they try to do is they try to remember some kind of point that an instructor of theirs had made in the past, and they try to bring it forth here thinking that Oh, this is the right thing to do where what it could be is that it could be something that doesn't benefit you at all. I know an actor who good friend of mine, good friend, but constantly feels like he asked to mention everything about a scene or, ah, about about someone's working. If someone if someone was to ask him for his opinion, he would be bride on point to give it. But even when they don't ask for an opinion, he's that he's like, Oh, you should do this. You should try this the points that he has given the tips that he's made, I don't know if I have agreed with one of them. In a way, it's made the either the acting works that I have seen or our hasn't made it any better. Part of the problem, though, is that he feels like he has to give his opinion. He has to share his news with you, what he what he thinks it should be where maybe some things that might work for him aren't going to be things that will be good for you, because your different instrument, you're a different person and He also doesn't really know as much about what he's talking about. So be careful when you're talking with friends and also friends are gonna try and sugarcoat things. They're going to try and tell you. Oh, hey, that was really good. I really enjoyed that. Great. Keep keep going with that or to try to sugarcoat things. They won't want to tell you what's not working all the time or when they do tell you it's like they have to give the information out. So it's very tricky toe. Have a friend working with you to to try and help you. This is where it benefits you to have. If you do a coach that you trust, I emphasize trust because if you have a coach that you are not comfortable with or you don't trust, what can happen is when you're working with them is that they may give you opinions again that you don't agree with, or they're just counting down the minutes so they could make some money. Well, you want is you want someone who's gonna be by your side and is really working with you, too. Make you a better actor who's not just trying to take your money. They're really invested in you and these air coaches that you have to take your time to find because not everyone is gonna be like that. I've been fortunate enough to be able to find those people, but it came down to doing a lot of searching. They didn't just appear right in front of me. It took time. You know, I it took it. Took years, really, to get him. Also, you just want to make sure that if you do have a coach, it's one that you can trust whose reputable who also you enjoy their acting. So this is a coach and you've seen the Mac before and you don't enjoy their acting while the information that they're going to give you maybe information that they that they themselves use that isn't benefiting them. So it just kind of depends on who you get your training from. But a coach can still be very good because they can keep an eye out for what's working and what is not working. But we don't always have the benefit of having a coach or you want to be able to practice with your coach and without your coach. That's where the recording yourself comes in handy. Because if you don't have a coach, well, you gotta You gotta work somehow and you have to know how your work is doing. Is it good? Is it not good? You know, there, there's musicians, they play their music, their record themselves. And then they play it back and they see How was that? You know, they're feeling things out while their plane, but they also they've record themselves. They do what they have to. You know, there's people who, um, do sports, and they record themselves to see how how is their form. Is their form working? Is it perfect? Just so they're sure what they're doing is good and it's benefiting them. Or were you one extra practice? And you have an instructor that you're working with that you like, which is super and you want to get more practicing? Well, then you can record yourself in order to try and push you forward. Two GB more of your goals. So what you want to do is you want to find ah, seen or mono Look either wanna work with this scene. You probably wanna have a scene partner because otherwise it's gonna be very difficult to dio to try and work your seen. Some people I know they try and record the dialogue with the other person, and then they have their lines that they're going to say That's not always bad when it comes to memorizing your lines. But in terms of recording yourself, you're gonna kind of be on a time limit and they're gonna be like, Oh, I didn't say my line fast enough And then the recorder jumped in or the recorder ended in the boom you're jumping. And instead of focusing on everything that you've been going through in this chorus believability, physicality, voice, if you choose to change it, unpredictability all these different things, you don't necessarily get to focus on it because now you're focusing on time faster, faster, faster! Which is one of the dangerous things with, uh, director sometimes that they say, Hey, you know, speed things up, sometimes as very helpful. Sometimes it works, but they have to really watch their actors because sometimes the speeding up process just has an actor trying to work on the time thinking, Okay, boom. I got to get it done now are boom. That was really fast. Great. Okay, now I'm waiting. Waiting, waiting. Now I talk again. So just be careful. If you go that route with it doing the scene, it's much easier to have a scene partner there with you. Now, this scene partner can be in the shot if they want. They don't have to be. It's just is not a professional recording. You just take out your phone and you start recording. You know, if you're trying to benefit yourself more, if you have a friend who you're saying, don't judge my acting, don't say anything about it. Just record. Do the lines with me that could hold up the phone. Or you could put it on the tripod or do whatever you have to do to get your phone in place . You could record it, push record. It records you that could be behind the camera and then you just practicing. They're saying their lines and then you're trying different things and you're capturing it . Um, all in the recording or what's a little bit easier is just choosing a monologue. You pick a monologue, you have it, and then you don't need anybody else. You just have your quarter and then you start going with it. You can see what happens. You want to see things that you're looking for is your, you know, stuff that we've worked on And you also want to see eye contact because this is something that you start to visually get to see when you're looking on the recorder because you can't necessarily judge it when you're in the moment. So sometimes you may see you know you're doing some work and your eyes could be no darting all around. Or it could be that you're talking to someone. The person you're talking to is here, and sometimes you're talking to them here. Sometimes you switch them, they're being here. Sometimes you change them to being over here, so it just kind of depends. And you get to see some of the habits that maybe you make and stuff to work on, which sometimes is hard. If you don't have a coach and you're not recording yourself, you don't really realize Hey, am I changing who I'm talking to? What? What am I doing? You don't realize some of the mistakes. Maybe that you're making. So when you have the recorder there, it catches everything that you're doing it at first. It may be somewhat of a nerve racking thing cause you're not used to being recorded. But it's good because you get to practice getting over that and eventually you're gonna have to be in front of a camera, so you may not be. You know, when you're recording, you don't have to look at the camera. You can look off to the side. Whatever you want. You can decide on that. But you also have to know that in this business you're gonna get recorded. So if you're just uncomfortable being in front of your own phone in a private room, well, then how are you going to feel when you have the camera in front of you and you're reading with a casting director or you have a camera in front of you and your on set and you're about to shoot? You have to make sure that you're used to being in front of the camera, and that it's something that at least is somewhat comfortable. It doesn't have to be something that's like this whole daunting thing that's in front of you. So the more you have a camera around while you're doing your work easier that it's just it's just become second nature that, hey, this camera is something that's here in the room doesn't bother me. It's just something that is present. So you have your 1/4 you start getting more used to it, and then you play with the different things that you've been trying. You see? Okay, I'm gonna try, you know, with my physicality and working on or I'm working on. Maybe it's the voice. Or maybe I'm doing something unpredictable. Or maybe I'm just plain with different things and seeing where it goes, and you don't know where it's gonna go or you're seeing How well do you I understand the script. How well do I know what I'm saying? And you're having those things in your practicing them and then you recording them so you can track your efforts and seeing how it's all going. The next thing that you can try is also to see, Now that you're having you know your list of 10 actors, you confined those actors and fine scenes that they've done this. So you just easily go on YouTube and search up the actor and then search up from a scene from a specific movie. Or you just type the doctor and you do scenes and then just start looking, watching their scenes and then start trying to copy some of the stuff that they're doing. You know you're not trying to maybe 100% mimic them because your instrument is a little bit different than their instrument. Um, so you have to adjust and you have to do the best that you can. So you're going for the essence more than the exact thing. That's kind of like if someone has an acoustic guitar and then this person over here has an electric guitar or they have a ukulele, it's a little bit different, so you can still do any court. But it's gonna sound a little bit different cause the instruments are different. But it's still the same court, the same essence that you're trying to get. And it's not always gonna be perfect. And that's the thing is won't be. It's not always gonna be perfect. It may be bad a lot. It just all depends on the person I know When I was trying to record myself, it was not always good at all. I'd have a scene. I have monologue and I be finding things that, like this isn't working. That's not working. I had I've been probably, you know, over hundreds of recordings because the training that I was getting before really was hindering me, because the training that I had gotten before was thinking, Oh, I need to do this. I need to do this It was a lot of overacting, and in the class that I was in, it was a bunch of, you know, theatre actors who do things really big and everything is over the top. And then the instructor I had was also someone over the top who would go up and do scenes, and all the scenes they would do is over the top. They've done a play before, is all over the top work. So everything that I was gaining was over the top that I would be doing and then it wasn't finite things that I should be paying attention to. A lot of the things that I know now putting into this video, I wasn't told any of them So I had a lot of things that I had to fix. And luckily, I didn't get good training along the way. I got people who went to Harvard yell Juilliard a C T rod, all these different places that I was ableto put in the work accumulated together and find Okay, this is what works. This is what I should have been taught. This is how I can get better. And then I would be able to record myself and see my progress. Have I've gotten better here. I've gotten better. I've got him better. And as long as you're working on progressing and you're recording yourself, you can start to see your progress as you go along. At first, it may not be that great. You may be nerve wracked at the fact that you that you are talking in front of a camera that can be nurtured for a lot of people. It's weird because it feels like you're being watched, just like if you had to do a monologue in your friends in the corner of the room. It will be awkward at first cause you're not used to it. You're like you think you have a comfortable space and that you can do it. And then there's a person in the room, the camera Connor gives off that same feeling, but it's something that we have to make sure that we get over and using the camera. It doesn't have to be something that scares us. We can use it to our advantage. So, yeah, it gets rid of our fear a little bit of having a camera in front of us. But it also allows us to keep track of what we're doing end. It can help us find what may be we're lacking in, and something you could do is you could record yourself doing a monologue. Whatever you're doing and you can adjust, you could say, Okay, well, I'm gonna be doing a theater piece. So for your theater piece, maybe you need to get your whole body in there, or if you're doing something that's closer for the camera, you're tryingto work on camera work. You get closer to the camera and gets more of your face. And there you just have to find what it is you're working on. You have to find the medium, and then you can adjust the camera. You can put it wherever you want in the room. However, it makes you comfortable. Sometimes the best way to find if you're working naturally. And if your work is really being real and present is to just put your phone up and have a conversation with your friend And don't even don't even worry. Don't even worry about the camera being they're not trying to present anything. Just put up the camera recorded and then just talk with your friend and that's all you have to dio and it could be anywhere you could be at a table. You can set up the table. He's across from you. You're sitting there, you put up the camera and don't even look at it. You're just talking with them. And you know what the first like 20 minutes 1/2 hour. Maybe you're be completely focused on the camera like you're talking with them. But you know, over there, the cameras watching you. But after you do it enough for a long enough period of time, you start. You stop thinking about it, and then you and your friend become really present in the moment of what's happening. You guys are just common conversation, talking about whatever they were talking about work. Maybe you're talking about school, maybe talking about acting. Maybe you're talking about a movie. It doesn't matter what in the world you're talking about, but you're recording it. So then afterwards, after you're talking, then you just go to your recorder and then you watch it. You can watch it with your friend if you want, where you just go home and then you watch it and you find When's the point where you stop thinking about the camera and when is the point that you stood just started acting and talking just naturally with your friend not putting on any performance? You just have to make sure that when you record yourself, you're not judging yourself. That's the one thing you want to stay away from. You want to stay away from judging yourself. This is one of the reasons that this could be a bad exercise to Dio and because very bad, if you start judging everything that you're doing when you record yourself, if you're like Oh man, I don't look good like this actor or out man. I look bad here or I don't think I'm doing my work here or whatever. Usually, what it comes down to is the looks part of it more than the work. Sometimes people like I don't look good in the camera. I don't I don't look like so. And so it doesn't matter you if you If that's what you're gonna focus on, then you shouldn't do this exercise because it's just going to make you self conscious. And it's gonna be hard to get over that, Um, so sometimes, you know, if you record yourself enough, maybe, or get over it. But for the most part, that's gonna be it. Just don't record yourself because you're gonna get too self conscious and it's gonna just hinder your work. You're gonna constantly be thinking do look good enough and be able to do this. Yeah, yeah, yeah. Well, you have to realize, though, is when you see these actors that you admire and they're being recorded where they have make up artists that are there constantly getting paid thousands of dollars to do their makeup, they have people better. They're constantly doing their hair. They're people who are giving them all the best outfits and then they have the people who are doing the best lighting on them. Then they have the camera certain way getting their best angles. So just know that for celebrity actors, three actors that you're watching and admiring they all have thousands of dollars being put in on them just to look good in front of the camera. So realized that so even when you're going to record yourself if you don't look like them. Well, if you had the same team that they had that the movie set is providing them, you don't worry. You would look exactly how they're looking. It just depends on what the role is. So if your know that you're gonna become really self conscious by watching yourself and you know that it will hinder you, then stay away from this. Don't use it at all. But if you know it's something that you could overcome, you just have to get recording yourself enough. And you know that all it is is just the uncomfortable ity having the camera. They're not focusing on your looks so much and just thinking about more of the work and realizing this is a practice and exercise to improve. Then you can do this. Then you can record yourself and find. Are you doing A, B, C and D? Are you accomplishing your goal? Are you pushing forward? Act whenever you can. If you have your recorder with you, you can record yourself and you can act whenever you want. Do it with your friend. Do it by yourself. You get to choose. So I hope you guys wrote all this stuff down, highlighted all the points that made sense to you, and that really resonated with you. Um, congratulations on making it through. And I'll see you all in the next video tomorrow. So have a great day, but by 14. Video #13 Memorization: so a lot of the stuff that we've been working on we found how without it, if we don't have it, it greatly affects the work to the degree of where we probably won't get hired. So we know that if we don't have believability, well, if we don't have that aspect to it, then we're not gonna get hired. People are gonna look at us and be like, Why do I want to hire this person? Though their work isn't riel unpredictability In a way, if everyone comes in doing the scene the exact same way and you don't stand out from the crowd, well, then it could be a little bit trickier to get picked. Or if you go on, your physicality is way off or you doing something really wild and random or it doesn't make sense. You're coming in, you have to be a cowboy and you're coming in your lie a howdy partner, but move a block doing all this weird stuff. Will that affect sit? You? Probably. Then we'll get the part. Today is another one of those videos where it's talking about memorization. So we all know as actors that we're gonna have to memorize lines. That's just part of the gig. They're going to go and they're gonna give us a scene that we have to audition with. And they say, OK, memorize this and come in or can even be a monologue more so if you're doing theater work, you get a monologue. But either way, you're getting text that you have to memorize. And memorization is something that is really hard for some people, and sometimes it's kind of easy for other people. Now, if it's easy for you, then great, then this video maybe can make it even easier for you. And if it's hard for you, hopefully we're making. So it's not so hard anymore. Memorization. There is no real quick fix that I found anyways. You know, there's always people trying to say, Oh, there's this quick fix for it. Here's a quick fix, but really what it comes down to is really doing with the work. Doing the work to get the results is kind of like a basketball player, you know, if a basketball player wants to be really good at basketball basketball, there's not really any quick fix to be good in one day and that's one of the problems with people who audition. They don't work on memorization before the audition. They will start working on memorizing right when the audition happens. So let's say they get a call for an audition, and there it's either the day of the day before or two days before. That's when they start working on memorizing, but really should be a practice that is worked on continuously. So an example I like to give is with your own body. We have muscles on her own body. We have our chest muscles. We have our shoulder muscles or bicep muscles or ab leg muscles. We have different muscles on our body. Now, if we want to become more fit, what do we have to dio? Anyone would answer where you got to go and you gotta work out. You know, a 10 year old says, Well, you know, you got to go on exercise. It makes sense. If you want to become fit, you want to become bigger, more muscular, and you go and you work out. Or if you want to lose weight, well, then you have to do the necessary steps to lose weight. You gotta start working out doing a little bit more cardio work. Then you could start to lose some of those pounds and get to the weight you want to be at. But, ah, lot of times what happens is that people don't correlate this with the brain because your brain is a muscle. So you know you have to for your body. If you want to have a bigger chest, you gotta work it out. You have to do your pushups, get a bigger chest muscle. You want to do get your shoulders bigger. Well, you got to do some shoulder exercises. You want to lose weight, you have to do cardio. You have to work out. But now with those muscle groups, why is it that we know if we want to achieve a certain goal, we have to work out? We know if we don't work out and we just sit around at home eating potato chips, watching TV, we know we're not going to get a six pack by doing that. We know just sitting around we won't naturally, all of a sudden become really muscular, you know, no one was born just instantly fit with muscles everywhere they worked out or when you go to the gym and you see people who are fit well, they didn't just go to sleep and then one night wake up and that's how they looked. They put in the time they put in their efforts and they worked at it. We know this yet we don't correlate it with the brain. So we say, Yeah, every other muscle part in the body. You have to work it out. You have to work out. But then, when it comes to the brain, no one says, Yeah, you have to work out your brain as well. That's the part that everybody leaves out, and it's one of the most important parts that we have to pay attention to. So we have to figure out How can we work on our brain not working on a brain just the day of when we get our auditions? Because that's not really working. It's kind of like any time you get a date, they say, say, if you consider yourself overweight and you want to lose weight, but every time you get a date is when you start working out. So if you have one day this week. Then you start working out okay? Yeah, Yeah. I'm going to do my cardio work today, and I'll see my date tonight. And you're like, next week. You have another date? I go. Okay. I got another date. I'm gonna go and do my cardio today, and then tonight I'll see my date. If you work it like that Well, you're not gonna get any better because you're not working out enough. You're just doing it the day off. It's like a basketball player who goes and he practice practice is really when he plays against another team, if he only plays basketball when he's playing against another team, he's not gonna get any better. He has to do all his behind the scenes work. He has to be at home, shooting his basketball, has to go to the basketball court and start trying to work and play. He can't just be like, Okay, the day of is when I'm going to start. And memorization is the exact same thing. But you can work on your memorization skills. We can build that up so we can memorize things better. We can do that. Humans have that ability. We can work our muscles, but we have to make sure that we do what we have to do. We have to make sure that we're implementing the work because if we don't well, then it's just gonna be like we're on the couch eating potato chips. We're not gonna get any better. So when it comes to working out now, the brain, the muscle, it takes a lot of practice. But it's just like our body. If we work out really hard today and hope to see results at the end of the night, it's not really gonna happen. We have to practice for days and weeks before we start seeing results. It's the same with the memorization skills. You know, some people, they get their script and yet you can memorize it. Maybe it takes them the whole day to memorize simple few lines. But you want to be more efficient. We want to be efficient actors, and I think it's better to work more on working your character in yourself rather than focusing on the lines. So then when you get the lines instead of it taking 80% 90% of your time to get it memorized? Well, if you're doing all the work beforehand before the audition, working your brain to be able to memorize things better than when you get the audition, maybe you only have to spend 20% of your time on actually memorizing. And then you get 80% of your time to do everything else you have to do to prepare and get ready. We don't have the lines bogging us down because that's one of the things that gets people, sometimes the most nervous, is wondering How am I going to forget my lines or I don't want I don't want to forget my lines. Well, if you can do the work of you can practice, then you get better. Just like a person that like, Oh, I don't want anyone to know that I know that I'm not very fit. I don't that I don't have muscles here, Here, Here. Well, that's because if you don't work out, that's how you're gonna look. You have to find you have to find what it is you want to change and how Teoh working on how to change it. So for the break, we know. Okay, we're gonna have to work at it. We know it's a muscle. We have to do the work. And for some people, it will be different. Some people it may. This may come easier to you. Someone else. It may not come very easy for me. Memorizing lines wasn't something that always came very easily. You know, I think part of it was I put too much pressure on myself like Okay, I have to get it down. If I don't get it down, you know, they're not gonna like what I'm doing. And there was a lot of pressure that I would put on myself when I have to try and memorize my lines. But once I got rid of the pressure and I made sure I was doing the work, then it all started to go away a little bit. But I had to put more working than, say, another actor friend of mine. You know, naturally, it was easier for them to pick up lines quicker than me, but I had to work at it. Now go and I'll pick it up even quicker. Not all the time. There are some and there are some lines and some scenes that you're get, which is tricky. The text is hard and it may take you a little bit longer. Maybe it's not a simple text. Maybe it's really complicated. And you like, you're some math wizard and you have to memorize all these different equations and you're having to get that down. Yeah, that will be a little trickier. And we're have days where, Yeah, we have an off day, but we wanna have it where we can be very efficient. Most days, most the time, if not all of the time. So we just have to work on memorizing text every single day. Now, this could be a monologue. You can go online, said Okay, I'm going to try and work. I'm memorizing this monologue. It could be a scene, or it can literally be. You go to the store, you get the soup can and you're looking at the ingredients and you're just trying toe. Remember what's inside. Or sometimes you know, the food cancer have their little bios, and you just try to remember those, that's all. You're just making it really simple on yourself. You don't have to go and say I'm gonna go and memorize this whole play. You don't have to do that. You just have to find whatever it is. And you're memorizing text, not images. Because if you memorize an image, it's not the same in it is not going to equate to the text. So say, if I said, Remember the beach that you that you went to that's a little bit easier to remember cause it's a visual thing. But if I say Hey, remember that text that you read that's harder. So I'm not saying memorized images. I'm saying Memorized the text, the word. So don't look at the soup can and try to memorize the picture. What's on it? Memorize the text, the actual words in it, because that's what you're trying to memorize. Anyways, that's what we're trying to do. We're trying to get down. How do I memorize my lines? Not how I remember the picture. So we have to make sure we find it, and I do this and I put in at least a minimum minimum now of a solid 15 minutes. You don't wanna go any less than that. You have a minimum of 15. You can go more, though, you know, I've you to 15 minutes here. And then you go and do maybe 1/2 hour tomorrow or an hour the next day. But you always make sure you get at least a minimum of 15 minutes, no less. And I put in a solid 15 minutes on this. This isn't a 15 minutes. Why? I say OK, here we go. 15 minutes to work on this. I go, I'm looking at it. I'm doing my lines. In that boom, I pull out my phone or a boom. I'm doing my lines. And then, Okay, someone calls on my answer, and I'm equating that to 15 minutes. A lot of people, when they practice, they don't get in a solid 15 minutes. They really get more of, like, seven minutes in seven minutes out. And if you do that, you're not really being able to focus 100% of your attention on what you're trying to achieve. Your goal of memorizing your lines, memorizing your text, which does require our full concentration. So then what you're gonna want to do is you're going to want to put in assaulted 15 minutes . So you want to make sure you could do that If you can't do that, well, then you're gonna have to work out your schedule than in your day. Anyone? Anyone confined? At least 15 minutes. If you're someone who binge watches the whole Netflix show, trust me. You have the time to find where you can put in 15 minutes to memorize your lines. And it could be any lines. It doesn't have to be you going and googling a script, Oracene. It could be anything you could be. Somewhere there could be a text on the wall. And you're just looking at that and trying to memorize it for 15 minutes. Now, of course, is you do more. That's better. You know, if you're trying to become a professional bath basketball player course, if you practice a little bit more than everyone I was here. You're gonna get a little bit better. So you just want to make sure that you do put at least 15 minutes in, and if you can get more, sometimes I find with me personally it could be different with other people. Sometimes it's 30 minutes for them for me when I get those hour long practices, and that's when I really can start to see some of the breakthrough starting to happen, and it's more salt. It's a whole solid hour, of course, but it's when I start working for that hour that all of a sudden, you know, 15 minutes kind of working out 30 minutes and then boom. The lines then start to come pretty easily. But it depends. Sometimes there be a text. 15 minutes is fine. It depends on the day, but it's so much easier now because I make shorter work on it every single day, getting in 15 minutes every day. Just imagine for yourself. If you practice 15 minutes every day for a whole year, 365 days every single day, you work 15 minutes on memorizing text, any text or your memorization skills going to be better at the end of the year. Course they will, because you're practicing at it. You're getting better at it. You're making sure to put in the time you're putting in the effort and you're putting in the work. If you can put in those three things, you can really start to try and learned anything. What, you don't want us. You don't want to put in all the work have everything great. But you just can't remember your text. You don't want that to be a factor that gets in the way. Because if you want a book apart, you want to have everything lined up perfectly if you can, because we know that obviously there is a luck aspect to it. Of course there is. You know, in this industry there is luck that's involved, but we want to put ourselves in the best position to achieve that luck. So when you get an audition, you're already lucky you have an opportunity to go in there and then you don't want anything to hold you back from getting the part. You don't want everything to be great. And they go and they say, you know, he was great. He just he didn't remember his lines is text. And then they go, Yeah, you know, I'd like to put him onto the part, but I'm just too worried that he's gonna be on set and not know his lines. You don't want that to happen. So that's why we're working on making sure we put everything in there. That's important that we have so doesn't hinder us. So then we don't walk out of the audition thinking I could have I could have done more. I could have been better. It sucks to walk out of an audition and thinking, and I could have remembered my lines better. And maybe if you practiced beforehand for a whole month, 15 minutes every single day and you're building up. You're not trying to work for the day off. You're trying to build up to that day. You're trying to do all the work that no one else sees. So when they do see the work, it's it's magical, and it's there, and memorizing our lines is very important because if we don't have it memorized, we can't show what we've been doing. So we don't want that to be a hindrance for us. So now the next points that we're gonna have these are gonna be things now. So you're working on this part? This is stuff you doing all beforehand. Now, once you get the scene, once you get the scene, this is some other stuff that you can start to implement in ad. So we know that subconsciously all actress pick this up when they have to memorize lines. They get the text there, doing the lines to deter to do, and then they put it down and then try to say it to see how well they haven't memorized. This is a common thing that all actors do, and this will get a lot better practicing for that 15 minutes to an hour every day. If you do it every day, that'll become really easy for you. You have to make sure you're putting in that work, but it become easy. But now let's say you're working in whatever reason, it's not that easy today. It's not that easy. Something that you can add in then is make sure from your text, you look at it and you're still incorporating all this through these different ones. Examples like if you're still incorporating the very basics the roots, the foundation of picking up the lines, looking at it, trying to memorise it and then putting it down and then speaking that now we have our lines here and what we do is we right out all of our text. So say our lines are to be or not to be. That is the questions and I go, Okay, being not to be, that is the question, and I write it all out. To be or not to be, that is the question. And then I do the next line and I keep going and going and going, and I write it all out. This process is is a little bit time consuming of a process, but it works out great. This one helps a lot with memorizing lines. A lot of actors that I know this is one of the tricks that they use. They try and remember they try and write out their lines. For me, it's a long process. I don't always like it because of how long it takes. But sometimes if I have to, that's what I'll do all right out on my lines. And then it's gonna become or internal. The lines start to embed themselves more into myself, and I go okay, that's right. That's what I'm saying. I know more of what I'm saying on my text is better. It's more in myself. I know I can remember my line. Some actors I know they do this three times, you know, they write it all out three times or five times you get to choose. I usually think one or two times is pretty good to do, but everyone's different. If you know that, it will really help you really help you a lot to do it three times or five times. Well, then, do that. You know, Help yourself. It's like a refrigerator. Example. Put in what works, take out what doesn't work so if it helps you to do it more than one or two times to do it more than that. But that would help a lot with getting your lines memorized. And because you're doing the physical action of actually writing it down, the next one is Make sure that you record yourself so this could be say, you don't like number one While you want to combine them. You want to do number one, and you want to do this. One you can combine them are you can do them separately. Whatever you want, it's to record yourself so you take out your phone, you put your recorder on and then you record yourself doing your lines. To be or not to be. That is the question. Whether tis nobler in the mind now, I wouldn't act this out, though I want to go. To be or not to be. That is the question that is nobler in the mind to suffer if you acted out. What starts to happen is that when you're listening back to it, you're hearing your hearing the acted out version, which then will kind of make you become less fluid because what happens is you hear the acted out version. So then when you try and do it, you Onley do that version, and it's harder for you to change. So if you're in the room and they're like, OK, maybe to try doing it differently, the change might be a little harder. Or you might be holding yourself back from finding out something new because you're only listening to doing it one way. So when I do it, I like to do it, do it just being playing, going to be or not to be. That is the question, but it is nobler in the mind and not putting any emotion into it. Just saying the text for me. That's best I know some actors, though, who liked to act it out and then they're fine and then it doesn't hinder their work for me , though, personally, I like doing it just doing the airlines plane, and then when I work it, I feel like I'm more fluid, and I'm a little do better work, so find what works for you. But this one helps because you can, you can Once you're done recording it, Listen back to it when you're doing the dishes. If you're going on a run if you're walking somewhere, you can listen to this at any point in your day and just have it playing on loop. You could be out work and you could have this in. You're just listening Teoh to it while you're doing your job. So this one helps a lot because you can pretty much bring it with you anywhere. So the next point that we have is now highlighting your lines. So this is something that I hope every actor does. I think subconsciously we naturally pick this up and know that, Yeah, we got a highlighter lines. I think we've learned that from every other, like TV show or movie, where there is an actor and they're always highlighting their lines to have it memorized work on making sure you implement that if you do already great. But if you don't, that's going to be something that I think will help benefit you a lot. Now, don't be the person who highlights the character's name and not the lines, because then it's not really serving you at that point. Just make sure you're highlighting the actual lines that you're saying, because it's much easier to go and look at the text that's highlighted on the page and having a whole page white page with all these black letters and going, Uh, okay, I think I'm right here. I think I'm right here. It's a lot easier to get lost or jumbled, especially if you're in that audition room and you have your lines here. You do have to look back at your script really quickly. It's a lot nicer to have the highlighted lines there to quickly find it and say your line instead of looking for it being like, Where is it? Where did I put my lines? That there was going to make it really unhelpful? And also having the text highlighted makes it for me easier to remember my lines when it comes to a scene when it comes to a monologue, doesn't really apply that much. But for seen foreshore, I'm highlighting all my lines. And if I have a monologue within the scene, well, then I'm definitely highlighting that monologue, and having it highlighted is easier for me to visually see it and remember it. The text that I'm saying and a friend told me once there was this, like scientific study, it could not be true. I don't know. It may not be true, but it doesn't really matter cause I always highlight my lines. Anyways, I've never done it, not highlighting it. But this test said that when you highlight lines or text, it's much easier to memorize it compared to it not being highlighted. So whether or not that test is true, I have no idea. I've never tested it by not highly highlighting my lines, and I'm not about to test it. Any time I have a scene or whatever, I'm always gonna highlight my lines. It's always benefited me, so I'm always gonna keep it, and it makes sense that it's easier to when you're going through your text and you're trying to, especially just the memorization part of it. Just easy to go and look at your line instead of having to go and read your partner's line . Because sometimes what will happen is we'll say, our partners lying because we're not sure where are lining, so we don't want to. Just We don't want to practice mistakes. We want to have the most efficient process. Just make sure you come in and you highlight all your lines and also be nicer if you have your lines highlighted and you come in for the audition and they can see that you put some work into it because I think, you know, if you come in and you don't have anything on your paper, you know, some people like to make a lot of notes on their paper. You can if you want, but at least have it highlighted because it also subconsciously there see Okay, great, you put in the work for it. It's not just like you didn't do any anything on your paper. You didn't want toe. Highlight your lines or read any notes, so that will be a benefit in that sense for you, but also a helps with the memorization process. The last point on here, which can technically be called our fourth point for these little tricks, is to do a second activity when you're memorizing your lines. So one that I like to do and it's helping me a lot is to literally just have a ball, restore the ball back and forth in the air. I'm catching it. And then I'm saying my lines and that helps me memorize lines because I'm not focusing so much on the lines. I'm paying attention to this second activity, and I'm kind of doing my lines in the background. So, like to be or not to be. That is the question. Whether tis nobler in the mind to suffer the slings and arrows and he's going through it and just bouncing the ball. And it could be any second activities that have to be a ball. This could be your you could be fixing a wheel on your bike. You could be doing the dishes, just doing some other activity while you're trying to also work on your lines, and that all hope because it's not. You're not focusing so much on the text and what you're saying, kind of gets you out of that process, and it makes it a little bit easier to play and have fun with it. Now remember, with all these examples, you can choose to do all of them. And trust me, if you do all of them, that'll be a really it'll be a riel. Real helper for you. I'm getting your lines memorized. The text is super hard, but sometimes you only have to maybe do one of them. And maybe there will be times where you have to do to and you're find after you practices and use thes that Oh, you know these to work really well together. You know, you riding it out and then doing the second activity. Maybe that's that that combination works really good for you. Or maybe a second activity and the recorded version that works really well for you just have to find what works best for you going through the process because everyone, like I said, is their own instrument. Everyone's different. So one thing that works great for you may not be perfect for me. And one thing that works for me may not be perfect for you, so you get so fine and choose within these options. Or you may get it where you're practicing every day you're doing your 15 minutes at the minimum. And, you know, maybe you get into an hour you're practicing and you're doing this. Maybe this will be all you need. You don't have to do any of the other stuff. You just know that you've been working on that muscle, your memorization skills, your brain to be able to remember the text, you're working on it, and then it will be easy. You just pull it up and you're like, Oh, yeah, right. To be or not to be that is the question. Whether it is nobler in the mind and you get it all and then you don't have to go and think , Oh, my gosh. I have an audition coming up in, you know, tomorrow or two days or today I remember these lines, you know, because you've done the practice beforehand. You did all the work that you had to do in order to get to this place where you've built and you've been working the muscle. Now remember, it is a muscle, so if you stop working it, it can't. Your memorization skills can start to dwindle and go back and revert. So make sure that it's something that you implement and you practice every single day and just get at least 15 minutes minimum and you can find Trust me, you confined 15 minutes in a day, and if you can't do you know, you know, a whole hour practice, that's okay. You just go for a minimum 15 minutes or maybe get 1/2 hour in a 45 minutes. You get as much as you can in with a minimum being 15. So this is something that I expect you guys to implement and try today. Start working today and you know, if it's not great today, that's OK. It's just like any other muscle part of your body. If you want to start working out, maybe today you can only do £10 weights. That's okay. You don't You shouldn't beat yourself up. If it's not great any time you start trying something, it's not always gonna be great at first. You know, if you're trying to work out, you may just get £10 weights, but maybe next week you're being a £20 weight, and then you're being a £30 then 40. Maybe you keep growing. You keep getting bigger and bigger and bigger. But if you just start off and you do £10 then you you know, you kick yourself and you're like, Oh, my gosh, I'm doing £10 right now and I want to do £100. You gotta know that you gotta work to get there, just like if someone wants to become really fit, they work out really hard today. They do every muscle group and they go look in the mirror and they're like, Why don't I have a six pack? We're not gonna get it after one day, But after you work at it for a while, then you're gonna be able to see the progress to just Member and some people. It'll be quicker for, and for others it won't. But that's why you're putting in the time in the effort and your see, after you do this for a while, you're gonna find wow memorizing lines is a lot easier. It's a lot quicker. It's faster, more proficient. So then when you have to go and you have in addition, you can focus more on your character and everything else, not have to focus so much on the memorization part of the text. So congratulations on making it through. I hope you wrote all this down and highlighted the important points that really resonated with you. Um and congratulations. 