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The actor’s analysis can start him on his way toward mastery of his role. It can help him to sense the direction which his interpretation must ultimately take. It can make him aware of the problems of movement and gesture, voice and speech, which the part will entail. Finally, it can lay the foundations for the first main step in character-building: creating a conception of his character.

As a further step in the same process, the actor must now give outward form and substance to his conception. Having created a mental image, he must imaginatively adapt his voice and his body to suit that image. He must begin to suppress personal traits that would be foreign to his role. Under the guidance of his director, he must assume in rehearsal patterns of movement and of speech that will set his character apart from the others, and that will clarify the intellectual and emotional meanings which the playwright intended. As he assumes these patterns of behaviour, moreover, he must bear in mind constantly that the playwright’s meanings must ultimately be projected from a stage, to an audience, in a theater.

Although in some respects “a character is indivisible,” yet the actor’s voice and the actor’s bodily movement do make distinct contributions to a total characterization, and both offer specialized problems for the beginner

The Basic Importance of Movement and Gesture

The importance of pantomime — i.e., the expression of dramatic ideas through movement and gesture alone — is often underestimated by the beginning actor. When his portions of the play’s dialogue have been memorized, he is likely to feel that his major task has been accomplished. Actually, he has a double task: first, to learn his part, rather than merely the lines; and second, to communicate that part to his audience. And in the process of such communication, the separate speeches of the actors are but one means of expression; pantomime is another, of at least equal importance.

As a matter of fact, most people express themselves in bodily reactions and attitudes before they do in speech. They reveal themselves first by their movements, by their mannerisms of face or of body. They express themselves by what they do or refrain from doing. And only then, as a general rule, do they add vocally their more detailed reactions. In normal situations, for example, people lean toward an object or a person that interests them; they turn away when they are disgusted or have lost interest; they become visibly tense when they are worried or frightened.

They slump in their chairs, straighten their shoulders, shake their heads, or brace themselves for a shock, depending on what is going on in their minds. They suggest in their whole bodily attitudes their joy, their anger, their embarrassment, their indecision, or their despair. That is to say, they communicate directly with anyone who is watching; and, in a general way, the watcher knows what they are thinking and what they are likely to do.

If this is true in real life, it is all the more so on the stage. The spectator cannot guess what you as an actor are thinking and feeling: he must have some outward indication of your intentions; he knows only what he sees and hears. If he merely hears an important dramatic idea, but never “sees” it, his impression is so much the weaker. Moreover, he must get his impressions from a distance. As Professor Drummond has put it,1 the spectator cannot read your palm or feel your pulse; he must learn what you are and what you mean by your posture or your carriage.

The expressive value of properly assumed bodily attitudes can be put in still another way. According to some schools of psychology as well as some schools of acting, an inner emotional state is not merely the cause of outward bodily attitudes; it is at least partially the result of them. That is to say, an outward imitation of attitudes suggesting suffering, for example, will help to bring the corresponding inner feelings. Repeated physical outbursts suggesting anger will definitely increase an inner urge to extreme passion. If one feeds a melancholy by dismal posturings and sighings, the melancholy deepens, but if he deliberately assumes a brighter and more cheerful aspect and posture, the melancholy tends to disappear.

Psychologists are in dispute as to the exact cause-and-effect relationship involved here, though they would tend to agree that inner states of mind and outer physical attitudes do exert a general influence on each other, and that this influence is demonstrable. Indeed, you can test for yourself the validity of such a theory. If you have difficulty seeming natural and convincing in your vocal expression of anger, fear, or remorse, assume the proper bodily attitude and observe the result. You will certainly find it easier to be expressive vocally; and you may find that you have enlarged your expressive possibilities generally. Conversely, you will find it difficult, if not impossible, to express your inner feelings effectively if your posture and movement deny or misrepresent that state.

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The best criterion for the amateur actor’s line reading may be summed up in a single sentence:

“Did the readings seem natural?”

Long hours of study and rehearsal, and the best of good intentions, will bring only limited success if a reading seems stilted and unconvincing. Good reading of dialogue has the quality and the effect of real conversation. It is lively and expressive, varied and interesting. A conversationally spoken line has a certain ring of the genuine and the normal which an obviously recited speech always lacks; it is without the exaggerated artificiality and the unreal monotony of mechanical declamation. A good actor gives the impression that he is thinking and uttering ideas for the first time, not merely repeating memorized words.

