Acting Tip of the Week - By: Aaron Marcus

DON'T MAKE THIS MISTAKE AT A CASTING!  Recently, I got information sent to me about a pretty amazing go-see in New York. Not that the product was all that interesting, but whoever books the job will be flown from New York to Los Angeles and shoot a print ad for a day or two. Plus, the pay could easily more than $10,000 if the client decides to also cast the model in the television commercial. Everyone was sent information stating exactly what type of wardrobe to wear to the go-see. We were asked to wear a shirt, tie and slacks. I specifically asked the agent since we were supposed to dress as a business person, should I consider wearing a suit or only wear what was described to me in her email. She double checked with the photographer and she said to just follow the instructions. I was pretty surprised to see so many people wearing suits at the go-see. The other very important detail that we needed to follow was that for this particular job, the model had to be at least 30 years old. We were told to bring some form of identification that would verify that we were at least that age. I got to the casting facility and had to wait in line before I could fill out the normal forms. Just so you know, typically, at a go-see models have to fill out a card that will ask to fill in our name, sizes, contact information, agency, their contact information, any conflicts with the product, state whether we are willing to work as an extra (if they are needed in the ad) and a few other pieces of information.  Sometimes we are also asked to write out our name on a separate sheet of paper with a magic marker. This is done so when we first see the photographer; he/she will take a picture of the model holding the sheet of paper against our chest. This allows the photographer and the client to easily identify who we are. Due to the pay scale for this project, there were a lot of people attending this go-see. I had to wait over an hour to be seen. So, I am standing in line, and the person who is checking us in is telling one of the models that he can’t be considered for the job. The conversation is getting a little loud so I could easily hear everything that was being said. Apparently, the person checking in the models asked this one model for his driver’s license so that she could verify that he was over 30 years old. The guy did not bring his license. She asked if he brought a passport or some other form of identification that would prove that he was over 30 but he did not think it was necessary. She asked him if he had read about needing the documentation in the details that were sent to him from the agent. He said he did, but did not pay attention to it since he was over 30. The windup was, he was not seen or considered for the job. So, the moral to this story is, if an agent asks you to bring something to a casting, even if you don’t really think it is needed, bring it. Original Post: http://howtomodel.com/component/content/article/53-modeling/687-dont-make-this-mistake-.html

Guest Post: Conflict or How To Bring Order to the Galaxy Without Turning to the Dark Side

“Conflict is the essence of drama.” – Aristotle

“Conflict is not the essence of drama. Agreement is the essence of drama.” – Del Close
“My head hurts.” – improv student

Conflict.

Some improvisers love it. Others run from it.

In most performers’ minds, the word “conflict” suggests that characters should disagree or fight.

Most discussions about conflict tend to generate their own conflict: Is it necessary? How does it get started? How do you avoid it? Should it be based on what the story needs or what the characters want?

In order to get a better understanding of conflict, let’s begin with the “Today is The Day” scenario that’s often taught.

Often teachers will frame scene work with the view that “Today is the day things change for your character…a scene should be about a life-altering experience.” Scenes that follow will be inherently interesting because we see the character in a new light.

After all, how exciting can it be to watch a character do the same thing they always do

?

We want to see a character finally stand up to his boss, declare his love, get a divorce, get a job, get fired…anything to break the routine.

And I don’t necessarily disagree with this so much as I disagree with how it is handled.

For one thing, anytime you use the word “should” in an improv context, you (inadvertently) set up expectations. (A scene should be about…)

In the rush to get to a life-altering experience, performers get so caught up in the theory that something needs to happen, that they miss out on what already is happening.

Before we focus on “Why is this day different than all the others?” what if we asked “Why is this day the same?”

Life-altering often seem less life-altering when we haven’t even established the life that is getting altered.

When we place more importance on what needs to happen than on appreciating what is happening, we lose touch with an awareness of ourselves in our experience.

And when we lose touch with how we feel about what’s going on, we start to guess. Or calculate what “should” happen. Rather than be ourselves and play from a truthful place, we make choices based on our opinion of what’s best for the scene.

