THE OVERBROOK BROTHERS was one of my favorite films from this past year’s SXSW film festival. Co-written and directed by Austin filmmaker John E. Bryant, THE OVERBROOK BROTHERS is finally getting its chance to be seen by a much wider audience. Starting Februrary 17th, THE OVERBROOK BROTHERS will be available through IFC Films ON DEMAND. In the Austin area, IFC ON DEMAND is only available on Time Warner. Check it out.
Archive for the ‘Actors’ category
THE OVERBROOK BROTHERS LANDS DISTRIBUTION
February 6th, 2010JOURNEY OF THE WORKING ACTOR – SAG LIFERAFT
February 6th, 2010Tuesday, February 9th
LifeRaft Live Stream presents
JOURNEY OF THE WORKING ACTOR
Screen Actors Guild Foundation and Screen Actors Guild are delighted to continue offering innovative “business of acting” seminars to Guild members across the nation at no charge, via live video stream on the Internet!
LifeRaft Live Stream allows you to participate online and submit questions to panelists every Tuesday, 6-8pm (PT) through April 27, 2010. To learn more about the program, view the current 2010 LifeRaft Live Stream schedule and to participate in these events online, simply visit the SAG Foundation LifeRaft Live Stream show page at www.sagfoundation.org All LifeRaft Live Stream events are available for later viewing here as well.
The next LifeRaft Live Stream event is:
Journey of the Working Actor
6-8 p.m. (PT), Tuesday, February 9
Join accomplished Los Angeles actor/author Michael Bofshever www.michaelbofshever.com), along with his stellar panel of familiar-faced working actors, as he discusses a variety of questions pertaining to the many aspects of what it takes to succeed and live the life of a working actor. Topics to be addressed include the Foundation to Having a Career, Audition Know How, Life on Set, Agents and Managers, and the Art of Perseverance.
Michael has taken “Journey of the Working Actor” to over half the SAG branches across the nation and has garnered wonderful feedback – now, LifeRaft Live Stream is happy to share his professional insights with Guild members everywhere.
Guild members who wish to attend LifeRaft seminars in person may visit www.sagfoundation.org to register for seating at the events held at:
SAG Foundation Actors Center
5757 Wilshire Blvd., Mezzanine Level
Los Angeles, CA 90036
(parking will be validated)
Celebrating its 25th Anniversary in 2010, the SAG Foundation is proud to assist, educate and inspire SAG members in their careers, lives and communities. See you online!
Please note: If you are receiving multiple SAG Foundation notices you may have indicated a preference for more than one Foundation email region list. You may review and adjust this option at any time by logging into www.sagfoundation.org and viewing the “Email Notices” setting on your User Account page.
The Real Deal on Actor Reels from SAG
January 31st, 2010This is an excellent video from the SAG Foundation LifeRaft series that was originally available only to SAG members. Whether you’re putting together your first actor reel or getting ready to re-edit and add your latest credits, there is information here for you. Top industry guests including casting directory Gary Zuckerbrod and highly sought after editor Wayne Rawley of Secret Handshake Entertainment tell what they’re looking for in a demo reel and offer sage advice on how to avoid the most common pitfalls.
Demo Reels, Pictures and Resumes – Getting Your Act Together
January 22nd, 2010The AUSTIN ACTORS CONSERVATORY PRESENTS
“GETTING YOUR ACT TOGETHER”
Demo Reels, Pictures, and Resumes
JANUARY 24, 2010 – Time: 4:00 – 6:00 PM
St. Edward’s University, 3001 S. Congress Ave, Austin, TX 78704
Ragsdale Center, Mabee Ballroom on 3rd Floor
Join the Austin Actors Conservatory for a candid discussion of what works and what doesn’t and learn how to market yourself in today’s climate.
COST: Members of the AAC: Attend for FREE. Please bring your SAG/AFTRA card for admittance (as a reminder all members of AAC must be paid up and in good standing with their unions). FREE for St. Edward’s students (must show student ID for admission) * Fans of the AAC: $20.00 *All others: $25.00.
