Saturday, August 30, 2008

Being Respectful vs Being Right

Being the child of teachers, I put a high value on education. Traditional American public schooling inculcates the concept that there is a "right" answer to most questions. I bought into this part and parcel, I wanted to be right all the time. I was that kid. The one who always had his hand up or who was shouting out the answer while the teacher was patiently trying to draw it out of other students. "Can someone - other than Donovan - answer the question?"

A lot, perhaps an unhealthy amount, of my sense of self-worth is wrapped up in my successes as a student. What I'm realizing is that the qualities that made me a good student at times make me a less than great person to be around. I get trapped in the binary implied by rightness: If I'm right, someone else must be wrong. If something is wrong, it must be corrected.

A few examples from my life:
The Trigger: A teacher mispronounces or uses a word incorrectly.
My Response: After verifying my correctness using a google search on my phone, through furrowed brow I ask "Did you mean ________?"

The Trigger: A director is setting up for a shot, that makes no rational sense to me.
My Response: "Does this violate the 180 degree rule?"

The Trigger: As a child I was in a spelling be and the word "shop" came up.
My Response: It was all I could do not to spell the word "shoppe". I envisioned the scene where the judge would tell me I was wrong, but I would then retort "Ah, but I am also correct, it is the Old English spelling go look it up!"

Some days I convince myself this is a form of altruism - No one likes being wrong, I'm only helping them to be right. But really what I'm doing is calling into question their capability - often in front of others.

When I'm really crafty, I tell myself I'm asking because I want to be sure that I'm right. When all I really do is establish myself as a snoot.

Well folks, this is profoundly disrespectful. I'm working to bite my tongue. If I don't, I know this sort of behavior will one day come to bite me in the ass.

How does this relate to acting? Well the lesson of the day is this:
Acting should be my only focus on set, I'm not to question anyone else's judgement. It is not my place to do so. In those instances where I'm questioning whether someone else knows what they're doing, I'm probably wrong about the issue and I'm wasting energy that could be spent improving my job performance.

Oh and never say "I told you so" to a loved one. If you feel the impulse, focus a little more on loving them and a little less on being right.

Friday, August 29, 2008

Dare to Do


I found this passage from a 1910 speech by Theodore Roosevelt at techcrunch.com, but I feel that the sentiment is apropos to the work of an actor:

It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat

Consistent Feedback = Time Re-evaluate

Tonight in my on-camera class at Actor's Certified Training I worked on a scene from "As Good as it Gets". The basic procedure most most scene work in class goes something like this:
  1. Sides are assigned.
  2. Memorize and prepare sides at home w/o direction.
  3. Present your interpretation of the material.
  4. Get directed moment by moment through the scene.
    1. Directions sound like: Tilt your head to the right, look up, deliver "garden" more slowly and at the end tilt your head to the left.
  5. Do a final rehearsal of the scene, following the direction exactly.
  6. Leave the room and come back in and do the scene as if you were at an audition.
The feedback on my work in steps 1-5 is positive. During the feedback round after step 6 (coming in to audition) my teacher, Tim, said to me:
"Now this has happened a few times now. What the hell happened? It's not about capability - you've got the chops. I just question your judgement. It's like I'm seeing two different actors. I love your work when you're Donovan, but when you come in to audition you're work is completely different and its not as good."

I attempted to respond to this by saying when I'm working in class all of my focus is dedicated to the very technical aspects of moving my head, my eyes, and saying my lines with the correct pace and pitch to match my direction. However when I prepare for the audition, I take all of the very technical direction and try to infuse it with a thought process.

It was at this time that Tim posed the following question to the class. "Knowing what Donovan does in class, and then seeing the audition he just turned in. If you were to see that in a theater, would you ask for your money back?"

Each and every one of my classmates proceeded to say (some with more hesitation than others) "I'd want my money back."

It seems that when I attempt to "act" I ruin what is otherwise a good performance. The problem here is that I have fun when I "act" but I derive no pleasure from systematically hitting my marks and playing the director's notes.

I feel like this feedback dovetails into a note I got in Richard Seyd's ongoing class. After my final in-class performance of "American Buffalo" Richard told me:
"What's interesting about this run is that I saw so much more depth in your work than I usually do. Usually when you're playing an action I can only see the action you are playing and the fact that you are playing an action. However here, where there was no expectation of what you 'should' be doing each moment was much more emotionally full. There were much more colors in this work."

This feedback is all well and good - but it didn't stop me from screaming not nice words of frustration at the top of my lungs as soon as my silver car-door closed. Only to look out the window to see that my classmates could see.

I've yet to fully process what this means, but there is work to be done. If only to let go.

Skype for The International Film Actor

As you may or may not know, I'm about to embark on a quest around the world with my good friend Gabriel Fleming. We're making a film together, that for now I will call "The Around the World Film". I'm set to fly out of LAX and into Bangkok on September 5th. I'm extremely excited about this trip, but for various reasons it's important that I maintain contact with those living in what will be far away countries.

To that end I began investigating all manner of communication methods: international cell phone, satellite phone, reanimated passenger pigeons. In the end I settled on using a little program called Skype. So long as I have an internet connection, I can make phone calls to folks in the U.S. for next to nothing. So far in my testing (incl. a call to Budapest) the sound quality has been impeccable.

So if you're looking for a cheap solution to international calls and you don't mind being locked to a computer: Skype (or the similar Gizmo Project) is a good bet.

A breakdown of their pricing plans:
$2.99/month buys you unlimited calling to land lines in the U.S. from anywhere in the world.
$9.99/month buys you unlimited calling to over 30 countries internationally including the US.

It is such a surreal world we live in now - the internet is really going to great lengths to connect all of us into a very real global community.