15. Video #14 Your Personal Skillset ToolBox: So we're gonna be talking about our toolbox or our skill sets. What do we have? So this is something that you might hear a lot of where people are talking about toolbox. What do they have in their toolbox? Their arsenal of things. Basically, when you hear that term toolbox, it's basically just saying, What do you have? What elements do you have to offer? So that could be elements of things like music, martial arts, special skills that you have. Those could be in your toolbox, and they also have things that they put in the tool box, which they'll consider things to help them on their acting. So they may have difference tools or idea is in order to help them create their toolbox. I think it's easier just to think of toolboxes having everything that you have. Toolbox is a collection of the skills and things that you know in order to create a character when you're acting, and it's also things that you have naturally as your own human self. So if you have the ability to play music than that's something that could be in your toolbox, that something that you have that maybe someone else doesn't have. Or maybe it's martial arts. Or maybe it's some other skill that you have. Whatever it is, it's a special thing that belongs to you. And what makes us special is the collection of different things that we have, the knowledge that we have and thats what can help us bring things and elements to a character. So say, if you have to play, for example, a musician, Well, if you already are a musician, that helps a little bit cause you know about music. Or if you're talking in the scene about music, it'll be easier to understand. Doesn't mean that you can't play a musician if you know nothing about music, but it allows you to bring something to the character. It also helps you for when you audition. But it doesn't just help us when it comes to acting with what we're saying, because even with acting as much as it is of us creating our characters, being believable, doing all these different things to create the character for our performance, there is also an element that gets involved of what comes next, what comes after you give a magical performance. What happens people think, Oh, I go. I give ah group of great performance. Then what happens next? You think? OK, do I get a call back? Great. You're gonna call back, but you know what else is gonna happen? You're gonna have to interact with these people whether that be an actor, you're auditioning with the casting director, the director, the producers There's multiple people that you will have to interact with in order to dick to get where you need to get to. So, yes, you have to be able to do the work. But then you also have to be able to socially communicate with them. And now this is where having our toolbox works, both for in the work and outside the work, cause I kind of consider it a little bit of being outside the work when you're not actually acting, but you still having to interact. So we have to make sure that we have arse toolbox continually growing. So the first step is knowing. Know what you know and no once you don't know so realize. What do you have to offer? What? What do you know? And it could be about anything you could be. I know about cars. I know about music. I know about martial arts. It could be whatever it is you can have different things to know about. And then and then know what? Don't you know what if some things that you do not know and you could be? Well, I I don't know much about fashion. I don't know much about politics. I don't know much about a BCG. Whatever it is you get to, you get to figure out with your own self. What are things that you know and what are things that you don't know? That's kind of the first step that we have to get to. We have to realize what knowledge do we have and what knowledge don't we have? Because then we can start to work on what we don't have. What you have is great, and if you feel that what you have is great, but you have to build upon it more like maybe you're like, Well, I do music, I can play some chords. But I don't really know many artists or I don't know many songs or I don't know, the popular times with people, and I'm in a group conversation, and people are talking about these bands of these artists. I have no idea who they are. Well, if you find that category to be yours, well, then what you want to do is you want to say, OK, I know kind of this, but really, I don't know. And that would be in the don't know category. So you really have to find what do you really know and what don't you know? So as long as you're a person who continues to learn and gain new knowledge on things, you'll be able to keep offering more toe to a conversation. So if there is a conversation that's going on and say, say, you don't know about it So you say there's some conversation and for whatever reason, you're like, I don't know much about this. They're talking about, um, safe writers, and you don't know much about writers. You can't contribute in that sense, but you don't want to just be someone who's standing there and having, you know, maybe yours, too. Actors. There's a director and he's talking. He's talking about writing that he really loves, and this actor knows a lot about it. Well, they're gonna be hitting it off really well. They're gonna be talking. And if you are an actor who's kind of like the third wheel just watching, you don't want to be there and be all quiet and and let them have their You know, their their intimate moment, which, you know, I'm not saying you want to jump in and interrupted back. I have to have to keep talking forever. It doesn't have to be that, But you just don't want to be on the sidelines and be like I can't contribute anything to this in whatever. You just have to have something that you can try and we've into the conversation. So you're not just there and you're just really quiet. Don't know what to say. What's going on. It's better, though, if you actually do have knowledge on what it is is being said. So it is better if you actually do know a lot of different authors. If you have read books and even if you don't know their author that they're specifically talking about, you can contribute your own authors. That's what makes the conversation really interesting when you can contribute your own knowledge and you can bounce back and forth and you understand what the other people are saying. That's why it's really helpful to know what you know. No one she don't know. So now you have to find what are some things that you should know? What are some things that you should continually learn about? Well, you should think Teoh. Try and find what areas that you want to learn about. Fine. Where are areas like that you that that would strike an interest in you? There are some things that are more common that might come up when people are talking that you may want to know about. So, for example, sports. You don't have to know everything about sports, but it will be helpful to know the basics of, say, basketball, how to play the basics of football, the basics of baseball and to know you don't have to know every team in the world. But maybe you know the top five or 10 teams for basketball or baseball or football. And maybe during your research you find some names you find. Oh, there's these three good names from basketball, like I've heard that before. I'm going to remember that who they are, what team they're on for baseball, for football, just because that is something that is a really big conversation starter. I can tell you how many conversations that I've seen in. There's these people. They just talk about sports. They know their sports. It's just something that clicks. It's really easy for them to talk and be like, Who's your team? Or did you see the last game or what do you think of this team? It's something that comes up something else that comes up. Sometimes it's politics. You don't have to know everything about politics, but just a little bit about what's going on. Be a little bit stimulated by what's happening. So you're at least educated on what's going on in the world, or they try and talk about something to you can bring it up and you could be like, Yeah, you know, I do know what that is. And the more knowledge you have, the more that you can start to contribute to conversations, sometimes about fashion. Sometimes there are people who know they know about fashion. So then if you know a little bit about fashion, you can contribute now remember, you don't have to become an expert on all these things. Not at all. But if you could know a little bit about it, it helps you contribute to conversations. Even if you can find out, like beautiful places in the world. What are some of, you know, one of the top 10 most beautiful places in the world? You know, just having that because you may be able to talk and they'll be talking about a vacation where they're planning to go. You can say, Oh, you know, I know this great place over here. And Bubba, Bubba Blah. I was reading this whole article about it, and they have a, B, c and D that what? You're being able to communicate with them on a human level? Because otherwise, what's gonna happen is you're gonna become the actor who goes in. You do an audition. It's good. Then they try to talk with you, and they can't relate. You guys aren't really connecting on, you know, human level. Just kind of like Hi. Hi. Do you know this? No, I don't know this. Okay, great. Thank you so much By whereas, if you have things in common, it's much easier to talk. It's kind of like when you meet someone new for the very first time. And if you don't have anything in common, sometimes the composition could be somewhat awkward. If no one's contributing something, maybe you're the person who's contributing and the other person isn't contributing anything . And you know how there's that a little bit of an awkward tension going on where it's kind of like Okay, so I guess if there's nothing else to be said, then that's it by And if that happens, then you're starting to lose the interest of the director or the casting director. They want to see the human side of you as well. They want to see basically you and you get to show more of you. If you have things that you can interact with about sometimes, if you don't know something, it's harder to interact because you won't know what what it is that they're talking about. So it's harder for you to show your true self now. This doesn't mean you have to know every single thing in the world. These are just some basic things that you should start to maybe get your head wrapped around a little bit, so you have some knowledge on it, and then you keep continuing to learn. Maybe after you learned the basics of all those things, maybe you move to something else. It's just the more that you have to contribute, the more of a human being they get to see so they get to see great acting, and then they get to see the human. And that's what is great about knowing what you know and knowing what you don't know, because then you can really find what it is. It makes you a more confident person walking around knowing that you have things, talk about that you have interesting topics. It makes it naturally will make you more confident. Just just wash. If you start to learn all these different things and then it's easier to communicate with people. Naturally, you're gonna become more confident is gonna be like, Yeah, I know that I can chat about that or like you know, I don't know that. Explain more. Tell me more about that. Oh, that's so interesting. You know, that's kind of like a book that I read the other day, or oh, That's awesome. Um, you get to have different things that you can talk about in and interact with with people, and you start to feel a little bit more fulfilled. You be like your feel, like a more well rounded person. And naturally, it starts to make you feel in a way like you could start bringing more to your characters. Or you're like, I have knowledge on this. Like, I can talk about this and know exactly what I'm saying, which is kind of a beautiful thing. Behalf. So basically keep continuing to learn. Don't limit yourself and say, Well, I'm gonna settle with the knowledge. I haven't just put up my work and not the knowledge you have is bad. It's great the knowledge that you have, I'm sure. But it's just when you do have to communicate with them, it will help you. It will be a benefit to you if you can interact with them and know what it is that they're talking about. So, like I've talked about before with knowing going through the different Oscar movies and finding your 10 actress that you love and like, well, it's great to know what some of the big movies are. So if they bring it up, you can interact and talk about it or they don't. You can talk about your favorite ones, and then it will be something you guys come bounce back and forth on. It's just having more knowledge. If you're in a room and you don't want there to be any awkward silences and you want to be able to interact and talk with them, well, then if you do know what it is that they're talking about, or if you confined your way into the conversation, you become much more interesting and there get to connect with you. And that's one of the most important things. If they feel like they're not connecting with you, that it's almost like you're like a cardboard box. There's nothing. There's nothing going on. They want to be able to see you and connect with the human person. So as well as doing good work with inside, are acting with inside the work outside of it. We have to still interact with others, so we have to make sure that when we do, we don't miss any opportunities, so congratulations everyone on making it through this video. I hope that you wrote everything down, highlighted the important points and will start to learn something going through this course, they're already starting to learn different things on acting. And this, even this course could be something you talk about. You say, Oh, yeah, I took this course and it was great, you know, going through and learning the different different your top 10 actors and finding different Oscar movies and watching all those 10 actors movies that gives you more to talk about. You have more films you can talk about, interact with storylines, actors, their portrayals. There's so much that you can offer then to a conversation. So congratulations on making it through this video. Continue to build your toolbox and your skill sets. Continue to learn more, find different things you want to do, even find skill set you want. Maybe it's not just about learning about basketball in the idea of how toe how the teams work, but maybe you actually want to go and play basketball. So you build that scale set, so just continue to learn. Build those skill sets, build your toolbox. Congratulations again on making it through. I'll see you all in the next video 16. Video #15 Goals: Hello, everybody. And welcome to video number 15. So today we're gonna be talking heavily about goals. I'd like to talk about goals for actors because not a lot of actors, No, or how goals for themselves. So what goals do goals actually act as markers for us? They help us to be able to see the light at the end of the tunnel and to help us feel that we have created accomplishment. So we're not just going by every single day and thinking, What did I do today? Did I do anything to further my career, which sometimes can be a real boggled down for an actor? They can think on. My gosh, I don't know if I'm if I'm doing everything OK. If I'm on the right path, what am I doing? Or I don't even know where to go. I like to think of it as an example. With a map, you have a treasure map and you want to find the treasure that X marks the spot, and the ex con's represent, um, movie that you want to be in. It can represent a television show. It can represent a play. Whatever your ex might be that you're trying to get to. But we have to look at the map and be able to find Where do we have to go now? If we have on that and we have no images on it, there's no pathways to guide this. It just shows an X on the map blank piece of paper in the next. Well, we're never gonna be able to find where we have to get to. If we do get there, it will be out of completely just complete luck, which sometimes people get very lucky and they find the treasure. But there's other people who have been able to take calculated approaches in order to get there or to better their chances at getting to the treasure. So what are these calculated approaches? It's creating goals for ourselves. So these goals, how they act the act as markers on the map. So if we're going by, if we can see okay, make a right turn at the big palm tree. Okay, We're gonna have to make a zigzag, um, direction when we passed the double boulders or when we passed the waterfall, we have to make sure we keep going straight and that's where the X will be. If we have markers, it's easy for us to go and find okay, I have to go on the map. I just have to get here. I just have to pass these steps and then Boom will be able to get there or at least better my chances and be around the area for where the treasure is that if the treasures at the left corner of the map well, I don't want to be towards the right. I want to be in that left corner. So that's what helps a lot with goals and it allows us to actually accomplish things. So an actor who doesn't have any goals there, just kind of moving around the desert, not knowing where they're trying to get to. But if you can have those markers, then it's really easy to find out. I got to go this way. I gotta go this way and everyone's goal will be different. Everyone's goal can't be the same because everyone starts at a different position. You know, there would be some similarities that will have to have sure, but our goals to get there. What comes first, What do we have to do will be different. So some people's goals are like I want to go and I want to be in a movie. Well, that's a great goal and that's an overall goal. But there's a bunch of steps that you skipped to get to Point Z. You have to go through Step A B C D E F G before you can get all the way to Step Z. So maybe something my beak, like I need headshots or some people might be, Well, I need to get an agent. Well, if you want to get an agent, you're gonna have to have head shots and maybe even a demo reel to send to them. Some agents will be very kind and there except a head shot, and then they want to meet with you. Some agents will want a head shot in a demo reel so they could know you could at least act . So when you come into the room, they're not wondering like, ok, I want to send this person out, but I have no idea of their ability. If they can act, can they not act? So it just depends on your goals. What you're trying to go for? It depends on the agents you're going for. And that's why everyone's goal is going to be different. Sometimes some persons goal made, lead them down one path, some other person's go. We'll leave it down a completely different path because we all have different starting positions were all on different places on the map. There's a map and we're all starting at some other area were not always together. So an example of this would be if you want an agent. Well, you know. Okay, you're gonna have to get your head shots. You're gonna have to get maybe your demo reel that you're gonna have to send them the letter. Then you're gonna have to try and meet with them. But say someone had who has a famous dad or famous Mom wants an agent. Well, they have to do is they have to go and say hi, Um, my mom or my dad is someone. So can I be a part of your agency? And they'll say, of course, definitely become part of our our agency. We want you. They don't have to go through Ah, lot of the steps They don't have to jump through all the hoops that we would maybe have to jump through. Or it could be that their parent is doing a movie and they say, Hey, don't worry your band, the movie with me I'll get you want I know the director, Whatever. I'll put you in the movie, I'll give you a spot, Don't worry. And that instance they skipped everything. Basically, they were able to skip the headshot, skipped the dumb, a real skipped the agent, skipped the audition and just go for everyone started a different spot, maybe for you. You might be like, OK, I'm gonna start with my head shots. That's where I need to start. Maybe for someone else, though. They have to get the money to be able to get head shots so they have to get a job first. And then after they have the job, then they could get their head shots. But then they also have to make sure. Oh, do I have enough money to be able to have gas so I can drive to my auditions? Are they living at home, where their family can still provide for them or they on their own. If they're on their own, they're also gonna have to pay for food, a place to stay. There's different circumstances that come in, so they're gonna have a little bit of a different path. Then say someone else who can be at home with their family and go to an audition. And Onley have to maybe worry about the gas money. Some people may have to figure out. How can I get over to L. A. And when I get to L. A. How can I survive in the legs? As much as people like to glorify this idea of a struggling actor and being here and, you know, really struggling and working your butt off, you can also get really beat down. You know, there are a lot of struggling actors out there, and not every struggling actor makes it big. And if you're a struggling actor and you don't make it big, and then you decided to quit, well, then however many years you were struggling was practically a waste, you know? Sure you gain. Experience is I'm not saying you don't gain experiences or anything like that, but it is pretty much a waste career wise career wise. You're like I moved out here. I moved away from family or friends and whenever to be out here and then Now nothing's come coming out of it, and then you leave. So I always tell actors I'm like, if you're gonna come out here, make sure that you can be out here and be just a little happy. You know, if you're out here and you're completely struggling and you're like, I don't know how, I'm gonna put food on the table. I don't know if I'm gonna have a place to stay tomorrow. Like that's horrible. That's a horrible way. Horrible way to live, I think. Anyways, because I think it's very easy to get boggled down and not and not want to do it anymore, cause you may never even get to achieve what you want to achieve. You may never even get the part because you may just not be in the right room at the right time. Maybe you'd have to wait one more year until you got in the part, But then, you know you gave it up, or maybe you'd lose your love or passion for your like I just don't want to do it anymore because the passion in love of it was taken away. So, like I said, everyone will have different goals. Everyone will have different paths. But as long as you have goals, you then have markers and then you then know where you're trying to get to. It's a map. You get to follow this map. If you put those goals on there and make sure that you right out these goals, don't think don't be lazy. Okay? I got goals. I put him on my head. I haven't because then what happens is you either forget or you say, Yeah, I'm going to get to that. And then six months goes by and you don't get to it or you're like, No, I never said I was going to do that. If you write it down, it's on. Like it's a physical thing that was put out. And then you also put yourself in time frames. You don't say Okay, I need headshots. Well, I'll do it sometime throughout this year. No. Set a time. Say Okay. I'm gonna go get headshots next week or in the next two weeks. It's gonna happen. I'm gonna make this happen. I'm gonna do the steps that I have to take. And if you confined the steps that you have to take it really? To find these steps, you have to literally sit down and think What do you want? You're saying, OK, I want to audition now. When I'm here, Do I want to be happy or do I want to be unhappy? Okay. I want to be happy. How can I be out here and be happy to have a place stay? Do I have money coming in? Okay. Great. Can I afford to get headshots to go meet with my agent? Can I afford these? A, B, C and D things? And if you have those goals and you configure amount because there are a lot easier to figure out. If you know what you're trying to achieve, it's easier to go. Okay. I should do this first that I should do this and this and this is much easier to then plot things out and see what you're trying to do, what you're trying to achieve and where you're trying to go. So make sure you plan goals for yourself. It's very important you don't want to go on a dark path of not knowing where you're going and basically walking around blind, then right things out, right? Your goal is half plans have markers. You have your overall big go. OK, I want to be in a movie TV show. Maybe it's I want to get an agent first. Whenever you're big. Goal is, you have steps that you have to take to get there. So congratulations on making it through this video. This is one that I was really excited to make because it's really about how important goals are. And no one usually realizes the importance of it until they've gone through. You know, so much of, you know, their career of trying to get from point A to B to C to D, and then they start realizing, Oh, it's much easier if I make goals for myself. So instead of suffering and figuring that out in the long run started now started now by making goals for yourself, what is a goal that you have and work to achieve it? So congratulations on making it through this video, and I will see you in the next video 17. Video #16 Headshots: So today we're talking about head shots. I wanted to incorporate this video into the course because head shots is something that we're gonna need it and mentioned in the last video a little bit. But headshots is something that we have to have. You know, we want an agent, so we have to give them a head shot, and the agent is gonna submit us for roles, so they're gonna have to have it had shot to submit. So heads shot of something that we're all gonna have to have. So I wanted to make sure I incorporated it into this course because I don't want you guys to go and, you know, create your you know, your great acting and have all this stuff going on. Then you don't have some of the essentials that you need because, you know, headshots gonna become really vital to you're gonna find yourself carrying like headshots in your trunk all the time and headshots. Sometimes it could be something that's really expensive for people, or it could be something that is cost, um, affordable. So we're first talk about the obvious one. The obvious one is you can go hire somebody to go and take your pictures. They'll give you, uh, professional headshots. I put professional around it because even though they give you great headshots, it's true. You can still get great head shots from other people who can be way more cost affordable. But let's just say right now you want to do it. This room. You want to go and get someone to come and take your pictures, which is okay, you know, that's a lot of people do it. If you want to do that, have that. Have someone you know, Come take your pictures. The problem with this is is the money aspect to it. They can cost a lot of money to give you like, three different looks. A friend of mine got his head shots done about a month ago, month and 1/2 ago, something like that. Hey said shots ended up costing him like $500 and all he did was get like three different looks that he was able toe choose and use 500 bucks. Though that's a lot of money for three pictures. I personally think so. Maybe some people think that's, you know, not so bad, but 500 bucks. You could use that for a gas for food. There's a lot of other expenses that you could use $500 for. So the fact that you can get head shots and there be so expensive is not. It's not that pretty of a thing to think about from my perspective of it. Just because you can use the money in other ways and a head shot from professional isn't the only way you can get a good head shop, so it just kind of depends. But the money aspect of it is something that, um can deteriorate a away from sort of people who charge a lot of money for just giving me three shots. I would expect a lot more photos for 500 bucks. And then there's another person who about a year ago got his head shots taken. Um, and it was about 1 99 um, which is way better than 500. But again, the price of it is still very expensive, and they got three shots. So yes, it was a lot cheaper than 500 the reason it was cheaper was just The one photographer was a little bit more well known for the friend who paid 500 bucks for Hayes, the other one who charged 1 99 It wasn't, you know as well known, but it's still a lot of money for three shots. I have a friend who's now trying to do some of this stuff, get do head shots for people. He's doing it now. And he I think charges like $100 or something like that, which is still 100 bucks for three pictures. Man, I still think that's expensive, but he's still He charges that much. But he also, though, does he just pretty nice headshots look that he goes for. I don't care for as much talk about looks in a second, but I don't care for the looks that he goes for. But there are photographers who specifically go, um, for the look that he does. But there's other photographers who don't. I just don't prefer his look. But if you like the look that say you're going for and if I was choosing between people and then he gives me the same look. But he charges only 100 bucks. Well, then I would then I would go with that choice. Basically, what I'm trying to say, in short is you can find other means to get in your head shots taken and still having them be cheaper so you could go to the person who charges, say, 500 bucks and go for their look. Um, or you could go for the person who charges 100 bucks and has, you know, similar looked pretty much just a good, but it's way cheaper. So those kind of aspects to find out when you're going in looking. If you're wanting someone to take your picture and you're wanting to pay money for it, just look at different people who are offering different prices and see the samples of head shots that they give because you can see it usually usually on their sites. There have so excuse me head shots from other people that they taking pictures for and what the headshots will have. It'll have certain. Look, some people like to have dark looks in the background. Some people like it to be bright in the background. Some people like toe have blurred out images in the background. Some people like to have it be just a blank canvas there. Get different looks like that. Some people like to make, um, the person more shiny. Some people don't like that, so people will give different headshot. Look, So you have to find which one, um, you you would like. Here's the next aspect that you can dio if you do have your own camera, that you have an actual an actual good camera for photography taking photos, maybe someone in your family has it. You have one. That's a beautiful thing to have, because with that, you get to take as many photos as you want, and you're good to play with it and you're find through that process looks that you like, and you find out lighting how you like the lighting. What do you do, like a brighter? Do you like a darker? You will find things naturally going through that process, because if you have your if you have your camera and hopefully, if you have someone else a friend, it's it's way easier. Just call him to come down and say, Hey, I need to get head shots. Let's take a bunch, you know, take 1000 head shots that we have to. And if you take 1000 and you just get one one, great one, then then it's worth it. Then it's worth everything, but you have to be able to get that head shock. So if you have your own camera, its beauty and you're fine things that you that you like your find Oh, if you're in direct sunlight, the sun's directly on you. Photo may not look that great. Maybe squinting your eyes a lot, maybe overexposed on your face and everything, and you might find a shady spot. Or maybe you're find a white wall where the lights reflecting off of it and it shines on you and it glows and it's great. You're fine, different things for you that will work. Once you find it. You'll be able to kind of take shots from that position, and you just be able to take a bunch and then hopefully or get one that works. You know, if you spend a whole week on taking photos and you get one one that you really like, you think it's amazing. Then it's worth it. Sure did take time, but it didn't cost you anything. I didn't have to pay any money and you got a great head shot. Now, if you can do editing yourself, then that's awesome. You can edit the photo. This is the one aspect that maybe it could cost you money, or it may not have to cost you anything. If you have someone who has edited photos before and you want them to do a quick edit on the photo than that super easy, that's very, very easy. You could have someone come say, Oh yeah, great, I'll I'll do that. I can edit your photo for you and then it could be free. Or you can find someone who will do it and they can charge. But again, don't I don't find someone who's gonna charge you times and tons of money Teoh to get these hedgerows. It's not worth it. You should save. You should save your money. You want to do things where it can be the most cost effective for you. So if you can take your own photos, that is great. Your parents have a camera. You have your own camera. Your friend, as a camera use it, has high quality. You know, not your phone's camera. It won't work is good. So you something of higher? Higher quality. Now, this is the last one. I'll give you this one. This one I like because I think this one is after this is a great way to try and get a head shot. This know that no one's thought about before or haven't at least thing anyone talking about . But I think a great way that you guys can try to get head shots is if you go to a junior college that close to your house or college, who that has a photography department, you can literally go do that department and be like, Hey, you know, I'm looking to get some photos. Is there anyone who needs a model? Because a lot of the times, the people who were there, they all need models. They'll need someone that they can take a picture of. It works out because one it could be very cheap where they won't tribe do anything cause they have to get photos any anyways for their classes in all this. And if they do charge you, usually it's relatively cheap. But that's up to you. If you want to pay for it, cause usually you can find some who won't charge you at all. Um, and these are people who have been working on their photography. It's very cheap. And you could keep going back so you could say, Hey, that was great. Can we get more photos, more photos? And if you start to build a friendship with them, um, they'll probably try and give you even more just for free to be nice. And if you take photos with them and you don't like the way that they take their photos If you didn't see any sample shots beforehand, for whatever reason and you don't like how they took the photos, then going sieving can get a reshoot with them or just find somebody else and be like a um I just got some photos here last week and I get some, get some with you, and that would be great, um, and that it's very cost effective, and you can still work a getting shot. Headshots. Now you can if you'd want combined all these things, so then you have the most opportunity to get a great head shot. I know that sometimes money is an issue You know, sometimes it's tricky because, you know you have to pay for gas. You have to pay for all these other things that you have to do that maybe you don't want to pay so much to just get three pictures of yourself. But if you plan Teoh, then you can do that. You can get your photos, and you could do these other versions as well to see Hey, maybe you can find other shots that you really like of yourself. And you're saying, Hey, these are great headshots. These would be great to use or I got one look from this person and another look from this one. And I have now to looks that I can ableto give to my agent or give to an agent you're trying to get if you don't have them yet. So there's a lot of different benefits that come into play with trying each of these options if you choose to or just one of them. If you really don't feel comfortable with the other two I gave you and you feel more comfortable going with someone who you know will charge you a lot of money. Who has taken tons of head shots before. I understand that. You know, they've done a lot of the work before taking headshots of people. I understand the want to go with them. Um, I would just say, if you can try the other way. First, try the cheap way, and if that doesn't work, Sure, Then try them out. But again, even when you try them out, do your research and find which person you would like to. You know, do your headshots. Who do you like that does different looks that you're really into that? You think, Oh, this looks cool? It would look good for me. What's great is is if you do your own shots and you're finding photos of yourself, you can find what works and what doesn't. You can find out, you know, I like it when there's a blurred out back from behind me or when it's a solid color. You start to find what you'd like from your own work, and then when you have someone else, take your photo, you will be able. Teoh either find someone who takes specifically the kind of shots you like, or you can tell him. Hey, these are the shots I'm into. Do you think we can try and get these done on? And then hopefully you'll be able to. But just do your research and find out which ones I don't wanna say. Oh, do this one are do this specific one, even though I know different photographer because I'm not about trying to say OK, here I am. I'm saying all this stuff now. I'm promoting these people. I know. Do you do your own research? Find the people that you like people that you like in the people that you trust to get your head shots taken with and you'll be able to find it. If you do the research or find it, you're fine. Who's in your area? Who can take the shots for you if you choose to go down that route? So congratulations on making it through. I think that this one is really important one to go through and to learn and understand. And not a lot of people always talk about this one or go down this route to see what are some of your options that you have and just want Teoh to know that you have options. You know, You don't have to say, Oh, I have to do what everyone else does. You can make your own way and you can have different options. And maybe through this process, your find your own way, a different way that I haven't even mentioned or thought about men. If it works for you, great, whatever works for you. Keep it in your refrigerator. Whatever doesn't work. Throw it up. So congratulations on making it through. I'll see you all in tomorrow's video by guys. 18. Video #17 The Agent: so today we're going to be discussing the agent. So I wanted to make sure that this was another video that I included into the course. Because if we don't have an agent, really most likely 99.999% chance you won't be able to audition for a movie for a TV show. It won't be ableto happen for the big ones. Anyways, if you want to be like in the next Marvel Movie, or you want to be in a movie with Johnny Depp or Tom Hanks or whoever it is, if you want to be in a really big movie, you're gonna have to have an agent. Now for an indie film, it could be a little bit different. And even for big movies, there are times there are exceptions where you won't have to have an agent there have a massive, wide open casting call, and that may happen and you may be able to audition through that method. But 99.999% of the time you're gonna wanna have an agent to send you out for the big rules . The big rules that you can get paid for and people will be able to see you on screen or on a movie. The process of getting the agent. You know how when people tell you be yourself. This is where it comes in handy a lot. I can't tell you how important it is to actually be yourself. And I know people save us all the time. And then you say, Well, how do I How do I be myself? What can I do? How how can I How how can I be myself? Well, that's that's the mystery question. How can you be yourself? How can you bring your best self into the room? You know, it's not about going there and kissing up of being like, Oh, hey, how are you? Hi. Yeah. Nice to meet you. Um, being old nervous. It's not about that. It's not about, um, going in there and and and walking up just being like, Yo. Hey, What's that? Yeah, no, great to be here. Not about that. It's just about you going in and really just being yourself, being yourself and saying Hi. How are you? Thank you for having me. You know, simple things. A lot of times when people go into an audition, they try to fake it, try to fake it, and they tried to be someone else. And they try Teoh and they tried to