Please RSVP for this EVENT: AustinActorsConservatory at gmail.com
Moderated by Tommy G. Kendrick
Our Panelists Include:
Pictures and Resumes:
DAMON WILLIAMS – Former Casting Director for Ricki G. Maslar Casting; Ulrich/Dawson/Kritzer Casting – in Los Angeles, Damon is a recent transplant from Los Angeles, currently casting: “Twisted Proverbs”, “The Everyday Sun Tzu”. Past projects include: “The God Project”, “Going Postal”, “Manfest”,”The Year That Trembled”, “Black Hole”, “My Best Friend’s Wife”, Speechless”, “XCU: Extreme Close-up”, “Always Greener”. Damon is also a SAG actor, AAC Committee Member and 2010 Script to Screen Chair.
Demo Reels and Other Marketing Tools:
PAMELA WEAVER – Actress, Filmmaker, Film Editor. Another transplant from Los Angeles, Pamela has been performing on stage and screen since the age of 6 years old, touring with the “Weaver Sisters” at USO shows, private clubs, aboard ship, army camps. She has performed in over 100 stage plays on both the east and west coasts, 15 films and 6 television shows. In 2006 she went behind the camera learning film editing, shot her first documentary which is currently in post and creates demo reels for actors. Her first paid gig as a film editor and DP was working for ESPN in 2007. Between acting gigs and chairing the Austin Actors Conservatory, she films and edits virtual auditions and demo reels for actors, internet advertising.
JONATHAN GRUBBS – Film editor, motion graphics designer and published writer, Jonathan has spent the last 5 years editing at a boutique post production facility in Los Angeles where he worked on trailers and television spots for major studio film releases. He now freelance edits and designs motion graphics for television commercials for markets across the nation. His current plans are to expand into visual effects, feature title design and feature editorial in the near future. Past clients have included Universal Pictures, Sony Pictures, Paramount Pictures, major pharmaceutical industry firms, a rock band, documentary and a local Austin independent comedy.
What the Professionals That Hire You Are Looking For – How to Get Their Attention!
MARK LANE — Producer, Capitol Motion Pictures — In 2000, Executive Producer Mark Lane produced the independent Film, The Cure for Boredom, starring Judd Nelson, Seymour Cassel and the late Joe Vitterelli. Fusing all his talent and abilities, Mark went on to form Capitol Motion Pictures, focusing on the production of quality feature films. His feature, the comedy “Checking Out” starring Peter Falk, Laura San Giacomo, David Paymer & Judge Reinhold, was released in September, 2006. Mark’s present position in the film industry culminates years of expertise both behind and in front of the camera. Mark started out as an actor in New York, eventually producing and acting in over twenty off-Broadway plays. Following the path of numerous talented New Yorkers, Mark headed west to Hollywood where he quickly gained recognition working as an actor on such network television shows and feature films such as Hill Street Blues, McGyver, Capitol, Miss Lonely Hearts, Chud 2, Friday the 13th, Fire in the Night, Mass Appeal, Sex & Bullets. Desiring to expand his creativity, Mark began working behind the camera on numerous projects for the three major networks: ABC, CBS, and NBC; as well as for several motion picture studios, including: Paramount Pictures, Universal, Warner Brothers and Lion’s Gate, to name a few. Quickly, Mark rose to Producer, heading up three feature shorts for HBO/Showtime: When Angels Cry, Galatea’s Wish, and Hope’s Creek. He also produced and directed the nominated documentary, Our Father the Bank Robber. Mark studied acting in New York City under the tutelage of Lee Strassberg, Warren Robertson, Uta Hagen & Herbert Berghoff and Alan Rich in Los Angeles. The completion of two films this year ”Bittersweet” won highest honors this years at World fest 2009 Houston starring James Brolin & Kip Pardue and “Shadows” starring William Hurt & Cary Elwes are slated for release this year. The Tribeca Film festival has requested Shadows to have our world premiere for their festival this April 2010.
