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.

Tuesday, April 5, 2011

Don't speak till I've got a camera on you.

Contacting my wish list has been very successful so far. And the list has grown a bit, mainly from the subjects I've already chosen suggesting other people to me.

But, boy, do they get fired up.
I am convinced . now, that I've found a real  gap in the system of training actors. The first hurdle is that the people I have mentioned the project to get going at the subject so fast and with a great deal of zeal!

I tried a  simple question, "From your point if view ,what do you need the actors fresh out of drama school to know "?

It prompts a flood of words...

The First Assistant Director -
 I wish they had some kind of idea who everyone on set was. Who are all those people and what are they doing ? Then I could be certain that the 2nd had asked them questions like 'Have you met with the director today?' Sometimes they get caught in a kind of bubble and are too scared to find out for themselves and I don't have time to do it for them.....

The Director-
The actors walk into the screen test and it takes about fifteen minutes to try to undo the preparation they've made to get to what they are . It's a delicate process and sometimes you wish they'd done nothing at all, and come in open....

The Casting Director-
I wish that the actors would realise that I need them to be their lovely selves first and foremost. Stop all that acting.....

The Actor/ Director/Teacher
It's a massive problem finding a balance between all that technique that they have learned and are so desperate to use and getting a real take on what they are capable of ....

etc etc etc

Each conversation I had to call a halt to because the camera wasn't there yet.
One of the most important things I learned in the nine years on the road interviewing folks for lifestyle TV is to NEVER talk about the interview before the interview.  The subject gets all fired up and the best thoughts on the subject lose their punch when  repeated. That spontaneity of the response is all important.

I'm ready for it now. I jump in with the hand up and "Don't speak till I've got a camera on you ' after about thirty seconds.

The next step is a more official invitation via email.

Then, I think I will begin shooting sooner than I thought , starting with some individual interviews. I'm sure that those initial interviews will present more new directions to take the idea than I have thought of so far.
What I envisage is then researching the topics/ people/ methods brought forward in those initial interviews and then planning to shoot additional material relating to those topics.

I'll plan a forum with several people in conversation later , probably for Sept / Oct 2011.

So far, so very interesting.

Tuesday, March 15, 2011

Wish List

To make a  documentary examining the needs of practitioners of film and TV seems to be a good idea.
It may answer some of my questions.
It might even be useful.
To interview directors, producers, casting agents and crew to find out what they require of the actor on set must shed light on how to teach the craft. As well, to talk about teaching screen with teachers who have been practitioners .

At present, this is my wish list-
Peter Andrikidis        Director ,                         http://www.imdb.com/name/nm0029014/
Miranda Otto            Actor                                http://en.wikipedia.org/wiki/Miranda_Otto
Rachel Perkins          Director / Producer          http://en.wikipedia.org/wiki/Rachel_Perkins
Richard Mcgrath       First assistant director      www.toptechsmanagement.com.au/download/cv/McGrathR.pdf
Steven Vidler            Actor/ Director / Teacher www.actorscentre.com.au/page/z_steve_vidler.html 
Marty Murphy           Actor/writer/ teacher   http://www.actorscentre.com.au/page/z_marty_murphy.html
Julia Peters                Producer                       Essential Media
Peter Duncan            Writer Producer            http://blogs.abc.net.au/abc_tv/2010/10/rake.html
Denise Roberts          Actor. teacher              http://www.deniseroberts.com/
Di Drew                    Director/producer/teacher  NIDA
Luke Shanahan         Writer/ Director            www.lukeshanahan.com.au/ 
Grant Scicluna           Director                      http://www.nfsa.gov.au/blog/authors/GrantScicluna/
Antonia Murphy        Casting Director/ Actor
Nico Lathouris           Teacher / Actor
Lewis Fitzgerald        Actor / Director/ Teacher
Yure Kovich              Actor / Teacher
Storey Walton            Teacher
Al Flower                   Actor/ teacher
Paul Barry                  Actor/ Teacher
                                    http://eighthoursadayatleast.blogspot.com/2010/06/7-clues-that-your-acting-teacher-sucks.html
Tony Knight                   Teacher              NIDA
George Whaley           Actor/ Director/ Teacher
Dean Carey                 CEO Actors Centre Australia.

Some of the above I have already approached and have been good enough to agree to be interviewed.

As well, I am setting about finding what may exist already in the area, starting with Paul Thompson's "Lessons in Visual Language" a series of documentaries made around 1979. http://trove.nla.gov.au/work/6282818