Such naturalness in the reading of lines is not so difficult to achieve as it may at first appear. Conversing in real life and reading lines in a play differ in degree rather than in kind; the mental action involved is much the same in both. In everyday conversation, the actor utters his ideas just as they are created in his mind. He speaks as he thinks, and the words come out as he thinks — a phrase here, a hesitation there, a word, a spurt of words, and so on. In delivering lines from a manuscript, on the other hand, the actor is repeating impressions that he has gleaned from a printed page. The point at issue, therefore, is that as an actor you must do in reading lines what you do in real conversation: just as your mind creates the thoughts you speak while you are conversing, so your mind must recreate the thoughts you speak while you are reading lines. If you are like most students, your reading can be genuine, convincing, conversational only if your mind is actively present at the moment of utterance.

It is in this sense, then, that you are advised to read naturally. Nowhere has it been implied, of course, that you are just to “be yourself on the stage, regardless of dramatic effect. If your day-by-day “natural” habits are to mumble your words or to mouth them over meticulously, such faults must obviously be corrected. You can find here no blanket justification for habitually muffled or scratchy tones, or for a normally thin or breathy voice. Your lines on the stage must usually be clearer and more interesting than in real life. Hence, faults must be adjusted, meaningless or misleading details must be eliminated, and special points must be heightened for proper effect. But at no time must your speech seem stilted, mechanical, or artificial.

Expressing the Meaning

The first step in expressing the meaning of a character’s lines is of course understanding them. At the very least this requires that you know the common meaning of all the words used in those lines. Use your dictionary as a guide, and be sure that you have mastered not only each literal and explicit meaning (that is, each “denotation”) but each implication (or “connotation”). Don’t take any chances; your grasp of detailed meanings must be complete, sure, unequivocal. Note that some words whose superficial meaning may at first seem evident might have been used in a special sense and that if you are careless you may miss the point entirely. Remember also that certain proper names, quotations, historical or literary allusions, and the like might have been given a specialized application.

But beyond such elementary problems of logical meaning lie other and no less important considerations. The basic job in expressing the meaning of a line is proper grouping of the words that it contains. That is to say, people normally do not speak in single words, but in groups of words. Each of these groups, in turn, expresses an idea, or a relatively complete part of an idea. To break up the idea by chopping its natural word group into separate words (or into unnecessarily small partial groups) makes for jerky reading that is both unnatural and difficult to follow. The single idea of “Go” may be taken as a simple illustration. In the author’s manuscript, this idea may have been phrased, “Get out”; or, “Please leave the room”; or again, “Will you please leave this room at once.” The number of words actually used here to express the idea varies from two to eight, although in each case the unit of thought is not the separate words, but the entire word group itself. With a sentence like the one above, “Will you please leave this room at once,” a speaker does not think first and separately of will, then of you, then of please, then of leave, and so on; he thinks of all the words, grouped as a single idea. Similarly, in a longer sentence or group of sentences, one’s thought does not move forward in a succession of single words, but progresses by word groups expressing single ideas.

From the standpoint of an actor preparing to read his lines, the number of words that are to be combined in a word group may vary considerably. The actor’s decision must be based on the thought to be expressed and the circumstances under which it is to be uttered. If a character wishes to be impressive, or is speaking to someone who presumably has difficulty in understanding his ideas, he may use many and relatively short groups; under opposite conditions, few and relatively long ones. A typical word group, however, usually contains from six or eight to a dozen or more words, smoothly tied together and expressing a single idea. Each of these separate groups must be considered as a thought unit, regardless of its length, and each must be set off from its neighbors by a longer or shorter pause. Failure to group properly in the reading of lines results in falsified meanings and in dulled or warped characterizations.

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To insure the most effective bodily communication, an actor requires a healthy and flexible body. Dancing and certain forms of athletics (e.g., swimming, boxing, gymnastics, and especially fencing) have traditionally been recommended as suitable means of physical development for the prospective actor.

Such activities subordinate the part to the whole, and focus on smooth and balanced functioning of the body as a complex but single organism. Isolated exercises which tend to develop muscle-systems or parts of the body separately and without regard to their function in the whole, have usually proved less satisfactory. Individual exercises to develop poise, balance, and co-ordination are of course another matter.

It would be misleading to imply that only athletes or dancers can successfully perform a typical play. But the chances for an adequate performance are clearly dependent on an actor’s physical vitality, his physical control, and his physical responsiveness. The only good actor is an alert actor. The player who is physically ill or weary, or just not concentrating both body and mind on the tasks at hand, is in difficulty before he starts. Prompt and vivid responses, important as they are to the clarity and interest of a scene, are simply beyond the reach of an actor who is not “on his toes.” A body only half alive at the moment of rehearsal or performance is a body more than half useless to the director. Even the shortest scene demands warmth and vitality and genuine concentration from every actor concerned.