GARY CHASON, Director, virtually grew up in the theater. He and his two sisters, from the moment they could walk and talk, put on shows for family and friends. He studied classical ballet at Houston Ballet’s academy as well as vocal music, singing in the chorus of the Houston Grand Opera’s production of Tales of Hoffman. He took up directing at the University of Texas and set his sights on becoming an avant garde, experimental writer/director. He created Houston Laboratory Theatre in 1970 and directed an innovative Romeo and Juliet that received excellent notices. He produced and directed one of the most controversial stage productions in Houston during the Seventies: The Beard, an erotic one-act staged at an art gallery in the Montrose District. He also directed two of his original plays at the Equinox Theater: Charlie’s Ear and Denizens. He has had a distinguished career in motion pictures as a Casting Director and Dialogue/Dialect Coach. His casting credits include: The Last Picture Show; Paper Moon; The Getaway; Pretty Baby; and Paris, Texas. He has worked closely with directors Robert Altman, Peter Bogdanovich, Sam Peckinpah, Michael Ritchie, Louis Malle, and Wim Wenders. As a Dialogue/Dialect Coach he has tutored Jeff Bridges, Cybill Shepherd, Cloris Leachman, Brooke Shields, Tatum O’Neal, C. Thomas Howell, and Ann-Margret. His first feature film as a Writer-Director, Charlie’s Ear, won the Critics’ Prize at Mannheim and all the top awards – Best Film, Actor, Director, and Cinematography – at the IMAGFIC festival in Madrid. He produced The Trust, an award-winning feature film starring Karen Black and Sam Bottoms, and has produced, directed, and/or written numerous shorts: Mama Icy’s House; From Nowheresville; Ink on Paper; Little Beauties; A Few Letters Off; More Than Two Dollars, and My Name Is Jeffrey and I’m a Serial Killer. In the field of Corporate Training Videos his clients include Service Corporation International, Shell Oil, The American Bar Association, The Texas Young Lawyers Association, Liveris Digital Productions, Hoefler Associates, and The Escape School. His first book, Acting for the Real World: Notes on Television and Motion Picture Acting, will be published soon by FSE Publishing and his screenplays, Succubus Crystal, My Princess, and Faces of Stone, won, respectively, gold, silver, and bronze awards at WorldFest Houston. As an actor, he has appeared as a supporting player in the feature films Brewster McCloud, Zombies of Sugar Hill, Burger Wars, and My Best Friend is a Vampire. His first starring role as “Dusty” in the indie feature Dear Pillow has earned rave reviews in Variety, The Orlando Weekly, Film Threat, Indie Slate Magazine, and Playback St. Louis. He produced and directed Everything or Nothing, an HD feature starring Natasha Melnick in ’04, which was finished in ‘06. It was written by Sue Rock. God Thinks You’re a Loser, an HD feature he wrote and directed, was completed in 2008.
Dirty Bomb Diaries -Interview with the Creators
November 8th, 2009Still from Web.Files interview with creators of BMB: Dirty Bomb Diaries
We’re at the beginning of a new age of ‘television’ and ‘film’ production and distribution. Some of the old models of content delivery are getting some competition and some are likely to fade altogether. For actors and all creatives this new model offers some great opportunities. No longer will it be absolutely necessary to live in one of the major markets in order to work in and hopefully, make a living in, ‘the business’. Take a look at this interview, check out some of the episodes of this and other web series on strike.tv or your favorite distribution channel.
Director Tim McCanlies Makes ALABAMA MOON Shine
October 27th, 2009
Alabama Moon Poster
But how many times have you gone to a film based on a book you love, only to be disappointed in the results? Too many, sad to say.
McCanlies, who directed from a script co-written by Key, had more than a few challenges with this project. Mix together a limited budget, a relatively short shooting schedule and a story that requires kid actors to carry the film and the ingredients for a less than stellar result are all at hand.
Not to worry. ALABAMA MOON the film more than lives up to the promise of the novel.
For those who aren’t familiar with ALABAMA MOON, it’s the coming of age story of an eleven year old named Moon who has been raised in the Alabama wilderness by his survivalist father, Pap. Pap, distrustful of all outside elements, particularly ‘the government’ has raised Moon in his own image – friendless, self-sufficient and able to live off the land. This is ‘home schooling’ in its rawest form. Moon can read and write, but he can also trap game, start a fire without matches and has a rudimentary knowledge of medicinal herbs. Moon has been raised to distrust anyone but Pap and to live on his own.
