Here are clips from the Fall 2009 Acting for Film for Beginners Class. Most of these student had little to no experence prior to enrollment but you will be impressed with their work! Way to step it up, guys! Check it out!
ACTING FOR FILM STUDENTS' FINAL SCENES Fall 2009 from Richard Mason on Vimeo.
HANANI TAYLOR AUDITIONS FOR DISNEY'S 'DANCE DANCE CHICAGO'
Disney Channel is looking to expand its stable of musically themed comedy series with "Dance Dance Chicago." The cable network has ordered a pilot for "Dance," a contemporary tale of two kids working as back-up dancers on an "American Bandstand"-type show. Comedy veteran Chris Thompson, creator of "The Naked Truth," "Action" and "Ladies Man" and co-creator of "Bosom Buddies," is writing and executive producing. The project is now casting, with the pilot eyed for production in January. Disney Channel's roster of music-centered series include long-running hit "Hannah Montana" as well as "Jonas" and the animated "Phineas and Ferb." Boy-oriented sibling channel Disney DX is joining the trend with the upcoming "I'm in the Band."
Break a leg Hanani!!!
Pulse: Local filmmakers in production By Melissa Starker COLUMBUS ALIVE!
Through the end of the month, anyone with Time Warner Cable can check out two completed shorts by John Whitney on the Local On Demand channel: the strangely comedic The Fixer and the dark sci-fi morality tale Measured Sacrifice. His next work, Eroded, starts shooting later this month.
"It's hard to describe because it's not quite like anything I've seen before," Whitney said, but he gave it a try. The proposed 30-minute short follows the relationship between a brother and sister after tragedy - and the life loss and head injury that results - has irrevocably changed the dynamic between them.
"It's a tragic revenge story - that's the best way to look at it," he added. Without giving too much away, Eroded also involves conversations with the buried, which is where the whole thing began.
"I have friend who's an animator," Whitney explained. "I was at his house six years ago and he had a picture on his desk, his sketch of a guy sitting on park bench talking to a face buried in the ground. I said, 'Can I use that as the basis for a story?' And that's where it started."
Though separate in tone and genre, Whitney's films are consistently fine-looking works, with a level of production value you don't expect from someone making movies for the love of it in Central Ohio (he works days in visual communications for Value City Furniture). The filmmaker credited producer Phil Garrett for help securing state-of-the-art equipment for Eroded, including the pro-quality Red camera, which Steven Soderbergh used to shoot his recent feature The Girlfriend Experience.
"If I can show I have some technical grasp of visual language that speaks to people, that's different enough but has a quality of professionalism, that's how I get noticed," Whitney said. His approach also rewards experienced volunteer crewmembers with an opportunity to play with the newest toys, and maybe try out some different on-set responsibilities. As Whitney said, "If they're a best boy but want to do more gaffer work, I want to be able to give people a chance to spread their wings a bit."
ERODED CAST MEMBERS INCLUDES ACTING IN COLUMBUS STUDENTS: Andrew Adamsson and Candace Bullock
and ACTING IN COLUMBUS ALUMNI: Kristina Kopf and Richard Napoli
STUDENT UPDATES
Derrick Collins: was recently cast in the film KILLER (http://killermovie.net/ ) shooting next month in Central Ohio and is also appearing in several episodes of ADIAN 5 - the web series (http://www.aidan5.com/ )
Kenyatta Foster: is also appearing in several episodes of ADIAN 5 - the web series (http://www.aidan5.com/ )
Brent Shearer: was also cast in the film KILLER http://killermovie.net/ shooting next month in Central Ohio.
Mark Cummings: "A romantic-comedy, “Best Supporting Daddy”. This film stars myself, Quiana Wiley, Maurice Hall, and my wife Dana. Former Buckeye and current Buffalo Bills defensive back, Ashton Youboty is also in this movie. I wrote this screenplay sometime back and my company Awalkonwater Entertainment is producing it. Logline: Upon hearing the news that an A-list Hollywood socialite wants to have a baby, a once thriving romance novelist, in desperate need of a bestseller, plots an extreme romantic scheme to impregnate the Starlet and use the ordeal to fuel his next novel."