But beyond such vitality, every scene demands physical control. Alertness or energy that is not disciplined is likely to be distracting as well as meaningless on the stage. Any movement that is clearly visible to the spectators has a strong claim on their attention. Hence the actor must move only when his part and the scene require that he move, and never otherwise. This is apparently one of the most difficult lessons for the beginner to learn, yet it is one of the most important. If a gesture or movement is not going to contribute to the dramatic meaning of a scene - or to draw attention to something that is contributing such meaning - then that action is either unnecessary or misleading, or both. Rapidly and absent-mindedly moving the hands from hips to pockets and back again; nodding the head on almost every phrase; shifting the weight constantly back and forth from foot to foot; side stepping or otherwise shifting about while others are speaking - each of these is monotonous and distracting. Each may be a carryover from real-life habits, or a result of nervous tensions of the moment. But each is fatal to expressive communication.

When the actor does move or gesture, he must do so freely but economically. A performer who is physically tense calls attention to himself rather than to the character or the scene. Alertness and vitality must not be taken to imply taut nerves and stiffened muscles. Teachers of acting of markedly different backgrounds and temperaments unite in counseling their students to relax. Expressive movement, as well as efficient voice production, require freedom from undue strain and tension. Like the dancer and the singer, every actor must learn to use those muscles which are directly concerned with the business at hand, and to let the others alone. Effective movements on the stage must usually seem effortless, though of course they must rarely seem weak.

An actor’s responsiveness is his third physical requirement. He must seem, at the moment of performance, to be in con-

tact with the people and the things about him. He must listen, react, and reply; he must touch, react, and draw back; he must see, react, and respond. Whatever his cue for moving or speaking, he must adjust himself to what has been seen, heard, felt, smelled, or tasted; and must then effectively “answer back.” He must show that he has received an impression. He must not only think, but feel, his way about.

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Half a gesture is often worse than none. An uncertain or indeterminate movement usually carries the false suggestion of timidity or weakness, and it may fail to catch and properly lead the audience’s attention. When you turn to look at another character, for example, ordinarily turn most of the way, and make the turn clearly evident with the body as well as the head. Lead, so to speak, with the eyes; then follow with the head, the torso, and the legs. Be especially careful to avoid the predicament of seeming to have your feet glued to the floor, facing out, while your head, arms, and torso are twisted awkwardly in some other direction. Similarly, do not allow one part of your body to remain relaxed and unexpressive while another does its best to carry meaning. In general, “follow through” on a movement, if you wish to be both clear and natural.

Another aspect of clarity in movement depends on doing one thing at a time. This implies, first of all, that you strip your pantomime of unnecessary minor movements and gestures. Select only those bits of movement which are absolutely necessary to suggest the action required, and rigorously exclude all others. Thus you will bring a single significant action clearly into focus for the audience.

Should the action naturally contain two or three separate parts, be sure not to muddle them together or try to do all of them at once. Let us assume that you are seated stage right, and that you are to exit angrily and excitedly on the cue of another actor’s line. The stage directions in the author’s manuscript may merely indicate: “He sputters and rushes out in anger.” Assuredly, you must hear the speech first and give it time to register. Only then can you gasp or sputter as the situation may require; rise and glare at the speaker; and finally hurry off the stage in characteristic fashion. Only if these separate moves are not jumbled together can they add clarity, naturalness, and indeed climax to the scene. Your job is to make a point of each single impression, be sure it has registered, and then proceed to the next.

The best formula for any sustained bit of pantomime is to (a) “think” the action, (b) “see” the action, and only then (c) “do” the action - and do it clearly and deliberately. If an important scene requires that you drink medicine, for instance, first see and feel the glass and the bottle; carefully pour the medicine from the bottle, and deliberately watch it run into the glass; then drink it naturally and set the properties down firmly. Suppress every unnecessary motion, but do not hurry those that remain.

A third general principle, which grows out of the others, is quickly stated: Don’t overdo. Exaggerated facial expressions, artificial gestures, mechanical postures detract rather than add to the interest and meaning of a typical scene. When in doubt, do less rather than more; be restrained rather than violent. Above all, control your physical expression “from the inside? Stay in character, but except for purposeful movement, keep still. Such behavior not only gives the other characters and the scene itself a chance to register on the minds of the audience; but it also serves to emphasize your own movements when you finally do make them.