think, What do they want? How can I be what they want? You're trying to impress them and you want to try if you can and stay away from that because if you try to go on, impress them. You're no longer being yourself anymore and trying to think, What do they want and really, what they want? They want to see yourself, and it's much easier to go to a meeting and be yourself instead of trying to be someone else thinking, Wait, what do they want me to be? Should I should I act this way? Should I? What should I do? How should I be good for them? You're trying to impress them, and that can make it really just heartening for an actor who goes and they're like, something must be wrong with me because they didn't like what was going on and whatever. It's not that just that when you go and you have these meanings, you may click it them really well, and you may know, click with them. It's just like if you're gonna go out on a date with somebody, some people you click with really, really well, other people. You don't click with that. Well, it's just something that happens. And sometimes you go on a few dates before you find someone that you stick with. Well, the same thing kind of happens with these agents. Sometimes sometimes you get lucky, and it's that first meeting where you guys click really well, sometimes it may be, you know, you guys air clicking. It's kind of working. Okay, maybe it won't work at all. It maybe it's the third meeting that you have with an agent that you're like, Wow, this is This is really cool. I'd love to be represented by them. They seem to be really interested in May. I'm really interested in them like, let's get this. Let's get this going. Let's get rolling. But you have to make sure that it's yourself that you're bringing and not someone else, because if you bring not yourself to the room and you bring another, ah, different a different side of you instead of just being your normal self, well, it'll have to be an act that you have to put on forever, which will be one. It's not the easiest thing to Dio, too. They may, you know, they may be those see through it or they will bring you in And they're just like we've seen so many people come in and try to pretend to be someone else that it's sometimes refreshing to see someone come in and just be who they are to just stand there and literally just say hi, You know, I'm Yeah, I'm here. I'm not trying to impress you trying to be anything. I'm just trying to come and act like, you know, you're just one of one of the other buddies that I have, and that's kind of the thing that you want to go for when you're being yourself. You don't want to try is not trying to impress is just bringing you bringing your best self into the room. You know, don't not bringing in your your upset self when you're sitting in traffic forever, not bringing your you know, your nervous self when you're in a situation in its sooner of racking is just bringing your best self to the to the room where you're happy and you're in a good mood. So let's talk about some of the steps to try and get into the room. What you want to dio is you want to start by having a good letter. The letter is the first thing that you want when you're trying to contact these agents. Now, you may contact this agent by a recommendation from a friend you may contact the agent through. If you go to their website, they have their email that you can go in the email them at it. Maybe different ways over you have their email or their address. We're going to send them a letter. However you choose to go about that process. You want to make sure that you have a good letter that you're giving to them. You're not just writing something like Hi. Uh, I want to be famous. Uh, please represent me. Here's my head shot. If you do that, they're not gonna get back to trust me. They're not going to get back Teoh at all. They're just gonna be like who Who is this person thinking is like what? You just want to be famous OK, bye. There's so many people trying to talk to them that they just want to be famous. That if that is like, what you'd start writing to them or something along that lines, they're going to just throw it out the window. We have to make sure that we right a good, solid letter and what we want this letter to contain is we wanted to contain the accomplishments that we've had. Um, we wanted to have the training that we've gotten, Ah, our age and what we're looking for, what we're hoping to achieve no may be short term and long term. What do we want? We want to put those elements into our letter, so it kind of gets the point across, and I could see OK, this person there, they're interested like, Okay, they've done work before. They're not anybody who's never trained or done anything before. And sometimes you, you know, you maybe that person. And if you are that person, well, then you you've got to start writing and writing something, something that you've accomplished or some reason that they should want to take a look or chance with you. So you may be like, you know, I've never done any any work before. Your life haven't done work before, but I'm really excited to try and get started. But you have to find what you have. And if you can put the most positive things about you in that letter, then that's great. You don't want to put in all this like you don't put any random things like, Yeah, second grade, I won the trophy for the spelling bee. Um, and then in six grade, I I was able to run the fastest mile out of anybody else. Like you don't wanna do anything like that. And I would just be that would just be a little bit ridiculous. You still wanted to equate to acting. And you still wanted to be something that's a recent. But you just want to be able to put in accomplishments and weave it into the letter so you can have something to give off and they can look at it and say, OK, this person is interesting. They seem like, you know, they're really interested. They want me to represent them. This is how old they are. This is the training that they've got. Um And then these are the These are maybe some accomplishments that they have, I might say OK, you know, he's good enough to maybe bring into the room a stick it out or with May, or what they may say. They may ask you for a demo room if they ask you for a demo room. This is where it can get kind of tricky because not everyone has a demo room, because what happens usually is once you get booked and you start doing jobs, you start taking clips from the work that you've done, and then you put it together and you create a little demo reel for yourself. But now you have to have an agent, though, in order to try and book rules to get that. So it's kind of this weird dichotomy of like, OK, I need an agent to book role so I could build a demo reel, and it's also like, but I need a demo reel in order to get the agent. So that's somewhat of a tricky thing. Sometimes not all agents will be like that. A headshot might be enough. The Del Rio. If you don't have a demo reel that is, sometimes that could be the reason that you don't get into the room. That's true. There are some options that you can do. One option is you can actually go and try and get a demo reel made. So there are some people who have tried to make demo reels themselves where they get their phone. They get a few people together and then they know they record their own rials, different scenes of themselves. Sometimes that works sometimes sometimes it'll look great. But for the most part, from what I've seen, I haven't seen many people who have recorded their own stuff on their phone put any rials together that are really good and really strong. If you could do it, though, I applaud you. And if you can do it and it's the best you can Dio, then you should try it. Well, you could also do those you could try and see. Hey, is there somebody who can who I can pay in order to get some footage Now if you're in l. A there are a lot of people will create de Monreal footages for you. So what happens is you go you schedule an appointment, and then you basically go down and you guys do some scenes and they may do it outside their building, or they may have some areas in their building, and you guys may record it, so you get to kind of decide for yourself. But that is an option that you can seek in at least try. If you choose to. The next thing that you could dio is you could also now respond back to them and just say, you know, something along the lines of things were going back to me. Um, yeah, I I don't quite have a demo reel footage yet. Um, you're saying, you know, you could say I'm just I'm still starting now, so I haven't been able to build up a big enough collection yet. We be able Teoh still meet. Maybe. Or you can say, you know, I've done a lot of theater work, so I haven't been able to get any footage on Put it into a rial for myself. Um, or you could go And you could I? I know this actor who was a British Hector and he when he was going, and he was looking for his agency would tell him. He's like, You know what? No, He's like, I I don't have ah de Meriel footage because I came over from England. I did a lot of plays over there, Um, and when I came here, I haven't been able to get any footage yet, But I still love to get footage swollen here. He was able to get into the room getting meeting with them and then, you know, get them as an agent. So there are ways to try and maneuver around, not having a demo reel. But I'll tell you, if you do have a demo reel, it makes it much easier so much easier to just be able to send it to him. The other thing you're gonna want is the head shot. So we talked about in the last video headshots. How you going? Go. Go on, get headshots Cheaply or expensive. And yes, the head shot is gonna be really important because you're gonna give that head shot. Two of them included with your letter to them that can read the letter and they can see your head shot. And then they can decide. Do they already have someone like you within their agency. Or would you be someone that would be new and unique and they'd like to take a chance and they say, Yeah, okay, great. Come on. Uh, come, come in. Meet with us. Sure. Where they may give that whole demo reel thing, and then you have Teoh maneuver around that if you can, but headshots of something that you really do wanna have. You really wanna have those prepared and ready eso before you ever send any enquiries off to an agency? Have the headshot done, have the headshot done, have that cover letter done, and then you can be able to send that off to them. But you want to be ableto have those. If you don't, then just wait. You know, I know you want to get out there and be like, OK, let's see who I can try and talk to you and get into the room with. But if you don't have that head shot, that's going to be really hard. That's kind of like it's a golden ticket. In a way, you want to get into Willy Wonka's chocolate factory, you're gonna have to have that golden ticket and the Golden ticket is gonna be your head shop. That's gonna help you, you know, head shot in the letter. Those were golden tickets. If you don't have those, you're not going to get into Willy Wonka's chocolate factory. You're gonna stand at the gate watching everybody else walk in, and we've been wondering, Why can't I get in there? Why? Why don't they? Why don't they let me in? Because you don't have the tickets. So now we have that we have the first part of getting in contact with them. Now, you hopefully move onto the next part of them saying Great. Uh, come meet us. Now you have to find out How do you go there and be comfortable to be able to bring yourself because you want to be yourself. But it's harder to be yourself if you're nervous, if you're nervous, aren't comfortable. So now we have to find how can we get rid of those nerves so you can come and be a little bit more comfortable so you can be confident so high? We do this well, if you know some tricks of your own Selves that helps you get rid of your nerves then, you know, try some of those things. Something that I would like to sometimes do is if I get nervous, and I do is for auditions. Um, but what I would do is I would go and I'd be outside basically the building, not outside where maybe they would see me outside, but around the area. And then all you do is you just find, you know, some really attractive person, someone that you find really attractive. And all you do is you go. You run up to you say, Hey, I just want to let you know that, like, you're, like, amazing, like you're super attractive, like Wow. And then you do that and they just go away. Sometimes it takes you a very few people to get rid of the nerve to just let it out a little bit. Sometimes, you know, maybe you have to do a little bit more. Do three people you do five people, whatever as funny in a silly as that actually is, it is something that works. It is something that gets rid of the nerves because you're doing something else that may be , feels a little nerve racking and you're kind of being silly cause you're running up like a did it did it, did it or whatever. But if it helps and it works, then use that. You know, Don't Don't be weirding that, you know, like super creepy about it. I know some actress who were nervous before, and I had them do that. And they said, You know what? I felt so silly. I felt weird. They were like, I was nervous while I was doing that, like, you know what? As weird and as nervous as I was doing that and how silly I felt, I actually had a good audition because of it. And don't worry. Like I know that you may be nervous about doing that because it feels silly. It feels like, Why am I doing this? This feels kind of weird and, you know, awkward or however you feel about it. But if you're on set, you're gonna have to do weird and awkward things all the time. There will be moments when you have to go and run around to set and you're angry and you're mad at someone you have to do a bunch of crazy things is gonna be a time you're acting with the green screen. There's a dot that you're acting, too. Or if you're a superhero or you are some character with magical powers are gonna have to do weird things That will seem awkward. But it's in the act of doing those things that we are doing something silly. But we're having fun in those moments. And if you can find the fun in trying to get ready to your you know your nerves of your fears by doing something silly and running around saying, Hi, how are you doing? I do think you're really attractive. Just had to say that Great buy. If you can do that, if you can actually do that, then that will help you get rid of your fears. And I am asking you, how badly do you want it? Do you want to become an actor bad enough to be silly at times to be a little bit of a fool ? Because if you're not, then you're not gonna be able to go and get the agent or you're not gonna be able to go and get the part because it's gonna require you to do things that are silly once you get the job and it's being comfortable in yourself to be able to do those things. And hopefully by doing one of our past videos working on our confidence, we build that because if you work on your confidence so much, you don't have to do any of this stuff. You know, you may not have to go and run around and do something silly beforehand, but if you do get nervous because sometimes nervous will come up, you know, we could be working on our confidence all the time. And we have a little bit of nerves. But luckily, or nerves won't be as bad as it was maybe two months ago. It'll be better. But if we do get a little bit of some nerves, then all we do is we have to work at it. So we say, OK, I'm nervous right now. I got I got a meeting in 30 minutes, 20 minutes, 10 minutes. Whatever it is, what can I do in that amount of time to be more comfortable in the room? And I'm telling you that this works out really, really well. There have been actress who I told this to and I'm, like, go up and just do that and watch what happens. And they told me they come back and, you know, they said, you know what the like. I did it like I felt silly. I felt kind of weird doing this. It was awkward, they like, But I did it and they said, You know what? As weird and awkward and silly as I felt, I had a great audition or I had a great meeting. And if you really want it bad enough, then you go the distance and look a little bit silly at first. So congratulations, everyone on making it through this video. I wanted to make this one because getting an agent is something that we're all gonna have to do if we want to be able to act and get the big roles. I wanted you to have this as a blueprint for what you can do. You gotta be yourself. You know, you gotta have that cover letter. You gotta have the head shot. You got to get rid of those nerves. Bring yourself into the room and put him at your level. Don't put them on the pedestal. their human being is still a person, and you just interact and you're talking. You're talking for 5 10 15 2030 minutes. Max, you're just talking. That's all you're doing out of your whole life span. You're spending this little moment in your life just talking with someone new, trying to see Hey, maybe we could work together. Maybe. But also, it's not that they have to be interested in you, and you have to be interested in them. So if you're meeting with an agent and you know you don't like them, you're not vibing well with them. You like I don't really care about I don't care to have this person represent me. Then you have the ability to say, Oh, you know, I don't I don't feel feel great about this, you know. Thank you for the meeting. I'm, you know, gonna look at different offers. You have that ability, you know, Maybe you won't do that in the room. Maybe it will be a kind email. Just saying thank you for the offer. I have a few of the meeting. You know, I'll get back to you type of thing, but you have the choice you have the option to choose Justus. Well, as they do so they don't have any more power over you. You guys are both people in the same room, just talking with each other. So congratulations, everybody on making it through this video. I'll see you in the next one. Congratulations by guys. 19. Video #18 Easing The Audition Process: how to go about the audition. So now we've made it through. We had the head shots, we had the agent. And now it's going about the audition. What do we do? What steps do we take? How can we make the process easy on ourselves? So let's start first of the beginning. At the beginning of this, we first realized that. Okay, great. We got the audition. Be excited about it. Don't worry so much. I know at first when you get it, especially the first audition that your agent gets you, you're probably gonna have a little bit of some nerves inside because you're gonna be like , Oh, my gosh, I actually got an audition. Now I want to go and see if I can get the part. And when I go and get this audition, you have all these thoughts playing in your head. What happens when you get the part you like? If I get the part that I get to be in this movie or show and then I get to do this and I get to do this and I'll get to doom or movies and I'll get to do more your mind will travel and you'll be like I could do so many things once I booked this part. And if you book the park great, Just know that, you know, we've talked about it a little bit in some of the other videos. How it is a numbers game. This business is a numbers game. So as much as we prepare and everything, there is that element of luck. So we do have to have luck on that day, but we do have to put the odds in our favor for sure. So first thing is to realize that we have to be ready. We have to prepare. So that means you're seen that you're given your agent their their their email you and be like, Hey, we got you. Ah, in addition to go Teoh here with side go memorize them and whatever, and they may have special notes within the email to they may have things that the casting director might have specifically had said. So if that is the case, make sure though you read your email, like from beginning to end top to bottom, every single word. Um, don't leave anything out and say, OK, here's the little first description thing. Let me just open up. Ah, the attachment. Take the scene and just work on that. Make sure you read the Holy Mount every time. Because, you know, you may get a consistent thing of the casting directors not giving you anything specific, so you'll think, Oh, maybe your 12th audition, you're like, Oh, they're not gonna give me anything specific, and there might be something really important, So just make sure when you're agent gives you the email you read through the entire thing. There is a reason that it's in there. It's because it's important in the casting. Director is making note of it, so just make sure you go through and you read the whole email to see if there's anything specific in there that you need to work on our pay attention to our at into the scene or take out of the scene, even if they if they say Hey, you know, just so you guys know don't do seem to, you know, just do scenes one and three, and then you learn 12 and three, and he spent all this time working on to where you could have spent more time on one and three and they tell you, Ah, no. Didn't you read the email? We're not doing scene to. So just first off, read the email, pay complete attention to it because it will benefit you more. In the end, it only takes you, like, what, 30 seconds longer? So don't be lazy. My actors are not lazy actors. They're hard working and dedicated actors who will pay attention to the emails and read them all. So once you've done that process of it, you then have to go into the part of doing everything we've talked about building the character. You're reading the scene. They're going through the scene, reading it a few times, understanding what's going on. Usually also within the email of the agent sends. You don't have a synopsis of what the movie's about and what the character is about. So different elements of the character might have to themselves with their witty character , or they're more of an outgoing character or reserved character. It will have those elements written in Just gosh, pay attention to the email. It's so important, guys, Um but once you have that, you get the scene and then you go and you read through the scene quite a few times to understand it. Know what's going on, not just the lines, but they're also have, you know, the little notes in between of what's going on, Erin, they're saying, You know, Jeffrey walks over to Kate and gives her smile and then whatever that, those things give you clues into the characters or the people around the character that you're playing. So make sure you're reading everything to understand it and read it a few times because the more you read it, the more that you start to find different things to be able to add into, hopefully, your character or the scene. It'll make it more alive. That's what you're going for. So as you're going through your doing, everything you're saying, OK, you're finding your understanding what the scenes about your understanding the world that you're in your understanding, the type of character, your plane, and then how does your character serve the scene? What is the purpose of your character? What are they trying to do? Are they trying to make someone do something? Are they trying to make someone feel a certain way? Are they more focused on their own feelings and trying to make themselves do something? Is it a casual moment between, uh, you in the other actor? You have to find those things and you find those by reading the script and going over the script or the scene, whatever they If they've read the script, read the whole script, please. Um but if they just give you the scene, which will happen a lot of times, read that over and over and over and try and find those things. Find the clues. And there may be things where you're not entirely sure you know the scene won't have everything. Maybe you're looking for. Maybe you're trying to add something in to the character or you're wondering something about the character. And maybe it's not in the scene. You can't find that clue. Well, then you have to be an actor and you have Teoh make that choice in find. If I make this choice which I'm not 100% sure about, desert served the scene and if it serves the scene and it makes sense and you think it will add more to it and your work will be better. Well, then, of course, you add it in. But if you're not quite sure And you're like, you know, I don't really think it's helping that much. It's just something I'm trying that just don't even put it in. Leave it out of that point. It's not important enough to even try and consider. So you're going through and you're doing all that and then you're trying to put in your believability in there. You're trying to maybe find the physicality of the character you're trying to see. Okay. Is this character someone who moves a lot? Do they not move a lot? Do they only move their head? Do they move their hands A lot, you know are the hyper are they reserved? How are they? What? What are they like? And then maybe you're think about the voice a little bit. Well, there are a little bit more of a nervous character. Maybe the voice will be a little bit in in the higher range. You know, maybe, um or maybe you decided will be a maybe a little bit lower. Or maybe it will be in just your range, and you don't even have to worry about the voice. I don't remember the voices, something that you won't always have to warrior. Think about. And then, you know you're where you have your hopefully your believability. That's playing along with through all this and hopefully even working on your believability Enough where you know you have to do very little working, adding things. And it's just all coming naturally. And then if it's not, you have the different things that you're putting in. The physicality, the voice, the unpredictability. If it's not coming naturally and they don't and it doesn't always come naturally. Sometimes some things will come naturally more than others. Maybe for one audition you have, it'll be physicality is more of an action that it's just coming about your like, man, this physicality. I'm just feeling it. Or maybe for another scene. It's the unpredictability, like you can see all the different unpredictability that could be put into the scene. It just depends on the scene. It depends on the actor. Depends on how much work that you've done prior to ever getting an audition, and you're going through that that process of finding it on, just paying attention to everything that you've done and not beating yourself up. If you're like man, the believability, it's kind of working. It's not 100%. Well, it's not always gonna be 100% for every scene. You know. No one said that one thing's gonna work 100% every single time. That's why we have different things to assist it. So we know. Okay, we're working with believability. And in the end, believability is something that effects our physicality or voice the unpredictability on whatever else that we're trying to put in and adding to the scenes that we know that. Okay, those are just things I could pay attention to draw on and bring back, you know, And then you're finding What are you trying to make them feel or do, or listening aspect to it? And then that will really help you with the character in the scene. So you're doing all that stuff, and that is the homework part that you're participating in your saying. Okay, this is what this is what I got to do. You know, that's what you have to do. That's the homework. So, as an actor, your job is when you get the audition to say, OK, I have the audition. Great. Now it's time for me to get my butt into gear and work on this scene or the script or whatever they're giving you. Usually this. If they give you the scene in script, you're doing like, you know, 123 scenes from the script. And then if you have the script that you can still read the whole script, that'll give you a lot on your character, and you were able to find what to put in. And that will also help a lot with the unpredictability. Like what it was something that you can do and put in that will be different from another actor. When you add in that unpredictability, it really just mine combined blown someone and when they watch and they can go, Wow, that was just that was really interesting. Are was so unexpected and it could be anything. It could be something big. Or I could just be something small and you're just and you're just moving your hands. It doesn't it doesn't really have to always be big, you know. Some people think it has made it. Something is the smallest things. The smallest movements that that do the most. Another point that I wanted to make is make sure that you you plan the night before If you have that time. I know sometimes you know, you're get an audition, and you may have to do something a day of but most the time. You get a little bit more time than that because they also they want you to do good work because they want you to be the character she have. Time to prepare. So you're doing, you know, all the behind the scenes homework, all that stuff. But then the day before, make sure you make life easy on yourself. So you're not trying to rush out the door and you're like, Oh, my gosh, we're forgetting this. We're forgetting this. The night before. Prepare everything. Please Get everything ready. Get. Get your keys. Ready. Put him aside. Get your outfit ready. Put that aside. Have your phone ready. Haven't charged. No, no. We're going other directions. Have your head shot and resume ready. Um, I have it all and just put it all, like, right by the door, so you know. OK, I just have to wake up brush my teeth, shower change, pick up my stuff and then go. You have to prepare the night before because there will be those auditions. There would be a time when you go to audition and you'll be like, Oh, my gosh, I'm forgetting something and you don't want that to happen. So if you prepare the night before you limit the risk of that happening and you make the day easier for you to go about and you're not stressing in the morning, so you can be in full concentration when you go to the audition that day, So get everything prepared the night before, put it all there, make sure you have water as well with you. So you know when you're driving up, if you get thirsty or you're waiting and your mouth gets dry, you have some water to drink. You know, sometimes they might have Ah, they might have some water in there in the waiting room, but it depends if you walk in and then they're ready for you to go right away. You may not get a chance to, you know, get a sip of water, so just just bring water with you. It's nothing that's gonna hurt you of you if you bring, um, if you bring a water, you know, prepare it the night before, it will only benefit you. It a little limit the stress that you have that it will take. Make sure you know your car has enough gas. Don't find out the day of when you're driving up like, Oh, my gosh, I don't have enough gas. Make sure you do it at least the day before if not a few days before, um, and leave. Please leave plenty of time when you go to the audition because traffic is a killer. Traffic is something that is going to bog you down so many times throughout your career. If you stick with acting because a part of his job is being in traffic all the time, all the time, you may get lucky. Some days you may not get traffic, but trust me, traffic is gonna hit, and you're gonna wish that you left earlier. If it makes you late for an audition, it's very It looks very unprofessional if you're late and a lot of the stuff is online now . So you Mark when you when you got in the time of your audition. And don't try and be sneaking and think. Oh, well, I got my addition was at 1 30 I got here at to Audrey's, right? I showed up here at 1 30 because they're going by everyone. One of the times they're going to see it. You lied and mark that you came early when you actually didn't because it's all online and they contract the time. So just make sure that you're leaving with plenty. Plenty of time. Know why you have to go to in checking? Um, check your map and see, How long does it take to get from where you're gonna be to the audition and then see if you can leave. You know, if it takes you an hour to get there, they're in your audition. Say, is that 1 30? Don't leave at 12. 30. You gotta be leaving at least now or two beforehand, just to make sure that you have the time to get there because you don't want to look unprofessional for one For the casting director or your agent. Yes, you will have to leave early. Yes, it is a pain in the butt, but it serves you much more to leave early into still a professional for the casting director and for your agent, rather than thinking Oh, no, don't worry about it. I'll just leave an hour beforehand and then showing up late. That's really not gonna benefit you. It's gonna make you look bad. And you do risk the factor of the agent potentially dropping you. They may not do it after the first time, but it's not gonna make them happy. You know, there are some agents who are stingy and they say, You know, you missed the first time. This was your especially if it's your first audition there, like this is your first audition. You relate. It's night. You're out, you're done. Book it, find someone else that will happen. You know, agents, they confined. That's the thing with agents. They can a lot of times find someone else to replace your spot. So you got to make sure that you are on top of your game, you're ready and you're prepared. The next thing also, the last little bit of a device will give you that really help so headshot a resume you always want to make sure you have enough. You want, always want to have enough and, you know, just get more than you think and have them set at your home. So you're ready. You can take him. When you have an audition, you just grab it from like a shelf, and then you go. But also keep spares in your in your car. You know, put in, like, three or five that are in your trunk, you know, in a safe spot where they're not going to get crumbled or anything. Um, put him in your car and just always have it there and always keep at least like, a minimum of three. And they're So if you do ever forget your head shot and resume, you at least have it. You can pull it out a bit. Whoa. Okay. I still have it. It was here with me. You know, things will happen. You know, sometimes you're leaving. Later, there'll be something that gets in the way. So just do everything you can to benefit yourself. You know, keep keep an extra three resumes in your trunk so that if you ever do forget it, you just go back there and you grab it and then you and then you have it for the day. You can also keep spare clothes, and they like costuming or things just in case you ever like. Change your mind halfway there. And you're like, Oh, my gosh, one of white T shirt instead of a black T shirt for whatever. For whatever reason, you feel more comfortable. If you have a little bit of some spare clothes, you can at least go and change really quickly if you bring it with you. So a big part of all of this stuff, guys, is preparing. Prepare, prepare. Don't be lazy. Prepare the night before, Get all this stuff ready and do the homework. Dual the homework. Everything that we've worked on and talked about. Then you. You're putting it all into building the character. And if something's not working out right away, if you're kind of nervous, it's your first audition. That's okay. That'll happen. You know, every actor hasn't Meryl Streep talked about it before. She was like, you know, she changes what she does every time. You know, Not everything is always working. Sometimes for one role that she is doing, she may not be able to get into the character, so she just has to go about it differently. Try different things, see how she can get into the character. So even for the best actors out there, it's tricky. And not every audition is always great. So just know that you're a person like everyone else and they're a person. All the actors you admire, there's still people. They still struggle. So don't worry. Stay dedicated. Do the work, do the work. Please do the work. Congratulations on making it through. This is really important. When it comes to the audition, it lessens the nerves. It makes you ready and you're prepared and you'll be able to do good work. Um, one last thing that I will say is from the last video just how I mentioned. If you do get any little nerves, that'll do that thing where you're going, you're running up and you're you know, you're finding someone attractive and you're saying, Hi, I found you really attractive. Just had to tell you, Um, yeah, that's hit by, you know, Just do that if it makes you nervous, whatever going to it. And that will hope with the nerves as well. Just wanted to throw that. And really quick. So anyways, again, Congratulations on making it through and we'll see you all the next video by guys. 20. Video #19 The Casting Director: today. What we're gonna be talking about is the casting director. So we talked about okay, we need head shots, and we got to go and get the agent. And with the agent does for us is after we get signed with them, they kind of decide what type of characters we can play. And we're a part of assisting them through that process. So usually what will happen is the casting director will ask you be like or the agent, So I will ask you and say so. What type of characters do you think you can play? What type of roles do you think you'd be good for? Where do you excel? Where do you maybe not excel? And you have that dialogue and conversation with your agent? So then what they do? They say, Okay, I have a new client. Bob Smith. All right, Bob Smith. Let's see what we have today. And they go on to the website where they get their whole breakdown. This that have all the new projects that are coming out, that people are looking for actors. They have all the continuing projects that have been happening. They get a list of everything. This stuff is not something that the normal public can get access to. So if you're just an actor, you're not gonna be able to get access to these sites. So don't think that Oh, well, I'll just do it myself. This is why you need an agent so they can submit you for some of the bigger project. Some of the better projects that are out there. So anyways, they go and they say, OK, Bob Smith. So let's see any new any new projects that are out all right? There's some continuing projects. Okay, Bob, Bob doesn't really match those profiles. Let's see. Oh, here's a new project. All right. Great. Oh, Bob. Looks like he could maybe fit the profile. Um, let's do this. Then submit. Then they just submitted their client for that role. And, you know, they have several clients. Maybe they're so Bob would be maybe good for this role. Eric might be good for this role. Tommy might be good for this rule. Days might submit whoever. So then what happens is the casting director or the casting director's assistant. They get the breakdowns, they see. They see the the actors who have been submitted to them. So what happens is is now There's been a ton of agents who have submitted their clients, you know, they get thousands of submissions so that now they have to go through and see. OK, there's, you know, 1000 people, whatever submitted for this project. Well, let's see who we got. All right, we got this guy, Bob Smith. Okay, We got Eric. Tommy, someone else with someone else. You know, that Bob Smith got he looks like maybe he could he close to the part? I don't know. Let's let's check him out and see. So then say OK, Bob Smith. Great. You are signed to an appointment on Monday. Whenever they're doing there, um, auditioning. Then they go down to see Eric. Okay, Eric, you know, I'm not really seeing Eric for this part. Moving beside. All right, Tommy. Okay. Maybe Tommy could do it. Let's bring Tommy, and then they go through and then go through like that. So it's already kind of a weeding out process that begins before you ever even get into the room. So realizing that once you get into the room how important it is that you're that that they already somewhat see you as maybe being fit for the character. You still may not get the part, you know. They might find someone else who does a better job or someone who fits the part better. But at least you get the opportunity to be in the room with them. So now the casting director, their job. They have been specifically hired to find the right talent for the project that you're auditioning for, so that casting director we have to realize is getting paid money. They are actually getting paid to put this project together. So their job is to make sure that they can put the best help assist with putting the best picture together. So they don't want to put bad actors into this project. Because if they put bad actors or actors who won't work at all for the roles, well, then that casting director has a risk of never getting hired again. Casting directors have that talent of being able to find people who will work well for a project. It's kind of like a puzzle that they're creating, They're saying Okay, we have to create a puzzle for the Afro tower. Okay, well, this piece will go here. This piece works well here. This one will go here. They're not gonna say, OK, let me get this random piece that doesn't all fit in the puzzle and just put it in because I feel like it. A casting director. Their job is to create help, create the best project, helped create the best piece. So if you audition and they don't think that you're right for the part, it doesn't mean that maybe your acting was bad. You're acting. Could have been great. It could have been phenomenal acting. It's just that you didn't fit the character that they were looking for or they thought, well, you wouldn't work well with the rest of the cast. For whatever reason, it could be that the main actor for the project is six to, and you go to audition for it. And you're 55 And even though you're great, they don't wanna have to. Maybe it's not in the budget. Whatever. They don't want to have to worry about the height difference in trying to work it throughout the whole project. They could just say Okay, well, we can get someone who's also still good. But you know, there are around the main character of height. Maybe they're also 62 or 61 or six foot whatever. There's different variables that can get involved with the process. It doesn't mean your acting's bad. It just means that that casting director specifically didn't think that you were right for the project. But say another casting director might say, Oh, yeah, that person would be great for the project. It's just how when two people go and they watch the same movie, but yet they have different opinions on it. One actor are one person thinks that that movie that they just saw was great. Another actor that who watched the same movie will say I was OK, wasn't that great. Everyone has their own opinions. Every casting director also has their own opinions and what they're looking for. And that's why casting directors are so close with the directors because they have to work together and have the same vision. So if the casting director wants this type of character, but the director wants another type of character, they're not gonna be happy if a casting director gives him a ton of options of people and they don't match what the director is looking for. So then what happens now? The casting director has a bunch of people come in the audition. Um, and then they say, OK, these people are great. They like him. Maybe there have their callbacks, whatever, and what they'll do is there ascend some of these clips that they have to the director? So what happens is when you go into the room and you audition, they have their camera up their record, you and say they have Bob Smith. They have, you know, Eric and whatever people that they wanna have may become an audition back. So the recorded clips, they send them off to the director, then director takes a look at him he sees, and he says, OK, this person audition this person audition and he's like, Oh, you know Bob Smith. I don't think he'll work for this project. Put him away. Oh, this person bring them and they seem really interesting. I could maybe see them playing the part, and that's kind of what happened. So you could also audition for the part and you could get sent off to the director. They could maybe see you. They see the video, but they just may not think that you are right for the project. And that could be one of