For years, Pap and Moon have inhabited a dense growth of Alabama forest that is owned by a paper company. When the paper company sells of a portion of the land to developers, their solitary world is threatened. Then the unexpected, and to Moon, the unbelievable happens.
Pap is injured in a fall, suffering a compound fracture to his leg. Moon does his best to doctor Pap, but he is a kid after all. With no medical treatment, the unexpected becomes the undeniable truth. Pap dies and Moon is left to fend for himself. In his final instructions to Moon, Pap tells him he has to get away from the encroaching development. Run from ‘the government’. Pap tells Moon to go west, preferably to Alaska where Moon can hook up with other people who are self-reliant and who ‘think like we do’.
Thus Moon is set off into a journey of discovery. A journey that quickly has him in trouble with the outside world. But a journey that brings him into contact with people his own age for the first time in his life.
ALABAMA MOON is something of a ‘throw-back’ film. The film is refreshingly free of helicopter searches, infrared scopes and and night vision goggles. This is a film that seems more in the mold of the classic Disney pictures that mined similar territory. And that’s a good thing.
McCanlies keeps the narrative moving at a brisk pace and elicits first class performances from a uniformly strong cast.
Jimmy Bennett, as Moon, has the acting chops to go well beyond the surface of this nicely written character and he delivers a first rate performance.
Casting of Clint Howard as Moon’s nemesis, Constable Sanders, was a stroke of good luck for the production. In the after-film Q&A, Howard told how he served as sort of an on-set ‘uncle’ figure to the child actors in the film. How lucky for them! Howard also discussed a conversation he had with Don Knotts not long before that legendary comedic actor passed away.
Howard described Constable Sanders as ‘Barney Fife on steroids”. Howard, a former child actor himself (duh!) , added just the right amount of off beat humor along with his character’s threatening impatience and lack of empathy for Moon without ever going too far over the top. Don Knotts would no doubt approve.
Rounding out the recognizable names in the cast, John Goodman brought just the right tone and, pardon the pun, weight to the character of Mr. Wellington, the new owner of the land where Moon and Pap have been living. At first, Mr. Wellington appears to be at the root of Moon’s problems, but instead turns out to be something of a guardian angel.
Supporting actors add mostly solid performances and all are more than ably supported by the outstanding cinematography of Jimmy Lindsey, a surprisingly rich score by Ludek Drizhal and sure handed editing by Mark Coffey.
The biggest disappointment of this production from a Texas-centric POV is that it was shot in Louisiana. ALABAMA MOON was filmed prior to the passage of the latest Texas film incentive legislation and the Louisiana incentives won the day. McCanlies has been quoted as saying he could have shot much of the film on his ranch in Bastrop. If only.
ALABAMA MOON, the production, is in some ways a good template for filmmakers who must contend with modest budgets.
Start with a good story. Add a solid screenplay that has at least a few roles that are so engaging that they can attract name talent for a limited number of days work.
If you somehow manage the first two, add a director who can do good work while working at a fast pace. If you’re really looking at this as a template, you might want to avoid a story with child actors. You’d have to be really lucky to pull together a group of young actors who will perform as well as those in ALABAMA MOON.
For all of you who wonder where all the good family films have gone, look no further than ALABAMA MOON. Hopefully you can look no further than your local multiplex.
In a move that makes one wonder about potential distribution of this terrific family film, the producers have set up an online petition where fans of the film can use to urge American distributors to pay attention to ALABAMA MOON. Link to the petition HERE.
Hopefully, the presence of Goodman and Howard along with the strong following for Watt Key’s novel will result in the distribution this film deserves.
DOES YOUR CASTING NOTICE SUCK?
September 23rd, 2009RANT ON
For the professional or wanna be film actor, casting notices are easily found on the internet.
They’re in my email on a daily basis. They’re on Actors Access, they’re on Now Casting and they’re on Short Film Texas, to name but a few sources. ShortFilmTexas.com is a site I check daily because they have a LOT of casting information for Texas productions that is presented in a clear, attractive, accessible format.
What is the single most common mistake I see from the mostly low budget filmmakers who are posting casting notices online?
The mistake that potentially costs producers the better actors they want and need to cast for their projects?