In connection with these principles of movement, a final suggestion may prove valuable. Once you have - with your director - set your pattern of movement for the entire play, it is well to walk through that pattern from time to time, without lines, but with careful attention to positions, postures, and necessary bits of action. This will serve to polish your movement and to keep it connected, smooth, and natural. If you have your director or some other interested person observe your pantomime on such an occasion, it may also serve to check on the contributions which your body, your carriage, and your gestures are making toward a complete characterization.

Before the student is ready to move easily about on the stage, and before he is ready to assume the individualized, the beginner should note that full freedom to react to surroundings depends on an early memorization of his director’s plan for his key positions and movements.

It would be unscientific (as well as valueless for the actor) to hold up a single inflexible standard for all persons under all circumstances, yet it is possible to make certain generalizations that are both valid and useful. Normal and natural posture for the actor, most teachers agree, must mean efficient posture. Neither as stiff as the proverbial ramrod nor as limp as the proverbial gunnysack, the actor must be alert, alive, ready to react on stimulus. “Good” posture for the actor is not fixed or stable, but dynamic; the body is adjusted to the needs of the existing situation and is prepared to move or react with a minimum expenditure of effort.

Normally, the standing body should be straight. The actor’s head should be directly above the chest, hips, and feet; the chest should be held relatively high and forward, the abdomen relatively firm and flat; the usual curves of the back should not be exaggerated. The weight should be in easy balance. If the weight is shifted primarily to one foot, it should not be over-shifted; there must be no exaggerated side bend at the hips. The actor who slumps on the weight-bearing side is not only unpleasant to look at, but is unprepared to move as the action may dictate.

The walking body is normally poised, balanced. An ungainly and therefore distracting walk is usually due to jerky or awkward shifts of body weight. In general, the torso is upright and moves directly forward, without swaying from side to side, bending backward and forward, or bouncing up and down on every other step. There should be no impression of weakness or slovenliness. On the other hand there should be no impression of pomposity or swagger, as though the actor as a person were trying to compensate for embarrassment or a sense of inferiority.

In normal sitting positions, the hips should be pushed far enough back in relation to the upper body that the natural curve of the spine can be generally maintained. If the torso slumps so that the spine is thrown into a long single curve, then the chest cannot poise easily above the hips and the abdominal muscles and organs are subjected to undue strain and pressure. Sprawling and slouching are of course to be avoided, as is exaggerated stiffness or rigidity. Just as with standing and walking, a sense of easy and “ready” poise is the ideal.

The student should note that the normal, uncharacterized behavior here described offers distinct advantages to the actor. Such behavior allows full freedom for efficient and clear-cut action that is without irrelevant distractions for the audience. Moreover, the behavior suggested is of major importance to proper breathing, that is to say, as an individual - of special personal traits or attitudes of his own which might have misleading dramatic significance. Until he has rid himself of outstanding habits of behavior strongly at variance with the normal, he is not prepared to assume the particular traits of his character.

General Principles for Stage Movement
It may be useful at this point to suggest several general principles on which an actor’s action-patterns may be based. The first of these has already been implied: Move only for a specific dramatic purpose. Random movements of the hands, the feet, or the head must be either suppressed entirely or adapted to fit some purposeful action. Unless as an actor you see and understand a definite reason for moving from place to place on the stage, do nothing at all. To this charge your director can allow no exception.

When you do move, on the other hand, your movement ought to contribute unmistakably either to the meaning of your own part or to the meaning of the scene as a whole. A few examples will serve to establish the point. You may have to move toward a window because the plot requires that you are later to see someone approaching. You may need to move about in a certain way to indicate your character’s personality or his present state of mind; or perhaps to emphasize an important point in the dialogue. You may need to move to show a change.

If you wished to make clear that you had no intention of prolonging an argument, you might turn or even move away; and, conversely, turning back and moving closer to your opponent would suggest that you intended to begin in earnest.

Your purposeful movements, on the other hand, may serve to direct attention to another actor who has something significant to do or to say at the moment. You might accomplish this result by looking toward him, by seeming to listen carefully, or merely by getting out of his way so that the audience can better see his action. In this connection, note that one of the actor’s primary functions in interpreting a play is to control the attention of his audience. The spectator should look where the actor wants him to look, and listen to what the actor wants him to listen to, when the actor wishes. If the spectator’s attention is dispersed, or if he is looking at or listening to the wrong things, he may lose track of the main trends of the action.