the reasons that you don't get called in again. But sometimes if the casting director really, really thinks that you're perfect for the project, they think that you are amazing that you will do the best job for this role. Then they will fight for you. They will be on your side. And that's one of the benefits of a casting director is if you can get them on your side, they will really push for you and fight for you to be a part of the project. You still may not get to be a part of it, but they will fight for you to be a part of it. And there go to the director and say, Yeah, you know, I really think you should take a look at this guy Bob Smith, like he was really great and just just let him come in. Let him come in and read. Let him have a screen test, whatever. Bring him and just let him try. Let him try with these other people were bringing in. And then the director, my say All right, fine. Brigham in or the director could say, No, this is my call. I don't want him to come in. Different things can happen. Different variables, um, along with way can come about. But you just have to realize that the casting director's job is to put the best actors a part of, um, the project that is their job. So there's some things that you want to do when you're going for the addition when your meeting with the casting director. So what will happen is you're gonna go in, you're gonna there's being office there, whatever. And usually they will. There will be an assistant, and you know, you have to sign in, write your name on paper, or they may have an iPad up and you're signing on their iPad. Whatever it is that you have to sign in the name, I have an assistant. They're not always, but a lot of times they'll have someone who's there, and when they do, you want to make sure that you are polite. You're kind, and basically you're not someone who comes in who's rude who's arrogant, who doesn't give them the time of day Because the assistant will inevitably talk with the casting director. So if you come in and you're a real jerk to the, uh, to the assistant, you're not gonna get the job because you have to be someone who can work well with the cast . And if the casting director here is that, you know, you were a pain, you you didn't. You know, you didn't sit down and wait. You were complaining to other actors when you were there. You just had a bad attitude when you were in the waiting room or you were rude to the assistant. The casting director is going to know that, and they're not gonna want to put you a part of the project. Just think about it. That if you had, um, if you were casting for a role and you had your best friend, they were gonna be your assistant. So you have in there behind the counter, then someone comes in and they're really rude to him, you know? They don't give him that. They don't give them the time of day, and they're like, yeah, whatever. You know, not paying much attention or they come in and they're insulting them or they're a rude whatever it is. And now they go on audition and you thought their audition was pretty good. It's like, Wow, this person is great. But then you're here from your friend and they say, Yeah, but this person was rudely said this to me. Is that this? They said all these really demeaning things. Well, then you're gonna be like, Oh, really? They did like, Well, no, don't bring him in again. I don't want to deal with that. I don't want to do with that. I don't want that person in the in the cast ensemble because they're just bring the energy down there. Work won't be able to be good, and they don't like that you're rude to their assistance. So what they're gonna do is there's there's gonna put you to the side and not even call you back again. And it may be that they never call you back ever again. So make sure that you are always kind polite, not just to the assistant, but everyone you know. It's not like a fake kindness. You're not coming in and being like, Oh, hi. You know, you're amazing. Your this your This is not a fake kindness. It's just really committed and being genuinely nice, that's all. You're just being nice or being kind. You have no agenda about anything. It's just your there and you're being kind. You have no reason to go on Be really. You know, even if you're stuck in traffic for the last two hours, you know doesn't give you right to come to the audition and be rude to the assistant or the casting director themselves. So just be kind, toe everybody. Now, once you get into the room and you're with them and you're talking with them, don't let them hold all the power. What happens is is a lot of people they go on audition and the conversation and their interaction of the have isn't really anything meaningful. So what I mean by that is the casting director called you in. You come in. They say Hi. How are you? You say good. How are you? They say good. Okay, let's get started. Some auditions, though it will be like that and that's how you have to run it. But a lot of audition, though, Have you come in and your talk with them. And they're trying to see if they can engage who you are. A little bit. Get a little bit of your personality by talking with you by interacting with you. So if you come into the room and they say hi, how are you? You could just say I'm good. How are you or what you could do? You could do something else where you could maybe strike a little bit more of an emotion with them and say, Oh, you know, You know, I'm really good. I just came from no, where ever you came from, if you just came from the beach or whatever. Yeah, I just came from the beach. It's so beautiful. Was my first time at that beach that, um How are you guys doing? Have you guys been here for a long time? Then what happens is you're giving a little bit more of information on yourself. It's not just a simple Hi, how are you? And you're actually asking them how they're doing. And you're saying you're giving me more specific in there saying How are you doing? Have you guys been here for a long time so that you get to interact with them more. You get to have a little bit more of a connection, which is better than just saying Hi. How are you? Good. How are you? Great. Okay, let's get started because you don't strike any emotion. And that's the same thing that if you were going to go and talk, say, with your best friend, if they if they weren't your best friend and you didn't know that at all and you want to go and talk with them and you saw them and you just said, Hey, how's it going? And I said, Good, you, you know, good. That can't really build anything of a friendship. But it's What happens is when you strike a motion with one another, that's when there could be a connection that starts to be made. So maybe there's your you know, the guy that you're gonna talk to you to be like, Hey, how are you? And he's like, good, how are you? I'm like, Good, like that's that. That's a really cool T shirt. Where did you get that? You know, it's just a thing where strikes some kind of feeling or emotion, Something in there or oh, do Do you really like Led Zeppelin? That's awesome. They're like my favorite, you know, It strikes an emotion. It strikes the feeling. Now when you're with the casting director, you can choose what you want to say. It depends on the day. Depends where you are. It depends on a lot of different things. You know, maybe you go into the room and you just have the feeling that you have to be in there and out quick. That's what they're wanting or not wanting any chit chat. But some people there a little bit more relaxed where they don't mind. The chit chat is Just remember they're sitting in this office for hours. You know, they've been there all day. They're seeing people come in and they're seeing a lot of you know, there's some good auditions, but they're also seeing a lot of bad. Auditions are people who aren't doing anything unpredictable. So it's all this predictability is happening. They just see okay, expected that. Expected that, and then they're not feeling anything with the actors. But it's when the actors can come in and strike some kind of feeling or some kind of emotion that the casting director sees you as being another human being another person instead of someone just coming in saying lines and leaving. And that's what you want to try and work for. But if you put them on a pedestal, if you let them have all the power and you haven't be above you Well, then anything that you say to them isn't gonna be. How you would say if you were with your friend, It's all gonna be questionable, maybe and say hi. How are you? Are you good? You, you this, um you don't wanna have them on a higher level, because then it's also gonna mess with your head if you put them at the same level and treat them just how you would if they were your best friend and just saying, Hi, how are you doing? It's not like when you go and you hang out with your friend. They say, you know, how's it going? And just like good, you know, say anything. There's a conversation that's happening back and forth. And Hugh Jackman something that he talked about before when he would go into talk with casting directors or meet with them is he wanted to put them on the same level. He didn't want it to be this power issue, just how you kind of see him. Colleges and in schools. Everyone always puts the instructor appear and the students are here, so they never can really interact on the same level. This person always feels like they're above him, and you're always putting them above him. That's not your job to, you know, bring him really down. So you're above him. It's not your job to pretend to be higher than them is just to be on the same level. But what Hugh Jackman said that I really liked is he said, I like to be on the same level with them. The casting director. I don't want them to be on a higher level. I wanted to just be I'm talking with another person that's home. So what he would do is when they asked him a question and said, You know, hey, you have any questions about this? He'd have a question and I would say, Yeah, I was curious about this, you know, they have a little bit of a dialogue about the character, Um, or they'd say, Hey, try this with it. Okay, That's interesting. You know, I thought it may be this or this was the reason I didn't do it. Whatever. It's just a dialogue that's happening, you know? I don't know if specifically, you want Teoh question a casting director, necessarily. But that would be just a difference of opinions between maybe him and I. But I do agree that you have to talk with them and build a connection and not have them be on a higher level than you. So if you can interact with them, talk with them, let them see your full self. Another side of in. You know, you may not be able to show everything. That's fine, but just a glimpse of who you are is better than just going in and saying Hi. How are you? Good. Great. Okay, bye. It doesn't doesn't show anything that doesn't give anything of who you are. You're just basically like a cardboard person who comes in. This is what I look like. Here's me talking. Okay, bye. But they also want to see how we are as a person. Human being it could be just the same thing that if you have to go and meet with the director, you know you don't want, you know, you may be working with another actor. You guys doing the scene together, the directors talking and you know he may be, you know, if he's talking with this actor and then you feel like you're 1/3 will not saying anything , you still want to be able to jump and put him on a higher level. It's just you guys all can have a conversation together. Don't feel like you can't say anything. You know there's an actor before the situation with the director, he felt like he shouldn't say anything because they're above him. He's like, I shouldn't say anything. I just let him talk to me. But if you do that, then it can hinder you from ever getting the part because you don't seem comfortable or, you know, seem as confident and you see nervous. And if they get that vibe from you, then they think, Hey, if I put this kid on set, he's gonna be too nervous to maybe do the work and you don't want that to happen to you, so make sure that you put them on the same level. The next thing is when you leave, say thank you be kind. You know, when you leave, just say thank you so much. Don't just be like OK, I did my part and then you just walk out Or don't be there and be like a man. Such I didn't do good. Don't hold your head down. Have your head up high. Feel like you did a good work. Say thank you and then walk out. Just be kind and polite about it. Don't Don't you know Baugur yourself down To think I did a horrible job. Don't just walk out of the room and not say anything. Be polite, be kind, Thank them. The last little tip I'm going to give you here is make sure that you write down the name of the casting directors that you meet with and then you write little things about them. So you say you have you buy your own little book and you have on the first page one casting director that you had auditioned for the next page. It will be a completely different casting director. So What you want to do is you want to keep track of who you've auditioned for, and then you want to see maybe how many times you've auditioned for them is juice. You get an idea of who they are. Um, a little bit more, you can see. Oh, I've met with this person three times. Oh, I remember we had this little conversation before about a B, C or D, and you write down. You know, if you guys do have conversations where you learn something about them, you write that down in your notes. So then you have something to bring for the next time that you auditioned for them. So next time when you audition, it's not just Hi, how's it going? You can actually go and be like, Hey, how are you doing? I heard that you mentioned last time you went to you moved to Malibu. How has that been? Have you have you liked it a lot? Whatever. And you can get into more conversation and dialogue, which will then show mawr view and you get to interact with them or as a person, instead of being like someone like please give me the part. Please give me the park. Said it. It could just be you talking with them. It mean like, Hey, how's it going if you get the part? Great. If I don't will you know who I am? You know, maybe there'll be something else I can get in the future. So put them on the same level. Guys, don't put them on a pedestal. Congratulations on making it through this video. I hope you all wrote everything down. This one's really important guys when your meeting with the casting director, because you can do all the work that you've done. But you also have to interact with them as a person on a personal level, and sometimes it's tricky to show that. But if you have the opportunity opportunity to show who you are, then you want to make sure that you bring that and give that to them. So I'll see you guys in the next video tomorrow. Have a great day by 21. Video #20 Saying No: All right. Welcome to video number 20. So we're almost there were making it pretty darn close to the end guy. So hang in there. We're almost there. Congratulations on making it through and being a part of the journey, writing everything down and staying committed. It's the actors who really work hard and commit themselves to the process, to the work and to getting better. Who really can achieve something great. The actors who are lazy, who don't want to put in the time who don't want to put in the work, the ones who sit back and be like, You know, I'm just gonna wait for something to come to me. I'm not gonna do my part. I'm not going to do my work. They don't treat their work with diligence. They don't treat it as something that has to be practiced, just like how basketball player has to go and work every single day. He has to practice every day to become good. A pianist has toe practice every day to become good. A painter has to practice every day. It's not just that they wake up one morning and they're great, but when it comes to acting. Sometimes that's how people think it is. You know, there are some people who are Yes, of course, they're natural, but we all know that they're still working process that has to get involved. You know, there could be some people who you know, they could have natural talent. But hard work will beat natural talent any day of the week. So I just want to congratulate all of you for being able to work hard and going through this process and staying committed to it and focusing on yourself to become better and take these ideas and ideologies and working them and using them to have better audition experiences, to be able to get the agent to be able to present better characters, to have more confidence when you need it for your characters, or for when you're meeting with new people, whether that be actors or agents or casting directors or directors or producers, whoever it is just congratulations to all of you for that. I just wanted to say how proud I am for those who can make it through and stay committed because I know not everyone does it. But it's the actors who work hard that get a better chance at hopefully making it, um, at something, whether that doesn't have to be making it getting the biggest part of the world. Maybe it's just you want to be able to get that part in the play, and if you can work hard, you know it puts you a step up. Of course, we all know that there's luck that gets involved. But if we can be in the right spot, if we could be ready for luck when it comes to us, that's when magic can sometimes start to happen. So anyways, with that being said, we're get into this video for today, which is about being able to say no. So you have to know that you have rights as an actor. You know, we've been able to kind of talk about a lot of them going through these videos. A lot of them have been different rights that you have and what you should do. What you shouldn't do, and one of your rights as an actor is that you have the ability to say no to projects, So if there is ever a project that comes to you and it's offered. And they're like, Hey, we want you to play this part, you know, come and be a part of it. You do have the ability to say no, but I want to talk a little bit about when you say no, some of the consequences to it. Some of them may be benefits to it. Um, so you realize where you are in your head space when you're doing this, Um, and how much of a benefit it may be to you and how much of a hindrance it may be. So first, let's start off with saying congratulations if you ever you know, if there's a part that's ever offered to you, that's a good thing. That's something to be proud of. You know, you're wanted for a part, which means people think that you're able to do the work and they want you to bring your work to a project. So that's a good thing. First, to realize that just knowing that okay, you're wanted and the thing to realize is also that you auditioned for this project. So any project that you auditioned for, you know you have that ability to maybe get it offered to you, You know, unless you are now a big time actor and you know, someone's just offering you apart and you didn't have to audition at all. But if you're just, you know, you're still starting out or you've done some things before, but you're not at the level for people to just give you parts. You still have to go through the process of auditioning every once in a while. Just realize that when you audition for a project that you do have that possibility of potentially getting cast for that part. Now they there may be a bunch of different reasons why you decide to say no to a project. It could be that you have to projects United. And I knew someone before they had to projects, and they were trying to decide which one. To maybe get one was already a definite answer. The 2nd 2nd 1 they weren't really quite sure yet what was gonna happen, But the 2nd 1 would be a much better offer if they were able to get it. But they kind of had to decide. Do I say no to the first project that they needed an answer pretty quick. so he had to decide. Do I want to take the first project, or do I say no to it so I can maybe get the second project? But you don't know if you're get the second project. So that's kind of a big dilemma. If if you ever get in that situation because, you know OK, there's a product that wants me, I'm gonna be able to get get apart. I'm gonna be able to act. No, it'll make my agent happy. I'll be able to tell people this will even get paid for doing something that I want to do. But you also may be able to say that exact same stuff, but have a project that you really want to be a part of, Or maybe it'll launch your career way farther. So that's something that you kind of have to balance with and try and find what to do, what not to do in that situation. And this is where you kind of want to be able to use everything you have to your advantage . So you have an agent at that point, so use them, use them to your advantage and ask them to sit down with them and be like, Okay, look, this is the situation we're in. What should we dio? Should we go with Project A? Why should we wait and hope for something from project Be and the agents on your side? So you guys have to talk, talk it out together, And they've probably been, hopefully in the business a little bit longer than you have there. Not just like a brand new agent. They've been through the business, so they know kind of how some of this stuff works so they can say, Well, you know, I've been in this situation before. I'm getting a really good vibe from this one. This one, I don't know. I'm not seeing it is maybe being a possibility for the future project be Or maybe there say , Project B. I really wanted you. Trust me. I've been in contact with them. I'm pretty darn sure they're going to say yes to you. Well, then, you know. Okay, maybe it's best to say no to project Day, but you have to be able to have that conversation with your agent because you've gone through the process of finding a an agent that you can hopefully trust and feel that you can work with Well, But what comes down to a harder situation is if the casting director of the agent says, Hey, take Project Egg, you have his gut feeling and you're going to say I don't want Project Day. I'm gonna go for project to be and say if you do, turn down project A And if you don't get Project B, If you weren't lucky enough and you didn't get that part or something happened, whatever you want able to get it, well, then you have the potential of really upsetting your agent because they're sending you out for tons of parts all the time. And they're like you you finally got one where they said that they want you for this project and you turned him down. So now, instead of having that project, you have no project, and you do run the risk of upsetting them and potentially even losing them as your agent. That is a potential that is a possibility. So that's why it's a tricky thing when you say no to a project. But now say if you made the right decision and you said you know. Yes. The project being said no to project A, you know, the S came through project be came through. Well, then your agent's gonna love you at that point. So, you know, you made the right decision of a blah. You're great. You're all this stuff. They're gonna be completely on your side. So that's something to remember and to think about now should you go with your gut feeling or should you go with the logical approach? That's kind of something for each actor to decide on. Because even if your gut feeling is telling you to go for this project, you could still be wrong. Even though your practical side is saying go for this project, you could be wrong about this one. So it comes down to you as the actor for what you want to do for the choice you want to make. The best thing I can dio is show you your options of the risk and reward. You know, you risk losing your agent. If you turned down project and you go for Project B. F B doesn't come through. You do run that risk. But if it is own agent that you've worked with and you know that you can trust them. You know that you can go through this process of saying no to project a and having project be potentially not come through, and you know that they're still be okay with you. Well, then maybe you can go and say no to that project. That's one thing that can happen. Sometimes there are projects where you feel like if I go for this and I say, yes, it will ruined my career or I'll just be looked at as this type of actor. You know, you're gay stereotype. Do you think, um, where you know you have to. You have to kind of think about why you won. Why you feel that way. Really? Consider that because I know some actors. They're like, yeah, so stereotyped, where in some cases I've agreed in a lot of cases, I haven't agreed. So you have to really think why you believe that what you're evidences for that and you may have them, which is great. But just make sure you have it like you write it down, and then in this situation again, go and talk with your agent and find out and be like, Hey, this is the reason I think I'm gonna get typecast or stereotype or I'm not gonna have any respect if I do this rule, you know, if it depends on the road, you know, if you feel like like, I have to go and play, um, telly, Tubby, and you're like, you know, one again. You auditioned for the project because you any a project you audition for, you have the potential of getting, but let's say, for example, it was a Teletubby, and you like, I don't want I don't want to do this role. I feel like if I do this, I'm never gonna get book does anything, cause I'm always gonna be looked at as the telly tubby guy. You know, that is something that you could think about and you could consider. But also, there's aspects that you have to realize where this is. Why I want you to think about it. Because, you know, you're still you're in a costume. No one really is gonna recognize your face. And then even if they do recognize you, it was gonna be a lot of younger kids. You know, casting directors aren't necessarily going to know. Hey, this person was a telly. Tubby, you know, you don't have, You know, you don't have to put on your resume if you don't want. When you give them to him, you or maybe you keep it on your proud of it. It depends how you feel about it and how you're going about that process. But it's something to really talk about with your agent. And, you know, maybe your agent would agree and be like, Yeah, you know, telly, tubby, it's really gonna narrow you for a little while Or maybe there say, Hey, you know, no, don't even worry about it. Go, go for it. You know, you want to realize that Hey, you're an actor and you got books for a part, it is still a part that you got booked for. Maybe it's not your dream role, but it's still a part you got booked for. And it's the part that's willing to pay you to act. And you don't have to have this job again for the rest of your life. This could be a job that you can have. You can put money in your pockets so you can survive in L A a little bit more wherever you are, and then you can say OK, I made a good amount of money from this. Now it's time for me to go on audition for other projects, but I have a little bit more money in my back pocket now. I don't have to worry and scramble for gas to be able to go to the audition. I don't have to scramble and, you know, have money to pay for my rent or whatever. You know, I've talked about before. I know how you know. You want to make sure if you come out here, you're really secure in the first place. I don't like if when you're struggling, actor and you come out here to enjoy the struggle of it because you may go through that struggle for 10 years and never get anything out of it. And this side of you know, I don't want to be. I don't want to do this anymore. I don't want to play the odds anymore. Um, of I know I'm not. The odds are against me for booking anything. I don't want to play those odds anymore. And after 10 years, though you have nothing to show for at that point. So that's what you want to be really, really careful about when you're going through the process. But, you know, use the agent, use the agent to your advantage in this point because there really be able to help you and be on your side and say, Hey, you know, you should try and go for this for Maybe you shouldn't weigh the pros and cons. Make a list, make a physical. Listen, half here, the pros here are the cons, you know, knowing that you're getting booked, that's a pro knowing because you're wanted for the project knowing that you're getting paid , that's a pro. You know, some people are like you have, you know, I'm in for the whole artsy aspect of it. Okay, sure have that. You're in for the artsy aspect of it, but still, you're getting paid. That's a pro. You know, within a connoisseur. No, man, I'm getting I'm getting paid. You're not gonna put that on a con list? You can put it on a pros like. Okay, good. I'm getting paid. That's a good thing. No one's gonna put that as a negative or bathroom like I don't want I don't want to get paid for project, um, Another instance where you might want to say no is. Maybe when you want an audition, do you? Just felt really uncomfortable when you were with the director. And in that circumstance, if you really like it, you felt really uncomfortable in it when you know, wasn't it wasn't a great situation when you were maybe with the director. Whatever. That might be a time when you know it's okay. That's okay. When you want to say no, you like. No, I don't want I don't want to be in the same room with them. I don't want I don't want to be a part of this project. And you tell your agent and you say this is the reason I don't want to be a part of this project in your agent at that point should respect you for that decision. Any good, ancient will If an agent's gonna get pissed off about it and really upset well, then maybe in the long run, they may not be the agent for you. You know, they may not, you know, say OK I'm not gonna represent you anymore. They could, but probably they won't. They probably won't do that. But you also have to make know yourself and you don't want Teoh. You don't want to be out in Hollywood or wherever you are in your auditioning. You don't want to have the world of acting change who you are as a person used to want to be yourself and you don't want to to risk or give anything away You still want to be your own person So you don't wanna have, you know, really uncomfortable situation being with, you know, if you don't feel comfortable with the director, that's in a time when you can say, OK, I don't feel comfortable doing this project. I'm not gonna do it and that's okay to say no for those type of projects. Now let's say you have, um, done a lot of work. You've done a lot of work down now you're doing pretty well. You didn't pretty well in the agency, and you may even get roles that are just offered to you where you don't even have to audition there, just like, hey, please come be a part of our project. We really want you. Well, if that happens, then you can start really playing with the projects that are offered to you. And you can start saying, you know, I want this project. I don't want this project that our mom Those are moments when you can really say no to a project. Because now you're in a more comfortable situation when you can say yes or no and sometimes saying no to a project allows you to say yes to something even better along the lines. There's so many actresses, an actor, I know who he went to audition for this project. And the casting director didn't even let him read for the role. He was just like, No, I'm sorry. You're not You're not right for this project. Didn't even let him read. But she was like, you know, there's another audition going on across the street. I didn't just go over there, you know, it seems like you may fit what they're looking for. Sorry for this project. So we're not looking for you. So then he did. He went to the other project, and there he got to go through this whole great journey because he was able to get a call back and meet with them and do all this great stuff where he basically ended up doing a lot of work. It became pretty big in Germany. It wasn't here, but it was in Germany. He was still acting, doing what he liked, getting paid to work and have fun, which is always a benefit. So he was able to do really well for himself, but say if he had got the part that he was originally auditioning for that part actually wasn't that big of a part. It would have been a part if he got cast, which would have been cool. But that part wasn't that great of a part. So the fact that he was rejected from that pork allowed him to go on audition for something bigger, which is the same thing. When you have scripts being given to you by saying no to one script, you may get an amazing script that comes in, you know, two weeks later, a month later, a year later where you're able to do that project and something great can come from it. So just now, as an actor, you have the ability to say no, and it's OK to say no. You just want to be able to weigh the pros and cons really figure out. Why are you saying no to a project and why you sometimes saying yes to a project. You have to really play those out. And if you're thinking of saying no to a project, really go through and figure out why am I saying no? Why am I? Why am I gonna turn this project down? You know, projects I'm always gonna come to. Don't just think. Okay, I'm gonna turn this one down. Something else so easily come a week later. You know, if you're still a new actor, it doesn't always work that way. You know, sometimes when a project comes, you want to take the part. There are actors who, like I'm gonna take anything that comes. There were other actors who will say I want to pick and choose. Sometimes in the beginning, you kind of want to really take everything that comes. And then there are some things in certain circumstances where you can really say no to a project, but you have to figure it out for yourself and you have to be able to speak with your agent about it. So congratulations guys are making it through this video. This one's really important when it comes to you guys on knowing that it's OK to say no. You can really choose and decide for yourselves. So congratulations on making it through this video. I'll see you all in tomorrow's video Goodbye. 22. Video #21 Using The Director to Your Advantage: I wanted to make sure that I included within this Siri's the video that talks about the director and really using the director to your advantage. The director doesn't have to be someone who's scary. The director doesn't have to be someone who, you know, we don't We don't feel comfortable talking to the director. Could be someone that we can really use to our advantage when we're creating our work, when we are trying to put up a scene or when we're working on a whole play or for working on Set, the director of someone that we can use. The director is someone who wants to be able to be by our side and help us because they want to help give the best work. No director wants to shoot a film and says, Let's make sure that this film is bad. Every single one wants to do good work, every single one. So you have to make sure that you are both on the same page that you guys come both work well together. You know, sometimes there may be those cases when you don't really trust your director. The director is saying maybe you're like they're not very good given care for the other work that they've done before. You don't think that they're directing style. Is that good in that situation, then you have to maybe play it a little bit differently. Maybe. But for the most part, if you really pay attention to a director's work, directors aren't that bad. They just may be different than the way you might direct. Or they may be different than how you worked with the previous director in the past. Most directors don't always work the same There have similarities. Sure, you know everyone wants toe help their actors. They all want to get the best work done. But their process in the way they go about a scene or working with actors are working with . The crew may be completely different from one director to the next. So you can't always expect when you worked on this previous film or on this play or a television show. That's gonna be the exact same. When you move to this one over here, it's always going to be changing. It's always gonna be different, but that's what makes it kind of fun, because you get to navigate your way through the process and it's not predictable is that feeling of unpredictability that we get to experience at that point because we're in the moment and we're there. We're figuring things out and finding okay, This is how this director likes to work or this director doesn't like to do this. But my last director love to do this, so it just kind of depends on who you are when you're with the director. But as you work with them and as you're with them for a few weeks, you start to get to know them a little bit more and you start to realize, OK, this is their style. This is the way that they like toe work. This is the way that they like to direct. Sometimes actors get into this process of thinking it's all about them. The work that gets put up is all great because of the actor. You watch a movie and you see this amazing scene. The only people that you're seeing in that scene on the screen are the actors. You're not seeing the cameraman. You're not seeing the guy holding the boom mic and not seen any of the lighting people. You're not seeing the director. All you're seeing on the screen is the actor. So sometimes people make the confusion or build this idea that the scene was great because of the actors, which it is true. The scene is great because you have good actors. If you had bad actors in the scene doing the exact same scene, it may look really bad. It could be really poor. You have all these people who are there overacting and going. I love you love a blood when all this crazy stuff, then, yeah, it'll seem bad. But just because you have good actors working on a project doesn't mean that that's the reason that the senior watching is great or the film you're watching is amazing. It really comes down to everybody because the art that we've got it got into this thing of acting that we're in is a collaborative process. So it doesn't take just you to build a great scene or to build a great character or to build a great movie. It takes everybody in this applies to stage to that is on the stage or this is on film. It doesn't matter. It still requires everybody. It's not just you, you are a big part of it. You is what they're trying to capture in film. That's what everybody's watching is you. But in order for you to give the motion to the audience, to let them feel what you're feeling is because of everyone helping and putting the work together. So I'm gonna give an example of this. Imagine that you have your favorite actor and they're doing this amazing scene, a scene that you've never seen done before. You just think it's phenomenal. But the whole time throughout this entire scene, you see that you only see the back of that actors head because the cameraman didn't get the front of them. When you can see everything they're feeling, it gets the back of their head. Well, if you're watching it, no matter how great the emotion is, no matter how great the character development that they've put into the work, no matter how great it is, if we only see that scene and we're on Lee getting the back of the head, we're never going to think that the work is that great. Even if you thought it was OK, it's never great. It can never be great because we're watching the back of someone's head of you watched the scene and you Onley saw through the entire seen the back of someone's head. You would think, Wow, this is really weird. You'll be like, I don't like this. I want to see the actor. I want to see their phase. I want to see what's going on So the cameraman gets involved. It's not just Oh, you just place a camera and you shoot the ankle you get is really important. Sometimes the perfect angle is to get the side of their face Sometimes is the front of their face maybe briefly, you have a pan behind them and but then it goes back in front. You never see just the back. So it takes the camera person that you have working on set it takes a good cameraman. Then you also have to think. Okay, what about location? Will you have people who actually go and scout locations to see where you can shoot your work where you can do a scene? Think about the Titanic. The last scene when you have these two lovers and they're both in the water, and they're both saying these amazing lines to each other. But imagine you shoot this scene now in a ball pit. All of a sudden it changes the same completely. You don't take it seriously anymore. At that point, you don't take it seriously. We don't believe it. Would you think? OK, this is some comedy, but that's not what they're going for. So those people, the people who scout the locations, that's very important, how they set up the location. That's important because that builds us into the world that we're in. And that lets the audience believe the actors. If you have actors who are doing this really dramatic scene, but then the you know there's a whole playground around him, it's just a bunch of lively happiness. Well, then it's hard to get into the scene. It's hard for us to believe what's going on. It takes everybody. It takes the costumer, the costumer goes, and they get the costume for you. If you have to be this serious businessman and then the costumer comes to put you in this really bright pink suit and they do your hair old, crazy well, all of a sudden, you're no longer businessman. That would look really respectable or presentable. They'd see that and they would be like, This is really weird. It's not with their expecting. It'll that would be That would be bad unpredictability if you saw that, unless the movie is a comedy and it's this great turning point for the character of, you know, being coming really wild or something in a comedy. But in a drama you could never do that. If you put someone in a drama and you put them in this big pink outfit and wild hair and everything, it just looked really weird. It look awkward, so it takes a collection of everybody working together in this art. And the director is someone who's really vital to this process because the director is there to help you toe work with you. If something you're doing isn't working, if it's not believable, the director is gonna come to you until you hate. Try and work this out. Do something here. They're trying to get you to be believable so they can build the best work that they can. You know, some directors, your get who will be really nice and That's great. You want a You know, you want a nice director, but not all the time. Sometimes you may get a director who's really harsh, and they're just gonna be like, Okay, that was really bad. Do it differently. Sometimes that's what you're gonna get. Sometimes you may have to deal with that, but just know that you want to use the director to your advantage because they still want to get the best job done. You can't go to your director every 30 seconds. It becomes kind of ridiculous at that point. But it's kind of like when you're when you're in school and you're doing your homework. If you don't understand something, you raise your hand and you ask the teacher. But now, if you keep raising your hand every 10 seconds, the teacher's gonna be like, Well, come on, you gotta figure some of this out for yourself. But, you know, if you raise your hand because you went through problem one unity that you know, needed some help your all the way down a problem. 