Friday, August 17, 2012

360°

And yes, Virginia, there is progress...
Kim Hardwick asked me to put together a short piece from my research so far for her students at CSU about to embark on their performance course. 
Here 'tis.



And I believe I have a new title for the Doco.
  360°



Tuesday, July 26, 2011

Real TV #2

What follows is an example of what an actor can expect from a TVC .
This particular experience highlights the technical aspects of an actor’s skills.

Let’s start with the first information  emailed from my agent.

4. Female Hero
Role type: 
100%
Gender required: 
Female
Age range: 
38 - 52
Breakdown:
The female hero needs to appear in the 40-50 year old age bracket. She could look late 30s - early 50s. She will need to be able to present 100% dialogue to a camera steadicam as it tracks with her for the duration of the commercial all whilst following a very specific path through various sets of locations in what is a fairly complex film making exercise. Above all we need to find an accomplished [expand]The female hero needs to appear in the 40-50 year old age bracket. She could look late 30s - early 50s. She will need to be able to present 100% dialogue to a camera steadicam as it tracks with her for the duration of the commercial all whilst following a very specific path through various sets of locations in what is a fairly complex film making exercise. Above all we need to find an accomplished actor/presenter who can achieve this while appearing completely natural and effortless. The lines will be broken into sections but she also need to be able to remember lines.
Our hero woman represents people who have endured a long journey to quit smoking and now have accomplished that so we don't want sickly looking smokers. There should be a positive vibe to her.
Above all our lead woman needs to seem like a real everyday person. Typically the target market are clue collar and clerical style workers. Think smoko breaks. It would be great to find a person who, while looking healthy, also conveys that there is a story behind those eyes and a feeling of emotion and hardship. And our lead needs to be able to relate (on the same level) to our working class target market. Noni Hazlehurst or a dressed down Kerry Armstrong (though she is probably a little too attractive) are good references.



Yes, absolutely fit in between Noni Hazlehurst and Kerry Armstrong and happy to be there!

The script, however, is confusing.



SCRIPT

FVO: Doors – Female.

NARRATOR: This commercial features a middle-aged Australian woman walking through a lot of doors. The doors illustrate the many issues and hurdles the woman must face to quit cigarettes for good.

The commercial opens on a door.  The middle-aged woman wanders through the door and onto a suburban street. She talks to camera.

FVO: You walk through a lot of doors to quit smoking.

NARRATOR: The woman walks through the door of a dress shop and past a woman looking in a mirror. She says.

FVO: You worry about putting on weight.

NARRATOR: She walks through another door and into a coffee shop. She says.

FVO: And you try to ignore your weaknesses.

NARRATOR: She walks through another door, which leads her to her doctor’s clinic. She walks past her doctor who gives us a little wave. The woman says.

FVO: But you could walk through your doctor’s door because smoking, for many, is recognised as a treatable condition.

NARRATOR: The woman opens another door and walks into an indoor swim centre, past a bunch of people doing laps. She says.

FVO: You could get the energy to do more.

NARRATOR: She walks into a modern bistro style restaurant, where she meets a bunch of friends.

FVO: And do the things you love.

NARRATOR: The camera moves through a final door and into a white room. A logo fades up and a voice over says.

FVO: Open the door to quitting. See your doctor.

NARRATOR: And the commercial ends.




.

A phone call to the agency happens next to find out if the role required is the V/O or the Narrator.
Turns out the scripted FVO is 100% . The dialogue is the bold type.
 Suspect that I was sent the power point pitch to the client.
Get  a clearer version of the script .
Do the screen test and get the gig.
Hooray!
 TVC, 12 months , cinema +internet $8000.
Thank God for advertising.

Wardrobe calls x2
Try on at least 15 options of clothing. Plus the things I wore at the screen test.
No prizes for guessing which outfit gets chosen by the client as the one to wear for the shoot.
Hope it’s clean…

Here is another challenge for the screen actor-

The call sheet indicates that both Female version and the Male version of the TVC will be shot together because of the location requirements.
Each single line exists in a separate location . Each location is entered by opening a door  and exited by a second door. Some of these doors are real and some are constructed by the set builders and placed on set.
Some locations have doors which open the wrong way so the actor must appear to be as a mirror image so, when the image is reversed in post production, the actor appears as correct in appearance.
The lines are not shot in sequence , over two scheduled days.