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Lighting is always a key issue in cinematography. It is not so challenging to learn, but you must learn to see lighting issues right away. Lighting for film is always very tricky and it’s absolutely necessary to use a light meter. With film there is a question of the color of the light as well.

With video, the problems with shadow, glare, and color temperature become much easier to deal with. Film may be challenging, but when it is lit and shot properly it’s heaven. That said, in the beginning it is probably more feasible and realistic to shoot with a digital video camera.

Hot Spots

While there may be areas that don’t have adequate light, it is also problematic to have areas with too much light. These areas are termed “hot” and are dealt with via some sort of diffusion material, that takes glare off of the subject.

Those are the major lighting problems you will be dealing with.

Using a Monitor

It will make your life a lot easier if you have a monitor set up at the scene location. You should have a fairly good one that can give you a true representation of what you are taping. Shooting with film demands a Light Meter and a Color Temperature Meter. In digital recording you can use the monitor to tell you what will need to know. You will see the areas that have lighting problems that need to be fixed.

By looking at the monitor, you can detect problems of light and dark and easily fix them. Another lighting issue that arises is the color of the light in your picture. Different kinds of lighting will have their own respective color ranges.

Types of Light

Household Tungsten lights have a yellow glow. If you want that yellow color in the picture, that is fine, but if not, one can color correct with digital formats filters during the edit.

Fluorescent Lighting

Fluorescent lighting can be a disaster depending on how bright it is and how close it is to the subject. Fluorescent lighting throws off a greenish cast and can be very unflattering to the subject. The whole pea soup complexion thing is inclined to to really make the talent have an appearance that is just ugly.

Natural Outdoor Light

Outdoor Sunlit lighting will sometimes be a problem. Refer to your monitor. Outside daylight gives off a blue cast. This will be especially evident at times when shooting into shady area. Any grass or foliage in the picture will exaggerate the blue cast.

Halogen Lights

Halogen lights are reputed to have a pink glow to them. Halogen lighting is not as prevalent as other kinds of light, but it will likely be used for outdoor night shots.

Suggesting Time of Day

Lighting suggests what time of day it is. It gives people have a sense if the sun is setting, if it is raining outside, and so on.

Light Conveys Mood

Be aware of the conditions in the screenplay that will demand certain types of lighting. A flashlight in the dark or headlights will telegraph things about to happen. One can create tension and suspense or a feeling of light-hearted glee with lighting. Cinematographers learn to convey a romantic atmosphere, a work-day at the office feeling, a manic party atmosphere, all by how scenes are lit.

Importance of Lighting Consistency in Films

A shot is only good if the right the right kind lighting that a shot demands is effectively applied. Each shot has its own respective lighting requirements. Accomplishing the right kind of lighting set-ups for the entire duration of the film is essential to create a film of consistently good quality. To accomplish this, it is vital to mark down the color of the light when you begin the shoot and to continue everything consistently well throughout the shoots.

This will keep you from having to fix inconsistencies in post-production, which is sometimes impossible to prevent, but if you are really good that will not happen much.

Preproduction Lighting Notes are Crucial

When you make a few short films you will find that it is crucial to note down lighting details, light color, lighting temperature, in production notes. It can be a real pain when you are editing and you have change color ranges from edit to edit. Furthermore, it can be fatal to the continuity in your film.

If there is an overall problem with the color of the light in your production, your digital software may have color correction filters that can help take care of it during editing in post production. When everything used to be shot in film, filters had to be used over the lens at the time of shooting and it was significantly harder to accomplish what can now be successfully executed with digital editing.

Three Point Lighting

Three-point lighting is the standard lighting setup and applied in all film and television production. It is always better to have good natural lighting, but if you do not have good natural light available three point lighting is what you will generally use.

Three-point lighting consists of the following:

Key Light

Your key light is the main light shining on your subject. Be careful not to have it too close to the subject since it can create hot areas and glare.

Fill Light

Your Key light usually creates a harsh light that renders a distinct shadow. The best way to get rid of that shadow is to use your Fill light.

Kicker Light

The Kicker light is applied behind the subject to fill in the shadows there. Using the kicker light can give the subject dimension.

Lighting Kit

When you purchase supplies for your light kit, the lights we just covered are the primary lights that you will need. You will also be in need of a means to apply diffusion material. If you have a screen door or window, look at the light outside without the screen in front of it. Do you see how bright and vivid it is? Now block the light with the screen; it is naturally diffused and becomes darker. This is what you are doing at whenever you use lighting diffusers in a scene.