The mistake that makes it harder for the producers to cull out the winners among all those who submit pictures and resumes for their projects?
Let’s use an object lesson by comparing two recent, real online casting notices:
What’s wrong with the following casting notice?
Casting Call For SAG Modified Low Budget HD Feature Film in Dallas, Texas ” XXXXXX” – PAID
Project Title: XXXX!
Project Type: Independent HD Feature
Union / Non-Union: SAG Modified Low Budget
Production Company: XXXX Entertainment, Inc.
Location: Dallas, TX and Waxahachie, TX
Start Date:XXXX
Producer(s): XXXX
Director:XXXX
Production Coordinator: XXXX
Publicist: XXXX
Casting:
* All Roles (paid)
* Extras (unpaid)
Paid / Non-Paid: Paid and Unpaid
Meals / Transportation: Meals
Contact:
CAST – please email headshots/resumes to XXXX at gmail.com
The text above is from a real casting notice for a SAG signatory film. Names deleted to protect the guilty. Have you figured out why the above casting notice is a complete waste of time? If not, read on.
Check out the next casting notice:
Production Title: Fighting Devils
Studio/Independent/Student: Independent
Production Company: Silent Run Pictures
Union/Non-Union: Non-Union
Project Type: Short Film
Project Format: HD, MiniDV
Production Location: Austin, Texas
Production Start Date: October 24, 2009
Shooting Schedule: 3-4 days over a couple weeks
Production Wrap Date: November 25, 2009
Producer: Jacob Walinski
Writer: Boyd Yates and Jacob Walinski
Director: Boyd Yates
Additional Attached Cast/Crew: Andrew Medina and Jerry Early
Synopsis:
We are going to make a short movie that we wrote a few years back. It will be about a priest and the devil playing basketball for a soul. I know its a concept that has been done before. But not the way or with the style we envision. The whole thing will be in camera effects driven. Some of the things we plan on doing include the devil changing forms behind a pole, passing to himself and even turning into an ashtray. Its going to be a fun one to make.
Character Breakdowns:
* Devil – Tall 5′8 to 6′5 male with dark hair. Has to be able to at least pretend to play basketball. The devil will be sneaky with plenty of tricks up his sleeve. Sly and cunning.
* Devil form 2 – Female has to be ok with running up and down the court with a baseball tee and towel shorts. we prefer darker hair for this person but we will consider anyone.
* Devil form 3 – Tall Tall Tall. Im talking like at least 6′3 to 7. and built. We want this man to tower over the priest.
* Priest – we need an athletic mid 20’s to mid 30’s male. He is a man of the cloth but he does not put up with the devils trickery. He plays fair but good.
* Band member – Young guy. Punk rock/ heavy metal type. They are going to be fighting fro this persons soul.
And if anyone knows a good local band that would be willing to let us in where ever they practice that would be great. We want to showcase there band a little. And maybe us a song or two.
Audition Details:
October 03, 2009
Location – Email me first. Then I will give out location of the audition and any other info that you need.
Paid/Non-Paid: Non-Paid
Other/Additional Compensation: Film Credit, DVD Copy
Meals/Lodging/Transportation Provided: Meals Snacks and Beverages
*Email Your Casting Submissions To:
Please email headshots / resume to Jacobwalinski at gmail.com
*Film/Production Company Website: www.Silentrunpictures.com
Note that the second casting notice is for a non-union film that pays nothing.
Which notice seems the more professional? More informative? To which notice would you be more likely to respond?
What’s wrong with the first casting notice?
Answer: It doesn’t tell potentially interested actors anything about the story or the characters to be cast.
The first example is bad not only for the actors but for the producers as well. Who is going to respond to the first notice?
This is purportedly a SAG signatory production. How many SAG actors are going to respond to what amounts to a complete shot in the dark?
Why bother to be a SAG signatory production and then withhold all details about what kind of cast you’re looking for? Why set yourself up for a mailbox full of headshots and resumes from people who are absolutely WRONG for your project?
If you’re looking for 2 six year old girls, please say so. That way us 50something old farts won’t waste our time or yours by submitting to your project. You’ll hopefully have a more targeted group of submissions to wade through.
Not to pick on the first post. It is one of many that I see daily that are a complete waste of time for everyone concerned.