Brian Elles: "Recently we shot a video for the Doritos "Crash the Superbowl" contest and I wanted to share! This is :30 second commercial that we are hoping to make on air during the Super Bowl."
HOLIDAY GIFT CERTIFICATES ARE NOW AVAILABLE!
Acting in Columbus has Holiday Gift Certificates available in the following denominations:
$50 - $150 - $200
Gift Certificates are good for two years from the date of purchase.
They can be redeemed for any of our Acting Classes, Workshops or Private Lessons.
CATCO, Phoenix to join forces By Michael Grossberg THE COLUMBUS DISPATCH
The move, partly motivated by the recession, is expected to enhance efficiency. Although both groups balanced their budgets during the season that ended June 30, CATCO struggled through deficits half a decade ago. The merged troupe -- which will retain the CATCO name -- will broaden programming to all ages, tackle larger-cast productions and musicals, invest in additional community actors and beef up educational programs.
"We will offer theater and a home to all the Columbus community -- from children and middle-school students to adults and senior citizens," said Steven C. Anderson, Phoenix founder and artistic director. Anderson, 56, will become artistic director of the combined company, succeeding CATCO founder Geoffrey Nelson, 58, who has been offered an emeritus position.
During his three decades in Columbus theater, Anderson has led several troupes (including Actors' Theatre), spearheaded innovative collaborations with other arts groups, directed several acclaimed CATCO shows (The Taste of Sunrise and Love! Valour! Compassion!) and forged educational partnerships with Ohio social-service agencies. "Steven has a deep knowledge of both adult and children's theater, and a mastery of both realms will be key to running the combined organization," said CATCO managing director T.J. Gerckens, who'll keep that role. Bob Saik, president of the CATCO board of trustees, said Anderson's expertise as an innovative collaborator makes him the right artistic director to help the company weather the tough times.
The merger will bring Anderson and Phoenix almost full circle: Anderson founded Phoenix within weeks of the abrupt demise in 1993 of Players Theatre Columbus. He had long served as associate artistic director of Players -- then central Ohio's leading troupe -- and directed its youth troupe, Players Youth Theatre. Nelson, who was caught off-guard by the leadership decision, praised Anderson. "Steven is very talented," he said. "The work he did for us was exemplary, and his leadership -- saving the Phoenix out of the ashes of Players -- was a real accomplishment."
Nelson said he needs time to think about the emeritus offer, which he received three days ago. "All this is very fast. I've got mixed feelings." Regardless, Nelson said, he hopes the merger helps CATCO thrive. "There are a lot of dedicated and talented people who have been involved with the theater for two decades, and I'd love to see their efforts continue."
The notion of a merger, first raised informally last year, became more focused as the economy continued to weaken, leading to a June meeting of the two boards. The leadership of the combined company, however, didn't become a central issue until late summer, several sources said. "It was a very difficult decision," Saik said. "Whenever an organization like CATCO goes through this situation, it's heart-wrenching for everyone involved." Anderson said he hopes Nelson will continue in the emeritus role and participate as a frequent actor, director and writer. I have a great respect for what Geoff has been able to do," he said. "It's daunting."
CATCO, with seven full-time staff members, operates on a $1 million budget; Phoenix, with three full-timers, has a $600,000 budget. The merged staffs will operate on a 2010-11 budget of about $1.4 million, Gerckens said. "Our companies speak to different audiences, but we share artistic similarities," he said. "This is the path that gives CATCO the greatest opportunity to grow in breadth and depth." Doug Kridler, president and chief executive officer of the grants-awarding Columbus Foundation, hailed the merger as an example of the cooperation that nonprofit arts and cultural groups need to thrive amid the current economic challenges. "When the survival of arts groups in our community is at stake, then business efficiencies have to be achieved to protect and support the community's artistic voices," Kridler said. "This shows once again that the arts can be resilient and very smart when it comes to facing the realities and opportunities of the times."