Light Diffusion

There are a number of ways to achieve light diffusion. In a light kit, it is wise to include gauzy material like cheesecloth, muslin, or a material that is white, to diffuse. You will use binder clips and makeshift scrim stands. “Scrim” is another word for a diffuser material. Filmmakers have used such things as old 3-legged music stands and binder clips to create scrim stands that diffuse the light passing through them.

Filming in Natural Lighting

Filming in natural lighting tends to be favorable, but presents difficulties of its own. From 10 am to 3 pm in the afternoon, the sun creates harsh shadows under the eyes and nose of the subject. This can be remedied using fill lights under the subjects’ faces.

The Best Natural Lighting

The best natural lighting is the lighting that comes at the end of the day, a couple of hours before sunset. This lighting has golden caramel-colored glow and gives everything a halo. The sun is at a perfect angle for the filming, creating light that falls directly on the subject’s face.

Sunset lighting is really good for portraying sentimental and romantic moments. However, at this time of day, it is absolutely imperative to shoot fast since there will not be much time to execute shots. Make sure everything is ready in anticipation of the sunset lighting.

Dealing With Lighting Challenges

During filming, some kinds of sets are extremely challenging to light properly, and may make it necessary to find creative solutions to deal with problems. Taking a trip to the hardware store will in some cases help you find ways to resolve lighting problems. Lighting is something that has to be practiced. Anyone who expects to light everything perfectly on the day of the shoot without any setbacks or glitches will be in for a nasty surprise. You must make test runs with your lights first.

Electrical Requirements

It is crucial to ensure that electrical requirements are met for lighting. Lights demand a lot of energy, so it is a good idea to make sure that you will not be shorting out the system, or even an the entire block, as a result of trying to light the set. Check with an electrician about this.

Safety

Remember — these lights are hot. Protect yourself and others. Also, you may have an occasional bulb popping and spraying glass everywhere. This seldom happens, but it truly is better to be safe than sorry.

You must do everything that a person can to be safe. There are going to be cords everywhere on the ground or floor during the shoot. You will have people running everywhere so secure down all your cords firmly and make people aware of their locations.

A person can use gaffer’s tape on the electrical cords to secure them in place. Gaffer’s tape is more expensive and doesn’t leave marks on walls on floors. You can use duct tape in a pinch but gaffer’s tape is best.

Let There Be Light

Light is everything we see and has the utmost impact on every aspect of a film. Don’t treat light lightly. But, lighten up. Movies are suppose to be fun. Enjoy the learning process of getting lighting on the subject.

Hello, Hollywood! (er, Hollywood North)

My early days of auditioning for acting roles were not that promising.

There was a serious-looking young lady in glasses at the Vancouver Film School, who particularly disliked me. Interestingly, I can’t even remember her name. I’ll call her Angie.

The Very First Film I Tried Out For

Angie was the producer on the very first short film I tried out for. I came to the VFS campus at 400 W Hastings to audition for the role of a particularly stupid American tourist interacting with a “ranger” in Stanley Park.

Dressed for the Part

I was dressed for the role in short pants, a Hawaiian shirt and a Panama hat. Angie sat almost hidden in the back of the room, while the male director and I talked. The camera was then trained on me and I began my performance.

Lights, Camera…(gulp)

I had memorized my one line, but the lights were bright and my mind went blank. The second time around, I used the script. However I did my best imitation of a southern accent and the director smiled at the goofy expression on my face. I felt good about it.

Did I Get the Role? The Waiting Game
Days past and their phone call never came. I continued to peruse the audition advertisements online and noticed that Angie was now director of a new student flick. The role called for someone to play the big boss CEO.

A New Gig

They emailed me the script and I found again that the CEO had only one line. It was like their instructor had warned them that they had to give this guy a crumb or two, or else nobody would show to audition. They could have eliminated the character altogether, but instead they gave me my one useless line.

Dressed For the New Role

I wore my best grey suit and white shirt with tie. One of the crew members complimented me. Angie greeted me coolly and I began my “performance”. The reader, who must have doubled as an actor, had memorized his monologue and did a great performance. I was nothing in comparison. My heart just wasn’t in this.

A New Casting Call

A while later, I read a third notice. Angie was again one of the principals in this production. Once more, I sent in my padded resume. I got no response. I saw notice a second time. I sent in my application again. I was again ignored.

Bye Bye, Angie…

I never did get another chance from Angie, even though future VFS directors proved to be much more receptive.

I’ve often wondered if Angie ever established herself outside of the protected ivory tower environment of the Vancouver Film School or if she instead went to work for the Royal Bank of Canada.

