EATING ON-CAMERA - Part I

ARTISTS - ON-CAMERA FOOD CONSUMPTION    Your ability (as an actor) to 'properly' EAT on camera should be looked at in similar light as you would any other one of your (performance) selling features, e.g., accents, smoking, expressions etc.  There are people who have a natural talent to eat well while talking. Then there are people who need to practice it in order to look, at the least...presentable. And then there are those who should really just stay away from it. Now, just as with many things, you may feel real natural with eating and talking, however, it's not how you feel (darling), it's how you LOOK! And, when you eat on camera, you MUST look appealing, enticing, compelling... (and a whole bunch of other exciting adjectives - preferably not disgusting). Food and you must look so desirable together that when we (the viewers) experience you (the character) eating, we just can't wait to run out and grab something to eat ourselves. It's a whole thing. Sort of like walking, chewing gum, singing, dancing all while getting dressed. It's a bit of a balancing act. And, you don't want to get caught stumbling. Now, while there are those of you who are seemingly natural at this...until you actually 'see' what you look like, you may just be fooling yourself. If you take a look around any restaurant the next time you eat out. Or, even if you pay close attention to your friends or family members at home, you'll begin to notice those who eat well...and those who...well, just don't! You'll also begin to notice what looks: presentable - sensational - disgusting.   Timing, utensil handling, facial expressions, mouth opening, these are just a few of the areas that need to be considered while chomping and speaking. Or, drinking and speaking for that matter. It's a bit of a dance of sorts. And, just like any good dance, it all needs to be choreographed.   Now you may become overly conscientious about it all at first run, however, just like anything else that takes getting used to...you have to get used to it. After a little practice, you'll begin to become more natural. Then you'll not have to think about it and you'll just be doing it --  eating and talking like a pro! Speaking of professional eating -- CHECK THIS OUT!  And, THIS! And, yet THIS! Eat Pretty. See You In The Studio! Coach Banks

BONUS VIEW WORKS      DOESN'T WORK   "THE ACTORS FREE-WAY" Free Weekly Acting Exercises (a free way to train) Eat several meals while positioned in front of a mirror. Observe what you (it) looks like. Try and change around a few things with the objective of not looking distasteful. Once you've checked it all out, work on making eating and TALKING (saying your lines) as natural as possible. (do this with any scene or monologue that you may already be working on.)   The next time you're in your acting class, bring simple food items into the studio with you to eat while doing your scene.  *[Be sure to ask your Coach if he/she will make an acception and let you eat in the studio.]

FOOD FOR THOUGHT - Part II

ARTISTS - FOOD FOR THOUGHT   OK, I know that many of you have been patiently waiting for this "FOOD FOR THE BRAIN" teaching for a couple of weeks now....so I won't keep you in suspense any longer. Here it is... After extensive investigative research, combing through a myriad of material and complex nutritional studies, deciphering through all sorts of contradicting and diametrically opposed opinions...I'm going to brake it all down and keep it very simple for you. Ready?   EAT RIGHT AND DRINK PLENTY OF WATER Now, maybe that's not what you were expecting. But, if I were to go into too much detail about it all, I know that most of you would most likely tune out. So, here's my extended, mini version for you to chew on.   If you eat really BAD food, food containing heaps of empty calories, high sugar and sodium counts and ridiculous amount of fats, not only will your brain not function correctly, but you're putting yourself at risk of far too many things for me to mention in this article.    Apparently, your brain (like your body) seems to respond incredibly well to heavy doses of water, every day. So, here's the best thing for you to do:    DRINK HEAPS OF H2O! Consume half your body weight in ounces of water. If you weigh in at 100 pounds, you're not only very thin (or young), but you should be drinking 50 ounces of water each day...minimum.  Start by drinking at least eight to sixteen ounces of water as soon as you wake up in the morning. Just get it down!  Keep a bottle of water by your bed and create a ritual of downing it as soon as you wake up. This will provide you with more benefits than you can imagine. Some of which being, better brain function, clearer eyes, a healthier you overall (inside and out) and even weight loss. It's cheap, it's easy, it's healthy. NOTE:If you're looking to lose a little weight along the way, consume a liter of ICE WATER as soon as you wake up and at least 30 minutes before your first meal. You're first meal (breakfast) should be no later than 45 minutes after you wake up and it should contain at least 20 grams of protein. Do this for a week and smile away the lbs!   OMEGA-3! Something else your brain seems to like is Omega-3 oils. Again, not only for your brain and memory but for so many other things that promote good overall health as well. You can get your Omega-3s from fish (salmon, halibut, tuna and scallops ), EPA DHA liquids and capsules, walnuts and flax. There are other foods that will do the trick, however these seem to be some of the more concentrated Omega-3 foods.   I could go on, but seeing as this is an article for actors about how to better memorize lines and not necessarily an article on health and nutrition...I'll end it here. (*If you'd like to know more on this topic, just let me know in the comment box.) BRAIN FOOD, my conclusion to this teaching - In the words of Mickey Mantle (and others)... "If I had known I was going to live this long, I would have taken better care of myself."  Eat Healthy. See You On Set! Coach Banks

"THE ACTORS FREE-WAY" Free Weekly Acting Exercises (a free way to train) Recall two distinct, separate past memories. Something very tragic and something else very wonderful. Continue to work on the memories, building them with as much detail as you can. Think of this as MEMORY PUSH-UPS   Write down everything you consume for THREE days. Then go back and look at your lists.   NOTE -- For ONE FULL DAY, I'm asking you to take a picture of everything you plan on eating, right before you eat it. Just use your phone. And, yes...that's EVERYTHING! If this assists you in curbing your 'wild' food consumption -- repeat until your eating habits change (for the better).

