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Join Me In The Playground?

Join Me In The Playground?
by: Sacreeta Veneficus

Fly like a bird, and be free my friend-

One of the most special things about being an actor is expression, and there is a place for every actor, old or new, to express themselves. It is a garden to roam in a playground, plentiful in the film industry and found in every city.

Now hold on, don't be asking what Sacreeta is smoking.

For one thing, Sacreeta doesn't smoke; but she does play in this playground, and I implore you to go out and discover your own. After this message we'll find out where.

*** Quick Break ***

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***Thanks for listening***

We're back, and now for the answer. You'll find your playground among the independent, low-budget and student filmmakers, with their auditions, sets and films.

And that's the truth of it. Of course it's not all fun. It's demanding, hard work, often full of growing pains. But that's exactly the point. It's one of the best places to grow, and also an excellent place to practice the techniques taught in the Kamitic Acting System.

Independent filmmakers -- what comes to mind when one hears that is what makes me feel bad for those guys. Most are fresh from college, or were interns, have no backing, are pressed for time, cut down scripts to fit the criteria. There are sacrifices and compromises made. They aren't always happy with that, but they make the best of it.

What if new actors had empathy for IFM? What if they crafted their audition/acting talents toward making life easier for these guys/gals? What if you, as a real actor, walked into the audition with sincere compliments on the script handed to you?

It has been proven that directors do consider/respect those who consider them first, and understand that they too, have a dilemma. They must produce a screenplay of value that can be shot with proficiency, while being believable and persuasive, within the boundaries of the filmmakers' budget.

Instead of actors considering this an encumbrance, spot-on actors would take up the challenge, and act within the boundaries of what's available with contentment. Working in these conditions forces the actor to … well … ACT. The emphasis is no longer on what the film can afford, it shifts to what the actor can do. Spot-on actors, willing to work with little to no pay, are hard to come by, and it's understood.

The IFM know the competency of the actors is what will give the picture its credibility, and the actors should be aware that the experience can do nothing but enhance their own career goals.

My response would be, "What an interesting concept," and I'll tell you exactly why.

First and foremost: Unknown today=Famous tomorrow.

Sacreeta, everyone has to start somewhere, actors, directors, writers, filmmakers and on and on. Being kind to everyone who crosses your path in the business is not only proper etiquette, it is smart business. It involves understanding what's going on around you, reading up on the latest trends, keeping up with the direction on what's pleasing the crowds (and it is a matter of public opinion who becomes famous-no matter what the critics tell you.) Keeping abreast is as important as knowing the difference between hair spray and shampoo.

Ok. Let's shift back to freedom for the actors, with a few basic considerations.

A good low-budget filmmaker most likely would look for actors who are capable of inspiring and filling in the gaps of a character more than they would in a big-budget production. The actor may be chosen because of a spark of personality that strikes everyone upon their grand entrance to the casting session. The writers of low-budget films concentrate more on the development of the storyline. The direction in which the story takes the character can be influenced by the actors themselves.

Having a strong character that is able to take the audience through the story is vital, and landing a role where you have the luxury of such artistic freedom is an excellent way for the actor to grow.

The writers usually create the script with a particular mold in mind, such as gruff exterior, soft soulful eyes and a charming, no-fuss attitude. In walks Johnny, his eyes are dark and mysterious, not the soft soulful look, but his raspy voice and devious grin are irresistibly charming, inspiring the entire crew. They can foresee sequels, and in turn rewrite the script to suit the actor.

Room for change, room for freedom of expression, enhancing your resume, networking - these are certainly benefits to the actors for being in an independent film.

A few extra things to think about:

The director and crew may be a little wet behind the ears. Have as much patience with them as you would appreciate them having with you.

Don't be afraid to question them if you are confused about your character's actions. If the director and scriptwriter are in agreement, then it will be a quick, smooth resolution.

Politely and amicably suggest things that may sum up the scene with a different perspective that you feel strongly about, which could be helpful. But keep it neat. Abrupt criticism could simply have you taken off the set.

Study the script. Get a good impression of the plot, the conflict, the climax-and break down the script as you would with a big-budget film.

And finally: There really is no difference when it comes to putting your best performance into your work. Take pride in every acting project you take on … make it your own … and you'll do great.

See ya next time

Sacreeta
Senior Staff Writer
Representing;

RKA Cinema Society
Bronx, New York, 10451
United States
http://www.rkacinemasociety.com

About The Author
Sacreeta Veneficus
Senior Staff Writer
RKA Cinema Society

Actor:Casting:Novelist:Scriptwriter:Teacher:Graphic Artist