Come on indie producers, THINK! If you’re not organized enough to post a casting notice that lets the acting community know what kind of characters you need for your project, are you really organized enough to actually produce a movie?
A final thought:
What is the first thing casting notice 1 tells you? It tells me they don’t have an experienced casting director, if they have one at all. That’s the first thing. This is a big mistake, IMO. If you’re a low budget filmmaker and you don’t think you can afford an established CD, approach one of their assistants. If your project has attractive elements, you never know who might want to come on board. A casting person with even a little bit of experience is going to save you a lot of time. And remember…time is money.
RANT OFF
On Acting, Cycling and Setting Goals
September 7th, 2009Going up some of those hills about 20 miles into that first ride, the mental picture I had of myself was as Tim Conway riding a tricycle, struggling up a hill, just getting to the top and then toppling over like a stump. It was at that moment I knew one could feel like their lungs were about to explode and be laughing hysterically at the same time. At that point I’m sure I looked like nothing more than some demented old geezer with heat stroke induced delirium. Hey, even in misery I try to be entertaining.
Regular readers of this blog probably know that I’m training to ride in the Texas Mamma Jamma Ride Against Breast Cancer that is scheduled for October 10, 2009.
While I’ve been a recreational bike rider for a couple of years now, I’ve mostly limited my riding to early morning, sub-ten mile tours of the neighborhood and the occasional longer weekend ride.
The Mamma Jamma ride site told me there were rides of 10, 25, 45, 65 and even 100 miles for the event. Having never ridden more than 15 miles, and being in the over 50 age group, I decided that the 45 mile distance would be a challenge, but an achievable challenge. When I committed to participating in the Mamma Jamma ride, I knew I had to get serious about preparing for this effort.
Since I am not a trainer, not an athlete and certainly not a trained athlete, I sort of made up my own routine based on information I picked up in various bicycle publications and off the internet. I started by being more respectful to my no longer young body. Among other things, that meant no more going to bed at 2:00 AM when I needed to be up at 6:30 to ride. If I had my druthers I’d stay up all night and sleep later in the morning but I really haven’t been able to do that for quite a while. So, too often, I’d been staying up late and getting up early and paying for it by being tired a lot of the time. That was one change.
Then I changed my riding routine, particularly on the weekends. Thirty minutes or so is usually all I can spare for riding on a weekday morning, so the brunt of the longer distance work has to be on the weekends. I’d been taking off on Saturdays for a 10 mile ride fairly routinely, but I knew that wasn’t going to cut it if I intended to complete the 45 mile Mamma Jamma course to which I was committed.
The Mamma Jamma Ride Against Breast Cancer organization has a terrific schedule of weekend group training rides and I set my sites on some of those. Six or eight weeks ago there was a group ride scheduled for my neck of the woods and they organizers had a 12 mile beginner’s ride on the schedule.
Perfect. I knew for sure I could do 12 miles as I’d done 10-15 miles many times. That ride went very smoothly so I showed up the next weekend for a 25 mile training ride…my first ever at that distance.
The distance wasn’t all that tough, as I found I’d gotten myself into pretty decent shape. The hills, however, were a different matter. There are no hills around my house. There are hills out in the Georgetown area where the ride will take place and there were hills on that training ride in Liberty Hill. Not BIG hills, at least they didn’t look big at the start. ut hills nonetheless.
Going up some of those hills about 20 miles into that first ride, the mental picture I had of myself was as Tim Conway riding a tricycle, struggling up a hill, just getting to the top and then toppling over like a stump.
It was at that moment I knew one could feel like their lungs were about to explode and be laughing hysterically at the same time. At that point I’m sure I looked like nothing more than some demented old geezer with heat stroke induced delirium. Hey, even in misery I try to be entertaining.
Over successive weekends I rode another 25 mile ride, then a 37 mile ride and two weekends back, I kicked it up to 50 miles.
FINALLY I’M GETTING TO THE GOAL SETTING. Sorry, I do tend to go on.
My First 50 Mile Ride:
The first 10 miles were pretty tough. I usually takes me about 5 miles to start to feel really warmed up. But that Saturday I felt tired. I had eased off the daily training, saving my energy for the big weekend ride.