In order for a scene to be interesting, it really helps for the improviser to be interested in what they are doing or what is going on. If they aren’t, then why would the audience be? When an improviser believes in the moment, they open themselves up to transformation, revelation, movement, resolution, agreement, and breaking of a routine.

These events are sometimes referred to as “tilts.”

A tilt can change someone’s status or even change the balance in a scene without conflict.

As long as you are invested in the moment, there isn’t any need to introduce or create conflict. The pressure you place on yourself to find the conflict will remove you from your scene.

As a result, you are no longer inside the scene, but outside of it.

If you construct conflict in order to create a scene, then you are constructing rather than behaving.

Just be.

If that’s not enough, be more.

When in doubt, raise the level of need for your character. If you get lost in the scene, it’s because you’re not in character. Dig deeper into how you feel about what you are doing, or how you feel about what is going on and allow it to inform you.

You don’t need to CREATE conflict; your character needs to need.

Other characters have their own needs, therefore conflict will ensue whether you want it or not.

“Conflict is inevitable, but combat is optional.” – Max Lucade

Written by: Tom Vest

Original Post Here

Eyebrow Tips & Tricks!

All About Eyebrows

Eyebrows frame the face and can change your entire look! It's important for your eyebrows to properly suit you and your face shape as that could make or break an audition/casting. It also helps make you feel more confident when your eyebrows are shaped properly, and confidence is priceless! 

There are three different types of arches, high, medium and low arches. You want to follow your natural arch as that will best compliment you and your facial features. Here are some tips for your type of eyebrow shape/arch and what you can do to get the most from them in order to enhance your eyes.

High Arch

If you have a high arch, less is always more! Beware making your brows too thin though, as it could leave a wide gap between your eyes and your face looking hollow. Too thin eyebrows with a high arch will make you look surprised and wash out any of your great features. Keep high arches shaped thinner, yet full and graceful. Megan Fox is a great example of sexy brows - she rocks her high arch. Fill them in with a matching powder or pencil for a bold and sexy look! 

Medium Arch

A medium arch is the most flattering on all face shapes. To shape your medium arch, pluck any stray hairs under the highest part of the arch but keep from plucking any hairs on top of your brows. Keeping your hairs on the top create the natural flow of the arch so stay away from shaping the top. A great tip if you have a medium arch would be to elongate the ends of your brows with an eyebrow pencil or powder that matches your brow colour.  

 Low Arch

If you have a natural low arch it's always best to keep them as natural as possible. Too much plucking will wash you out completely, so be sure to not over tweeze or wax. Tweeze any stray hairs under your arch but do so moderately in order to keep them flattering. If your brows are still too bushy, be sure to use eyebrow scissors to trim them. Keeping your brows natural shape is low maintenance so rock them like Miley does!

Here is a photo on what your brows should NEVER look like! A great example of over tweezing/waxing. 

Talent Tip: Be Weird & Be Proud!

Here is some great advice straight from the successful new star Jennifer Lawrence of The Hunger Games and Silver Linings Playbook.

"Keep being weird and just be proud of it!" says Lawrence.

Lawrence is a great example of how to be in the entertainment industry. She is strong and humble and has stayed true to herself through her success and rise to stardom. Lawrence is a true role model to aspiring actors and even models! These are important qualities to hold on to in this industry and something we also promote! It's so refreshing to see happy, humble and modest individuals in this industry.

Some tips to take from Jennifer:

- Stay true to who you are, BE WEIRD!
- Have a sense of humour and don't get too serious.
- Be modest about your success.
- Enjoy yourself and have fun!

"I'm not that crazy, but I'm an artist" says Lawrence.

Make sure to let your personality shine, always! It will not only allow you to be true to yourself but it will also help get you recognised and stand out in castings!



Check out a great article and interview with Jennifer below.

http://www.wmagazine.com/celebrities/2013/02/jennifer-lawrence-silver-linings-playbook-actress-golden-globe-winner