PROFESSIONALISM IN ACTING by Neil Schell

After having worked as an actor and having cast hundreds of actors in roles, I can count “professionalism” as one of those qualities I look for in an actor. I find it very favourable and will cast one actor over another if I know the one I cast is more of a professional.

First of all, you should be a professional in anything you do. Don’t go half way. Don’t be a dilettante who dabbles. Be a professional.

It’s very simple. When taking on the identity of a professional, your actions demonstrate that identity. Identity overrides actions and attitudes and behaviours with the end result of you being looked upon favourably by those who cast.

I could list out thousands of actions and attitudes that would demonstrate this concept but let’s just look at a few.

COLLABORATION

A professional actor collaborates. That is to say, they are not just there to be a puppet on strings that the director pulls. Collaboration in filmmaking by actors is vital to realising an entertaining story. Those who collaborate really stand out. Those who await instructions and are afraid of making a mistake if they speak up or initiate some sort of addition to a scene are non-memorable and unimpressive.

There is a risk to this, of course. Your ideas might not be accepted. So what? That’s part of the creative process. If you don’t initiate your ideas, even if they aren’t seen to be workable by others, those little idea gems that lie hidden beneath the unworkable one will never get exposed. Taking a rejected idea you originated personally is unprofessional. Your sensitive emotional response to the rejection alters and distorts the creative process and you end up stultifying what could have been a very successful endeavour.

To collaborate is to work with others. Offer up your ideas, use your imagination and speak up when you feel it could work. A good director will most likely go with it if you feel enthusiastic about it and if they don’t they will thoroughly explain why which, when done, will probably shed some new light on either your character or the scene at hand. You win both ways. All directors appreciate collaborative actors.

MANNERS

Manners are interesting and excellent manners are a sign of a real professional. Manners can be defined as the recognition of the presence of another. You see, there is nothing more rude than someone who does not recognise you exist in their space. Think about it. I am sure you have many examples of this in your past.

Walking into an audition room without recognising in some physical way the presence of others is rude. Simple. Not complicated. If you have a fear of meeting new people or you think these people who are auditioning you have some sort of power over you that they can wield and ruin your acting career forever therefore you can’t look them in the eye, you will be acting out something that will reduce your professionalism and therefore your chances of being worked with.

Often a new actor, out of fear or unfamiliarity, may keep quiet in the corner and feel like staying out of everyone’s way. While it is good not to inhibit the crew and director with their work, it can also come across to others like you feel you are better than them and you don’t want to look down and talk to the lowly crew. (I’m exaggerating here…a bit.)

Filming a movie or TV series means working in close proximity with many people. People rub shoulders due to tight spaces or just the shear volume of crew. Manners are the key to keeping things running smooth. Everyone appreciates good manners whether they think they do or not. Excellent manners are the sign of a true professional. Giving someone honest, positive statements about their work. Truly caring about their existence and assistance and contribution helps everyone work better.

Practice excellent manners.

KNOWING YOUR PLACE

By this I mean understanding what filmmaking entails and how you, the actor, fits into the grand scheme of things. You should take a hand at screen writing, understand cameras and lenses, get why sounds can’t be mushed and edit some scenes so matched action gets burned into your brain. When you understand to some degree all of the posts around you on set and even in post production, you start to get an even higher affinity for filmmaking and how you fit into the whole process. Increased affinity and understanding shows the true sign of a professional. It’s the sign of an actor who understands hitting marks and not snapping a book shut while speaking. It’s the sign of an actor who takes the effort in remembering where the items were on the table from the last camera set up and knows how to play to the camera.

Working with an actor like this on set is a joy. The director will notice it and respect you for it. You will be seen as a true professional.

The above three categories are by no means the only ones but they do cover a lot of ground. Of course there are the regular ones of knowing your lines, being on time, keeping your personal problems at home, etc. Most people know and understand these.

When working with stars observe them on set and see what is professional about them. You will soon be the exemplifying professional for others too. And a director and producer are always willing to hire a true professional.

Be a professional.

©️2016 by Neil Schell

“PRESSURE” OF AN AUDITION by Neil Schell

What is the source of the pressure of an audition? How can it be that this necessary action can be such a daunting experience? Is there any way to effectively deal with the stress of it and put your best creativity forward?

Most “pressure” an actor feels in an audition comes directly from the actor not from those who are “judging.” The truth is those who are watching your audition are on your side. They want you to do well. They want to hire you because they don’t want to have to keep looking for someone to play the role. Those who hire actors (directors/producers) have many tasks to complete and the sooner they complete the task of hiring an actor for the role, the more time they will have to complete their other tasks.