Ten miles in I was wondering if I had under trained. But soon I was concentrating on the sadly decaying farm buildings I was passing, the cows looking at me like I was nuts and pretty soon I realized I was feeling better and I was looking forward to the challenge ahead.
Even when I ride short 5-10 mile courses through the neighborhood, I find that I need to give myself goals in order to succeed. Usually at 1-2 miles I’ll be feeling like I’m going to ‘cut it short’ today. But at 2 miles, I’ll tell myself, “you might as well do at least one more mile”….and on and on.
Then I recall the ‘deal’ I made with myself some time ago: If you get on the bike you have to go at least 7 miles. So, if the body is feeling old and cranky, I break it down a mile or two at a time. By the time I get to five miles, I’m warmed up and I tell myself ” just do the 7 or 8 miles”.
On the 50 mile ride I was glad I’d been through that game with myself so many times before. Because when I hit 30 miles, I began to wonder what in the world I was thinking when I set off from home declaring that I would complete a 45-50 mile ride.
You see, the previous weekend I had planned my route so that I arrived home at the 35 mile marker. No so on the 45-50 mile ride. I had routed myself so that I was still almost 20 miles from my house when I hit 30 miles. Yikes!
And the HILLS. I was riding out in the Lake Pflugerville / Manda area. The hills aren’t huge, but believe me, 30 miles into a ride, they began to look like mountains. And that’s when I began to play mind games with myself and to ponder the concept of incremental goal setting.
Looking ahead at a long stretch of road with a rather steep looking incline, I took a deep breath and plotted my strategy.
The first thing I did was stop looking at the horizon, at the top of the hill. I knew that’s where I needed to go, but I also knew the task looked too difficult for the way my body was feeling. The top of the hill wasn’t going anywhere whether I looked at it or not, so I told myself to stop looking so far ahead.
Next I took stock of my ‘assets’. I had plenty of water left and I still had several energy snacks left. Time to rip open one of those packets and get some nourishment. My bike, even though it’s a hybrid and not a road bike, was performing just fine…no mechanical problems. And I was tired, but not exhausted. There was still some gas in the old tank.
So I set off to climb that next hill. Instead of focusing on the crest of the hill, I tried to keep focused just a few feet ahead. I’m not saying I didn’t sneak a peek once or twice, but I concentrated on staying focused on the immediate task at hand, not on the eventual goal.
Time for a cancer story:
I learned a bit about this strategy from my wife, Jane, when she was in treatment for IBC, Inflammatory Breast Cancer. Jane had chemo every two weeks. The week she had chemo she got really sick.
She set a goal for herself to make it back to work on Monday of the second week. It was tough. By the evening of her chemo treatment she was starting to show the effects of the treatment. The next several days were worse. But by Sunday evening she was feeling a bit better and on Monday morning she pulled herself up and went to work.
Jane had a GREAT boss during her time in treatment, Mr. Royce Faulkner. Mr. Faulkner had told Jane that she would be paid her full salary no matter how many hours she could work during treatment. Can you believe that? So, she didn’t HAVE to go to work. But it was important to her that she continue to live her life as best she could even during a difficult treatment for cancer. Jane never verbalized the goal at the time. She just set about accomplishing it. And I understood.
It was a goal she set for herself and looking back I see how valuable it was to her set and achieve that incremental goal. The bigger goal was, of course, to beat the cancer and to get well. But to do that, she had to get through the treatment. For her, setting ’smaller’ goals along the way was key.
I swear I thought of all these things while I was riding. One of the things I like about riding alone is that one has a lot of time to let the mind run free and just think about things.
As I rode to the top of that hill, I started to think how I could apply this little lesson to other areas of my life, including my life as an actor.
Staying focused…’in the moment’ in acting parlance…is basic to the craft of acting. Breaking a play, a role, a scene down into smaller parts…line by line, beat by beat…focusing on the present and not the ultimate goal…basic stuff to the actor.
Thinking of becoming an actor? Formulate a plan. Break it down into manageable pieces. Set goals. Keep moving forward. Set new goals. Keep moving forward.