50. Okay, you raise your hand, you're not raising it on every single problem. You still have to do the work and figure things out for yourself. But you still have the director who you can use to your advantage. They're there to help you. So if you're going through and you're reading through the script and there's something that you don't understand, ask them and just be like, Hey, you know, I'm really curious about this point. I don't really understand this here. Let's talk about it. Then you guys can. Then you guys can have a conversation and then they can say, Oh, OK, right, right, right. Yes. We'll see. It's this because of this, this, this, this this Sometimes you have a great director who will want to really, really work with you. They really want to go and be like, OK, I want to be at the same level as the actor and ask them for your opinions. Not all the time. Sometimes directors don't want to have you know your opinions. You know, if you have questions, they want to hear it. But they may not want your opinions on how to do the scene. But some directors will want that opinion and they'll say, Hey, you know what do you what do you think about this. Do you think you do this? What about this? What do you think? Because they also want to know. Do you think you could do the work? Would you be able to go up and present what they're asking? So just know that when you're going through this process, they're not the enemy. They are your friend because they don't just be like, OK, the these directors air on a pedestal. They're amazing. I can't ask them anything, you know, because they're so great, You gotta be careful. If you put them on that pedestal, they will feel like they're on a pedestal and their feel like you're below them. And then at that point, if you do have any, you know, suggestions or opinions, they're not gonna be valid at that point because they're gonna think that they're better than you. They're gonna think I'm on. I'm on this level. They're down here. Anything that they say isn't gonna be as good as what I say. But if you can be on the same level as your director, then if you say something like, okay, you have a little bit more validation at that point to be like. OK, sure. You know, let's try that. I could see that. It's kind of like if you, um, say if you knew no music really well, And you're here and you feel that someone doesn't know music that well and you're writing the song. Well, any suggestion that they give isn't really gonna be that great to you. You're not really gonna take it to heart that much that you'll be writing the song. That's what about this. If I go, maybe I'll think about that. But if you see them on being the same level as you for sure, you're definitely gonna think, Yeah, you know, maybe let's try it. Let's give that a shot. Some things you may still turn it down. Sure, but you're give it more of a chance. You're listened to it more, so make sure you also don't put them up on that pedestal because if you do that, you're gonna lose some of your power and respect as an actor. So make sure you put them on the same level. They're not above you. You're all the same, and it helps to put them on that level because then you can go up to them and say, If you have a problem with your costume, instead of going maybe directly to the costumer, you could speak with the director really quick and say, Hey, you know, I'm really trying to get you know, this scene down. I really think that this costume, you know, we got to do something here. I feel too tense in it. Well, you know, I don't think it's right for the scene. Can we try it without this? And you can talk with them. Sometimes you can't. Sometimes. Yet you will have to go directly to the costumer. But sometimes you get those opportunities, and then the director can go and talk to the customers. So you then you, as the actual have to be like and to talk to you. I need to talk to you. I need to talk to you. You just can focus on your own stuff. And you just communicate with the director. That's your job. That's all you have to do now. The next thing is, sometimes people have their own process. Some actors like this is my process for working. This is how I work. This is what I got to do. If you feel that it's completely vital to tell the director what your processes, if you feel like that's completely vital. If you do not, your work will be bad then, yes, you could maybe go up to the director and tell them. But you have to also judge the director. Will they be okay with you coming up or will they not be okay? You know, every person is different. Every director is different. So if you go up to them and tell them your process, they may be like I don't care what processes you're on this set. We're gonna work. Some may care about your process and say, Okay, I want to do everything I can. Sure. So you have to make sure you can read the director a little bit and kind of understand where they're coming from and see, You know, this director may not be best to go up and tell them my process or this director, you know, there'll be okay with it. I think I could go on, tell them, and then you go and tell them. The reason, though, that I hesitate on this a little bit, is because for each project. Your process may change a little bit here or there, you know. It's not always going to be the exact same. Sometimes you may do one thing in this bill in a completely different thing. In another film, because you're working on a different character, you're on a different set. You're with a different director. You have a different cast. It's a different feeling, a different vibe, from film to film, from theatre work to theatre work. It's gonna change each time. You know some actors they prefer that they can have their own quiet time after the scene. You know, maybe sometimes it like a um, it's great if you don't need me. I just want to go and make sure I could go relax in my trailer. I don't need anyone to bother me sometimes. You know, an actor may need that for a project, and then they could say, Hey, I can go tell that to the director. Sometimes people feel like maybe that's what they have to do every single film, so they have to express that to a director. But if you get too locked in to one process, you have to be careful, because if you need to change for whatever reason, because you're in a different location on a different set, this is just a vibe on set. You have different directors if you have to change. If changing would be a little helpful for how you work on your process to work on this particular film, well, then you want to be loose and fluid and be able to do that. But if you're so locked in on working one way, one exact way, Well, then what gets tricky is that if you're on a film, you don't want to switch because you're so locked in here like No, I gotta work this way, which can sometimes hinder your process. And it can make you sometimes maybe a cranky actor, which you don't really want to be on set. It's a privilege to be on that set. You know, you got picked to be there, so you don't really want to cause havoc. Our problem. And sometimes actors get a little cranky at times, you just have to make sure that you know you can. You can hold that in a little bit more and you don't want to be so rigid on how your processes but more. And you want to be able to be fluid and loose and not have your process be something that holds you back the process that you created for yourself. You want to maybe have you have an outline, but in outline that can be adjusted. So all this you're doing all of this because you're trying to make it comfortable when you're working on set and with your director so you can use them so you can say, Hey, when you shot this scene, you can really see Can you trust your director? Well, if you're talking with them and you're in more dialogue, you start to build trust. So if you shoot a scene and you think it wasn't that great, well, you know that you can trust what the director is going to say. And the director says, Hey, let's shoot it again and do it again. If they don't, then maybe they think it was good. Or maybe they're like, you know, going through it. We're gonna throw it away. Anyways, during the editing process, you don't entirely know, but you get to build a little bit more trust with them and you get to go on set with a little bit, maybe less doubt, because the worst thing that you can sometimes have as an actor is doubt when you're on set . And I think it was Ah, Hugh Jackman who talked about this before. Who said, You never want to go on with doubt? Doubt about the character. Doubt about the seen the script because what'll happen is the camera will catch it because you got to remember your faces blown up really big when it's on a movie screen and it's right there, right in front of you. The camera will catch everything. So you want to make sure that you don't have doubt when you're going through the process because the camera will catch it. So everything you're doing, there's always gonna be doubt, doubt, doubt. No matter what their emotion is, no matter what the feeling is, no matter what the vibe of the scene is, they're going to see doubt from you the person. So you want to make sure that you work everything out. That's why you're working with your director. You're talking with them. You're trying to find out Hey, What does this mean in the scene, or what Is this in the script, or why do we have this happening? You're working with them. The last little point I want to give you is to make sure that you start to build friendships with these directors. So after you've done all this stuff, you you've done the process. You've done the work. You want to make sure that you can also build somewhat of a friendship with them. You mean you don't have to be best friends in the world, but you have to build a little bit of a friendship. So you guys can remember each other as you go through as you go through your years of acting and directing. So if they do ever have a fruit future project that comes up that can say, Hey, I remember this actor and they were great. Let me bring him on or if they have friends and their friend is directing a film. And he's like, Hey, I know a great actor. He was great on my film. Just have him audition for your project. Sometimes that's all it takes, just knowing who you know. Throughout the business, That's how a lot of people get their break sometimes or they get, you know, other parts or other movies. They have made friends with the people they work with, you know, not making friends as an agenda for that to happen, but just making sure that you make friends with them so you don't put them on that pedestal . Like I said, you don't have to become best friends. You have to become enough of friends where you guys get to know each other so that they can say, Hey, this person's great Bring him on Or even if you're an actor and you need a director for a film, you can say I know this great director. I worked with him here and then you bring them on. You know, it's a business where everybody also can kind of help each other along the way. So congratulations, everyone on making it through this video. You're going to see a great video tomorrow, make sure that you're out all this stuff down highlighted all the points, and I'll see you all next time. Bye, guys. 23. Video #22 The Hustle: Hi, everyone. Welcome to today's video. So today, what I want to talk about is something that's gonna help you currently in your career and for the longevity of your career. So even after you make it, this is something that you're gonna have to still pay attention to and work on and not give up. So a lot of actors, what they like to do sometimes is they like to settle. They get complacent with where they're at. So they get an agent, they get their head shots and then they get some auditions and then they get complacent. What happens is they sit back and then they just wait for the phone to beat and say, Oh, I got an email or for their agent to call and they just sit around and really wait. That's kind of a lot of what happens with many actors. They get complacent. Think about all the actors, you know right now. How many of them do that? How many of them are right now? Complacent. They're not doing anything to move forward. They're not trying to meet directors, casting directors, meet new actors, try and get new updated head shots all the time. Try and get maybe demo aerial footage. They're not trying a, B, C or D. You're not trying different things to move forward now. Not all of them are going to need all those things. Some of them may need one of those things. Two of those things. Three of those things. How many of you know actors who have something that they should be doing or that could help their career or a path that they haven't tried yet? But they just don't do it. They don't go down that path. They don't try to update their head shots. They don't go for the demo reel. They don't. They don't try to find ways to meet directors, to meet agents, to meet actors. They don't do anything. How many of actors do you know that? Just sit and basically wait for the phone to ring. You know, they have their day job, they're working now. They're there at a restaurant, whatever, and then there, just waiting for their agent to get in contact with them. How many actors do you know who are like that? Probably. You'll say most of them, if not all of them and You may be one of those actors, and that's OK, but you just have to realize that's what you're doing right now. You're not hustling. You're just staying complacent. You're staying where you are, and you're waiting for something to happen. Now there is an aspect, of course, toe waiting. You do have to wait to get that audition. You do have to, but you have to write down. What is everything that you have to do? And then what are some things that you can do to move and push forward? In a way, it's similar to our goals, but there's differs for when we do have to eventually keep hustling. Once we make it, we gotta hustle. We have to still keep that drive going. Keep moving forward stain and contact with your agent. You know, a lot of actors sometimes don't even communicate with their agent. You should always be in contact with them. It shouldn't be like, Well, I I talked with them once a month. That is way too little. If that's the case, you gotta be talking with them, you know, at least every week, at least every week, if not every week, every two. I mean, there will be times. Of course. You know, throughout the year were like, Okay, I haven't talked with him this week. You know, in the next week you do. But for the most part, a lot of your life is gonna be communicating with your agent. A lot of it. So you have to make sure that you don't get lazy and you settle on your like. I'll just wait for them to come to me. You still got to go to them. You still gotta stand contact, communicate, try and do everything you can to be the best to be the best at what you do. You have to try everything you can. Even if you're not the best. You're trying to be the best. You have to think. What can I do to up my chances of success? What can I do? How can I keep working? How can I keep hustling? What can I keep doing? You know, sometimes it's the training aspect. You have to make sure that you keep getting better and better and better and better training. You know, there's actors who they're gonna one place there, get training. It's not that good, but they don't try to do anything else. They just stay at that one place that they're learning. They're acting, but they're not doing very well, But they don't try to go to another place. Well, they don't try to look for another means of training. They just settle and they stay complacent weather at. That's why you want to make sure that you're always continuing to hustle with your own training. Keep going. Keep trying to get better with your agent. What can you do to help them? How can you help them? Well, keeping up to date on your head shots would be great. What can you do? You have to find what it is that you can do to keep moving forward. So you can hustle cause once you start to, if you want to stay throughout this business, you're never stop. Once you stop the hustle, that's when a career can start to go really downhill and it can go downhill fast. Even if you're a top actor. If you don't hustle, it's gonna go down. No, There are times when actors they have to look for scripts they have to find Yeah, they wait for scripts to come to them. But there's also actors who actively search for different roles. Are projects there thinking, What can we do? What something I want to work with? Well, I can, either. If someone wants to do an action movie, they can wait for action roles to come to them and read through the script and see that something they want to dio why they can actively go and try and find those roles now. It may not be that the actor physically goes and looks through every script, But maybe at that point, once you've made it, they have other people who helped them. And he's like, Hey, he or she will be like, I want this type of role. Find these roles, help me find these and that's your hustle. You have to keep moving forward. Once you stop, though, that's when it can all go down Hell, that's when your chances of you know going up don't really happen anymore because you stop going up. You stop saying Okay, let's see what else I can dio You just say Let's see what comes to me and to a degree that's true, you know you do have to wait to see what comes to you. Of course. You know you have to wait for your agent to call you, But you're still doing everything you can to do your best work. To be able to meet actors or casting directors or directors. You know, you don't have to meet every actor in the world. You don't have to do that. Of course not, you shouldn't. But if you're part of a project and there's some good actors in there, well, you should get to know them, not hoping that over there, if I get to know them, they're booked me on the show. One day we'll get then you're being fake, but you have to still get to know them as a person and be genuine and be kind. And if they do happen to say, Hey, I got this project going, you should come and be a part of it. Great. Or it could be something that you have a project, you bring them along. Everyone's always helping each other, but you have to. You have to make sure that you're able to stay in communication with people. And that's the hustle you have to hustle and make sure you're staying on top of it. You don't, you know, know someone great in your life, and then you don't talk form for 10 years, and then you keep up with them. You say, Hey, how's it going for 10 years has passed. You guys are completely different people at that point. That's kind of like if you have a friend, you know, they're your friend. It's great. But after 10 years passes, you may still come. Maybe maybe you still consider them a friend. Maybe you do. I know a lot of people who wouldn't. But if you do, it's still not gonna be the same. It's not gonna be how it was 10 years ago. But now, if 10 years goes by and you're always calling that person, seeing how their life is, what's new with them, what they're doing, you're gonna have a closer relationship with them. You're gonna have a bond that you've built. But you could only do that by staying on top of it, not getting lazy and waiting. All wait for them to call me. I'll wait for them to email me. You know, you have to put in some work. Um, in some effort, you can't just sit back like All right, well, uh, let's see what happens. It doesn't work that way. You have to continue. Continue to hustle once you book, if you book something if you book a TV show, there are so many actors who become TV actors, that's their first thing. You know, they get a good role on TV show for a few seasons, but then they don't do anything afterwards, and you try and see what they do in on any movies that not in any other television shows. Sometimes, you know, they're like, OK, I'm done, You know, they've done enough. They don't want to do the acting thing anymore, Sure, but a lot of them, it's just that they can't get some of the roles that they're wanting, you know, they can't. Sometimes it is okay, they get typecast. That is a thing that is a reality in Hollywood that we know about. You can get typecast, but that doesn't mean you can never book anything anymore. Sure, you get typecast, but you have to do everything you can to keep hustling and pushing forward to keep moving forward and not say Well, I guess I just can't book anything anymore. My career is done. If that's your attitude, if that is your attitude, then you will be done. Then you won't have anything else that can help you to move forward at that point. But if while you're on that show, so you go for 345 seasons while they were on that show. If you stand contact with directors with actors that you meet throughout that time communicating with different casting directors and seeing different projects that are out, maybe during your free time, when you get those free months that you will actually say Hey, instead of you know, maybe going on a long vacation, I'll do a project. We'll do a product just so one people can see me doing something else. I get to know different actors, casting directors, directors and keeps you working. It keeps you active. You have to do different things now. Maybe that's not the root you'd want to go down, but you have to find what is the what do you want to do? How can you keep moving forward? Sometimes The best thing to do is talk with your agent or your manager planned this out. So Hey, what can I do? What can I do? And maybe they'll be able to help you Or they will be able to tell you. Maybe while you're on that show, you like, Hey, get me a commercial gig. That's Let's do let me do like a commercial for this car company or for whatever it is. It keeps you in the public eye. It keeps you doing other things. You get to notice different people. You could do that. You could say, Hey, um, let's make sure that I go to these to these to these dinners and meet these type of people . You just have to make sure that you keep hustling. You keep moving forward. You keep finding what you can do. You know, if you're an actor and you have like a great run for three or four or five seasons, that's amazing. That's phenomenal. But if you still want to be able to work after that, you have to make sure that you're not just hustling right after you have to be hustling during that period, and that's the best period to do. you're hustling because otherwise what happens is is it's basically kind of like the example that I gave about, um, the basketball player. Well, you know, all worked really, really hard. And try and get another job if I, um if I have to play against another team, But during the time when I'm not playing now, I have to play against a team next month. During all this month. I'm not gonna train. I'm not gonna practice. It's the same thing. If you don't try pushing forward and developing your career early on. Well, then when you're gonna have to after the show ends and you don't have something to keep you present, as they would say, then you're gonna have to find Okay, What can I do? How can I How can I still act? Can I do voiceover work? Well, maybe if you spent a lot of time getting to know different people who have done a lot of voiceover, you could find different things. So we have to make sure you have. You have to make sure that you keep pushing forward, finding new things to do, finding ways to stay active, because even if you hustle in the beginning. In the beginning, you do all the hustle. Then you get booked on the show. You want to relax? I know you're like, OK, finally I made it and you did. And that's good. But you have to make sure that you don't just end there. You say OK, this is why I'm at and made it a step further. That's awesome. I wanna have longevity in my career, if that's what you want. If you just want to have a quick, fast career, then that could be it. But if you want the longevity of a career, you have to make sure that you hustle and that you know different people. You interact, you find what you can do after the show, and you're always hustling always. And if you do your career maybe can still gonna write, it's still possible. You know, there are things that can happen. Anything can happen. Your career goes down, but we want to put ourselves in the best position in the best position that we can't just think about. If you're on this show for 345 seasons and you're like afterwards, Hey, I want to do something else. Well, say, for example, you wanted to get into the voiceover world. But you don't know anyone in voiceover. What is really hard to jump into that if you don't know anybody but say during this 34 whatever five seasons, you get to know all these different people who do voice over. You know, actors who do voice overs, you know, people who do different projects for voiceover work. And you just start to get to know that world. And then afterwards you like, Hey, I'd really love to do a project. You know, if there's anything that comes through, please let me know if you know people who are already in the industry and they like you. Well, then they'll say, Hey, I got a project right here. Let's put you in. Come on. It's basically kind of like if you had this big business, you know, and you had a friend who needed a job, basically, that would be as word we're have a job here. Then we're done. We need another job. So it be like, Oh, yeah, of course you need a job. Come on, come work, come work for me. But if you're someone completely random who I've never met before. Well, it's a lot harder for me to say. Yeah, come on. Come on. Be a part of my project. It's more of like while you have to go through this process, this process, this process, it's gotta prove that you could do this ABC deep. But it's a lot easier if you make sure that you hustle and that you really work hard. Don't stop working. Do not stop working right now. You gotta work. And if you make it, you got to still work. You have to make sure so congratulations on making it through this video. We'll see you guys next time. Make sure that you right again everything down and you highlight all the important points that really resonated with you. So congratulations, guys. And I'll see you all in the next video by 24. Video #23 Get Rid of Neediness: So today we're gonna be talking about something that this can be a really big changer when it comes to really anything, though, this one, Yes, that will apply a lot into acting when we're talking about this and, you know, directors, casting directors, other actors. But this is a point that can really affect your everyday life. Um, and I like you could find it with a lot of these videos. I'm sure fiving how it correlates to you every day. You're really life. I mean, I dio I surely find the benefits in it, but I really find it from this point that we're going to talk about today. And the point is, it's talking about neediness. You don't want to be needy. Now, this is something that you've probably heard a lot about. Just not in the acting world, but just in general, you know? You know, I don't Don't be too needy or don't be basically kind of like, if you're if you're going out with someone you know, you don't want to Always constantly 24 7 b being holding on to their arm, you know, or always being like, Oh, I gotta be with you. I got to be talking to you. Oh, you got to go and do something. No, you can't do something. You gotta be with me. You have to stay. You have to. You have to be here and it's a form, you know, That's really an extreme neediness. But in a way, we bring that neediness into the room when we're acting. When we are going into that audition, when we are meeting with the director or when we meet an actor who has done a lot of work before, We who we admire someone and so forth. And basically, if we bring in that neediness, if we bring it in, it can really sometimes hinder us from getting the part because we don't really wanna We don't really want to give it to someone who's super needy like I gotta have it. I have to have it. It's just psychologically how we're wired. Bryan Cranston made the point that said, they can smell it. Casting directors can smell it when you feel like you need the part. I think he said that he was in the same position of a casting director. No, sitting with them watching actors coming audition, and we saw the actors who were really needy, who they felt like they needed the part, like I have to have this part. But he said, the actors who didn't need the part who just came in stood tall. Did their thing acted and left? The room held the head up high. Those were the actors that he said he really admired, the ones who had confidence they were able to bring confidence into the room again. You hear how I mentioned confidence? It just emphasises how important confidence really is. It really emphasizes that point. So when it comes to needing the part, we have to wrap our head and create a different mentality around the part around the director, the casting director, another actor. You have to start looking at them is being riel people. They're just regular human beings, you know they're not any Not this any great higher entity that you've never seen before. It's just a person. That's all they are. Yes, there are people who have the ability to give you a part that's true. I mean, we all know that, of course, but if you let that if you let that decide your actions. You let that decide in you and that makes you go. OK, I really need the part. Hi. How's it going? If it defines your actions, then you're not being yourself and not being you. And trust me, these people, they get people coming up to him all the time saying Please make me famous. Make me famous. Put me in this big movie. Do this for me. Do this. Do this, Do this, do this. They want someone who can do the work, who has the ability and who doesn't focus on needing something from someone else. They can make their own success. And they make their success by walking in with confidence, knowing that they can do the part knowing that Hey, if you don't want me for the project, that's okay. I'm just gonna go across the street for the next audition. You know, you guys don't want me. Someone else will want me. Henry Winkler said this. There was an interview that he did. I forget. I think it was that. And why u n y you He was doing a talk at, I believe, and he was telling them he was like, Yeah, you know, he walked in with a confidence where he could just go and say, Yeah, you know, I, um I would walk in and he'd say, Yeah, you know, didn't want me for the part. That's okay. They didn't think I was right for it. I know that he knows the job of the casting director. Their job is to get the best actor for They didn't think he was right when he said, OK, fine. I'm just gonna go across the street to the next audition, and then if they don't want me, I'm just gonna go to the next audition. And he said it allowed him to have a confidence that he was able to bring into the room. Not having to be like you guys are the only audition I'm ever gonna audition for you guys. This this right here. This is it. If you bring that kind of mentality into the room, that one is gonna push him away really fast. Really, really fast. So you just have to remember that they're just people, that's all. You're going there to present your work. What? You've done what you've developed. You're just there to show what you can dio. And then if they like it and they think that you fit the part, then great. Maybe your move forward with them. But if they don't, if they don't agree with that, they don't think that you're right for the part. Then that's OK. Then you just say, OK, they don't think I'm right for this part. Maybe there will be something in the future. Sure, but I don't think I'm right for this. I'm just gonna go to the next audition and it's that confidence that really helps push you forward. So this doesn't just apply, though, to auditioning for the casting director. Sure, it's a big part is a huge part. You know, that's that's kind of the first step that we get into is auditioning for the casting director Before we meet, you know, an actor or we meet Ah, director. We deal with the casting director. That's the 1st 1 You know, you could even say before that you do with the agent. You know there's a great agency that you are able to meet with. You come in like our feeling of the part like that, Is it? Is it is that is gonna be really hard. Paul Newman. He went, um, and he one of his 1st 1st agents. One of the first view, um, was from a really big agency. I forget which one it was, and I don't want I don't want to say because it could be wrong, but it's one of the top three. One of the top three big agencies is the one that said a They saw him in the waiting room. So basically, what happened here is his friend got an audition with this agency and then Paul Newman. He went along. He said, Yeah, sure are all joined you. And he was just waiting in the waiting room while his friend went in, had a meeting, and then from that meeting, he was sitting there is, like reading a magazine or newspaper or whatever it was. And then an agent walked out in salt. Paul Newman sitting there, and he called him into his office. He said, Hey, you're ah, you're interesting. Come come into my office for a quick let's let's have a little chat. And then from there, Paul Newman. He got an agent and his was at one of the biggest agencies. Still, today is one of the top three agencies now. Ah, his friend. His friend came out. He just herself. Paul Newman got, you know, got booked with this great agent. Now, I don't know if his friend got the part of not Maybe he did. Maybe he didn't. But the point is, Paul Newman got the part, but he didn't go to that agency trying to get an ancient. He literally came there as moral support, more of sport. That's how he got there. And then the agent came and talked with him, and he wasn't like, Oh, my gosh. I need to get signed with you. I need you to put me on your client list. He was just like, Oh, you want to have a chat? Like, Sure, why not? He wasn't needing anything. He wasn't like I need to be an actor. I need to be with you guys. So in that situation, the fact that he wasn't super needy really wanted the part. I worked in his benefit. So the next thing I want to try and get into is once you start and you you know you've gone through the whole casting thing. And then you start meeting actors because you're going to start meeting different actors if you start to get booked on different projects and especially, you know, if you get to start meeting actors who are relatively big or they've done a lot of work before, you admire them. Your start to meet some of these people. You want to make sure that even with them, you're not really needy like you need to be my friend. You know, you let you know, Let's be friends. Let's talk like like, Come on, let's let's chit chat because that's the exact same thing. If you wanted to go and ask someone out a guy or girl and you're like, Oh, hi, I really you need to go out with me like, Hi, How's it going? You really cleaning and you're always on them and you like, I'm gonna ignore all these people and make you the center of my intention. You are going to become my life wolf. You do that, you know it's gonna scare people off. So if you do that with actors that your start to me, especially actors who have gained some success because they have people coming up to him all the time. It's gonna push him away and they're gonna be like, Whoa, hey, I don't even know you. I don't know you. And even if I didn't know you, I don't want you to be all over me. 24 7 It becomes very weird. It becomes very awkward because I was like, for me before I was part of this project. There is an actor who had done quite a bit of work before. You know, all the actors would go and try and talk with him and be like, Hey, how's it going? But of, ah, you know, trying to talk with him constantly. 24 7 Like they he was their world basically. And they've seen, you know, stuff that he'd been in before, and they really liked him. So they, like, were like You, you you like, Hey, let's talk. Let's chit chat like let's be buddy, buddy with each other. That's what they wanted. But for me, when I was there, of course I was kind. I was play, but I treated him like everybody else. He wasn't anything more special than the next person you know, I was very kind. That was very polite. If he did good work and I liked it, I would tell him I said, Hey, that was related. That was really great. That's awesome. You know, if his work wasn't so good, I wouldn't say anything. You know, I'm not always, like, every time his work was good. I'm not saying Hey, that was good. That was good. Hey, that was really good. But, you know, on occasion I get there was something that was innate that he did. It was like, Oh, that's really cool And would have little chit chats here in there if we happen to pass by each other would stop. We chat, we talk. But it's not like I'm like looking. I'm like, Where are you? Were you Oh, there you are. Hey, how's it going? What did it? Oh, hey, there you're Hey, what's up? It's May. It wasn't anything like that. It was just casual. It's like if you saw him, then you saw him. If you didn't, then you didn't. I didn't care. But then we were able to build a connection. We got to know each other a lot better. We've got to hang out after that. Other actors were like, Whoa, how are you hanging out with him like, What do you like? You got to hang out with them. How how I've been talking to him. But like all the time, I was just like I just treated him like a regular person. That's all that's. I think the same thing for people has never hit me. I've never been like Oh my gosh, you're famous. I need to talk to you because I've always been able to see them as just being regular human beings, regular people I know not everyone is able, you know to do that. Some people get very star struck, you know, I guess for me it's a benefit. I don't get starstruck super easily like that, but it still is not something that's impossible. It's just got to train yourself to realize that these are really just regular people. You know, if you start booking a lot of things and you have your own television show, you have your own movie. You start to realize it for sure, because you're like, Oh, this is what it's like if you become a celebrity, all of a sudden, all the other celebrities your with. They're just like you're like, Oh, we're just the same. We're just people. And then you realize, Wait, they're just people. I'm just a person. Wait, We're all just people. That person is not better than me because they have this much money or they booked this part. It's just they got lucky. That's their job. I'm trying to do the same thing or someone here. Great. I like their work, that's all. They're just regular people, though it's not like they're anything else, so I don't treat them any different than a regular person. You know, I treat him like my friends. I don't treat my friends any different. You know, if there are my famous friends or if they're not my famous friends, I don't treat the many different. I'm just like, OK, your person high Now when we chitchat, there's things I and I've been ableto you know. And once you start knowing these people, you can start asking them things about acting. You know you don't want, always talk about acting because they're doing it a lot, so it's it's like like come on, let's not talk about acting 24 7 You know, I do it for, you know, living kind of thing. But there are times when you be able to chat about it and, you know, you fill it out and you can find out. But I have been able to ask and find different things like, Oh, that was their opinion on how they did something or how they were going approaching. And it would be different from maybe me. And I'm like, Oh, that's interesting. Or there be something that, you know, I've never even thought of it. But go. Let me try that. You know, maybe it works. Maybe it doesn't work, but you get to be in communication and you get to learn more through the process because these are people who, if you could be friend with them. That's great, because then you guys are doing the same fingers or both acting and you guys can both come from different angles. You can learn some things from them. They can learn some things from you, and you guys get to have a mutual conversation with one another. But it's never anything that's like, I need you to be my friend and that's it. And that's the same thing when it comes with directors, never do never have a director basis and one that you're, like, really needy. Like you gotta like you gotta like me. Just think about it when you're there. If you like me great. I want you guys to build this mentality mentality for yourselves. Realize that they're all just people. They're just people, that's all. They're just human beings. They're just a person and then build into your head that if they don't like you, that's okay. You may not like them, and that's OK if they like you cool. If you like them great, but they are not obligated to like you, nor are you obligated to like them. But if they do, that's awesome. But you're not trying to make them like you. You have to still be your own human being, your own person. You know they want to see you. They want to see the real you. They don't want to see a fake you who's trying to impress them or trying to make them like you being super needed up needy about everything. This is your being you, so don't do it with, you know, don't do it with an actor. Don't do it with a casting director. Don't do it with a director. I just realized that they are people mentally realizing their people. And if they like you, great. If they don't like you, that's okay. If they want you for the part Awesome. If they don't want you for the part, that's okay. You're going to go and audition for someone else next week, the week after. So that's so It's OK. People put so much stress on that meeting that they have to become needy. But you have to realize it that they're people. They're just trying to do their job. They're just trying to find actors. And, you know, if you don't get this part well, you get to try again for the next audition. You know, it's a game you may not win, but you could at least keep trying. You get to say Okay, well, I got this audition. Nothing worked out. OK, well, I get to try again for this audition. Oh, okay. I get to try again. It's kind of like those video games where you're playing your care with a character and then they die. Yeah, I go, man, My character is dead. I don't want to start all the way at the beginning. But then you have those gains where it's like, Oh, he died. Just came right back playing the character all He just fell off. He came back because you and your Fine Because you don't have to start all the way over you . Just try again. Try again. Try again. As long as you can put out good work and you do your best. You know, people will see that. You know? Of course you want to get the partner. One saying you don't want you. Of course you want it. You can want it. You could want it with all your heart. That's what I'm not saying. Do not want it. You have to have a one for sure. You have to have the one I'm not telling you at all to get rid of it. Want the part? You know? Definitely want to have the casting directors like you Like you want to have the directors like you. The other actors want. Want what you want, but don't be needy about it. I can say Yes, I want this. But if I don't get it, that's OK. I want this part. But if I don't get the part, I'm fine. They thought I wasn't right for it. We didn't click. It didn't match up. Whatever. I'm gonna try to can tomorrow for a different part. And that's okay. So I want what you want. Definitely want it. If you have that want, it will be an energy that can fuel you. So keep the want, but just don't have the neediness for like, I have to get this part. If I do not get the part. I don't know what's gonna happen. Don't have the need. Just want the part if you get it. Great. If you don't, that's OK. But if you have so much of a need if you really like like I need this, I need this. You're just gonna get tired? It's gonna really tire you out. And you're gonna get beat down as an actor because every time it doesn't work out for you every time you like Casting Director didn't pick me. They don't like me. The director doesn't like me. The actors like me every time you haven't need. You have an expectation. And if you have an expectation and that expectation is not reached, then all of a sudden it feels like failure. If you have an expectation appear But you only get here, it feels like failure Because you never get to that point. You never get up and match. But if you want something you like, I want this. If you don't get it, that's okay. You realize, Yeah, I can't. You can't get everything you want in life. You know you can want things, but you can't get everything. So yeah, if you're here, you get it out. It's okay if you don't. If you do get it, Great, that's awesome. But at least if you don't get it, you're not like, Oh, my gosh to sucks because there will be a lot of things that you will want and you won't get . But if all the things you want you're like I need it, I need it. I need it. And you have a such a strong need for all