Bill Marles is a journalist, travel writer, and actor.

by Bill Marles

I’ve been cultivating an unkempt hairy look for my role as “The Laughing Bum” in a British Columbia Institute of Technology student film. But now 11 hours later, I’m an extra on the latest episode of 20th Century Fox’s “The Fantastic Four.” The set is located at Main and Terminal in Vancouver B.C., not one of the best parts of town, and crew members are concerned I might have wandered in off the street.

“Are you on the team?” a young Asian girl asks politely. “I’m an extra, yes,” I answer, maybe too guardedly. “Do you have your ID?” she asks. “That piece of paper they gave me in the parking lot? I didn’t know what it was for, I say. I left it in my car.” She frowned, “Do you know who the wrangler is today?” Fortunately, I’ve worked with this crew before and I know the answer. “Joe is one of them,” I say. “Can you point him out to me?” I do so and now I am off the hook, at least until lunch when another crew member accosts me. The second authority is easier to please. I tell her my agent’s name and that satisfies her.

Later, both women are concerned they offended me, but I’m more amused than insulted. We part on good terms. All this happened because I played a role as a “bum” on a small production and didn’t have time to clean up.

The point I’m making is an actor’s life, especially a new one like me, is never easy. The only payment received for my work on the student film was a couple of lunches; and of course, at the end of the month, I get a copy of the movie.

The production required me to travel to Burnaby to audition, hours of rehearsal and finally three days on set in Crescent Beach and Coquitlam. On my days off, I took time to sleep-in and go for walks to keep my energy level up. This is one high stress job!

Fortunately, unlike the other actors, I don’t have to worry about maintaining a day job. Imagine if I was in sales or some public service job and got the role of The Laughing Bum, I would have some tough explaining to do to the boss.

As it is, I’m going to have to apologize to my condo neighbors for the noisy rehearsals. But how many people can say they played a major role in a film, any film? It’s worth it and I would do it all over again.

Bill Marles is a journalist, travel writer, and actor.

Image by Getty Images via Daylife

If you are making your film yourself without the benefit of traditional backing you will in all likelihood figure out yourself to be writing, producing, and acting in your own film. But that isn’t to say that you won’t be in need of help. You will have no choice but be completely active in all phases of the production. Such are the joys of the independent movie maker. However, are most necessary help. Are most essential other actors, sound people (someone has to wield and hold), camera operators, and so on.

If you are in school studying film you have a perfect group of people to draw from to get your film crafted. It’s a “you scratch my back, I scratch yours” situation. Students help each other to get their films crafted. Each of us has a specific talent and we can contribute that to the production at hand. If you are not in school you may have to convince your friends to help you with your film. It shouldn’t be too a bit of a challenge because it is exciting to be involved with making a film.

Of course you may not get all the help you need in your family and friends. You certainly should connect with others who have as much desire to actualize a movie that you do. This means you must figure out social events that offer chances for you to network with others who possess a similar interest in film. Networking is going to be of great importance from beginning to end in the production process of your film.

It is highly advisable to have business cards made that include your contact information, and perhaps a dedicated website for the purpose of your movie or production company. Whenever it comes to business cards and websites, quality leaves a better impression than cheap-looking stuff. It doesn’t even certainly should cost a lot. Nice-looking and affordable templates may be found for websites and business cards alike. If you must, barter severs with web designers or professional printers. Again, networking can do wonders in such areas as these — barter skills or favors.

Naturally, “Web 2.0″ — the new generations of Internet forums, communities, blogs, and hosting services — might also open up new avenues of opportunities to connect with others who have creative film-related interests and skills. This is a great way to exchange ideas, skills, and maybe figure out others to collaborate with in making your film.

Make lists of contacts you might acquire the skills to gain assistance within the circles of in the various fields of expertise. It doesn’t matter if this is your firstly film or your 21st. You may begin to work with the same people as you learn who you best work with Some of the disciplines you may need are: camera operators, electricians, carpenters, make-up artists, audio engineers, set designers, locations scouts, script supervisors, costumers, publicists, and finally arena people for the purpose of your food service.

Once you make a list of these contacts remember to keep careful track of them. Make copies of contact lists stored in a number of places. It will make you crazy if your computer crashes and all the info for your crew is on it, so make back up contact lists.

You may learn to live without some of these positions on the production of your film, but chances are you will be picking up the slack for the objective of that position. You may figure out yourself directing a film and doing make-up or wardrobe at the same time. Multi-tasking is the name of this sport and you get better at it as you go along.