If you’re a writer, I know you’ve stared at a blank page or screen and wondered how you were going to get from there to page 120 of your new screenplay. You might have used an outline or scene cards or some other device to break down the ultimate goal into more manageable portions. Keep moving forward.
But these basics are also concepts and ideals that can get lost in the very tough day to day BUSINESS of forging a career as an actor, writer, director or anything else.
So, I guess the lesson I learned on that ride…for the millionth time in my life, no doubt…was to set a goal.
Then to formulate a plan to to accomplish that goal.
Break the larger task down into manageable pieces. Follow one completed goal with another. Keep moving forward.
The benefits are several: We ‘win’ by accomplishing the immediate goal. With each incremental task completed we get that much closer achieving the larger goal. And each step along the way, we grow in experience and in confidence.
It’s so much easier to attack a ‘problem’ in this fashion. Of course we’re not necessarily going to achieve the ultimate goal. Not every time. But there is honor and success in the trying. Setting incremental goals can, I believe enhance the chances for ultimate success.
Setting incremental goals helps us avoid being overwhelmed by what may seem like an insurmountable task. Looking at a task as insurmountable is a recipe for quitting. Actually that’s a recipe for never starting.
Script to Screen – RETURNING CHAMPION – SUCCESS!
September 1st, 2009With only two rehearsals, the SAG / AFTRA sponsored, Austin Conservatory presented a live presentation of RETURNING CHAMPION, by Michele Gendelman and Ursula Ziegler at St. Edwards University this past weekend.
Director Heather Scobie and a large cast of SAG and AFTRA actors presented a blocked for the state, live reading of the script with minimal lighting effects and sound effects. Frankly, I wondered if we’d pull this off as it was no small task. But under Heather’s confident guidance and with the talents of actors from Austin, Houston, Dallas and even Tulsa, OK it really turned out well.
The best part, to me at least, is that the writers, who were in attendance, seemed genuinely happy with the experience. They got to see their script on its feet and hear their characters speak aloud for the very first time. A Win/Win situation. If you’re a Central Texas SAG member and you haven’t joined the Conservatory, please do.
In addition to the Script to Screen series, we are actively programming seminars, classes, etc. to benefit Central Texas SAG and AFTRA members. Some programs and events will also be open to non-SAG actors as space and cost allow.
NEXT UP: Incremental Goal Setting – For Bicyclists and Actors, too
Austin Conservatory, SAG Script to Screen Team presents Returning Champion Film Script
August 28th, 2009I’ll be serving as the narrator for the latest SAG AFTRA Script to Screen presentation this weekend by the Austin Conservatory. Here’s an announcement from Conservatory Chair, Pamela Weaver:
We could use your support in attending our next script to screen this
Sunday. As an experiment this time around, we are using audio and visual
cues:
SAG Script to Screen Team presents Returning Champion Film Script
TV Writers Michele Gendelman and Ursula Ziegler test the film waters
The Austin Script to Screen Team presents a LIVE film script reading
event with Michele Gendelman and Ursula Ziegler’s Returning Champion.
The general public is invited to join actors, writers, producers,
directors, and film aficionados at 4 p.m. Sunday, August 30, at St.
Edwards University Jones Hall, 3001 S. Congress Avenue, Austin, Texas.
Admission is free.
Returning Champion is an off the wall comedy about a college freshman
who is booted out of school and has to move back home to his has-been
game-show host parents. The only way out of answering relentless trivia
questions and guessing which door breakfast is behind is to get his
out-of work parents back on the air.
An ever-growing independent film market has enticed these two TV writing
pros to submit Returning Champion to area investors, directors and
producers.
Michele Gendelman has written for TV shows: Newhart and
Facts of Life and is the author of What the Other Mothers Know
published by HarperCollins and contributor to What Was I Thinking? -
Bad Boyfriend Stories from St. Martin’s Press.
Ursula Ziegler has written and produced TV’s Empty Nest and also written for Head of the
Class, Sister-Sister, and Larroquette. She has developed TV pilots
for CBS, Fox and Castle Rock when not appearing as a contestant on TV
game shows.
Where: Jones Hall in the Ragsdale Center, St. Edwards University
When: Sunday, August 30 – 4 p.m.
How Much: Free