During the transition, the two boards will continue to work on the logistics of the merger, including board leadership and size, and develop plans for expanded educational outreach and productions. After the merger, the organization will continue to receive administrative support from the Columbus Association for the Performing Arts. CAPA has provided back-office services to CATCO for seven years and to Phoenix for five years. Performances will be presented in the Riffe Center's Studio theaters, but CATCO will retain its office space in the center, 77 S. High St., and Phoenix at the Columbus Performing Arts Center, 549 Franklin Ave.
The merger will help CATCO mirror other leading regional theaters, which typically benefit from the synergies of both adult and family shows.Said Anderson: "We knew we needed to find more sustainable ways to work to ensure the future of professional theater in this community."
mgrossberg@dispatch.com
Introduction to Acting for the Camera: ACTING FOR TV COMMERCIALS
Acting for TV Commercials - Introduction to Acting for the Camera - Sunday November 22, 2009 1:00pm -8:00pm $200
As of November 13, 2009 there are six (6) slots available.
Learn how to audition for and break into the local commercial and industrial industry. You will learn how to make the first contact with the agents. By taking this class you have the opportunity to show the agents that you are serious about pursuing this type of work. This workshop will give you experience with the actual audition process:
You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason.
Script analysis skills: We have written our own textbook that breaks this process down and makes it simple.
Comfort in front of the camera: How do you stand? How do you hold the script? How do you deal with your partner and the camera at the same time? What is a slate? What do you do with your hands?
Practice at doing all types of commercials: Scene work, improv, one-liners, bite and smiles, handling products, etc.
You'll also learn how to market to the casting directors, all about pictures and resumes, how the unions work, etc.
Click on this link for more information: Classes and Workshops
The Ohio Department of Development today rolled out Ohio's new Motion Picture Tax Credit along with a new Web site that provides a one-stop resource for production in Ohio.
Ohio's Motion Picture Tax Credit provides for a refundable credit against the corporation franchise or income tax for motion pictures produced in Ohio. The term "motion pictures" is broadly defined and can include an array of media including feature-length films, documentaries, digital media, video games, commercials, music videos and more.
"The Motion Picture Tax Credit was created to further encourage and develop a strong film industry in Ohio," said Interim Ohio Development Department Director Lisa Patt-McDaniel. "This tax credit is responsive to the needs of Ohio's film production industry to help incentivize producers and companies to do business in Ohio while at the same time being fiscally responsible with Ohio's budget."
Up to $5 million in credits will be available per production with a total of $10 million in credits available in fiscal year 2010 and $20 million available in fiscal year 2011 (total of $30 million for the biennium). Additional information on the Motion Picture Tax Credit is located at DiscoverOhioFilm.com along with links to: the Ohio Film Tax Credit Application, registration to receive tax credit email updates, and the tax credit legislation.
"We are enthusiastic that Ohio's new film tax incentive will help create a vibrant environment conducive to attracting new productions and creating jobs across our state." said Assistant State Tourism Director Alicia Reece who is serving as Interim Ohio Film Office Director. "In addition to the tax credit, our new Ohio Film Office Web site, DiscoverOhioFilm.com, will allow us to showcase our state's talented crew members and outstanding variety of locations."
Jeremy Henthorn has been appointed the director of the Ohio Film Office, part of the Ohio Department of Development, and will be responsible for taking steps to build the film-production industry in the state.
One of his tools will be the Ohio Motion Picture Tax Credit program, which can provide incentives for companies that bring production work to Ohio.
Henthorn, an Otterbein College graduate, previously worked on the creative side of filmmaking as a writer, director and editor.
One of his tools will be the Ohio Motion Picture Tax Credit program, which can provide incentives for companies that bring production work to Ohio.
