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Question:

Hi Chris, As an aside, it seems that a few people on here have mentioned that when going for film acting (TV inclusive) monologues don’t ever seem to be asked for, only a reading from the sides.  Would I be correct in presuming that you would still suggest memorizing some monologues, just in case?  Also, you recommend about 12, whereas I’ve typically seen the recommendation to be 3.  I’m curious why you suggest such a high number?

Would I be correct in assuming that from your question, you intend to be only a film/TV actor?  Yes I agree with the consensus.  Monologues for commercial auditions are extremely rare.  Just recently, I read for the lead in a movie and a new pilot for CBS; both times, I was faxed sides. In the latter, they faxed me the entire 75 page script to choose 2 memorized scenes from.  The rest of the time, I’m always asked to IMPROV.  So get enrolled in an improv class A.S.A.P.  It will not only help you to think on your feet, but the entire basis of improv, IMHO, is to prepare you to LIVE in the moment, which is something we’ve forgotten how to do. I’m going to say something that may not be what you expected as an answer:  if you wish to be a TV/film/commercial actor and you’re just beginning, begin auditioning for community theatre.  WHY???? If you do have the good fortune to get cast on a commercial project and you’re just beginning, it would be a scary place.  Directors do not have the time to teach you how to act DURING the shoot.  You’d better already know your craft before you get there.  Budget constraints, time constraints and locations, producers and executive producers breathing down the director’s neck, stylists, ADs, Craft Services, camera men, they’re all demanding the time of the director, and he has to think of 5000 things at once.  So when he says, "Alright.  On this next take, hit your mark, freeze, don’t cross this plane, and cheat.", you MUST have a working knowledge of the business before hand to know what he means. Community Theatre is one of the best, and safest places to learn your craft.  Enroll in some classes, get private coaching, improv classes, whatever it takes to get you practicing your craft.  Pick up a few books: Audition by Michael Shurtleff Respect for Acting by Uta Hagen An Actor Prepares by Konstantin Stanislavski and begin reading your butt off.  Just learn, learn, learn.  Then audition.  Community Theatre is a great place to "workshop" new techniques, new ideas, theories you want to try, and since so many community actors do it while trying to go pro, networking is a key thing to happen there.  You learn about what new project is coming up and size up your competition in that market. Sadly, today’s new actor makes the choice to be EITHER a TV or STAGE actor before they even step one foot upon the boards.  What happened to just being AN actor?  Sure, the technique requires adjustment, but that’s a small part of it and there’s plenty of folks willing to teach it.  Don’t limit yourself by saying "I’m THIS actor." until you’ve had thorough training in any of it.  Meisner said it takes 20-25 years to make a GREAT actor, and I’m beginning to believe him. With that being said, I think you will now understand my reason for the 12 monologues.  I’m currently rehearsing for an Operetta.  The audition notice said, "Prepare 32 bars of a legit/opera style number."  So I did.  It was legit, and straight from an old Broadway musical.  Nothing too frilly, and not very "pop" at all.  Well, had I known then what I’ve recently learned, at the audition I would’ve asked him, "Would you like to hear something blues?"  Because everyone else at the audition took that liberty of veering from the stated style, and because of that, I’m doing the opera parts and they’re doing the blues riffs that could be in RENT.  No kidding.  But, that’s the way it is:  hindsight. My belabored point, is that even if you DO perform what they require, there still may be times when they say, "Do you have anything else for us?" at which time you say "Why of course I do.", simply because what you GAVE them is probably something that they’ve just realized, will NOT be indicative of what the role actually is.  I’ve learned that CDs and agents are notorious for knowing what it is they want, but not being able to articulate that.  Well last night I learned that music producers have the same disorder.  He was telling me, "Uh, blues isn’t your strong suit, do it more linearly."  He’s full of cheetos.  I’ve been doing Aretha stuff since I could spit, and my vocal coach knows that also. But, you smile, say, "Oh yes, you’re right.  I’ll make the change." then go and make the change.  Hell, it’s his musical. Why the high number?  Because even though monologues are all of similar style, they are still all different.  Each one shows one more strength than the other, or punches a point that the others missed.  It also keeps you from getting bored.  AND since each one will vary, if you have them already under your tongue, then it will be easy to pull one out that’s tailored for a particular audition; skewing it, if you will. Notice I said START with 12.  As an actor, if you choose to stay in this business for any length of time, and you WILL if you want to become better, then monologues are going to be the mainstay of our "job interview" and it’s crucial that we always have good ones at the ready. — Opus (: "King Lear’s daughter had a bad case of Goneril." http://members.home.net/coble/OpusGraphics -Original graphics

Response:

this advice couldn’t of come at a better time. I seem to change from year to year and am in search of another monologue thanks bunches, cinda.