the things that you would want. What? Every time you don't get it, it's gonna really suck, and it'll suck a lot because there will be a lot of things that you will want that you won't get. There will be a lot of parts that you are 99% of parts you audition for. You won't get not saying that. You're not good not saying that, you know you're not up for the job. But that's just how we all know that the odds are stacked against us in this business. We all know that in this business, the business that we have decided to get into, which is acting, we know that the odds are stacked against us. We know that. So all we try to do is put the odds in our favor the best that we can. But if something doesn't work out, then it doesn't work out. When you realize that this is the business we've got into, You chose to become an actor. You chose to play with these odds, you know, That's why some people quit after so many years. They don't want to play the odds anymore. An actor who goes through his career for 10 years and then quit like I just don't want to play the odds anymore. The odds are always against him, and that's how the business is gonna be. I don't know if it will ever change, you know? I mean, sure, they can have make more networks that can make more places. You know, now is kind of one of the best times to audition for projects because there's so many different things coming out with Netflix and Amazon and all these different things. Like there's a lot more opportunities, it looks like. But if you don't get it, don't Don't beat yourself up about it. We know that we got into a business where the odds are stacked against us. So just remember, guys, don't be needy. Don't don't be, like so needy about something. Realize that they're just people. You can have a want. You can want the part, you know, if you don't get it, then you don't get it. And if you do great. Congratulations, everyone on making it through this video. Um, and I'll see you all in the next one to see you guys 25. Video #24 Off Days: so today, what we're gonna be talking about is off days. So everyone has an off day, not just enacting. You can have an off day and be a basketball player. You convey an off day and be a pianist. You could be an off day and be a director and actor whatever we all have off days, and that's what we're gonna talk about today. The reason that I wanted to put off days into this course is because I'm also focusing for all of you on the longevity of your career. And there are some things that if we don't pay attention to them or we don't try and take care of them, they could be something that hinders us from May be continuing on this path back in for a long time or say you put out for yourself, you're like I'm gonna be here for X amount of years and then you end up leaving early. You know, this is a game before you are playing the odds, which is why after so many years, actors do give up because they don't want to play those odds anymore. But you have to realize that this is the business that you got into And you can either make this business Ah, happy process. Or you could make this one a dreadful process. Now this is whether or not you book apart or you don't book apart. You can book apart and be happy you can not book apart and still be happy. This is the thing. Many actors decide that if I don't book apart, I'm gonna be unhappy If I'm performing my character and I have an off day. I'm not gonna be happy. It's gonna ruin my day. Just think about how many actors do you know that I went. They've either gone Teoh an audition or they've been performing. They've been on stage, They've been on set, Whatever it is, how many actors do you know who have just said that they had a bad day? They had an off day and they come and say they come off the stage and like, Oh my gosh, that was horrible. The work wasn't there. It was really bad. It is like it was really not working. Probably many of you know people like that, cause many actors are like that. They get so upset they get so bogged down when they have an off day. Or sometimes it's not even an off day. It's just an off moment. I know actors who will be doing a scene there be doing a play and there will be one moment in there one moment where it doesn't work. It wasn't happening and they realize it. And then they say that they had either the whole the whole night was an off night or the whole scene was off because of one moment. You know, in some circumstances it could be depending on the play. Whatever. Maybe was a turning point, but for these examples, it wasn't like that. They literally let that moment. That small moment ruined the entire process for them. And that's what you want to be careful of. Because if that happens, if you're there and you're like this, thats part of the scene didn't work. So now the whole scene is horrible or this part in the plate, and it works on the whole place sucks. If you act like that, you're gonna get so depressed you're gonna get so tired you're not gonna want to do this thing anymore that we call acting just gonna be like, I just want to quit. You're gonna think I'm not any good. I can't do this like my acting ability isn't where it should be. I should be way better than I am. And that's how you feel when you have those off days or those off moments. Maybe you have said some of those things to yourself. But now, a week later, when you get it and it's not enough moment anymore, then all of a sudden you're like, Yeah, I'm good, I'm awesome. I'm the best. You're like, Yeah, I've learned, You know, I've learned so much through this process and now, like I'm really starting to learn a lot about acting. But then a week later, you may have another off day, and then if you have that off day, well, then all of a sudden you're back to Yeah, just not working. I did everything I can and it's just it's not happening. And you're telling all the other actors and you're like, just feel bad for me. Feel bathroom feel for me where in a way, it's kind of selfish if you think about it because you want everybody to know. Oh my gosh, I wasn't doing well. I I was sucking out there. Please tell me I'm good. Please give me more validation. Give my work of validation. You don't need anybody's validation. The actor is more respectable. If they're on stage, they do their work when they come. Often people ask How did it go? And if it didn't go that great, they don't go and say it was really bad. I don't even know the audience was screwing me up or the other actor. They didn't give me anything or whatever and just going and walking off in saying I was okay. I had a little bit of an off night. That actor is so much more respectable because that actor isn't trying to impress anybody. That actor isn't saying Hey, please feel for me that actor is accepting. Hey, I had an off moment here in this moment. It wasn't that great. I accept that. But that's okay because I'm gonna work at it Or that was tonight. The night before was great. Just something about tonight wasn't working. I just work at it tomorrow, the next day. Whatever. So it's kind of like if you think about a basketball player. Think about think. Michael Jordan. Great basketball player. Amazing. No, If me and Michael Jordan are gonna go up against each other, we're gonna shoot some baskets. He's gonna do way better than me way better. But he's not gonna be 100% perfect either. If we have to go, we have to shoot. Throw the balls and we have to do it a 1,000,000 times. I'm gonna miss a lot of them. He's going to get a lot more than me, but he's still going to miss some. Even Michael Jordan is going to be able to get every ball through the hoop. It's impossible. It is not possible to go and get it a 1,000,000 times He's gonna miss at some point, and that for him would be an off moment. You know something that wasn't working, because if it's working, it'll just go and it goes through the net and it's perfect when it doesn't go through the net. That means something wasn't working. Maybe his footing was off. Maybe his angling was off. Maybe his arm was getting tired. Maybe he threw it too hard. It could be anything, anything could have caused it. Do you think Michael Jordan's gonna go walk away and be like Oh my gosh, she's like, I'm horrible. I'm really bad. I shouldn't be a basketball player anymore. Did you see how I missed that? I should have got. I had it. I had it I had at the time before, and now this time it didn't work. Well, that's the equivalent of what a lot of actors do. A lot of actors say, well, it's not working, It's not working. So then I must suck, whereas maybe the time before it was working. Or maybe you're in the process of training and you're just trying to get better, and then you're just bogging yourself down cause you're like, I'm not any good of a block. I want to tell you this about a high school student who wants to just start playing basketball. He starts trying to throw that ball. He's not gonna He's probably not gonna make any baskets. Maybe he'll make some lucky ones, but really, he's not gonna make that many all make more than that person and then you combat Michael Jordan will definitely make more, but why is it that? Well, yes, Michael Jordan still has off moments, but he has many less off moments than me, many less, then a new high school student trying to go and throw the ball and get it in there because he had done it for a long time. He had put in the time the effort. The practice he has done all the work doesn't mean that you're not still gonna have off moments like Al Pacino. He was doing this Shakespeare players playing one of the Richards, and there's a court scene. There's a court saying that he has to do and you know, he's had all his rehearsals that he's been doing with his, you know, his cast mates in the in, the director and all this stuff. And then he had to go and put it up on stage, and they did a lot of performances Now. That court scene, though, was one moment in the play where it just wasn't quite working for him. Something just he said it wasn't there, he said. I wasn't I wasn't feeling it wasn't wasn't working for me. And so what he's, he said. He said that he had meetings with the rest of the cash and they would get together and they would talk about it and they would try and figure out like, Why isn't this working? What, what's happening? What is going on? And it took him 85 performances until he got it on the 85th performance, he said. The performance, he said The court scene was amazing, he said. It was perfect everything. After that, he got it each time. But before that, the 84th time wasn't that it may have been closer then time number one, but it wasn't 85 on time. 85 is when he said it worked. It was magical. Everything just flowed together. And every time after that it was great. He had it. But Al Pacino Al Pacino is an amazing actor. Phenomenal. He's done many things. His movies has have withstood the test of time. If you think of how you watch one movie today and you forget about it a year later, two years later, people still remember many of his movies opening night till today because he's such a big actor who's so popular he's so talented. But Al Pacino out. Pacino can even have off moments because he said it wasn't working those 84 times beforehand. If it's not working, something is off, so that's an off moment. So if Al Pacino can have an off moment, how can an actor be so arrogant and say, I had an off moment? I can't have enough moment. Something's wrong with me, blah, blah, all this negative stuff. How can an actor be so selfish to say that if Al Pacino can even have an off moment, that's the thing about off moments. They can happen at any point in your life, and you're never know when it's gonna happen because life happens if you have to go and do a scene and be really happy and bubbly, and you just you know how to pet that passed away right before you go on stage, what you're gonna do your best, you're gonna go up there, but it's gonna be an off night. It's gonna be an off moment when you're doing that scene because you didn't expect your dog to just or your animal to just go your pet. They're just gone. But things can happen in life. That's something that you can't control it. You had no idea that was gonna happen. You just get a phone call right before you go on, and then that's what you have. That will be an off night. You can't prepare for that. You can't control that. It just happens. It could even be something that's not that extreme, though. You could just go up and say, OK, tonight's the night. You go on stage and for whatever reason, you don't even know why. You have no idea why, but it's still just a little bit of an off moment. It wasn't as good as the day before, or if you're a shooting a scene, it wasn't as good as the first take or the second take or the third take whatever, but that's OK because we all get off moments. Everybody. The tennis player, you know, they missed the ball. Sometimes they have off moments, you know, you get less off moments. The more you play, the more you practice, the longer you been doing it for. You get way less off moments, but you will still have off moments and you have to accept them because you know that they're coming an off moment. You know, it's gonna happen at some point. So we've clarified you can't control when enough moments gonna happen. You can't. But what you can control is yourself. And you can control the attitude that you have. So you can be that actor who walks off stage and the scene didn't work out. And you can either go up to everyone and say, Yeah, I was really bad. It just wasn't good. Please, just just tell me I'm good. Tell me. Don't tell me my work is, you know, worth wild. You could do that or you could walk off, have your head up high, be confident, be comfortable in yourself and say, you know, it just didn't work out this time. It wasn't my best moment. I had an off moment. You're not gonna get struck by a bolt of lightning. Nothing's gonna happen. It's just it was an off moment. You try to do better the next day. You still have to work at it. You can't just say oh, had enough moment. You know, not think about it at all and then go to the next day have another off moment of another off. You have to try and make sure that you know you can fix some of those things If you know what it is like, say, if you're really dehydrated, if you really dehydrated, so you have headaches and you're not able to focus. Well, then you should get hydrated. You shouldn't just say, Oh, first day I was on hydride on hydrated Second day. You know I don't care what you see. What happens. All I'm on hydrated now you got to make sure that you get hydrated if you can fix it. But sometimes it's just a day and it's just off. That's what it is. But going back to the previous video about wants and needs, it's kind of the same thing that we get trapped in a loop instead of needing something from someone else. It's needing something from ourself, though, and we're like, I need this seem to be good. I need the scene to be amazing. I need to do good. I need everything to be perfect, where you're setting yourself up for an expectation that maybe your reach someday some night, some takes when you're doing it, but you're not gonna get everyone because you will have off moments you're doing to take your shooting the scene. You do it over and over, or if you're sitting there for two hours and people are just the lights, the take is gonna be a little bit different than how you did it when you first shot it. But you can't get upset and say, Oh, my gosh, it wasn't at that same point and then beat yourself dancing. I'm not a good actor. I shouldn't do acting anymore. I should just quit all this negative stuff that I know. Actors are saying to themselves instead to say I want to do good. I want to do good work. And then that's what you aim for. You know, you want to get there for four short. You obviously have toe want it. We've clarified that you need the want, but you can't say I need this to be good and say I want it to be good. So you have to build that mentality for yourself and think at some point you're gonna have an off day. That's okay. You accept it doesn't mean you're a bad actor. Just means you had an off day, You know, if Michael Jordan can have enough. Dave Al Pacino can have an off day. You can have an off day. You're not arrogant enough, hopefully to say no, I can't have any off days. Anybody can have an update and you're never know when it's coming. It's not like, Hey, so Monday we won't have enough day. Tuesday will be a good date Wednesday. We're gonna make sure that's an off day. S. O. Thursday will be good. You can't plan it. There's no way to know there's no way to plan. It's just saying, Hey, someday you're gonna have an off day, Some days you're gonna be on. So don't worry about having off days or having off moments and just being like it's not working, you know, don't get frustrated or upset that you did it. The scene and it was working last week, and it's not working today cause everyone's gonna get an off moment. But I know too many actors who, when they get off moments, they just tell themselves that they suck or they get into this whole depressive attitude and their whole day is ruined. If you keep having in need of wanting to do good where you're gonna have off days and you're going to keep reaching. Expectations are trying to reach expectations that you may not get to, and then you're gonna get really tired or really depressed. You're gonna get really sad. It's gonna destroy your career. And it's not gonna be able to allow you to think or put up good work because save you're in a bind. Your in a struggle. Well, if you're so upset and stressed that you weren't able to reach this point up here, you're so stressed about it, you're not able to think, How can you fix it? Cause you're not able to think straight. At that point, Al Pacino didn't go over. I'm thinking 84 times. How am I ever gonna get this? Of course, 84 times it wasn't working. Why is it gonna work the 85th time? If that was his mentality, it would never have worked. So you have to make sure that even if you have an off day, you're okay with it. You don't let that destroy you. So congratulations, everybody on making it through this video. This one, it's so important. If you want to keep that longevity of your career. There are actors, you know. They're get stressed so many times. But there's gonna be a point where they can't take the stress anymore. You know, I've seen actors I get really sick or after she just say, I just give up. I can't do it. I can't handle the stress anymore. So have a great day. Guys. Make sure that you wrote everything down in this one and this one is really important. It goes back a little bit to the needs and the wants. And to accept that you can have an off day and an off day in anything, not just acting, but anything. You can have an off day, so I'll see you guys next time. 26. Video #25 Stop Complaining: All right, so today what we're gonna be talking about, it's something that annoys me. With almost every single actor that I've spoken with and what this is, it's complaining. Every single actor complains constantly every single day about something. Not every Okay, I shouldn't say everybody, a lot of actors, a lot of actors, and I just I just have to distance myself from actors who complain because complaining doesn't get anything done. That's the thing people love complaining. Think about how many people in this world love to complain. But when does complaining ever get anything done? You know, if someone has a problem with somebody, well, you know, they can complain about it all day long to their friends. Say, Yeah, I got a You know, I got a problem with this person at work. They're doing this. This this does this well, complaining about it to your friend doesn't get anything done. You know, you got a problem with them, you know, talk with Miami, talk with your boss. Whatever. You get something done. Someone who has to do homework for school, sitting around there like, yeah, I got I got homework that I got to do you know, I really don't want to do it. There's a lot Teoh put in. It's gonna be about, like, 78 hours long. So I have to do all the research and then communicate with this person and do this A, B, C and D and all they're doing is complaining. Well, yeah, You can complain all you want. You can complain 24 7 but you're not going to get the job done. That's the thing. Complaining is a way to stall. Complaining is a wait so you can sit down, talk for someone, tell them your problems and maybe you're looking for, like, an easy way out. I have a friend who she has problems with different things, and she's like, Yeah, I have this problem have this problem, you know, I get to the point where I can't even give my my advice anymore. I just have to sit and listen because she wants the easy way out. Basically, she's like, I have this problem. How should I deal with this? Well, I'm like, Oh, how theological and say, Well, you should maybe maybe you should do this, or you should look into this. Have you tried this yet? Have you done this where someone else would just be like, Oh, just just leave warm. It depends on the situation, but it be like, you know, if she has, she has a job that she hates, But she needs to pay for school. We'll tell you. Well, you know, you have to make sure that you can make money. You don't want to just maybe leave the job right away with and, you know, be jobless. Maybe you can look and see if you could get a job somewhere else. Or maybe you can ask your boss for a raise. Maybe you could do this. There's this trying different things, different avenues. One might work better than the other. Maybe she just tried it. I don't know. But those would be the kind of questions I would say or ask where someone else would just say, I'll just leave. Just just go. The reason I'm saying it is because people sometimes they just want an easy answer. They want the easy way out when they complain. Sometimes it's just that they want to complain, and they just want to say I have this problem. Some people just like complaining. Honestly, some people, that is their way of communicating. They just like to complain. You know, if you know those people, you know, sometimes you gotta push him out of your life. You got to just say, OK, you do your thing, you're way too negative. You're always complaining. I gotta go. You know who you surround yourself with is kind of one of the most important things. If you surround yourself with people who are always negative and like depressing, well, then you're gonna just be negative and depressing. You gotta hang. You have to have the majority of the people at least that you hang out with people who are positive of go getters. They're moving forward, not people who are moving backwards. So you just have to make sure that you want the person who is complaining all the time 24 7 because it doesn't get anything done and never gets anything that no one can tell me. One instance when they have complained and it got something done. If I have a problem with someone, I go. I complain to my friend, nothing gets done. Nothing gets done. It'll I have to go and have a conversation with whoever I need to to solve the problem if I have to. Or sometimes it's just sitting down and getting the work done. If you're a student in school, you got your homework to do. Don't just let it sit there and then do it the last minute and get it done. Stop complaining about it. They're complaining how hard it is. Well, while you're complaining, you could have been finishing that up. But everyone likes to complain. We've somehow grow have grown in this culture to think complaining is the right thing to do . We think complaining is that sometimes the only thing we can do people complain more than trying to find a solution. All the time that you spent complaining, you could have spent finding a solution. That's like all these people. If you go and look at these big YouTubers and you see people who write write comments down below, they write these like whole essay long things, complaining about something I'm like, Really, you have time to just complain. You think about what you could have done. You spent time complaining about something, you could have got something else that you need to get done in your life. Done finished out of the way. But people like to complain. Like to sit back? Is that? Yeah, I got I got this problem. I got this problem, Bob above about just tiring. I hate it. So just stop complaining because no one else wants to hear it. Trust me. Other actors don't want to hear you complain. Directors really don't want to hear you complain. Casting directors don't want to hear complete if you come into an audition and you just start complaining about everything, trust me. Oh, my gosh. They're not gonna want to hire you. Trust me on this one. There was a guy. I was in the waiting room and it was me and some other dude who were sitting down minding their own business. We're auditioning for this park. This guy comes in, he come, he signs and he sits down. And then he's like, Hey, who's with this agency? You know, I wasn't with that agency that he's talking about, but even heard of that agency that he was mentioning. And then the guy over here was like, Oh, he's like, yeah, I'm with agency. What about him? And he's like, Oh my gosh, this agency sucks, man. The horrible He's like, I don't have to go But he's like they didn't even get me this audition. And I did, like, go behind their back and, like, talk with another agent to get theirs and everything. And I'm like, Dude, I'm like, one chill out, calm down. This guy he started, Trust me. He's getting allowed in this moment cause he's getting all annoyed. No one is not a smart thing to do this. The casting directors are, like right there so that in the other room, so they can hear all of this. That's happening because this guy's complaining. I just ignore the whole thing. I didn't pay any. Anyone associate associate with this be a part of any of it. I don't want it to be when the assistant comes and calls us, and it's like we're old group together chatting, and I know I am talking about it. He tried to ask me something I'm like, Dude, I'm just trying to do my own thing right now. I'm trying to pay attention to my work. You complain about your own thing but this guy complaining, complaining, complaining It's horrible. You know, in a way, I hope the agent that he has drops him because he doesn't deserve to be a part of their agency because, well, he doesn't complain. I'm like, Dude, stop complaining, man. If you want something done about this, get it done. Instead of complaining about your agent, why don't you call them up, call them up and talk about it? And then, hey, if you don't want to be a part of that agency, well, if you call them up and you say, Hey, I don't want to be with you guys anymore I mean, yet you're in contract. But if you call them up and you talking, you're like a I don't want to be part of the agency because of you know, a, B, C and D. Hopefully you do politely. This person wouldn't have. But if you do that, then you can You can leave. You don't have to be with him. Go find somebody else. If you don't want to do, you don't need him. Well, if you can't for whatever reason, they like boggle you down into the contract well and then you have to stay with him then Go on, get a manager. They can submit you for things. But don't complain, especially don't complain to a random act. Don't come and complain to me cause I'm not gonna give you the time of day. This person, though, thinks that they can just complain whenever they want. They felt privileged enough to do so. So don't Don't bring your problems to somebody else. If you have a problem, figure out how to fix it. Think Just sit down and logically think OK, I have this problem. Write it down if you have to. Sometimes that's the best way to work this stuff out right down. Okay, I have a problem. This is my problem. So you have it down and then figure out OK? How can I solve this problem and you do the best you can And then you know what you can ask . People sometimes don't complain to someone though going ask them. Be like, Hey, look, I have this problem. This is the problem I have. Here are the solutions I've come up with. I need something else. Please give me some other solution and you have to find someone yet, but you can trust. But then you do that if you have a problem. That's why you keep in communication with people that you know, you don't just lose contact with someone for 10 years. That's why I still have the people have worked with directors, coaches that I've been with other actors. So if I do have a problem, I can call him up. And I could be like, Hey, I have this question. I'm having this issue with whatever. What do you think I should dio if I have a director I'm working with and they've worked with my Juilliard instructor before. And this director, actually Look, I can call up that person to be like, Hey, you know, I'm working with this director that you've worked with before. No, this is kind of tricky. What do you think I should do? What's the best? What did you do? And I can do that, But I'm not gonna go and complain. We're gonna call my friend, and I can't believe this bubble bubble blah. I'm gonna work on figuring out a solution because complaining Like I said, guys, it's gonna stall you. It will stall you, so don't complain. Just figure out solutions. The next thing is don't blame other people. Don't be like I came out to L. A. I have no money. I can't believe my parents. They wouldn't give me anything to help me with my career out here. Blah, blah, blah. All this stuff. That is a factor that trust may have heard before. Two for this one. Well, it kind of comes down to you. It's not really very problem. It's their money. And they didn't want to give you their money. Okay. You think that you should have got their money? Well, okay, that's a problem. That's a problem in the sense of you need money to be out here. But if you moved out here and you don't have any money and then you're complaining that you don't have money Well, that's a problem with you. You should have. That's the thing. When you come out here, you have to prepare beforehand. You need to figure out, OK? Where am I going to live? Where is the best spots that I can try and go? What am I going to do about money? Because that is a huge part of it. A huge part. Some people are fortunate enough and lucky that okay, their parents will fund their activities in L. A. You know, some people abuse it too much, but, you know, some people do have parents who could say, Yeah, I'll fund you will help you try and get your dream, which is great. You know, I know this girl who She, um she came out here. She got all this different training and things, and she doesn't have to pay for anything. Nothing. She's in such a great She's in such a great place because she doesn't have to worry about money at all. If you could be out here an audition and I have to worry about money, that's one thing that's off your shoulder when you have that. And you have to worry, Am I gonna make ends? Me? Am I gonna be able to, you know, live, you know, live out here. Do I have to put food on the table for me or someone else? Like there's things like it involved. But her parents, they have like a mansion. Her brother has his own plane like they're doing really well. So for her money is not an issue like if you get something great if you don't, then you don't. When she's been out here, she's transition. See, she got a commercial agent with this pretty good agency, and, you know, she hasn't gone in commercials. But then she picked up modeling, and she's been making tons of money. Now at that, no things shifts. Things changed. But, you know, she did have the benefit of having people help her with that helper with finances. But then there are actors who come out here who's like they just left there, just like I just have to be out here. And then they're like, I have no money like I can't afford food. I can't do this. I can't do this. But they did truthfully put themselves into that situation because they didn't plan ahead of time. What am I going to do about money? Where am I gonna live? Those are two important things when you come out here and then you also have to Once you get out here, you have to. Then go on, get the agent. You know, it's hard to get the agents sometimes beforehand. Very hard so there's factors that have to get involved. But if you're just complaining about somebody else Well, you should have worked that out a long time ago. Maybe you should have figured out instead of complaining that your parents didn't pay for you to come out to l. A. So now you're struggling. Well, maybe you have to think and be like, OK, I do want to come out to L. A. I'll think of everything I can. And if I can't get out here without their support without their help currently, then maybe I'm gonna have to try this, you know, in three years, in four years, two years, one year or whatever you can do to make money. Maybe that's what you're gonna have to dio. That doesn't mean you can't work in your own local area. Still develop your craft, still do different things, But you have to make sure that you have a plan. You don't just come out here and think, Well, I'll just, uh, we'll see what happens. It doesn't work that way. You have to plan the plan. You don't complain, you make a change. You say OK, instead of complaining, I'm gonna figure out a solution. That's kind of what you gotta dio. You also have to stop comparing yourself to other people. You know, if you compare yourself with the other actor who's in the room with you and thinking, why did they get the part of why do they have that agent or how are they doing so well on money? Why did they drive that car? And I don't drive that car yet. Why do they have this? Why don't I have that? If you compare yourself with another actor again, you're gonna get really depressed and it's going to be like, This is horrible. This sucks. This is boring. Whatever. Don't compare yourself to anybody else either. Because then you start complaining and you're being and then you're just you're get jealous and be like I can't believe this person got that job like they so didn't deserve it. They didn't blub above a block. All this. Maybe they didn't deserve the job. Sure, but I don't need to hear you complaining about it. 24 7 So get rid of complaining now I know. You know you can't 100% get rid of it. Sure you know there will be times when maybe you will complain, but it should be 95%. You don't complain and then 5%. You do complain then. OK, fine. If you don't complain 100% of the time, that's cool to just make sure that you're not someone who's like, Hey, I got this problem. I got this problem. I got this problem. Make a change. You find the problem, you write it down, you find what your problem is, and then you work to figure out a solution. So when your life right now, is there a problem that you have with something? Whatever it is in this also kind of relates completely to non acting stuff too. If you have a problem, figure out a solution, don't complain about it. So any problem? You have a right down and write down. This is my problem. How can I get over it? How can I get through this problem? What can I do? I need money. Okay. What can I do to make money? I need I need headshots. Okay. What can I do to get head shots? What do I have to dio? You figure things out. And if you can do that, you can become much, much happier to become much happier with the work. There be much happier being out here because of all the things that are going on complaining. That's the thing that you're doing yourself. You're complaining no one else is complaining to you. You're complaining. But when someone does complain to you, that could get annoying. And you could be like, OK, I get it. That sucks. That sucks. But every time we hear someone complaining to May I feel like, Okay, you're complaining. You're complaining. Why don't you do something about it? Because there are a lot of situations when you could do something about it. I'm not talking about that rare 5% time where you can't do anything about it because most the time, if you have a problem, you conduce something about it. It's just up to you if you're gonna take that action and actually do something. So stop complaining guys and make sure that you guys do it. You guys have actually already even maybe taken action. I'm sure there's tons of things that you can think about, that maybe you complained about and Then you found a solution later on. Or maybe you're complaining right now. And you haven't worked yet to find the solution. So just make sure, guys, you keep pushing forward, push forward. Don't complain, but find solutions to a problem that you have. All right. Good job, guys. I will see you all in the next video by 27. Video #26 Looks: So today we're gonna be talking about looks, looks, is something that is this whole idea. In the whole Hollywood field. People think that if I do not look super attractive, if I don't look hot or sexy or whatever, they say that I can go to Hollywood. I can't become an actor. I can't become an actress. Even if it's not in Hollywood, it could be, you know your own your own local theater, school, theater of play. Whatever short film people will say, I can't do it because I'm not attractive enough. I have to look this way in order to get the rule. Well, here's the thing. The reason that you probably think that you have to be super attractive is because when you look on the movie screen, you see quite a few attractive people on there. You have to remember that I think about this. Yes, there on the screen, they may look attractive to you. Everyone has, though different personal opinions. I know a girl, the things Brad Pitt is the hottest thing in the world. I know another girl who thinks he's in okay, All the women on here probably like, really, how can that be? But it's true. People have different opinions on things like Who's attractive? Who's not but forgetting about that aspect of it. Just about the part of we see someone in the screen were like, Okay, they're attractive with the reason that you also think they're attractive is one they have crazy amount of popularity, tool. They're famous, they're celebrities. Naturally, we find celebrities to be attractive because we're seeing them all the time. Everyone seen I love them. I love them. They're amazing. They're so phenomenal. They're this. They're that the most hottest thing in the world. So naturally, people who listen or like Oh, yeah, you know, they are kind of attractive or oh, yeah, they're not so bad. But you have to remember this. They have thousands of dollars invested in makeup artists. Makeup artists come. They do their makeup all the time. They have people coming in styling their hair, so the parts that you don't see is when the actor standing them is OK. Cut and then the hairstylist comes and they pull out that that little piece of hair that's not perfect. They put it into the right spot when they filmed the scene again so it can be completely perfect. But in everyday real life, no one is completely perfect. No one is. Think about it. Think about anyone that you know that is completely perfect, has no flaws whatsoever in anything. I bet that you can't find anyone who's like that. Someone has some sort of flaw, some sort of thing that they maybe don't like about themselves. I think all this is an attractive or whatever it is. But when you have makeup artist hair stylist, people who are getting the right clothes for you to wear, so you can have if someone has to wear a suit to get him a suit that's fitted, you know it's not too baggy, not too small. It's perfect. Everything's perfect. They have people who do lighting good lighting can really make or break. You know, the way someone looks sometimes interviews but make people put great lighting on them. They have all their makeup done everything they have, you know, these $1000 cameras working on them, filming them. So there's a lot that goes into when we see a celebrity who we find attractive. There's a lot that goes into it. It's not just they were born that way. That's how they were. It's also that hate you have people putting thousands of dollars into making this person look amazing. Well, yeah, I could do the same thing to anyone else. Get me thousands of dollars. Everyone in the world will look. It's like a model or look like an actor. Everyone, but that's because they have the money that they're putting into it. So people realize this, you know, casting directors realized this director's realized this, so don't think, Oh my gosh, because I don't look super attractive because I don't look this way. I can't make it In Hollywood, your look is your own look and it's unique. That's a good thing. That's amazing thing. Sometimes people go to auditions. I know this girl. She went to an audition and there's a bunch of other females in there, and she said that they were so amazing. They were so attractive, they were all like that. They're all prettier than me. So it made her feel like she wasn't pretty because she was like, Yeah, they're pretty amazing, like coming up that pretty. She's like, I can't I can't be a part of this project. I'm not that pretty. But here's the here of a few things that you have to think about. One the idea that because someone else is pretty, you're not pretty. That's ridiculous. If you have $5 million be like I'm pretty rich. But then you meet someone who has $10 million so you're no longer rich anymore. It doesn't make any sense. Just because someone else has a lot of money doesn't mean that you don't have a lot of money. Just because someone else is attractive doesn't mean that you are not attractive yourself. Then you have to remember I told her that. You know, you also got called in for this role. Your agent thought you could do the part, so they submitted you. The casting director wanted to see you come in. So there were factors that got involved just to get you into the room. The fact that you would say that you're not attractive or you're not very pretty doesn't make any sense. You're fine. You're in the same urine plane in the same world that these people are all trying to audition for. But then it comes down to the casting director and the director. What are they looking for? So if they're looking for someone who is blonde in your brunette, there is no way that you can get the part. You know, they may be able to think, Hey, weaken, dye their hair. But if they're not thinking about that, depending on the role that maybe it's not in the budget, whatever. If they want someone who's blonde in your brunette, then you can't get the part that they want someone who weighs, you know, £200 in you way 1 50 You may not be able to get the part if they want someone who short and you're tall, you may look at the part vice versa. So there are factors and elements that get involved to hiring someone. But I just don't want you guys to think I have to look a certain way have to be super hot in order to make it in Hollywood. You know, I think it was I think it was Meryl Streep, Meryl Streep. She had this person say, um, come in and meet this person. I know who's Ah, casting director. Anyways, they go and he starts talking to the director in Italian and he's like, Yeah, I got this, I got this girl. You should look at her. She's great. She could do above about what? You can do this. And then he said something along the lines of an Italian that he's like, No, don't. I don't want to audition. I don't want to audition her. He's like, Bring me, Bring me someone prettier Don't bring me her Bring me someone more attractive You know, she had a great response back that she said in Italian. She said back to him, Thank you very much and left. It has been so embarrassed. Meryl Streep, though. Meryl Streep, Gorgeous woman. If she listened to that, if she listened and said, Yeah, I can't do acting, I'm not pretty enough, she said. That director didn't think I was pretty enough. I mean, he's been in the business for years. How could I ever think I could make it? I'm not pretty enough. So many actors have been told that time and time again Oh, you're not pretty enough. Oh, you have to do this. You have to do that. But then they get the part. Then they get something. I think Jessica Chastain was another one. Someone said something like, You know, you're not pretty enough like you have to dye your hair or something like that And she didn't She said, No, She says she's I'm not gonna do that. She respected herself enough to do what she wanted to dio, and she didn't listen to them. Which was a good