Wednesday, March 2, 2011

Learning on the Job

When I began in the film and television industry in 1978 ,having graduated NIDA,  the norm for actors was to learn on the job .
When I began teaching screen skills in 2003 it was the same.
It's a lovely irony.
NIDA 2nd Year ABC TV  excersise 1977
FRONT ROW L TO R: Michael Carson. Lewis Fitzgerald. Katrina Foster,Linda Cropper,Di Smith, Robert Giltinan, Stephen Doric,Peter Fisk
BACK ROW L TO R:John Howard,robert Grubb,Therese Kirk, Phillip Abdullah,Andrew James,Tony Mahood,Penny Cook,Bill McCluskey, Peter Cousens , Martin Sharman.
The extent of our TV training at NIDA was  two weeks at the ABC at the end of 2nd year and then again in 3rd year . We were given scenes from a production entitled "My Pot Plant's Turning Blue " in 2nd year and some from the play "Don's Party" in 3rd year . Fortunately we were working with directors of the calibre of Peter Fisk, Paul Thompson  and Michael Carson. There was even a day out on the old location set from "Rush" with an armourer, guns and real blanks. The highlight for me was firing an Owen gun  (couldn't handle the shotguns, they had too much kick).
Then, we were released onto the unsuspecting sets of the productions of the times. Crawfords dramas in Melbourne, Grundy's in Sydney, ABC mini series, films funded under the 10 BA  tax concession and the soaps.
I do clearly remember the occasional slur  'Oh yes, that's right, you're Naida trained'  . Seems it may have been more a hindrance rather than a help. I began to wonder even then where else it was possible to learn about the screen.
 It was easy to learn on the job because there was a lot of work to be had. The multi camera TV studio was widely used and there was time for rehearsal even for the smaller roles on the dramas. Sitcoms like 'Kingswood Country' and 'Hey Dad!' allowed a guest actor to spend a week with the cast , director and writer in church hall in Balmain before recording in front of a studio audience,
I can remember my first encounter with a television camera in studio. I had a small part in 'The Oracle' , an ABC drama with John Gregg as a radio personality. We had rehearsed (in a hall or rehearsal room ) but this was my first day on a set. As I stood waiting , this large creature on a hydraulic pedestal  swished silently towards me, reared up and the head bounced a bit at my eye level as it looked straight at me with one large eye. It was a living, breathing alien. And I realised  that I needed to make very good friends with it.

On the job was the way everyone learned and experience is the best teacher.
These days , though, the opportunities are fewer and the budgets are tighter. The norm (for a guest role ) is to arrive on set , have a camera rehearsal and then shoot it. Even the main cast are lucky to get a read through at some stage before the shoot ,with everyone present and engaged and uninterrupted by wardrobe calls , publicity or pick ups. Time is tight and the stress in the air even tighter.

So, given that NIDA got it's TV studio up and running for the very first time three weeks ago, how do we need to be teaching our actors to prepare for a career on screen?

Monday, February 28, 2011

Master of Arts Practice at CSU

After spending time over the past seven years teaching myself how to translate +30 years of experience into something that is possible to communicate to students wanting to take the performance path, I want to take it further.
Deconstructing my own process has been fascinating. I hear the voices of my own teachers, and the actors and directors I have worked with, in my head all the time.

This is what I have discovered so far-

  1. I believe you cannot teach a person how to act.
  2. You can teach  techniques to use when instinct fails.
  3. You can teach how to be a better communicator.
  4. The indefinable joy in performance is inextricably linked to the success of that performance.
  5. If you want to work and it is not flowing freely to you, create a project.


The idea of further study comes from the fifth element in that list. And I  began thinking about making a documentary around teaching screen acting. I have access to many experienced people -actors, directors, casting directors, crew members- and have begun to get them to agree to being interviewed about their take on screen acting.

Kim Hardwick, who is a lecturer at CSU currently, directed me in "Love Song" by John Kolvenbach at the Darlinghurst theatre in 2009. It was her suggestion to look at this course with a definite intention to make myself more employable as a teacher of screen skills.

To be perfectly honest, the role of teacher is not one that has ever sat particularly easily with me. I have had a long career as a performer and have found the rigors of teaching a room full of students of varying degrees of intelligence and talent exhausting and frustrating at times. And boring. I was so used to the exhilaration of performance being it's immediate reward that enjoyment in teaching seemed a rare thing.

It was Denise Roberts , who runs Screenwise (a screen acting school in Sydney), who first asked me to put together a course around presenting for TV. Then asked me to take screen acting classes at short notice . When I asked what I should teach , the reply was  as loose as 'Oh, take them through some scripts and get them to hit marks and stuff'.

 What actually happened in the room was a revelation. The students concept of what acting on camera requires varied so much it took a lot of  time to work out what they understood.

Where to start?

I asked other teachers at that school. And those I knew of at other schools- the Actor's Centre , ACTT, NIDA. 
Most seemed to work at several schools, like me, on a casual basis.The most common answer was " You just get them to do scripts and you'll know what to do."  Or "Tell them  'That's okay but I don't believe you. Do it again'" The latter is actually useful. The former less so. 

The biggest problem for me initially was trying to give the non talented students something to go away with that they could use in life. It was painfully clear that they would not be employed as actors. It was not in my employer's interest for me to be blunt. These days I raise the bar - I set excersises which expose the students on camera. They can  clearly see that they fail. There is no need to tell them so, I can compliment whatever  is watchable and leave the rest for them to acknowledge themselves. Again, probably not good for business but I could go home feeling that I has not misled my students.

The value of using actors still involved in the industry as tutors is obvious but the lack of teacher training in my case was a problem for me. Accustomed to performing I would wear myself out after a three hour class .

To make matters worse , I took some casual work at The Ann Macdonald High School for the Performing Arts. Year 5 and 6 and 7, 8and 9, for Voice and Improvisation , Screen and Repertoire.

Two hours a, a bare room and fifteen adolescents. They ate me for lunch.

So , here I am, still teaching and learning , embarking on an organised way of discovering more about how to pass on what I know. Is that what teaching is?