You’re welcome, and good luck to you. — Opus (: "King Lear’s daughter had a bad case of Goneril." http://members.home.net/coble/OpusGraphics -Original graphics

Response:

i noticed, however, one omission:

No omission Kurtz.  This thread isn’t about that argument, so kindly take it back over there.  That’s why we HAVE threads on Usenet. Hey…  I’m not SAG, so I don’t really care what you spout.  But keep it on topic for the thread please, and we’ll all get along. — Opus (: "King Lear’s daughter had a bad case of Goneril." http://members.home.net/coble/OpusGraphics -Original graphics

Response:

Chris, nevermind the Penguin. We let her out of the attic from time to time to give bad advice to new actors. Carl ‘Wesistance is futiwe! Pwepawe to be assimiwated! Huh-uh-uh’- Elmer of Borg Got questions?  Get answers over the phone at Keen.com. Up to 100 minutes free! http://www.keen.com

Response:

You are so good, Opus!  Your patience and willingness to share should be an inspiration to us all.  These tips and guidelines are worthy of study and review by everyone.  Except kurtz, of course… <grin ouch, my ears were burning.  i’m new to this group, but i’m not an actor.  i didn’t study, Kurtz, this bit of information was not necessary to share with us.

you brought me into this discussion.  for opus’ sake, this will be my last posting in  this thread…that is until i take up acting as a career. You might be surprised to discover this, but it was clearly obvious to the rest of us. You may feel your opinions about the strike are intelligent and well reasoned, but they clearly show how ignorant you are about what it is the actor does and what is required of them.

that isn’t relevant, nor is it being disputed or negotiated.  let me tell you about the other side.  what successful advertisers do is make money.  what is required of them is to hire the most qualified personnel to contribute to their profit making for the least amount of money.  i won’t belittle you by expounding upon this. – Hide quoted text — Show quoted text – You remind me of those who in the early days of computers tried to hide their ignorance. In response to what language they used on the computer, they would always reply "Why, …english of course". but i did review Opus’ kind and informative response.  i noticed, however, one omission: practice walking with a picket sign, banging pots and pans, blowing whistles in people’s ears, and most importantly (and this may take a while) biting the hand that feeds you;  try to destroy the business that gave you opportunities in the first place. this is, of course, assuming that you want to be a commercial actor. …and you claim you’re here to discuss? You sound more like a troll, …a very ignorant troll! Drama Queen

Response:

that isn’t relevant, nor is it being disputed or negotiated.  let me tell you about the other side.  what successful advertisers do is make money.  what is required of them is to hire the most qualified personnel to contribute to their profit making for the least amount of money.  i won’t belittle you by expounding upon

this. Oh, NOW I understand!  Let me see if I’ve got this straight… What successful actors do is make money.  What is required of them is that they get the best jobs, under the best working conditions, for the largest amount of money. This is so that they might be able to contribute to their families and society at large. So advertisers are expected to achieve their ends by any means possible, but when actors band to together to achieve their ends, it suddenly becomes a free market issue? Hmm, multi-billion dollar corporations employing battalions of lawyers and PR flack-heads VS solitary actors in an overcrowded market. Yeah, that makes sense in your world, maybe. kurtz (sic), you have said you’re not an actor, and that you know nothing about it.  And you have certainly proved you’re not lying in that regard.  I can only surmise you’re here in this newsgroup as either a flack and/or spin-doctor of the corporate megalopoly, or that you just like to cause trouble.  We get those all the time, like the guy who solicited non-union actors a few weeks ago, then claimed he was going to the union with their names.  Luckily, it has become obvious that no one here takes you seriously enough or cares enough about your opinions to get worked up.  You’re not even a successful troll. You have chosen your "nom de usenet" well, kurtz.  Your postings and your attitude truly come from The Heart of Darkness.  You might consider some other newsgroup, and some other issue, as a more appropriate target of your relentless badgering. Joe

Response:

//one omission: practice walking with a picket sign, banging pots and pans…

Hey, don’t muddy up this perfectly innocent thread from a newcomer with talk about strike tactics.  Keep it in the appropriate threads. Ed Hooks

Response:

Hi..Thank you for your in-put Ed! I’ve realised that maybe the pictures aren’t as bad as much as I’m not comfortable with how I look which lead me to believe that it was the pictures that weren’t good…I may get some more taken though, just so I can get a variety of photos. I found this photographer by the way in the phonebook, and went to see his work ahead of time and I liked it, which is why I chose him. Plus, they had good prices! Well anyway, thanks! -Meredith p.s: I have an audition for the American Repertory Theater next Wednesday, Wish me luck! My monologue is Joan of Arc!

