Be a scientist not a stereotype

This morning on my way to taking my daughter to school I imagined reading it as a scene...Seventeen year old girl, rides with father, switches radio stations 30 times, settles on some songs for no longer than 30 seconds, does her make-up, answers a few texts.  I imagined giving that direction to an actor and saw how easily it would be to fall on stereotypes of what someone might think that should look like. I observed my daughter closely and understood her OWN way of doing all the above.  She teaches me so much.

Look for the love in a scene

When I was 20, I read that in a book by Michael Shutleff.  I have never forgotten the insight of that advice. Let me be bold and build on it. When the love from others is greater than the love we have for ourselves, then what?

Distance and desire

I was in my car at a  red light.  A homeless man walked by me holding a sign that read I am  hungry Need money. He took a second to look at every single driver in the eye.  What does this guy want from me?
I'm in a scene and I have to play that moment. What do I want? Money, yes that is obvious, and for whatever reasons I need it are not important.  The how, of getting that money is the play and what I will now and from now onto refer to instead of scene objectives is the character inducement.  This guy wanted my sympathy.  That was his inducement.

Pick a short monologue or a scene.  Play it with your face touching your partner's like you are both telling each other secrets.  Move back one foot and play it again.  Move back 5 feet and play it again. Now 20 feet.  (if a monologue, imagine your partner the same way) Analyze how the physical distance has affected the inducement of your delivery.  This is a great exercise to stimulate your creativity in scene work.

Try and catch your thoughts as a spectator.

Try and catch your thoughts as a spectator, more like, observe how your life streams thoughts on to you.  I was driving home, on auto-pilot and became aware of a "list" coming through.  And I realized that every single image was unrestful, items applying pressure, from my family life to finances.  Daily life luggage. I did not call them, was not consciously attempting to generate them, but there they were, looping inside my head. It helped me understand the immediacy factor of  contents in a  life and ultimately the stories we hope to tell as filmmakers and artists.

Don't sell me what you don't have.

Scenes are boxing matches.
An exchange of blows.
The imposing of the will.
The upper hand.
Not like a pair of clowns.

Screen Head

Try, and imperceptibly watch the movie in your head. YOUR movie. Stand back.  Relax with all of the nonsensical goal achievement you've been sold by goal achievement peddlers properly stowed in the southern gastronomical train station. Be honest and let it play. That is who you are now. Your holes, your fears, your dreams.

Uncomfortable

What makes you uncomfortable in your daily life? Not extremes, just day to day stuff.  Is it having your food re-done at a restaurant? Asking for directions? Approaching a stranger for whatever? Sharing personal stuff with friends? Make the list.

Let's think in terms of profession and we'll pick an "easy one" to illustrate my point.  You are being offered a job to call on strangers to sell them "x" product.  Your initial reaction might be, "I can't do that.  Me, sell over the phone?," and I suspect another 20 other reasons.  

Now if you were to be offered the role of a telemarketer who makes 200 calls a day, has the phone slammed on them 150 times, with no voice by the end of their shift, you would not hesitate and say, "I can do that".  Why? No deep analysis, I am not dealing in extreme characterizations. I think the answer is much simpler.

One is real, the other is not, right?  At the risk of being more brainy than needed:  the reality predetermination between real and the safe alternative is based on our perception of consequences and outcomes. Think about that for a second.

The "real" telemarketer does not know how today will fare, or even how well this one particular call will turn out.  They bravely make their call and pursue their one goal, sell something.  The actor, knows the outcome of the script; they know in advance whether it is a victory or defeat.

How you personally use this insight in the manner through which you approach a role will inevitably get you out of your head and into the moment.  This invisible truth can either stop you or thrust you to achieve the greatness within you.

This or that

With the proper invitation, an audience will accept all journeys.

If you are a cynic, truth will never be apparent.  If you are in awe, fertile ground for lies and deception. As an artist be mindful of both states. Neither is important to appreciate beauty or failure.