thing, because if she did listen, if she did say, You know, you're right, I'm not attractive enough. I shouldn't be in this business. What would happen? She wouldn't be doing the roles that she's done it. We wouldn't know who she is today. We would have no idea. So you can't let the look thing detract you away from your trajectory on where you're trying to go. You can't think Okay, if I don't look attractive enough, I can't do this business. It's not about that. It's just about do you fit the part? Do you look like the character enough to be in the part? It's like, say, for the for The Rocky movies say Sylvester Stallone never existed, but that's type of character. They wanted someone who looked exactly like Sylvester Stallone. Well, if I wanted to go for the part and I wanted the part of that, you know, being Rocky, I'm not going to get it. They can find someone else who looks more like what they're looking for. It looks more like Sylvester Stallone and, uh, and can still act. They can find someone else who looks more like the part so they wouldn't go. I want to be able to get the part that doesn't say anything against me is just saying OK, I didn't fit that role. It's like, um, Johnny Depp. He can't get every role in the world. He's a great actor. He's done great work, but he can't get every role in the world. Some rules. He just doesn't fit some rose. He doesn't fit physically what they're looking for. That's like a math McConaughey. When he did Dallas Buyers Club Johnny Depp He doesn't look how Matthew McConaughey looked. Matthew McConaughey was very skinny. He had like no meat on him. Johnny Depp. He wants to be in that role. He won't be able to do it. They won't put him in cause they're like he doesn't fit the part Yeah, he's a great actor, but let's find someone else in Hollywood who could fit the part and still act. So don't let the whole look thing distract you and think, Oh, I didn't get this. I didn't get this part because of my looks. I didn't get this. It's just that's just making excuses. So don't worry about that. Be comfortable in yourself. Know what you have and then, you know, trust your agent because you're agent is gonna send you out for rules. They're the ones who gets this admissions and they'll send you out. So the agent there look at you and they'll see what they think that maybe you can play, and then you go for the those rules. Maybe there'll be wrong. Maybe they will be right. It doesn't matter. At least you get to go on audition and you work with what you got. That's what you have to dio work with what you have. And then if there's roles that you think you can audition for that they haven't submitted you for it and just, you know, call them up or email. It would be like, Hey, you know, I think I could also play these type of roles. What do you think on this? Or I think I could do this. Would you mind seeing if you submit me for some of these type of projects? If I could get into him, just one quick, simple email, that's all that would take. So anyways, stay focused, guys. And don't don't make looks this whole crazy thing that you have to focus on, just worry about the work that you have to dio. Don't worry about. Do I look pretty enough? Do I look like this? Just focus on the work, that's all. Just pay attention to the work. All right. I'll see you guys have a great day by 28. Video #27 Kindness: so today, what we're gonna be looking at is kindness. Kindness is something that I think is so overlooked when it comes to this business, especially as far as what actors should be aware of. Really. I mean, this is something everyone should be aware of, like casting directors, directors, agents, actors, everybody, you know, the whole world really should be aware of kindness. I mean, just think about how much of a better place it would be if there was kindness, spread everywhere. Think about how nice the set would be or how nice when you're rehearsing it with an ensemble for show How nice it would be if every single person was kind. I mean, sometimes you might get that. Everybody's nice, everybody's kind, and that is phenomenal. That's great. That's what we all aim for. It's what we want. Nobody wants to go and say, OK, I'm gonna go to set today and work with his actor is just a real jerk. He's just rude. He's just may. No one wakes up saying that everyone wants to work with people who are easy to work with, who are kind, who are polite. That's what they want now, polite doesn't mean Okay, I'm here. I'm not going to say anything. I'm just gonna be polite by not saying anything to not offend anybody. It's not saying that you could say something. For example, who that accidentally offend somebody. And if it does accidentally offend someone, then you realize that. And you could be like, Oh, I'm so sorry. I didn't mean to offend you by that. I worded it wrong. This is what I really meant when I said that. So you can still have differences of opinions with people. That's fine. I mean, you don't want to offend anybody, but it's fine to still have differences of opinion. But sometimes when people think of polite, they think, OK, I shouldn't say I shouldn't say anything when I say polite. All I'm saying is, when you're being kind, you're being polite, and by being polite, you're not hurting. Anybody's feelings are not saying something that's hurtful or mean or condescending. You're working with them as an ensemble. As a group, you know everyone in the production matters. I mean, I think we realized this from the past videos, which was saying how you can't have the same shop B shot when you're on set without the director that you have without the cameraman that you have without the costumer that you have without the lighting people that you have. If you replace them out with a different set of directors or a different set of biting people are a different set of makeup artists. The project will be a little bit different. There may be similarities and things. Sure, some people will have bigger impacts than other people, definitely. But what you realize is that they insomnia, that you're given the crew that you're working with, the people that are by your side really affect the type of film that's being made, the type of stage performance that is being created. So it's great to recognize that so you can really admire it and you can give your kindness to all those people and by giving kindness, is just acknowledging the work that people do. You know, it's acknowledging the director. It's acknowledging the writers it's acknowledging. Um, it's acknowledging the makeup artist, the costumer. It's acknowledging all of those people, even the person who holds the boom mic for you. It's acknowledging them you could say something you could be on site. But, man, this person is so strong, they hold they can hold this thing for hours on end. Like you definitely know. This person works out. It's just something kind and polite to say. You know, it makes them feel good about themselves. So you want to make sure that you're kind to everybody. You know, someone does good work there, acting. They do good work, tell him and just be like, Hey, that was really great. What I saw you do Phenomenal. Awesome job. You know, you don't have to say like after every single work piece of work that they do. Even if you enjoy every single one you don't want to say. Hey, great work out there really nice. And then again, a phenomenal job. Super Really good. Really good work. Hey, I love what you did when you did that. Because eventually what'll happen is you're showering them with so many compliments that then what you say doesn't have any more meaning behind it. There's not as much weight if you just give it off. But every once in a while, to acknowledge someone's work and just be like that was really good. And that's what's really nice and kind of people like to hear that the doing good work. You know, you're not being think about it. You are being genuine. You're being genuine and telling them hate. I liked what you did. If someone did something that's not good and its bad, I'm not gonna go and tell him. Okay, that was really good. It doesn't serve him. That doesn't help him. And if anything, it hurts him. Because what's gonna happen is they're gonna think what they did was good when maybe it really wasn't. And then they're gonna keep doing something that's bad. So if someone does work and it's not that great, I just won't mention it. I'm not gonna actively go and be rude and not be kind and say, Hey, that what you put out there really sucks tonight like I don't know. I don't know what's going on with you, but that was really bad. Not going to say that I was gonna I'm just gonna lay off and not say anything. You speak okay. That's just how it was. I maybe didn't agree with it, but that's fine. And if it's good and I'll say, Hey, that was nice work out there Sometimes, you know, especially when you're working on a play you start to find there. Some people and during the process of working on the show, can get sometimes emotional, and sometimes what those actors need is a little bit of encouragement. So sometimes if you are in that situation and it does get somewhat emotional, be that person that could go up and can encourage them, bring their heights up and just be like, Hey, don't worry, everything's gonna work out. There's been shows that have been a part of and, you know, three weeks, four weeks before opening. You know, some actors, they might get scared and they may say, Oh my gosh, I don't know if I could do it. I don't know if I'm able to able to do this in the half light. Nervous, little nervous breakdowns. But if you can be by their side and you can be there for him, that's that's all they need. So you need to be kind of she knew. It need to be aware. When you're on set, you need to be aware of what's around you. What's happening. If someone needs help with something, offer your help. Help them because that's what's gonna make you memorable. You know, you have to interact with people. That's you know, if you don't interact with anybody at all and you sit by yourself, you're not gonna be really memorable that much? Not really. I mean, you may be remembered as the guy who sits by himself doesn't talk to anybody, but that may not be looked at as a positive light that we might want. But if you're talking with someone in your interacting with them, you will get noticed. You will start to get noticed. But now how they feel about you is what's really important when you're talking with them. Because futures go on, you say hi to someone high by. There's no really feeling in there, But if they get a feeling like this person's really awesome, like they're really kind of their genuine, they're asking, like how my day is. You know, there are saying like and this could be anyone. This could be the smallest crew member working on the working on the movie, and it could be OK. How's it going? Just chitchat, talking It's like, Wow, this person didn't ignore me. They actually realized I was here like That's so cool But it's not, you know, giving them some kind of emotion to remember you by about like, Wow, this person I really hate there so rude. They're so mean. I know there is this actor. Before he was telling me how he's working on this big movie, and there's quite a really big actor who basically was walking by him and was like, Hey, I'm hungry and go get me Ah, go get me some food from the service table And, um is that obviously the actor getting? He didn't get him anything but just the fact that the guy walked by and he was like, Hey, I'm hungry. Go get me something very rude thing. But now that's how he remembers that actor. Now, every time that after comes up on screen it just like I can't believe it. This guy really, really. But now he doesn't hes not in a position of power per se. But now imagine if my friend was a director and he was directing that movie and the actor did that well, he would tell me that I'm not ever hiring you again. He may have fired him at that right there at that spot. Or it could be this actor wants to work on future projects. And this director test, everybody know this guy. He's a ruedas actor I've ever worked with. He told me to go and get him food. Can you believe that? You don't want to be remembered in a poor way in a poor light, and this is when you're just starting out and this is if you make it, if you're able to make it, you can lucky you get onto the biggest movie ever. Biggest TV show you stuff to be polite and kind to everyone. Don't let the fame get to your head and make you think that you're better than everybody else because trust me, that's what's gonna happen. If that's the mentality that you're gonna build, that's what you're gonna be remembered by and you don't want to be remembered in that way. You want to be remembered as the actor who's kind and who will help people no matter what. If they have the biggest raw or if they have the smallest role we're going to really try and help and be by your side. So just remember, that guy's kindness is something that's really important. And it's really overlooked by many people. You know, in a way, I think acting instructor so should sometimes tell their actors and be like, Hey, you need to work on your kindness a little bit more. I've seen actors and acting classes who are quite rude, but the instructors like, you know, whatever. I'm getting paid money, you know? And I get that in the sense like, if you're rude, I'm not gonna want it. I'm not gonna want to teach you instruct you, but at least what they could say is they could say, Hey, you know what? You gotta work on your kindness a little bit more because you're gonna be on if you're on set one day, nobody's gonna want to work with you again. That's something that is really important to sometimes tell some people some people need that. I mean, another actor to another, actually don't want to stay that way too much drama in the show. But as an instructor, kindness is something that people should sometimes work on, or sometimes remember Sometimes people think I don't want to say I don't want anything wannabe, super polite, don't want to be played when you're just quiet. You want to still be kind and talking to other people in really getting to know them. How is your day? How are you doing? How is the family? Hey, can I help you with that? Just being kind and really listening me and then being present when you're at work. So remember that guy's kindness is the big thing. So you guys next time have a great day. 29. Video #28 Are You Worth It: we're getting very close or almost towards the end. So congratulations again on everyone who stuck through who stayed committed to this process . Because again, not every actor could do this. Not every actress in ST fully committed. So again, congratulations to all of you who have stuck through and have been committed actors. I'm very proud of all of you. So today, what we're gonna be talking about is your worth. That's today's video. Here's another thing that many coaches aren't gonna talk to you about. They're not going to talk to you about your worth. Are you worth it? Now, the first question that's going through your head is probably What do you mean by that? What do you mean, Am I worth it? What is that? Even What does that mean? And my worth it? Well, there's 22 things that we're gonna have to do to kind of find out if we're worth it. The 1st 1 is realizing as a person, as a person, as a living human being. Are you worth it? Are you worth it to be in a movie? Are you deserving? Are you deserving the chance to be in a movie? or you worth that chance? Are you worth the chance to be in a television show to be in an amazing play? Are you worth that? Chains? Many people might take a quick moment to that to think about that. They might go. Whoa. Yeah, I guess I think so. I think your answer should all be right there. Yeah. Yes, I am. Yes, of course. I'm a human being just like everybody else in this world. And I deserve a chance. Yes. I deserve the chance to be in a movie to be in a TV show to be in an amazing play. Yes, I deserve that chance as a person, I dio That's what everybody's answer should be. You know, some people may hesitate and say, Well, I don't know. Um, some people may say No, I'm I'm not worth it. Well, you gotta build a belief in yourself in says you are worth it. Because if you don't believe it, if you don't, nobody else will. Nobody trust me on that? Some actors think that they don't have a belief in themselves. So it doesn't really matter, though, because they're still goto an audition. Do their scene and hope that the person who's auditioning you know, 100 different people in one day sees this random person come in and seize talent. That's not how it works, though. If an actor doesn't believe in themselves, how can you expect some random casting director to believe in you? If you can't do it, why can they do it? Because you are with yourself all the time. You are. You are going to be your best friend. Throughout this whole journey. You're stuck with yourself until the day you die. So you have to realize that you're worth it. You are worth the chance. You know, we know that we're getting into a business that's very hard. The odds are against us. They are against us. But we still have to believe that we have a chance. We have to believe that we deserve that chance cause otherwise of you don't believe in yourself and you walk in to the audition, You're not gonna be able to build a strong character. You're gonna be kind of maybe a little bit nervous. Not gonna be as self confident and self assured in yourself. But this is only the first half of it believing in yourself. The second part of it is believing in your work and your work mainly being your work ethic . Have you worked enough? Are you doing something every single day to get better? Because sometimes the work Maybe it's not great at first. That's OK, but are you working at making it great? Are you moving forward with that? Cause many people aren't so some people can say Yeah, as a person, I do deserve it. But as ah as my work, acting, being our job, my work. Though I don't know if it's deserve int of a chance not everyone can say it is. I want you to think about this example really quickly. Imagine I own a business. I have my own great business here. And my employees want a raise. They want to raise. They want that chance at making more money. Everyone wants it. So I say, Okay, let me go and meet with all of you. So there are some employees now in this business who I walk by him and they just spit on me . They're rude, their main, they're condescending. And I'm like, Whoa, I gave you guys a job here. And what did you spit in my face? Those ones they are not deserving as people for getting a raise is your boss, and you go into a business and your employees spits on you. Trust me, you're not giving them a race. So these people who would decide to spit on may those ones they're not getting the race as people, they are not deserving of a race. So now I go over here to this set of employees and now these ones, they're all really nice. The really kind. They're all polite. A nice to talk to. No one here is getting angry at me, being rude, spitting on me nothing. Everyone's so polite. Really kind generous. Okay, great. There you go. As people, you guys are deserving of a raise. All right, let's go a little bit deeper now, Just because as a person you're deserving doesn't mean necessarily that in the work you're deserving. So now I'm going through and I'm seeing I'm like, Okay, let's look at how you guys have been doing at your jobs. And then I'm looking through it. I'm saying Okay, well, this person's been slacking off. They haven't been working their hardest. Um, this person is not not working hard. Well, this one is. They're doing everything they can. They're they're fast. They're walking quick. They're making sure everything's like Okay, we're doing everything right without prison. Seems pretty deserving of a raise. There's people who you know as a person. They're really nice, but they take 15 minutes to just pee. No one takes that long. But the bathrooms right there. Why does it take you 15 minutes to go? Be well, they may be a little bit lazy and you can't be lazy. So really, knowing your true worth is knowing yourself as a human being. Are you worth it? And then knowing your work Is it worth it? Are you deserved? Are you worth that chance to maybe being a movie to maybe being a television show to maybe be in an amazing play? Are you deserving of that chance? That's what you want to get both answers A yes to you wanted to be Yes, as a person and yes to the work. Being yes to a person may be easier for most people, but yes to the work. Maybe a little bit harder, because There are a lot of people who don't really work and put as much effort or time is they could into something. So they may be sitting around a little bit Mawr or they could be a little bit lazy and it could think, Well, I was on Netflix ours on YouTube for two hours, and now I'm starting to memorize my lines or whatever. Well, could you have gone and started memorizing your lines two hours earlier, maybe and did something else with your acting? Maybe you worked on memorizing your lines, and then you got to have a chance to work on your believability. And maybe you got to find out. Maybe there's something else that you found that you didn't know about Like a week ago. You're like, Oh, there's something I don't know about. I should work on that and then you find that out, and then maybe your work on that. But you don't have that time. Maybe because you spent two hours watching YouTube videos. Well, maybe instead of two hours, maybe if you spent 15 minutes 20 minutes, then you still have a heck of a lot of time to do other things are you getting the most out of your work When you're working, are you fully concentrated or are you kind of half on your phone? Just kind of going through and, you know, going on instagram or Facebook and then you're doing something that you're working on, you're going back, then you're working on it and then you're going back. Well, if that's the case, you're not really working that hard that diligently, But someone else who is working really hard on improving and getting better. And they're not letting anything distract them from what they're doing. And they're deserving as a person and deserving in the work. They're gonna go into an audition room and they're gonna have a lot of power with them because they're gonna walk in feeling deserving. There's gonna be an air about them of confidence. When they walk in, there's gonna be some energy that they're giving enough that when the casting director sees them, they're not going to maybe know exactly what it is. They're not going to know that this person feels so deserving of a chance they're worth is so high. But there will be a feeling when that person walks in that they can't explain it. But there's something about that person. There's something about, and that's a great feeling to invoke on the casting directors to walk in and be like, Wow, that person, really. There's really something about him. I don't know what it is, but there is something about that person, and part of that is knowing your worth. Some people don't even know their worth. You know, some people will bog down there worth so much like I'm not worth it at all. I shouldn't even be in this business. I don't even know is the person who's always like No, I'm not worth it. I don't deserve it. That person there, they're not going to get a part because there are always second guessing themselves and not putting up good work. They're not walking into the room with an air of confidence to themselves. They're always second guessing themselves. At least the person who doesn't think about it has no idea. But the person who realizes this realizes this concept can really think about it and say, you know what? As a person, as a human being on this planet, yeah, I am deserve it I am deserve int and worth the chance to be in this movie. Yes, I am. And you know what? My work ethic I have worked so hard that yeah, my work is deserve it for chance to be in this movie. It's deserve it. But could you imagine if you say, Yeah, I am worth it. I can do this. My work. I haven't really worked that hard. I could be better. I know I could be better if I work harder. Well, that person is going to be really hard for them to walk in and really have a true essence of feeling like they're worth it. That's really hard. But if you can build your worth in yourself and in your work, it's just gonna be something different. It's gonna be something to you, but you have to know your worth it. Bryan Cranston said something along similar lines when he was doing this interview. He said that you have to have a little bit of arrogance when it comes to your talent, and you have to know that you are talented. So when someone asks you, are you talented? You have to say Yes, I am Yes, I am talented. Just like if someone says, Are you worth it? Yes, I am worth it. I am worth it. My talent is there on my challenge. I'm working on it every single day, So yeah, I am worth it. So if someone ever comes up to me and asks me are you were thing when I go? Heck, yeah, I'm worth it. You bet I'm worth it because I know that I put in the work I put in the time I know was a person. I deserve it. And you have to have that for yourself because that will bring a great amount of confidence into your work. And you have no You realize that your valuable you as an individual person are very valuable. Your uniqueness makes you valuable. And when you walk into that room and you can say you know what I am worth it. I am. That is very strong. So try it before you go, you know, into an audition room. If you have been working on you know, you know yourself is worth it. And you've been doing all the work. And you know that you deserve a chance. You're worth a chance. Then you tell yourself beforehand I and worth a chance. My work is worth a chance. I am worth a chance. And that will bring confidence to your work. And it will exude something in the room that they may not know about. But you will. And don't worry, no one is gonna ask you. Hey, are you worth it? You know, if someone does, you want to be quick and say yes, I am. But you're not going to go to an audition. No casting director is going to say, Hey, are you worth it? It's not something people talk about. You're worth, but it is very powerful. If you get it down, it's like a little secret in your back pocket. Knowing this, that is a person, you're worth it. And for your work, you're worth it. And that will really bring ah lot to your work. So congratulations, everyone for making it all the way through this video. This one, it's so important because if you don't believe in it, remember, you don't believe in it. Nobody else will. Don't expect someone else to believe in something. If you can't even believe in yourself, You have to believe in yourself first. Before you can expect someone else to believe in you. And once you believe in yourself, other people, they're gonna start to believe in you. Trust me, but you have to believe it. 30. Video #29 Become a Sponge: Hello, everyone and welcome to today's video. So first stop before we get into the video. I just wanted to start off by saying Congratulations because we are making it towards a band here. We're nearing the end. Um, and I wanted to say congratulations and sticking with it, committing yourself to the process and not being an actor. Who's late is he? Because there are many actors who trust me. They're the ones who sit on the couch. They're eating their potato chips, and there are just waiting for their agent to call them up, waiting for luck to come to them but not practicing. They're not preparing beforehand. They Onley prepare in practice the day of the audition or the day before. And you're an actor. Hopefully who is preparing way in advance. Two months, three months, four months, whatever it is, because this is the practice that takes a long time to achieve. Now who knows? Maybe you'll get lucky and next week or get an audition for something, and that will be phenomenal. That'll be great. But just because you get an audition and you're practicing beforehand doesn't mean after the audition you never practice ever again. These are things that you can work on all the time with believability, unpredictability, voice with physicality, all these things you can focus on the work on in all the mental side of it. Knowing not to put people on a pedestal, knowing how to interact with the agent, the casting director or the director. Knowing that it's also an interactive process, not just an acting process. Where you're performing a character, you still have to interact and talk with people. So first off, I just wanted to say Congratulations for sticking through this and really committing yourself, because it's the actors who commit themselves, the actors who are not scared to put in the work, who put themselves in the best places to achieve success. Now we always know that luck is involved. You know, we have to get lucky. We know that we are playing the odds against us. We know that most likely the odds are stacked against us that it's very hard to book apart . But we also know that we want to be able to put ourselves in the best positions to achieve lock. We don't want a day to come up where we have the opportunity we have this moment. We have this chance to achieving our goal, which maybe it's to book this part, whatever your goal may specifically be. But we have our goal, and that is what we want. And if we're not prepared for it, if we're not ready, then we're gonna lose that opportunity. And we don't want that to happen. Just like have a basketball player really wants to play against this amazing team, and they're hoping and hoping and hoping they can play against that team. But what they don't do is they don't go in practice every single day. They don't work on dribbling the ball. They don't work on throwing the ball. They don't do this stuff that we need to do. They're just hoping instead of actually doing something, so when the moment hopefully does come, they can be ready for it. And when that moment comes and they're not ready, they are going to be devastated. But you have to realize that the reason that maybe you don't get it is because you didn't prepare enough. Now, if you do prepare and you are ready, we'll all that means is that maybe you just want right in the moment for what they were looking for. Because we all know that casting director's job is to help put together the best piece that they can. The best picture, they're a big process. There are a big part of it. So they have to make sure they put the right people in. They can't just say, Oh, well, I like you personally. So I'm gonna put you in. They have to make sure that yeah, they have to like you, But they also have to make sure that you can work and fit for the part. So just because you don't book something or you don't get the part doesn't mean that you were doing anything bad. Doesn't mean that you weren't working well, it just means that maybe you weren't right for that particular project. So I just wanted to get that out of the way all first and just congratulate you all on being able to make it through up to here because it's the committed actors that I truly believe who put themselves in the best places to achieve luck, to achieve those opportunities. When they do come up in front of you. So today, what we're gonna be talking about is being a sponge. So being a sponge is something that I think we all have to have within ourselves. And being a sponge isn't usually something we turn off and on. It's something that we always have as a constant throughout our entire life. Now, maybe you will be more of a sponge and sort of moments and less of a sponge on others. But being a sponge, just think about it first as being a form of absorbing knowledge. And really, it's absorbing the important knowledge. It kind of relates a little bit to the fridge, keeping what works shut about what doesn't. But in order to find out what works and what doesn't We have to be a sponge and soak that stuff in, and sometimes this doesn't relate to maybe the performance of acting in putting up a good performance. But maybe it's learning some of the behind the scenes stuff. Maybe it's learning more about how directors work, how casting directors work, how different people within the crew work and fixate themselves within the project. So you get a better understanding of what's happening, how does everyone do their jobs? Where do I fall into this whole process? How can I make the process better? How do I hinder the process? What are things I should do? What are things I shouldn't do? And by being a sponge, Those were things that were constantly learning. So here's first with a sponge applies if you're going for saying agent. So first off you have your first meeting with an agency. If you get this agency great, that is phenomenal. But you want to make sure that when you're in that room and you're in that moment, you're being a sponge. So you're learning while you're with them, you're learning. Okay, this is some of the stuff they like, or these are the questions that they asked me. And what you find is that you're gonna find similarities between one agent and to another agent. So if this is an agent that you meet with, and maybe you don't get signed with them, but you do meet with them, you still want to make sure that your sponge in that moment so you can find out the questions that they asked you the things that they were curious about where they put themselves to the actor. Are they someone who wants to be by your side all the time? Are they not someone who wants to be by your side all the time? What answers did they seem to like? What answers did they seem to not like? And you're trying to find what those things are. And you find those by being a sponge being in the moment. So when you go off to your next meeting and you're trying to talk with a different agent, you know? Okay, this is some of the stuff that happened from my last meeting. How can I apply into this meeting? So if you find that they didn't like some answers that you had Well, then you know that you have to maybe adjust some things that you say, you know, they ask you Hey, what is your goal as an actor? What do you want? And you say, um, well, I want to be famous and they don't like that answer. Well, then, you know. Hey, maybe this is something to stay away from now. Different agents will be different. Maybe some agent that you go for would love that answer, Doc. Wow, You're really honest, kid. Sure. Maybe most the time, though, For that particular question and that answer I gave, they're not gonna usually want just so you guys know that ahead of time but say with a different question in a different answer, it may depend on the agent. Some agents will be satisfied with it. Some agents won't be satisfied with it. But you want to make sure that you're a sponge and you're finding out that information. Now there are actors, and I might know some similar things that other actors know with meeting with agents and casting directors and things. But there will be sorted things, particular things that I know that they don't know because I have been open and paying attention to it. And I'm sure down the line of their happened some things that maybe they know that I don't know. And maybe it's something that they know about a specific person. Maybe it's a specific agency or a specific casting director. It could be, but we are still having to be sponges, and some people are more sponges than others. Some people really soak up information. Other people gradually soak it up or they soak it up too late. They soak it up after the fact so they might soak it up once they have their agent. They're not paying attention to stuff that their agent isn't liking, so they're not taking in the information when they're agencies. Hey, I don't think you should do this. And then if they do it again, So, for example, if and actor complains in a casting room and your agency's hate, I don't think you should be complaining in the casting room. But the actor doesn't really soak in that information, doesn't really listen to it. And then they go off to another audition and then they complain. Well, then your agent might say, OK, you know what I'm done. I have to drop you. I'm sorry. And in that circumstance, you have to make sure that you were paying attention prior to everything soaking in the information, soaking in the fact that your agent wasn't so happy with you there. So soaking and information means soaking in good stuff and soaking in bad stuff. Really, being aware of your surroundings, what's around you and what's happening. You also want to soak up information because you don't know what line of work that you may go down in the future. So as well as acting, you may also go down other paths. Several paths. I know actors who have they been actors and then they've decided, Hey, I'm gonna go down the path trying to become an agent. I have known actors who have been actors, and then they decide to go and be casting directors or their actors, and they've done projects. And then they decide, Hey, I want to be a director So they shift in change. And if they were sponge, if they are able to learn, they're able to learn some of the things that they won't have to take a lot of time to soak in the information because they've been soaking in all this information abs as they have gone along through this process. So, for example, if an actor wants to be a director, let's say and they decide, okay, tomorrow I want to be a director. Well, if they just if they didn't soak up the information prior to some of their past works of how their directors worked, what they do, what they like, or interacting with other directors and finding out Hey, maybe this director can help me one day. Maybe this one could help me one day. If they're not being sponges and really soaking up that information, then it could be really difficult if they want to try it and move forward down that path. Now, if you do though B s bunch and you do soak up the information, you have more to draw off. You have more that you've learned that your be able to put forth. So this is why being a sponge is really important because we get to soak in information and we get to learn new things. And you're also become a better actor in the process. Because when you're on set and you're sitting down and you're starting to get to know people or you're learning from different processes and finding out Oh, this is how this movie is being worked. This is how another movie is being worked. And then you have 1/3 moving your This is how they work this movie or maybe a television show. You find how different projects work differently. Different directors, producers, actors. It's all different, but you find what you like. You find what you don't like in your being a sponge and really starting to learn. And you're also being a sponge for your own self. So you're being a sponge when you're on set and finding out. Hey, when I did this, this really worked for me. Maybe I can use this for another project. Maybe it'll work. Maybe it won't. But maybe for that second project, it won't work on. Maybe Project three. It would work great again on, so it just depends. But being a sponge doesn't just mean the environment of everything around you. It also means being a sponge for yourself, finding what else works for you and finding maybe even what doesn't work for you. Because remember, being a sponge doesn't just mean the positive things. That also means some of the negative things. It also means you're finding out what you like and what you don't like, what you want to keep what you don't want to keep. Being able to create this course has been because I've been a sponge, because I've been able to learn from my instructors because I've been able to sit in the casting room because I've been able to talk with directors, agents, actors. I've been able to gain all this information because I was an active sponge constantly and still him today. It's not like, OK, now I know everything. I don't have to be a sponge anymore. Thank you very much by everybody. You're a sponge throughout the rest of your life because you're gonna constantly be learning new things or constantly going to be developing. You're constantly going to be able to bring more to the room, to bring more to a character and to bring more from yourself because you're always learning . And Chris Pratt had talked about this before. Chris Pratt is the actor from Jurassic World from Guardians of the Galaxy. He's the main lead actor, and he talked about how being a sponge had really helped him in his career. He said that maybe it was one of the biggest things that have helped him and how being a sponge really was able to find what he liked, what he didn't like, how it helped him better as an actor. Now it works for me. It's worked for the coaches I've had. It's worked for Chris Pratt. So there is enough evidence that says, Hey, being a sponge is probably a good thing for you. You're gonna want to be a sponge within this industry. And if you ever decide to leave acting and you're like, I never want to do it again well, you're still gonna want to be a sponge anyways, cause being a sponge in your whole life will help. And I feel like if you're on actor and you are acting that you also are helping yourself in your life because you're learning different personalities, you're learning how to use your emotions, your learning how to interact with people you're learning constantly. Whatever you are learning, as long as you're responds, you can bring it to other scenarios, other situations. But being a sponge is really important, and it can sometimes be vital for actors when it comes to longevity of your career. Sometimes in the short run, all it meant that you don't have to maybe always be a sponge. You can still get lucky, but if your sponge in the short run and in the long term, short run, it will help you a lot because you start to learn more quicker than everybody else. And you won't maybe have to jump over some of the hurdles that other actors will have to jump through because you're no a little bit and be able to interact through this industry a little bit differently. But it will also really help you tremendously through the long Javadi of your career because you're gonna have to constantly be learning constantly interact with new people, find different casting directors, different projects, how to find projects, you know you're gonna learn. Hey, this is what I have to do to find the scripts I want. This is what I have to do when I communicate with my agent. This is what I have to do for a B C D. Whatever it is you're gonna constantly be learning. But you have to make sure your sponge. So how can you start being a sponge? You can start by being today to be a sponge. All you have to do is literally start to soak in all the information around you. So say today, if you go out, Teoh eat and the chef comes up to you and starts talking with you. Talk with the chef and ask him and be like, Hey, how is it going? This is a great mill. How did you make it? What's your secret recipe? You can ask him whatever you want. Be a sponge. Start to just learn from what's around. You learn from who is around you. You know, you could be going Teoh the mall and you're having to buy, you know, a new shirt, whatever. And someone like, Hey, can I help you with anything? And you can ask him and be like, You know, I was really deciding upon getting this or getting this. What do you think they're like? Oh, well, I like this one. Really? Why do you like that one? It's just getting to open yourself to being more aware to listening to really listening and being a sponge in soaking in that information. Now you can ask whatever you want. You can say whatever you want, but you're starting today with really leaving yourself open toe listening, soaking in all the information and then being able to hopefully remember that information for the next time around, because when you were a sponge, you soak it in, and then you're able to use it again in the future if you need to. The information that you soaked in. So congratulations, everyone on making it through this video, sticking with it towards the end again, we're nearing the end. We're getting through towards the end of this course. So congratulations again. I'm really proud of all of you who have been able to stick with it. Because it makes me happy knowing that actors air really committing themselves to doing better, to having themselves being the best place