The idea that you have to nail an audition perfectly in order to get the role is not only false, it creates unnecessary, self-imposed pressure on the actor. It astounds me to discover that most actors think they must give a final performance at an audition on material they have had only a few hours to work with or less. This amount of pressure is completely unwarranted.

If one truly looks at the film making process and how movies are made, it is simple to see that requiring a final performance at an audition is a complete falsehood. Not only is it not necessary, it is quite detrimental to the actor’s talent. The added stress of trying to put on some slick delivery of a couple of scenes stifles the actors true talent of connecting to the material instinctually and bringing life to the character in the audition room.

Another way to properly think about auditions is this: Your chances of getting that specific role you are reading for are quite low. This is just a truth. It is so highly unlikely that you’ll get that role, you might as well not even think you are going to get it. Sure, you want the role, otherwise you wouldn’t even bother going to the audition. But getting that specific role shouldn’t be your primary concern. The primary concern is you are going to an audition to demonstrate your product (skill and ability as a professional actor) and meet those people are in the business of hiring the services of actors. So, really, first and foremost, you are there to either establish or maintain a business relationship with someone who may or may not need your services now or in the near or distant future. Remember, they may or may not need your services. If you keep this frame of mind when you are auditioning, you are really saying to those who are hiring, “I am a professional. Here are my abilities. If you need them, call me and we can talk. If you don’t need them, that’s fine. Call me when you do. I am here. I am professional and I can provide you with what you need when you need me.” That’s a healthy, business minded actor knowing he or she has something of value for his or her prospective buyers.

If you go into the audition with the viewpoint and thoughts of, “I really, really, really want this role. I just HAVE to have it. Please give it to me. I know I can do it. Just give me a chance! I know I am new but I can really show you. This role is mine.” you are not telling those who are hiring actors that you provide anything. All you are thinking and getting across to them is that you need them to give something to you. That’s backwards. You see, if I am going to buy something, I want to know what I am going to get for my money. I don’t want you to tell me how much you need the money and how much the money is yours and how much you need what I have. That turns off most buyers immediately and they become completely disinterested in dealing with you.

So, if you go into the audition room with the viewpoint that you have a service that you are completely professional at delivering and that you will not only deliver but give to the director and producers more than they are paying for or looking for, you are in the right frame of mind and will build a very successful acting career. And it will relieve you of the pressure of having to be “perfect” in the audition. And you will not, in any way, give the director and producers the idea that you are “needy” actor who just wants to get something from them.

With this mindset and viewpoint, you can then go into that audition room knowing that you will accomplish your real goal which is to create or maintain a professional connection in the industry so that when they are in need of your services, whether it be today or next year, you will deliver professionally with confidence.

Neil Schell

THINK HUGE by Neil Schell

Your thinking effects what acting work you are being considered for and what acting work you actually book with a contract. The truth is, if you don’t think huge you won’t even get large. It’s an interesting phenomenon; if you focus on a particular target of any given size it’s easier to attain if you focus on a target that is larger. If you are not getting what you are aiming for, you are not aiming big enough.

Sometimes obstacles can obscure what you are aiming at as well, even give you cause to quit. If you put your attention on something that is in the way of what you want to attain, you will only reinforce the obstacle and have more difficulty reaching what you truly want. For instance, you know you need a new headshot but the obstacle of insufficient funds seems to be effectively blocking you from getting it done. If you keep talking about not having enough money or not being able to afford it, if you continually put your attention on the lack of finances to execute your desire you will never get the money you need in order to do the steps necessary to having that new headshot. You are putting way too much attention on the obstacle and by doing so are reinforcing that obstacle and it just gets more and more solid.

The remedy to this is to put your attention on the purpose of your new headshot. Envision it and see how it will help you to open new doors and be considered for the roles that are right for you. See in your mind how it will impact those who are in the business of hiring characters to tell stories. Think HUGE with the idea of your new headshot. By expanding your ideas of the purpose of your new headshot, the so-called barrier of “no money” will melt and fade into the obscurity of yesterday and become nothing more than a silly notion without meaning.

This can be applied in a larger way with your overall career. It’s the same principle. If you are having trouble getting a speaking role in a TV series or feature film, aim at something much larger. Put your aim on a starring role and recognize the purpose of having such a role. Your mind will flood with ideas on what you need to do to make it happen. You will be introduced to the knowledge you need to succeed. You will take action like never before. The speaking roles for TV series and feature films will start rolling your way, almost like magic.

Think huge. It will benefit you and everyone you know.

© Copyright 2009 by Neil Schell