First location  was the Doctor's office, then the house (on a 45 degree celcius day) then the pub and the pool and cafe. The pool and cafe had a floating door. The pub is the reversed image.

Challenges? Performance continuity , precise timing and heat!

Real TV #1


What follows is the reality for an actor engaged to play a small guest role in a contemporary television production in 2011. A role something like the first experiences that I would expect many students would have as a professional actor on a real production.

Monday 11.00am
I am confirmed for a small guest role in a new comedy TV series. I know it is a contemporary political satire around our current Prime Minister and I understand that my role is only a few lines for half a day’s pay at Equity rates. 
That’s about $210 .
My character is Customer#1

Tuesday 10.35am
A revised script arrives via email from my agent.

Tuesday 5.12pm
A call sheet for Wed 20th July arrives.
The location is in Telopea , about an hour  away ny car, and my call time is 3pm. 
It’s lousy weather . 
Indeed the forecast is for heavy rain and gale force winds for Sydney metropolitan area and I will have no car on that day so search public transport options. 
It’s not promising.

6.30pm
A call from the wardrobe supervisor who asks whether I can bring several of my own wardrobe choices for the character. The public transport option now seems too risky with a bag of clothes and torrential rain on the 750metre walk from Telopea station to location. Hmmnnn.

Wednesday 12.00pm
I borrow a car from a friend a bus ride away. Joy!

2.00 pm
Arrive location. Desperately early but years of experience take nothing away from the terror of being late on set. Time is money . And not your own. I sit in the borrowed car and write emails on my laptop.

3.00 pm.
I emerge to find another actor I know also engaged to play a small role in the same scene. Customer #2 .  This is a very good thing because when we find the wardrobe truck , parked in a quagmire in the next suburban street, it is deserted , the door is closed and it starts to rain. Fortunately the door is not locked. That’s not proper procedure , given the equipment inside but good news for us.

3.30pm
Makeup and hair

4.00pm
Wigged, made up and wearing my own clothes we are brought on set. The shoot is 30 mins behind and losing light is an issue. Quick introductions to the lead actor , director  and first assistant director. The names of the  twenty other people in the room I may never know.

Run lines.
Rough blocking .
Camera positions set.
Breathe.
Action.
2nd take after the director has an adjustment or two.
3rd take with alternative move. Must hurry because natural light outside is failing
Closer shot. Take #1 and #2
Second version with alternative move #1
Close up lead actor #1 and 2#

Wardrobe assistant points out I have played the whole thing with the page of script sticking out of my back pocket.

Wide shot from exterior  #1. I have no idea  at all what the shot is exactly but play the scene improvising with the actor playing the shop owner  till the First says cut.

 Everybody starts moving stuff. Moving on means all the crew , whatever their names are , are very relieved.

5.00pm (I think)
Director comes out and she says thanks .
Writer/Producer says the same .

I say it’s good to feel like an actor for the day.

5.30pm
Pass an actor preparing her small part for the next scene, now 45 mins behind. She looks a little wide eyed.

6.30pm
Return my borrowed car in a deluge. Wet but now it doesn’t matter. Borrow an umbrella for the walk home.

Do you think your students are prepared for that reality?
That hour between 4pm and 5pm when the focus required is specific I'm not even sure how to describe it. 
That's the challenge, I guess.












Wednesday, May 25, 2011

Update

Now,

Just because I haven't posted anything doesn't mean nothing is happening.

Quite the contrary, in fact.

1. Tracked down a significant person in Nico Lathouris  who happened to be holding a workshop called "Praxis" via MEAA , all for free.
 I had a terrific day.
 I got to be a student again and watch another teacher battle with a a large class of adults and not enough time.
I made contact with Nico so now I can approach him to be interviewed.
I learned heaps about yet another methos of approaching teaching screen ( and one I was wanting to research.

2. First interview is to be shot next Wed June 1. Tony Knight, exiting Head of Drama at NIDA and my old classmate. he would have seen many changes in approach since he started there some 20 years ago.

3. I have been teaching three separate classes of students in screen acting and presenting  over May. My brain is a bit stretched as to where they are all at with which course but the bonus is I have been looking at the process in a different way because of this project. I have also asked some of them if they would be okay with being included as general class footage for the doco.

4. I have been reading and watching some material via the library and other sources around teaching screen actors. I've enjoyed the detail.

Off to NIDA to teach tonight . More later.