to achieve luck, to achieve what they want to achieve, to get to their goals. So, as always, congratulations, everybody, and we'll see you all in the next video. Bye, guys. 31. Video #30 Have Fun: welcome everyone to today's video. So we're gonna be talking about having fun. So I wanted to save this one towards the very end because I wanted to bring it all back around and say how acting is supposed to be something that we enjoy. It is supposed to be something that's fun. It's plain, That's what we're doing. We're acting, we're playing. We're supposed to be enjoying the process. And I know that through the training and through the years that you're gonna be spending doing this thing that we call acting, going toe auditions, maybe getting some not getting others there's gonna be that process that we go through. And as we go through that process, I know that it's very easy to just sit back and say, Oh my gosh, I don't know if this is what I was supposed to do. If this is gonna work out, like, why even do acting? Why? And I know that that's an easy thing to fall into its very easy trap that's laid out for us to take. And what I want you all to know is that acting, though that may be a byproduct of it, because there is that element to it. You have to remember the reasons that you got into it. You have to remember the joy that you had Ford in the beginning, because probably are not going to get into acting. If you don't enjoy it, probably not. You know, some people will go into some professions like like Oh, I want to be a doctor. I know several people who have decided to become doctors, but they don't love it. They don't really enjoy it. But they know how it makes a lot of money or people who become lawyers or whatever and with acting, the usually people who want to become actors do it because it's something that they really want. It's what they have inside of them that they're like, I have to do it. This is what I need and want to do, and it's not like that for other professions. So just by going through this process of wanted to become an actor, remember why you want to become an actor. Remember your reasoning, and sometimes what you may want to do is you may want to just take out your phone record yourself and say, why you want to be an actor, lay out the reasons say why you enjoy it. Say what's fun about it. Say one of your favorite memories that you have of acting. What is something that you've done that's been your favorite memory? Record it. So then, if you do ever get into that situation or moment when you're really feeling down and you're like I don't know, should I do this anymore? Should I not do this anymore? You have something that you can go back to and look at so you can see your past self telling you Hey, look, I know it's gonna be hard and there are gonna be moments where I don't even know if I want to do this anymore. But I got into this because Baby Sandy and I really enjoyed the process because of this, and I have so much fun creating these characters because of this, And if I could do anything today, I'm picking that I want to do this, this thing that we call acting because of this and you if you have that, if you have that to rely on and go back to, it, will hope keep you moving forward, It will keep you grounded. And it will keep you remembering why you got into this business. Why you chose this profession. So with acting, we know that it should be fun. It has to be a process that we enjoy. If we don't like it, if we're not enjoying it, we should just leave it at the door step and never see it again. Because you have to love it. You gotta be into it. You gotta like it. You gotta have fun with it. So the next thing that you're gonna want to do is to be very thankful for the opportunities that you have the opportunities that you've gotten in the opportunities to come. You want to find grounded this and being thankful for those initial things. So what I mean by this is be thankful for the agent that you have. If you have an agent, be thankful for that. Are we can even go back a step. Be thankful for the training that you have received whether or not you've like some of it, or you haven't still be thankful for what you have gained. Maybe you go to then acting school and you're like, man, I'm really getting things that I'm not liking. That's really not working for me. A lot of all those things that aren't working for you and that you don't like you may be able to find something that you do like. Maybe what you find is you find all the ways that you don't want toe act all the ways that you don't want to go about your process and working. Maybe that's what you find out. And at least you're like I had at least can be thankful for knowing what? I don't want your figuring out more of what you do want. But you can at least be thankful for that process. Or maybe you're thankful for the friends that you make the actors that you know throughout this businessman. If you start being thankful for the opportunities that you've got in the friendships that you have made, be thankful for the agent that you have. Don't think Oh my gosh, I have his agent haven't booked anything when I'm with them blah blah sure that maybe something that comes up but also be thankful for the opportunity that you have of having an agent who is working with you, an agent who is trying to help you succeed in Reach your goal. Be thankful for what you have. Be thankful for all the auditions you get. Be thankful for sitting in the room across from the casting director. Be thankful for being able to meet with the directors, whether whether or not you get the part or you don't get the part. If we can be thankful, if we don't care about needing the part, you want the part, we can want it and we can be thankful for. We could be thankful for the opportunities that we have. Then we can start building in more happiness for ourselves, and we can start having more fun because if we're not happy, it's really hard to have fun. But if we can be happy, then we can start to have fun. And if we could be thankful for what we have, thankful for the opportunities that we have been able to get thus far, you know, maybe you have 20 more coming up and you've only achieved this so far doesn't mean it's the end. You have more to go, but if you can be thankful for what you have achieved, what has happened Then you can start to really build some happiness in you. Because if we know what we're thankful for, it reminds us what we have. Because sometimes we forget. And we're like, Oh, I forgot. You know, I should be thankful that I have this person trying to help me reach my goal. I mean, this agent doesn't have to help me. I did meet with them. Had to decide. I like them. They like me. You know, they don't have to represent me, but they do. Then I'm thinking off thankful for that. I'm thankful for the auditions I get Even though I don't book maybe every part of the world . Well, I'm thankful that I get to sit in the room and interact with another human being and try to achieve the thing that I like The thing that I really enjoy and have fun with and I don't really help bring the happiness back and it will be able to boost your levels of having fun in the moment you be ableto have fun with your characters. Have fun when you're on set. Have fun when you're interacting with different people. So now once we have that, we gotta find in our life one of the moments that we can really laugh. Where can we go? And we can literally just sit down and have a good laugh. These might be with people who are your friends and you're like, Hey, you know what? When I'm with these three people have a great time. I laughed. I enjoy it so much because, like I said before, there will be times when we started thinking, Oh my God, should I do acting? Should I talked to acting when we get into more of a negatives on the negative place? But if we have people that we can go to, we have moments where we can go and we can laugh and have fun that will bring your positivity backup and will allow you to have more fun with the process. Because if you have people that you really enjoy hanging out with and you can always have a good laugh that will be able to boost your excitement and your and your be like, Wow, this is so fun. You know what, So what? This didn't work out earlier. I have this this is working on. This is really fun. And that's another thing you can do, by the way, plan things after your auditions. So sometimes part of the reason that people get upset or annoyed or into a negative zone is because after their audition, they're like, I don't know if it was any good. I don't know if I could have done more like Is there more that could have happened? What I want you to also start doing is start planning things after your audition. Don't just say OK, I'm gonna go to my audition now. I'm gonna go after my audition. I go in my car and I drive home. I don't have anything planned for the rest of my day, and I'm just literally driving, thinking all about that audition. You have to have the audition and then you leave it out the door, you walk in your car and then you just go and sometimes that's a tricky thing to do. But if you can have another activity planned after that, so say there's a group of friends that you like to hang out with and say, You know what? I'm gonna plan to hang out with one of my four friends that I love to hang out with, whatever it ISS. So then you say Okay, after the audition, I'm gonna make sure that I schedule something prior to it. Maybe the day before you're like, Hey, let's do something. You know, I have an audition that goes at one o'clock, going to be done about 1 30 Let's hang out at like 2 to 33 o'clock, whatever and plan a moment where you could go and hang out and do something because it's going to take your mind off of that previous event. Sometimes that's a problem for people. Sometimes they can just leave it at the door, and then you could do whatever you want for the rest of the day. But it's always good to have fun and not just have fun with the acting process in the whole world that we're in this industry. But we also gotta have fun outside the industry, and that's why we have friends and people we can talk to and hang out with. So we know Hey, after the audition, I'm trying to have fun in this moment in this industry But now I can walk away from the industry, go back to the real world and still have fun. Still enjoy my stuff. Still have a good laugh and enjoy the rest of my day and not stewing and thinking over how this audition went literally just thinking, OK, it's done. Leave it at the door because truthfully, after your audition, whether or not it was good or if it was bad thinking about it doesn't affect that audition . It'll it doesn't mean that when you're driving home and you're thinking, Oh my gosh, I sucked. I did horrible. It doesn't make them feel any different. Or if you're driving home. Yeah, yes, I'm good. I'm great. I was amazing through that still doesn't change their mind about anything. It just changes your mind. But truthfully, whether or not you're thinking positively or negatively, it's not going to effect that. Of course, you want to think positively if you can, but just don't always think. OK, every time I go out of an addition, it has to be great. If it's not, I'm gonna be so upset. If you're that personality, you have to try and change that a little bit. Try and get used to the process of you audition. You have fun when you're in the room, Hopefully and then you leave it at the door. The best way to start practicing that is like I said, have something to do afterwards. Have a group that you hang out with or have an activity or something you're going to do after I love to bowl. I love bowling. So after an audition, I don't mind going and bowling by myself So I could say, OK, by addition, it's all done. I'm gonna go in bowl. So whether or not the audition was good or bad, I decided beforehand that I'm going to bowl. Not okay. If I do bad, then I'm gonna pull. If I do good, then I can go home and rest. I'm just gonna ball. I like it. I love it. I think it's fun. So I say Okay, after my audition, I'm gonna go bowling because it's something I enjoy. And it allows me to have fun and not think and keep my mind or process in that room. Because now I'm I'm out. I'm in the real world. I don't have to think about being in there anymore. Now another form of having fun is when we're on set. Now say you get lucky. And you finally you booked apart. So either you're in a show. The play. You're in a TV show. You're on a movie. Whatever it is that you booked your with your castmates your with the crew, your with your director, your with everybody. Now, what you want to do when you're here is you also don't want to have the stress get to you. So you don't want to be on set and think Oh, my gosh! Okay. Do I have everything? Do em in my bubble bubble blood. I have all this A, B, c and D because that can happen. Sometimes we can get stressed. You have to do the work. Of course you know, don't not do the work and say, OK, we'll have find out how I can have fun. You have to do the work so that you can be confident and comfortable in yourself and say, OK, I'm I lying to memorized. I know what the scenes about. I know what the show is about or this movie I know what it's all about. So I'm okay in that area, and then one, you're on set. What you want to do is you want to know that you've done the work, so you have to do the work, and then you want to find How can I have fun on the set? What can I do to have fun and find how you can have fun by hanging out in interacting with the cast members? But also find out how you can let them have fun. How can you let them have a good time? Because if you can let other people have fun and have a good time and lately you're gonna have fun and have a good time because they're gonna enjoy hanging out with you. And they were gonna make the experience fun for you as much as you're making it fun for them. So say you're on set and for, you know, during takes, you make up a really fun game that you guys can all play and say, Hey, you know, while we're waiting, let's play a game. Let's do this thing. This is a game that I learn door found out, or whatever kind of game that you want, and then you guys can play it. And maybe it's something that you have fun with. Or maybe you guys go on, do an activity. Um, while you're waiting while they're recording. Okay, let's go and do this. Let's go in outside and skateboard. Let's go do whatever that you're able to do. You know, sometimes there's I know skateboarding when you're on set, but you may be on a set when they give you a little bit more leeway and they say, No, go ahead, have fun, do whatever you want to dio and in that home, and then you can say, OK, let's go outside and let's do something So you find things for how you can let other people have fun and innate Lee. It will allow you to have more fun, and you will become more positive. And if you're positive, other people will be positive and they're going to remember that positivity. You can either be on set and be remembered for negativity or positivity, and if you're positive you're having fun. If you're negative, you're not having fun, so you can be remembered for one or two. It's up to you if you remember, for being negative, probably you're not gonna get booked again on that show on that movie or from that director or casting director. Probably not. People won't want to work with you, but if you're positive, you're happy. People enjoy working with you. Say, Hey, this person's great. Let's bring them back on again. Let's bring him back on for another episode. Let's have let's do another movie with them Hey, I'm casting something. I remember that actor. He was great. He was fun. Bring him on. Let him audition. Let's see if he works for the part. I like that guy. But if you're negative, everyone just gonna be like, No, it's OK from, you know, throw him out of the pile. Let's keep going and looking for somebody else. Now, after you find out how you can have fun with your castmates on set and everything you want to make sure that you remember those moments. Remember the good moments during when you're on set and before you ever even got booked in your on set. You want to remember all the moments that you were able to have fun and that you enjoyed because This will also be a benefit to you because say, if you're booking things right, your booking apart here, your booking apart here and then for whatever reason, you stopped looking for a while. You get so used to booking that all of a sudden when you don't start booking parts anymore , you like Well, that's happening. Why? I'm in upper GI parts. You start to get a little worried, start to get a little bit nervous. You get butterflies in your stomach. When you walk into the room, you start to second. Guess yourself. And what you have to dio is you have to Yeah, if you have your recording, that's great. You can go back to it. But remember the fun moments that you had Remember the moments that you enjoyed? Because when you have those butterflies and you're a little nervous, if you can remember those moments that were fun and that you enjoyed it will bring back a positive light inside of you. And naturally you're gonna start remembering some of the successes that you had and you'll be able to say, you know what? Yeah, I didn't book these last three auditions, OK, But you know, I pretty good. Before I I booked save 345 TV shows, I booked this many movies like, you know, right now I'm not booking. That's OK. It's just a process. This is the industry I went into, you know, I have some lucky moments, and then you're like, I'm not having lucky moments. You know what? But I know that they can still come. I know that more lucky moments are on the way. I know that Maybe this isn't the right moment, but I remember these moments and they were so much fun. And it keeps you wanting to succeed in wanting to book another part, because you remember how much fun it was before. And you want to keep having fun, and you want to say, OK, you know, I'm gonna do the best I can. I'm gonna try and see what I can do and see how I can still have fun. And even if I'm not booking, you know what I'm remembering The moments that I did have and how great they were and how much fun I really did have when I got to be on these projects. So that last little tip that I'm gonna give you here. Surround yourself with people who are positive. So it's There's been so many studies on this before, I won't go through them all. But who you surround yourself with is very important. Who you put into your social circle is vital for you to sustain yourself through longevity of your career and even in the beginning. Because if you hang out with a bunch of people who are all negative and people who sit by yeah, you know, I don't even know what's gonna happen. Like I went to so many auditions and, like, I don't book nothing. So I don't know, like, what is the point of even acting? Is there any real reason that we should act like if you have people who are so negative and they're always like bringing you down? Eventually you're going to start to take on their thought process, and I see I've seen this so many times. I've had friends who have been the most positive, bubbly people in the world. And then, you know, they go off, they go to college, they go somewhere and they start hanging out with people who maybe aren't just as bubbly are positive is Then they hang out with people who are more negative. Mawr, Debbie donors. They skew the glass half empty. My friend used to see the glass half full. Now she's saying it a little bit more, half empty. She's like, Well, you know, I can't do this. I can't do this. I can't do this. And all of a sudden it's striking to see it. Whoa, How did your mind all of a sudden change? You were so positive and go getter about all this stuff? And then now you're second guessing everything that you do and that can happen to anybody. Whether or not you're in the field of acting, become, you know, a doctor or lawyer, a teacher. If you have people who are around you in their negative, it's gonna bring your energy down and you're gonna be start becoming negative. Just think about people in school, the people who are always complaining about, you know, homework class assignments, class. They're the ones who are grouped together. A lot of the time. The people who enjoy the process, who like the class who have fun, usually hang out with each other You know, sometimes there intermingle a little bit back and forth, but, you know, majority wise that the negative people hang out together and the positive people hang out together. So you get to choose who is in your life. You literally get to decide who is in your life. You get to decide if you want this positive person in your life or if you want this negative person in your life, you actually have the option to decide that nobody else decides that for you. Because if you don't want someone in your life, you just don't interact with them. You don't talk with them. They invite you out. Yeah, you may sure feel bad cause you're a nice person if you say no. But you also have to know what's good for you. And if they ask you to hang out, he said, Oh, no, I'm sorry. I can't. I'm busy tonight. You know, after a while there get the point there. Stop asking you to hang out when you have people who are positive and go getters and love life and they ask you to hang out. If you have time, you have to go Hang you should hang out with them so you can have fun because you want to enjoy the process. I'm sure you wanna have fun. You wanna love life. You don't want acting the thing you really enjoy The thing you love to take that joy out of you. You don't want acting the business side of it to take out this thing that you enjoy. This thing that we all call act and you don't want to take that out. So part of the way of keeping that in is toe Have other people around you who are positive , who are happy, who are go getters who let you see the bright side who allow you to see the glass half full . So then you know. Okay, You know things are working out. Now let's see what happens in the future. Someone with a glass half empty seaso. It's not working out now. It's never working out. And you don't want that mentality for yourself. So I want you all to just realize that even though there is a business element to acting, you know there is a business. We have industries. We have directors. We have casting directors. So we know it's a business, but just don't let the business be the thing that takes the joy out of it for you. Don't let the business be the thing that makes you stop a loving acting, because the business it'll be hard. There will be, ah, lot of moments where you will get rejections. In the sense of it. You won't get a call back for part that will happen. But if you stick with it and you really work and you do everything you can, you really, really increase your chances of auditioning, getting that call back and being ready for luck when it falls in your lap. So just know that this is a process. We have to stick with it, and we have to have fun. So as a recap to go through what we've just learned everything through this video and realizing how important it is to have fun to really enjoy the process. Because if we're not having fun, then there's no point to it. If you can enjoy it, you can't have fun. You're just gonna get tired through this process. You're not gonna like acting anymore, because if you're not having fun with it. You're not going to really do it. You're just gonna say, OK, I'm done because you never know when your next job is gonna be. You know, sometimes people can have other drop that they don't like. You know, some people are doctors, and they don't even like being doctors. But they know it's a steady income. They know. Okay, if I goto work today, I'm still going to get paid, You know? I know I can goto work next week. Two weeks, three weeks, four weeks. I know I have a job for this year, whereas for acting, you never know when the next stop is gonna come. You never know if the part that fits just right for you is auditioning next week or in two weeks or this year. You never really know. So if we're not enjoying the process, if we're not having fun, then for us when we're there were like, I'm not enjoying the process. I'm not having fun. Why don't want to try and play against the odds? Why would I want to do that? Why would anyone want to do that? If you're not having fun, it's not enjoyable. It's very hard to stick with. So you have to make sure that you are having fun, that you are enjoying moments in your life, that you are having other things to do. And you're not just in this world in this industry of active, but you have things to do outside as well. You have people you can hang out with. So as a recap for what we've learned through this video, we have one. No, that acting should be fun. We know that it's a process that we should should enjoy that were just plain. We know that we're playing. We have to realize that that's all we're doing. We're not, You know, going through some hard, rigid job for not having to do anything that we don't want to do Were having fun by playing more playing with each other. Sometimes were yelling, sometimes were screaming. Sometimes we're running, walking, wiring, different costumes, pretending to be big, pretending to be small. We're playing, we're having fun by plane and the number two was to be thankful for the opportunities that you've got in the opportunities that you have currently and that you've gotten in the past , so be thankful for the agent. Be thankful for being able to audition, being with casting directors and directors for being with other actors for being booked in previous parts and shows and movies. Be thankful. Be thankful for the people in your life, the people who are supporting you trying to allow you to get from point A to B. Remember, if you're thankful, it's a lot easier toe, have fun and enjoy and be positive, because when you're thankful, you start realizing all the good things in your life and that innate Lee makes you a little bit more positive in that innate Lee helps you to have more fun. Number three was. Find the moments that you can really laugh and enjoy. We know that through this process there will be times when it'll be hard. That we're gonna really wonder, is acting what we should be doing. So you want to find the moments when you can really laugh. Really have fun. Find those people that you really enjoy hanging out with and just laugh and have fun with them because it will bring your mood back up and you start to still be able to see the glass half full and you won't change your mind. Set to see in the glass half empty number four was Find ways that you can have fun on sets and after you've hopefully booked apart and your onset find ways that you can have fun while you're on set and have ways that your castmates can have fun. How can you have fun with them? How can you help them to have a good time? What can you do to let them enjoy the experience? And by doing that, they're going to really enjoy hanging out with you. They're going to try and make you have fun, and it's gonna boost your positivity ease is gonna skyrocket it and then that allow you to have fun with the process that one will really help, especially when you're on set and you're with everybody because everyone wants to have fun . Nobody doesn't want to have fun. Everyone wants to have fun. So if you can help people have fun, they're really gonna appreciate that. And they're gonna want you to have fun as well. Number five was just to remember the good moments. So say you're booking parts and then all of us that a new stopped booking and there's a period where you're not booking anything. Just remember the good moments that you did have the good moments in the past. Maybe you had a book, something or when you were in a class and you did really well or when you were filming a scene or monologue. And you really love some of those moments have this positive moments that you can remember that you can draw back upon. And that's and those who keep you positive him keep seeing the glass half full instead of empty. Number six was to surround yourself with positive people. So this one is really, really, really important for the glass half empty, half full scenario. If you're gonna hang out with people who are negative, it's innate. We gonna make you a little bit more negative. If you hang out with people who are positive, it's gonna make you more positive. It's gonna make people like to hang out with you to enjoy being with you because you're gonna bring that energy because you're hanging out with people who are positive. You're gonna be positive. So make sure that you're hanging out with people that you really enjoy hanging out with. The last thing I'm going to say which you mentioned at the very, very beginning was to record yourself. So today, record yourself. Get your phone enlist. The reasons why Do you like acting? Why do you want to do this? Why do you love it? Why do you have so much fun with it? What is it? Put down the reasons why you should do this and say, You know, you're probably watching this right now because you're in a spot where you feel like you need to see this video where you're feeling like maybe you want to give up on acting, you record that So then you know your future self. If you're gonna watch it, it's probably gonna be for that reason, and then you have it, and then you can go back to it. And I don't really help you and keep you going on the right path forward. Instead of saying okay, I'm just gonna give up because sometimes maybe we need to stick with it a little bit longer . But if we're not having fun, we're not enjoying it. It's hard to do that So we have to make sure we're enjoying the process we're having phone because it is something that we're supposed to have fun with. Acting is something we like. So we're supposed to have fun with it. We're not supposed to be miserable. Were supposed tohave fun. So congratulations, everyone on making it through this video. This one I really wanted you guys to see. I really wanted to save it towards the end here just because of how important it was and because we were able to go through everything else and to remember just with everything you're doing, every practice, your having every mentality process you're going through, You should still always, always have fun. So congratulations, everyone on making it through. See you guys. 32. Video #31 Congratulations: All right, everybody, Congratulations. We made it. We went all the way through. You've made it all the way from the very beginning. All the way up to the end Here. Congratulations to every single one of you. So I've said this before. I'm just gonna say it one last time. It's the committed actors, the ones who really stay through this process who have dedicated themselves through every single video who have worked, implement them into their lives. To really change your mentality to finding ways of working and practicing and developing your acting, knowing that acting is something that we have to treat with diligence, not something that we think. OK, you know, it'll just be good. We actually have to practice it just like anything. Just like a sport just like an instrument. We actually have to work and put time into it. So I just want to say congratulations to all of you for going through and making it all the way to the very end here. You've made it. Now you get to sit back and take a moment of a breather and relaxed. Say Okay. I finally done it. I went through this as a reminder. If you can take everything that you've learned in practice it every single day for just one month, one month you're acting will increase tremendously. That's a very short time period. And if you do it for two months, you will become even better. Because ideally, what we're trying to do is we're trying to build new habits, new ways of practicing new ways of thinking, new ways of approaching using different methods that we learned of the refrigerator keeping what works, throw out what doesn't work. And we start to do things that will naturally be able to pick up. And naturally, we're going to start using some of the things that work for us. So at first, in the beginning, where we may have to think about some things we may have to think. Okay, I should do this. Oh, maybe I should try this. But as we go through this process as we get through going day by day by day, we get so much better that everything starts to become natural. It starts to become instinctual. We don't have to keep thinking Oh, my gosh, what do I dio? You already know. Hey, this worked for me before. I just can use this or Hey, I've worked on my confidence so much. Now I'm so confident I can walk into that room, hold my head up high and say Hi, how are you doing? And they can say, I'm great. How are you? And you guys don't start interacting with each other. You're not nervous to go into the room and audition meat that cast into director. Show them what you can do. Talk with your director. Interact with other actors, knowing how important it is to be a sponge. To really keep learning to keep listening to what's out there when you're working a scene, Finding out, How can I put unpredictability into this? We talked about How is that unpredictable punch that wins the match in boxing when you're boxing someone the boxer who sees the punch coming. If I see a punch coming at me, I can duck. I can move. But if I don't see the punch coming, it's gonna hit May. It's gonna knock me right out. Same thing with baseball. I gave the example. If we're playing and we see the ball coming, of course we'll be able to hit the ball. We can beat the team all day long when we know where the ball is coming. But it's when we don't know where the ball is coming. That's how they can win, and that's how we can win. If we can throw those unpredictable things into our work into our scenes into a movie, we can throw it in. We can put it in there. Then we also found out okay, how important our voices, using just our regular natural voice. We don't have to force anything. We don't have to put it on and say, Okay, Um, I have to do this with my voice. I have to change it for every character you can just keep your regular voice. For the most part, some characters you may have to change the voice for. We know that, but for the most part you get to use your own voice. You get to use what you have with your voice. You get to literally use your own voice. You know, it's just think about all the actors that you know. Most of them are using their own voice, their regular voice because you hear him. How they talk in the movie, then you hear him in an interview. They sound the exact same. Not everyone. Different characters. Some of them will have to change the voice, but for the most part you're going to be hearing them is their voice. The thing that really changes a lot that we talked about is the physicality. So instead of thinking so heavily on the voice, even now, that may be an element to it. The physicality is more important because it's the way the person stands, walks tilts their head, how fast they move, how slow they move. That is really important. And that is some of the things that we have to make sure that we focus on. So we've been able to go through this process from beginning to end, and we've been able to learn so much, and now our job is to make sure that we continue to implement it. Now. I'll be the 1st 1 to admit this has been a journey. It's been a journey for me as much as I'm sure it's been for you. I spent a lot of time going through creating this court. I can't tell you how many hours I have spent on just doing this course. It's been well over 100 hours because I wanted to find Okay, what can I put into it? How can I make most beneficial for all of you? So it takes time and it's taken work. But I wanted to put it all out. You can have it, and you now don't have the information that I have. You have all the information that I have been able to get for mine structures that have gone to Yale, Harvard, Juilliard, rata, a CT. The actors who even never went to drama school. The actors Who are we calling? You know, street actors? You know, I've given you everything You now have everything that you need to use. Now remember, acting doesn't have to be something that's super complicated. It's not 1000 different things that we have to use or do. It's just the simple things. We're playing different versions of ourselves. If you guys remember that from some of our first videos, I told you how, Meryl Streep said. Characters are just different versions of ourselves, different sides of us because we have all the characters we have them in ourselves orders bringing them to light. We're giving voices to the people who maybe don't have voices to speak. So it is truly ourselves bringing just other elements of us to the character. We don't have to complicate it. We don't have to think. Okay, What is this reaction? What is this? We think simply and realize that characters are just different versions of ourselves. We know that. We figure that out. We don't have to think 1000 minutes on it. We just know that characters are different versions of ourselves. That's it. We know it. We don't to complicate anything. And then we know some of the basics that we have to do. We know. Okay. I should work on this. I should do this. I should do this. These are important elements to my acting. How can I incorporate it? How can I use it? How to interact with other casting directors, agents, directors we know. Okay, We don't put them on a pedestal because if we put them on that pedestal and we see them, everything that we say won't have as much legitimacy because we'll be talking and they'll be like, OK, yeah, whatever that kind of throw you to the side. I think I gave, um, the example of the musician. If you are writing a song and you're a great musician and then someone who you don't think is that great because they're always asking you like, Hey, what about this? What about this? But blah, you don't think there that great. And then they try to give you an opinion. You're just kind of gonna brush it off, OK? Yeah, whatever. But someone who opinion you admire someone who you think is on the same level as you. If they give you a suggestion, you may take it more too hard and listen to it. Okay, you know what? Let's check that out. Let's try it. Let's see. And if we put those people the casting director, the age of the director on the same level as us, then they'll be more open to hearing what we have to say. There be more open to listening to us. But if they don't think that we have much legitimacy if they don't think they don't know what they're talking about or if they feel like they're above you because you put them up there and you're below them. No matter what you say, you're always reaching. It's always a reach. They never have to reach down to you. You're always I'm gonna reach up to them. So remember, just put him on the same level. There's a lot of things that we learned in here. So again, if you wrote them all down, that's great. Highlighted the important points that really resonated with you. Then you could just really go back to your book and say, Okay, right. This is the point, OK, that really resonated with me. You can keep that. It's super easy to go back and look at your notes. And I remember you guys have these videos for yourselves forever. You can use them as much as you want. So now hey, you feel like you want to go and watch the whole thing again? You could if you want to. You know, maybe you're like, every year, every two years, like I'm gonna go through the whole course again and find maybe there's something you missed. Maybe is other elements to it. Or maybe you're like, Hey, I really need toe watch this one video again cause it really helped me. Whatever it is, you have the videos at your disposal now that you can go back and you can watch him and you can find the ones that are your favorite ones, the ones that really work for you. You go back, you watch what you need to watch because you have them. Now. It's kind of like that example that I gave you before of how you can have a basketball player and they can show you the perfect shot all the time. Well, you have these videos that you can go back to all the time. You can look at them and go through them as much as you need. It's not like when you're in a class and come. Your instructor tells you something or teachers something in the class, and then you see it, you witness it. But then maybe two weeks later, trying remember exactly what it was, exactly what was said, exactly what you saw that you liked that you enjoy that resonated with you. Sometimes it's harder to draw upon, but when you have something that you can constantly go back to as much as you like, that's a lot easier to go through and find Oh, this is what it is because you can re watch and you can recap and see Oh, this is what I really enjoyed. This is what I like. Or you can go back to your notes and say, Oh, right, this is what it was. And then you have it instantly at your disposal. So, as always, congratulations to everyone who made it through all the videos, stuck with it and really stood through this whole process and committed yourself to learning and moving forward. You guys have gained all the information that I've got. You guys have now gone the next step, you've gone the next up further and becoming better proficient actors. Now your job is to do the work. Remember, this is not super easy. This is not something that whom you're be grated it. It's like a sport. You gotta practice it in order to be good. To be a musician, you gotta practice to be good. So to be an actor, you gotta practice to be good. The beautiful thing about acting, though, is that were really always practicing it always how you interact with your instructor, how you interact with your parents, how you interact with your best friend. They're all different. We're all acting. We don't realize it. But we are truly, always acting. And we start to realize those moments how we interact differently with different people, especially when we're going through with our believability and finding. Hey, wait a minute. We are always acting always so. The beautiful thing is, once we start to realize that it's a lot easier to line it up for ourselves, it becomes easier to learn that may be a sport or an instrument. What I found with acting is that it's just like a bike. Once you start to get on a roll with it and you start really understanding and being able to go forward with it. Then if you stop say you stop, you know you don't ride a bike for five years, but then you can kind of talk back on and start writing again. It's the same thing with acting. Once you start getting on that right path, it's really hard to go backwards really hard. Once you start going on the right path on the correct trajectory, then it just keeps going better and better and better and better as long as you keep sticking with mentality of using what works for you and throwing out what doesn't just like when you're riding a bike. Well, you know, Hey, if you're riding a bike in your doing, well, you know, Whoa. If I lean too much to the left, you know they're gonna fall over. But, you know, if you stick with what's working for you, you'll be able to make it all the way to the top of a heel. Same with acting if you're working and you're moving your be doing great. If you realize hey, there's things that don't work for you while you're acting well, then you just you don't lean into those things. You just throw him out and you keep using what works for you so you can keep moving and pushing forward. So again, congratulations toe every single one of you who has made it through all the way from beginning all the way to the end here. It hasn't been an easy process, like I said, but you've been able to stick with it that shows that you're committed that shows that you're dedicated That shows that you are willing to work and you're deserve it. You're deserving to go and get to that next place you are. So I don't think this will be the last time we see each other. I think that I'm gonna see you guys again. Remember, I do have the YouTube channel, the actors academies. You can always go there to find other videos. Or if you have questions about anything people with that, I think that we may see each other one day in the future. Maybe we're gonna be working on the same thing together. We're gonna be in the same movie, Same show, same play, whatever it is. I think we're gonna work together. So I'll see you guys. Goodbye.