Sunday, August 17, 2008

PT Anderson & Daniel-Day Lewis on Charlie Rose

"There Will Be Blood" was one of my favorite films of 2007 and Daniel-Day Lewis' portrayal or Daniel Plainview sets the bar for embodied characterization. I stumbled upon an hour-long interview with Lewis and director Paul Thomas Anderson. Definitely worth watching:

Monday, August 11, 2008

The Drama of the Olympic Games

I'm don't usually like to watch sports. I watch the Super Bowl mostly for the guacamole, taquitos, and mini quiches. The one real exception to this is the olympics - I absolutely adore the olympics. I always have, even as a little kid I'd watch the track and field events and then during the commercial breaks I'd turn on my NES and play "Nintendo Track and Field", sprinting furiously in place to win the digital race.

I think the reason that I enjoy the Olympics is that they are inherently dramatic. The drama being that there are hundreds of athletes passionately pursuing their objectives (to win the Gold) for themselves and their country. In direct opposition to the strength of their objectives is the passion with which their competitors are pursuing the Gold. If that's not dramatic conflict, I don't know what is.

In addition, most Olympic athletes are amateurs, so these are people competing purely out of love of what they are doing and an incredible desire to be the very best at what they do.

The Olympics are also a nexus of great tragedy and the courage to overcome extreme adversity. This Visa commercial featuring runner Derek Redmond captures the very heart of what I'm talking about

The first time I saw it I wept. Wept. At a damned Visa Commercial.

I feel like most actors could learn a little something about focus, dedication, and courage from Olympic Athletes.

Friday, August 8, 2008

Michael Caine on Doing Nothing

From RogerEbert.com:

"The hardest thing for an actor to do is to do nothing," he says. "You're not just standing there while Pele's playing with the ball. You have to project your interest. There's no such thing as a shot where you're not acting. That goes back for me to my days on the stage . . . I was standing there once and my director shouted, 'What's the matter with you!' Nothing, I said, 'That's the bloody trouble! You should be standing there with 1,000 possible lines jammed into your brain, trying to decide which one to use. Nobody just stands around thinking nothing -- except a bad actor without lines.'

"I've always remembered that. It helps me to look interested. I don't worry about the last shot, or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane. You can never tell until you see the scene on a screen."

How Michael Caine Chooses His Roles

From RogerEbert.com:

[Michael Caine's] rules for accepting a role, he says, are simple:

1. Good director, even if unknown.

2. Good screenplay.

3. Good location, and can bring my family. If I open a script and the hero is trekking through darkest Africa, I close the script. Budapest is a nice location: I have my hotel in Buda-or is it Pest? - and I'm bringing my family over, and I enjoy the apple strudel.

Thursday, August 7, 2008

Reflections on One Year in Los Angeles

August 1st marks my one year anniversary with LA. Before the move, I promised myself that I wouldn't reconsider what I'm doing here until 3 years had passed. My fear was that as year one rounded the bend I would be running home crying out "They're mean momma, they're so very very mean! I wanna come back home, where it's safe and the people are good!" The 3 year forced internment was designed to keep me from acting on those fight or flight instincts.

Well, I'm happy to say that even after taking time to reflect on my first year in LA I have no desire to run home to momma. I honestly want to stay here and work towards making a living as a film/TV actor. Things have not been entirely easy, but they haven't been entirely difficult either.

Wins:
-I have acted in enough students films to craft a reel that gives an accurate representation of my current skill level (for better or worse).
-I have learned a great deal about how this town functions, specifically I know a great deal more about the business of being an actor.
-I have fallen in with a wonderful group of loving and supportive friends.
-I have interviewed with multiple commercial/theatrical agents and signed with a manager.
-I dipped my toe into the LA Scene and had many a Hollywood moment: playboy mansion, film premiere, fundraising galas.
-I booked the lead in a film that will take me around the globe - how f-ing cool is that?!
-I've taken a huge number of acting and career classes.
-I found a way to live my life without dipping into savings; it certainly took long enough though.
-I can actually get places without my GPS unit.

Blehs:
-Outside of background, I have not done any paid work as an actor.
-I don't yet have an agent.
-I have yet to audition for any mainstream TV/Film projects.

The wins definitely outweigh the blehs, and for that I am extremely grateful. Here's hoping the pattern continues this next year.

Thanks to you, dear readers, for tracking my progress - knowing you're out there serves to motivate me and give me strength in times of doubt.

Monday, August 4, 2008

SAG Background Rates

At the bottom of this post you'll find more information on the SAG daily background rates and bumps.

I've started doing some background (extra) work as a means of earning extra income. Most of my day consists of re-applying sunscreen and sitting quietly while I wait to be called to set. Of a 12 hour day, I'd say that 8 hours are spent waiting to wait on set. Regardless, the money is pretty good, especially considering that I'm often able to do freelance projects while in holding.

I'm using a calling service to secure work - basically an agent for extras who you pay a monthly fixed fee. Most calling services charge about $50-70/mo. My friend Mimi (an extremely talented actress) works at Jessica's A-List and they've hooked me up with plenty of work.

As I find myself often curious about these things while I'm on set, I've decided to repost the pertinent pay information regarding background pay rates.

SAG Background Performer Day Rate Table
$130/8hr or $16.25/hr





HourHourly RateSubtotal

1$16.25$130Standard Rate
2$16.25$130

3$16.25$130

4$16.25$130

5$16.25$130

6$16.25$130

7$16.25$130

8$16.25$130

9$24.375$154.375Time x 1.5
10$24.375$178.75

12$24.375$203.125

13$32.5$235.625Double Time
14$32.5$268.125

15$32.5$300.625

16$130$430.625Golden Time
17$130$560.625

18$130$690.625

19$130$820.625

20$130$950.625