Henthorn, an Otterbein College graduate, previously worked on the creative side of filmmaking as a writer, director and editor.
CRAFT NOTES by ED HOOKS
HUMOR IN ACTING
A few thoughts about the use of humor in acting. One of my favorite documentaries is the 1985 nine-hour long “Shoah”, by Claude Landsmann. which deals primarily with the few survivors of the Nazi death camp at Treblinka. At one point in the movie, Landsmann goes undercover with a hidden camera and pretends to be a Nazi sympathizer. He is sitting in the living room of one of the Treblinka guards, making small talk, when he observes – almost off-hand – “I have heard that you could process as many as 1,000 a day at Treblinka. The ex-Nazi guard laughed heartedly: “Oh, no! We could handle 10,000 or 12,000 easy.” I sit here today, twenty-three years after seeing that movie and still get chills when I recall that moment. The guy laughed! It revealed his entire value system.
A couple of months ago, I wrote about how new actors will tend to gravitate to anger and sex when playing a scene. By the same token, they will tend to avoid humor. Maybe it is because, in a sense, humor is a more risky choice. And too many of them believe that the only thing funny is “funny ha-ha”. But, as was the case in “Shoah”, humor comes in all shapes and sizes. No matter how grim the scene, almost every one of them will profit from more humor. Interestingly, laughter is hard to fake. It is a factor of mood, and there isn’t much worse acting than an actor faking a laugh.
I remember getting a kick out of one of my California students some time back. He seemed genetically incapable of using authentic humor. Whenever he would laugh during a scene, it was almost like he was saying, in effect, “I don’t laugh. But, if I did, it would sound like this!” I used to tell him all the time that, if the laughter wasn’t there organically, he would do himself more harm than good by trying to fake it.
Nothing is quite as revealing as a character’s sense of humor. Is he the kind of person who enjoys superiority? Is he the kind who might enjoy tormenting animals? (Many serial killers have that trait in their background)
Laughter can be sarcastic, derisive, dismissive, ironic, insincere, a power-play. It can be used to put down another person. It can be seductive, charming, apologetic, wry, stupid or sick.
The thing is that playwrights often do not write in the laughter. In a way, it would be an insult to the actor to do so. But Shakespeare said, “Hold the mirror up to nature”, and if humor doesn’t reflect nature I don’t know what does.
Actors get so darned serious about their craft at times. “Hey, I’m acting here! Did you check out the tears? Those are real, my friend, real tears. I’m serious enough about acting to generate some real emotion.” I have observed acting classes in which actors tore one another’s clothes off each other, thrown chairs at one another, literally spat into one another’s faces. And you know what? The experience doesn’t move me. It is not relevant to me that an actor on stage can work up a big head of emotion.
Remember Paul Newman in the movie, “Cool Hand Luke”. That was a masterful use of humor on the part of a fine actor. No matter how many holes they made him dig and refill in the prison yard, he laughed in their faces. “You can’t break me,” he seemed to be saying. “In fact, it makes me laugh that you would even think you could break me!” Another actor playing that role would not have chosen laughter as a defensive element. There are good reasons for why Paul Newman is a star.
Same deal with “Butch Cassidy and the Sundance Kid”. There they are, the two of them, stuck high on a cliff, with only raging river water behind them – and the posse was closing in fast. Newman tells Robert Redford to go ahead and jump into the river. Redford admits reluctantly that “I can’t swim.”. Newman’s classic and humorous response was, “Hell, the fall will probably kill you!” Another actor might not have found humor there, but it worked wonderfully the way Newman handled it.
Laughter doesn’t necessarily mean that your character doesn’t care about a particular thing. It can also mean that he or she cares a lot, maybe even too much. Humor is a telling thing.
Look for humor in your acting, folks. It doesn’t have to be funny, only true. Humor is one of the most underused emotions in our craft.
BOOK OF THE MONTH
Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.
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