Response:

I hope the folks breaking into the biz appreciate your efforts, and those of others like Ed Hooks and DQ.

It may take them a few years before they realize the value placed on advice from more experienced folks, but it will eventually come. Thank you kindly, oh sage one…  <g — Opus (: "King Lear’s daughter had a bad case of Goneril." http://members.home.net/coble/OpusGraphics -Original graphics

Response:

You are so good, Opus!  Your patience and willingness to share should be an inspiration to us all.  These tips and guidelines are worthy of study and review by everyone.  Except kurtz, of course… <grin

ouch, my ears were burning.  i’m new to this group, but i’m not an actor.  i didn’t study, but i did review Opus’ kind and informative response.  i noticed, however, one omission: practice walking with a picket sign, banging pots and pans, blowing whistles in people’s ears, and most importantly (and this may take a while) biting the hand that feeds you;  try to destroy the business that gave you opportunities in the first place. this is, of course, assuming that you want to be a commercial actor. – Hide quoted text — Show quoted text – I hope the folks breaking into the biz appreciate your efforts, and those of others like Ed Hooks and DQ. Joe

Response:

You are so good, Opus!  Your patience and willingness to share should be an inspiration to us all.  These tips and guidelines are worthy of study and review by everyone.  Except kurtz, of course… <grin ouch, my ears were burning.  i’m new to this group, but i’m not an actor.  i didn’t study,

Kurtz, this bit of information was not necessary to share with us. You might be surprised to discover this, but it was clearly obvious to the rest of us. You may feel your opinions about the strike are intelligent and well reasoned, but they clearly show how ignorant you are about what it is the actor does and what is required of them. You remind me of those who in the early days of computers tried to hide their ignorance. In response to what language they used on the computer, they would always reply "Why, …english of course".   but i did review Opus’ kind and informative response.  i noticed, however, one omission: practice walking with a picket sign, banging pots and pans, blowing whistles in people’s ears, and most importantly (and this may take a while) biting the hand that feeds you;  try to destroy the business that gave you opportunities in the first place. this is, of course, assuming that you want to be a commercial actor.

…and you claim you’re here to discuss? You sound more like a troll, …a very ignorant troll! Drama Queen

Response:

Hi, I’m new here, sort of. I’ve come around before, but haven’t visited regularly. But I’d really like to try this time and stick around, that is, if you’ll have me:o) I’m a young actress and I’m new to this whole acting scene. I just got headshots taken and they came out awful! I’m mad about that cos I was hoping they’d be something I could use to send to casting agencies…but since their not good at all…looks like I’ll have to get them done over again:o(  Have any of you gotten awful headshots taken? Did you still use them? I can’t decide what to do!! Bye -Meredith

Response:

Hi, I’m new here, sort of. I’ve come around before, but haven’t visited regularly. But I’d really like to try this time and stick around, that is, if you’ll have me:o) I’m a young actress and I’m new to this whole acting scene. I just got headshots taken and they came out awful! I’m mad about that cos I was hoping they’d be something I could use to send to casting agencies…but since their not good at all…looks like I’ll have to get them done over again:o(  Have any of you gotten awful headshots taken? Did you still use them? I can’t decide what to do!!

it’s not easy to get good headshots…you pretty much need a specialist photographer…some photographers can do them, most can’t get them done again, and find out who local actors use and are happy with…it’s worth paying out a little extra…looking professional and organised is a real advantage when you are starting out — eric "the show’s not over till the brass section reach the bar"

Response:

I’m a young actress and I’m new to this whole acting scene. I just got headshots taken and they came out awful! ..

Try for a re-shoot, Meredith. What is wrong with them anyway?  Are they out of focus?  Badly lit?  Why do you dislike them so much?  Do you think you got what you and the photographer were trying to get?  Is the fault clearly that of the photographer, or are you just surprised to see yourself? My experience has been that photographers want their best work to be circulating.  If your pictures are out of focus or badly lit, they usually will re-shoot, no problem.  The rub starts when you don’t like the pictures because ….well, "just because".  The photographer is afraid that even if he does them again, you may STILL be unhappy. How did you find this photographer?  Who recommended him to you?  I have also found that when my acting students get bad shots, the photographers will generally reshoot if they tell him or her that Hooks is unhappy. Even if they don’t care a lot about the actor, they don’t want to alienate me because I refer a lot of business.  So if your photographer was recommended by someone in the business, that might also be an angle. Finally, let me tell you this:  I have had a LOT of photo sessions that resulted in zero pictures I could use.  It comes with the turf and is a cost of doing business.  Actors are always having pictures taken.  Some times you win and some times you lose.  The best way to improve your odds is to be crystal clear BEFORE the photo session about what you want to do.  Know your type.  Wear the right clothes to the shoot.  Be certain that your make-up is taken care of. Good luck! Ed Hooks author "The Audition Book (Winning Strategies for Breaking into Theater, Film and TV)"