Many new filmmakers are actually in film school and they use what and who they have available to them. This means working with people that may be a little flaky in their punctuality. However, each filmmaker has their own film that they want to make and they will give you good work with the expectation that they will get it in return on their film.

Again, one thing you might consider is this; if you are not in film school perhaps you should go. In film school you have the equipment and facilities crafted available to you as long as you are a matriculated student. My school had a $900,000 per year budget for equipment for students to use. We had sound mixing booths and editing suites available to us 24/7.

Once you have people that have agreed to work with you on your film you may set up production meetings in order to plan for the objective of the actual production or shoot. The success of your filming schedule will depend on how effectively you have planned the shoot in your production meetings. Make notes before your meeting to make sure all necessary business is covered. Try to make the meeting stay focused on the business at hand instead of visiting and filming the breeze with everyone attending the meeting.

If you have people working sole for the purpose of making your film and they are doing this out of the goodness of their hearts, it is only decent and fair to make sure they are properly provided for in food and drink. It is the least one can do for the objective of another artist so make sure you always have meals, snacks, and beverages available for your crew at meetings and during the production.

It is advisable that you keep liquor out of these meetings as it undermines the professionalism of your group and impedes the flow of work. This is not to say that the group may not ever celebrate according to having a drink or two together, but it is challenging to keep the crew focused if drinking is allowed during shooting. On studio shoots it is absolutely forbidden due to Union rules and insurance requirements for the objective of continued coverage.

Once you have a crew assembled then post your firstly production meeting. In your meeting, tell your group what your vision of the film is and open a discussion about how they can help to make that happen. Assign crew positions and make a shooting schedule. Then split your group into 2 separate groups, crew and actors. Schedule readings of the script so everyone gets to run through their lines and so you may give them your direction.

The performers must have an opportunity to meet with the director to determine is there an explanation on expected from them once the camera is rolling. This will help your performers to arrive prepared and ready to work without you having to stop them as much for the purpose of direction. Next a separate meeting is only good if constructed with your crew. Are most essential to discuss equipment, location, set design, sound, lighting, and any other production issues that may come up.

Are most essential story boards and a shot list sheets to hand out. Have your crew study them with enough time available ahead of the shoot to bring up any obstacles that be in need of to be cleared for the purpose of the shoot.

Schedule adequate time on rehearsals and fittings to be approved by the director prior to the shoot. Whoever has worked on scouting the location needs to speak to everyone about the logistics of the location you will be filming the film at. The location will be in need of to be accessible before the shoot so that light readings can be taken and electrical requirements may be determined.

There are books out there that are written that could be used as guides for the objective of picking the right location. Refer to them please as this is an area that is going to be totally foreign to you if you are in any way creative. You have to make sure details are arranged like, parking being arranged, access to unload equipment, rest room access, food field area set-up, signed releases, maintenance of the location, location clean-up etc. ad nauseum.

One producer had a group of buildings that were houses in the 40s that were abandoned and in a state of complete disrepair. They were cool and very spooky looking. He didn’t want to go in them, but just wanted to shoot on the street in front of them. He procrastinated and they tore them down. He was very upset about that.

It is important, even in the most trying of times, for the producer to keep the morale up, and never lose the amazing joy of creative energy.

Image via Wikipedia

In the early 1920s, television, like many inventions, was simultaneously conceived by more than one inventor — namely Philo Farnsworth and Vladmir Zworykin.

Philo Farnsworth was the first inventor to actually transmit a television image. He was a 13-year-old farm-boy in Utah when he dreamed up the concept of television and how it would work. When he was twenty years old, he created the first working electronic pick up device — a cathode ray tube, and held the first patent on it. The image that appeared on the world’s first working television was dollar sign, composed of 60 horizontal lines, appearing on the tube.

Around this time, Russian scientist Vladmir Zworykin also innovated the concept of transmitting electronic data through a cathode ray tube and also held a patent.

Sadly, Philo Farnsworth (like many screenwriters, too) was not as adept at business and corporate manipulation as he was to his main areas of expertise, in science and physics. Though he initially owned the patent for television, WWII put slowed down television’s development and eventual deployment.

Philo Farnsworth got into legal conflicts with RCA (Radio Corporation of America), the employer of the other inventor of television, Vladmir Zworykin. RCA fought against paying Farnsworth a royalty for the invention. The battle was fought out in court, and RCA eventually agreed to pay royalties to Farnsworth.

The RCA corporation completely took possession of TV when Philo Farnsworth’s patent expired. RCA developed and marketed television, pretty much leaving Philo Farnsworth with squat.