Response:

Actually Ed, you bring up a good point.  I’ve basically been a lurker, but since I’m new to the group I feel it’s okay to post in this thread ;^) You mentioned as a last comment to "know your type".  Well, I’ve just begun my acting career, but it seems pretty obvious that to do pretty much anything you need headshots.  Soooooo, that leads me to the big question:  How do I know what my type is? I mean, I like to wear ties to work (I’m an IT guy, so it’s non-standard attire), so that to me implies that I’m comfortable in a suit & tie kind of role (big jump, I know, but bear with me).  On the other hand, I’ve had people during the course of my life tell me that I have a pretty intense aura, so in my mind that lends itself pretty well to being the "bad guy".  I’ve never worn a tie-die shirt, so I assume that I probably am not the 60’s type. I guess it boils down to one simple (hard?) question — as a beginner, how do I know my "type"?  Should I ask my acting instructor to give me a hint?  He doesn’t really know me so well, so I’d be wary of his recommendation.  Any tips? -Chris

: I’m a young actress and I’m new to this whole acting scene. I just got : headshots taken and they came out awful! .. : Try for a re-shoot, Meredith. What is wrong with them anyway?  Are they : out of focus?  Badly lit?  Why do you dislike them so much?  Do you : think you got what you and the photographer were trying to get?  Is the : fault clearly that of the photographer, or are you just surprised to see yourself? : My experience has been that photographers want their best work to be : circulating.  If your pictures are out of focus or badly lit, they : usually will re-shoot, no problem.  The rub starts when you don’t like : the pictures because ….well, "just because".  The photographer is : afraid that even if he does them again, you may STILL be unhappy. : How did you find this photographer?  Who recommended him to you?  I have : also found that when my acting students get bad shots, the photographers : will generally reshoot if they tell him or her that Hooks is unhappy. : Even if they don’t care a lot about the actor, they don’t want to : alienate me because I refer a lot of business.  So if your photographer : was recommended by someone in the business, that might also be an angle. : Finally, let me tell you this:  I have had a LOT of photo sessions that : resulted in zero pictures I could use.  It comes with the turf and is a : cost of doing business.  Actors are always having pictures taken.  Some : times you win and some times you lose.  The best way to improve your : odds is to be crystal clear BEFORE the photo session about what you want : to do.  Know your type.  Wear the right clothes to the shoot.  Be : certain that your make-up is taken care of. : Good luck! : Ed Hooks : author "The Audition Book (Winning Strategies for Breaking into Theater, : Film and TV)" — Christopher Cook                Systems Administrator

Response:

opus, that was beautiful!!!  this advice couldn’t of come at a better time. I seem to change from year to year and am in search of another monologue thanks bunches, cinda. – Hide quoted text — Show quoted text – Hi Chris,  (Beware, this is long) I guess it boils down to one simple (hard?) question — as a beginner, how do I know my "type"?  Should I ask my acting instructor to give me a hint?  He doesn’t really know me so well, so I’d be wary of his recommendation.  Any tips? Here is a good check list of what to do when discerning your "type", and I’ve put it hand-in-hand with choosing monologues, which is something an actor must always have at the ready in his arsenal.  Once you know your type, then it’s easier to choose monologues that will show that off. Here’s a quick check list of things actors looking for work can do for your monologue selection: 1.  Sit down, and think about yourself.  Who you are, and not what you hope to be, because we’d never get anything done with that one.  Write down how you move, talk, stand; your physical appearance – from the top of your head to the tips of your toes; the things you like, the things you dislike; the clothes you choose to wear; what is unique about you, what is ordinary; what excites you and fills you with energy.  Also, interview your friends and family, and make them SWEAR to be brutally honest.  Stroking one’s ego will only hurt for this exercise.  Find out how they see you.  A great way to do that, is simply ask, "How do you see me?"  Don’t give them leading questions.  Make sure you ask friends you know will actually give you honest answers.  No one sees us better the way CDs will, than someone else other than ourselves. 2.  Give that a category.  Are you eccentric?  Leading lady? Character? Dork?  Mousy? 2a.  Go shopping for your newly found "type".  In the TV/Motion picture medium, generally characters are identified quickly by their stereotypical looks, so it’s crucial that your type and your look be established quickly, and that they match. 3.  Begin marketing yourself to that market.  Also, talk to your agent. Is this how SHE sees you?  If not, chuck her and get someone who sees you and believes in you for you.  The agent works for YOU, and too many intimidating agents/CDs attempt to turn that around. 4.  Now, go to your monologue books, or favorite novels.  Pick out at least 12 monologues.  No less.  These don’t have to be incredibly emotional, and you don’t have to analyze their effects before you even print them out.  Just pick ones from your gut; those that sound like YOUR POINT OF VIEW and ones that you’ve organically connected with. Keep them in a notebook with tabbed dividers, and label the categories: Period Pieces (Greek or Shakespeare) –This usually includes pieces written up to around 1910, or more generally, up to and including Ibsen. Dialect Pieces –Get a great one under your belt, but realize that you will NEVER do it unless asked.  Dialects are dangerous to audition with, unless specifically called for.  The reason, is that many young actors tend to *hide* behind a dialect/accent, and use that as a character, instead of having the courage to lay themselves bare before the auditioner and create a REAL character from their point of view. Contemporary Dramatic Pieces –I usually find great ones that no one’s done before out of novels.  Make sure they’re written in first person. And as Bill pointed out once, make sure they have the necessary tension needed to *create* a scene. Autobiographies are wonderful sources of material for this.  This way, you can be assured that no one’s ever heard your piece before. Comedic Contemporary Pieces (Satire and other forms) Comedic Contemporary Pieces (Farce) — Keep in mind that for both of these, the beginning mistake is to make it a stand-up routine.  I DO stand-up for a living, and the monologues you audition with are not even close to set-up/punch, so do not approach it like that.  Don’t even put the emphasis on trying to make it funny.  Character and comedy with acting, comes from point of view.  That character you’re doing believes 150% in what he’s saying, so you must never let on that it’s funny.  Do ya get me?  Let the comedy come out of your belief in something so extremely absurd.  That’s what comedy basically is:  The over-obsession with something so small and ridiculous. Now that you know definitely what your character type is, begin choosing monologues that FIT this.  The best performances during auditions are those pieces that are the most like YOU; the real you.  In most cases, the auditors will not know the real you, and so all they see before them, is this person who is just stylin’ on a great monologue. Auditions are NOT the time to try something new or flashy; save that for acting class/workshops.  If you’re not a flashy person, then that would be really foolish; that’s why it’s imperative to find your character type first. Do NOT attempt to show things like range, even if you are good at it. That’s not the time; save that for a play.  You’ve only got 3 minutes for two, and 10 seconds of that time is spent making your great first impression.  That’s why it’s imperative that you choose material that speaks to your gut. Wear the same thing to the callback that you wore to the original audition.  What the…??  It’s true.  A lot of times, a director will be looking at thousands of actors during a cattle call, and when choosing actors to call back, they will only remember the "diva in the blue blouse".  Wear the blue blouse again, so they will recognize you.  After an audition, I always hang up my clothes and accessories worn, outside of my closet, until the call-backs are over.  That way I don’t have to try to remember what I wore. What does all this mean?  Well, within all of our searching inside and outside to become the best actor, to learn the best way of doing something, to learn how the "successful Hollywood actors" do their thing, we’ve forgotten how to actually approach text.  We’ve gotten so caught up in the externals, like showing range, and accent ability, that we hardly devote any time to making that monologue pop.   We’re so busy trying to BE actors, that we’ve forgotten that we need to learn how TO act first. The way I learned to analyze text was during my Meisner study, but I like it for no matter what I’m doing. 1.  Write it out.  NO COMPUTER.  WRITE that puppy out, with NO punctuation, NO capitalization, and NO parenthetical notes, telling you what emotion to play.  Forget all of that for now. 2.  Begin reading it out loud.  Don’t memorize it at this point, just read it.  Over, and over, and over, and over, and over, and over, and over, and over, and over, and over, and over, and over again, until you will throw up one more time if you have to even think of reading it again.  Do it in a VERY mechanical manner.  Do NOT begin to inflect anything into it.  No emotion, no anger, no elation, nothing.  Make it as slow, methodical and mechanically sounding as you can. 3.  Now that you’ve worked it so much without emotional content, begin memorizing it. 4.  What is the purpose for all of this circus jumping?  This is extremely crucial:  TO REMOVE ANY AND ALL PRE-CONCEIVED NOTIONS OF HOW YOU THINK IT SHOULD BE PLAYED AND TO REMOVE ANY AND ALL CLICH

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