WHAT'S POWERING YOUR MEMORY - Part I

ARTISTS - WHAT'S POWERING YOUR MEMORY - Part III The car you drive can have the most powerful engine imaginable however...without the right fuel, it's not gonna perform very well. Hence, the reason for different octane fuels, ranging from 89 (there is lower),  to rocket fuel (or Kentucky sour mash).  The FOOD you eat regularly is your BRAIN FOOD. It's the same food that fuels your 'thinker'. And, your brain's performance is directly linked to what fuels it. So, let me ask you a simple question..."What are you filling your tank with?"  < THIS?   OR, THIS > If you just stop for a second and think about it...what we do as actors is more often than not called, a "PERFORMANCE". Why? Have you seen bad acting before?? Right! And, it's not what most people want to experience either. We want to see brilliant acting. Outstanding PERFORMANCES! And, when it's done correctly...that's exactly what it is...a PERFORMANCE.           <  Is this you?          Friendly and smiley.   OR, is this you? >  Fierce and aggressive. Don't take your food consumption for granted..."Wishful thinking doesn't therefore a successful actor make you!" You've got to act...smart...in all areas of the craft. And, your nutrition is certainly one of them. BRAIN FOOD - Think about what you eat! See You On Set! Coach Banks

"THE ACTORS FREEWAY"  Free Weekly Acting Exercises (a free way to train) WRITE one short paragraph of something, anything, filled with as much LITERAL and CONCEPTUAL information as you can. Then send it off to an acting buddy or (scene partner). They intern will do the same.  Once you receive your paragraph, begin to memorize it 'verbatim'. Try using what you know about mnemonics to assist you. (see blog post on MNEMONICS) Work on memorizing menu items. Every time you eat out, try and remember all of the ingredients of that food item by the time the wait person comes to take your order. Then attempt to tell them 'exactly' what you would like, as it appears on the menue. REMEMBER: Memory is a muscle that requires exercise -- regularly.

THE MEMORIZATION PROCESS CONTINUED - Part III

ARTISTS - TOTAL RECALL - It's all in there, now let's get it back out. Before we roll out any further with this lesson on MEMORIZATION, be sure to read Part 1 first. Having said that... When considering methods to optimize memorization, you may come across something to this effect --"MEMORIZATION is a method of learning that allows an individual to recall information VERBATIM." (see definition) DEFINITIONS... VERBATIM: in exactly the same words as were used originally - word for word So, let's take a look at a little device called - - MNEMONICS. Pronounced new_mon_ics. A mnemonic is a triggering device that assists in remembering something. Generally an association of many sorts that helps convert information from SHORT TERM memory to LONG TERM memory. Thus, enabling you to recall or "remember" things easier.   EXAMPLE: Take, for instance, any line of dialog. Now isolate the true MEANING of that line. What does that line mean to you? Draw a familiar association to that meaning, fill it with information... color, sound, feeling...and put it into action (the glue). Place it somewhere on/in your person (body), and pinch it. That's correct, pinch that part of you (careful where you place the info). Now, let some time pass and pinch that location again. If you've done everything correctly, that information (line of dialog) should come back to you....just as you stored it. If not, continue to strengthen your mnemonic device.    This is just one example of how mnemonics functions. You're not going to be pinching yourself all through your scene work. It's just to show you more visually how mnemonics works to help recall stored information. Remember the string on the finget thing?  See You On Set! Coach Banks

YOUR FIELD EXERCISE WRITE one short paragraph of something, anything, filled with as much LITERAL and CONCEPTUAL information as you can. Then send it off to a scene partner (fellow actor). They intern will do the same.  Once you receive your paragraph, begin to memorize it 'verbatim'. Try using what you know about mnemonics to assist you. Then get together and see how close to the lines you both are able to be when reading the paragraph back to each other. Every time you eat out, try and remember all of the ingredients of that food item by the time the wait person comes to take your order. Then order the complete menue item...word for word. REMEMBER: Ha, no pun...Memory is a muscle that needs to be exercised to stay strong.

THE MEMORIZATION PROCESS - Part II

ARTISTS -

THE MEMORIZATION PROCESS - 

• Taking it all in
• Locating it again later
• Delivering it just as it were

So, now that we're into this teaching on memory (intake and recall)...one of the most important things I'd like for you to focus on is the raising of your awareness as to just how your memory actually works. Understanding this information will slide your knowledge fulcrum to the right (refer to the ZONE teaching) resulting in you becoming more confident. You becoming more confident will result in this whole process becoming more effective for you.

TAKING INFORMATION IN  (LEARNING LINES):

Your state of being when you take information in will greatly effect your ability to memorize effectively. 

 

A clear head, lack of distractions, allowing a segment of time to actually do it, lack of stress and your care level are just a few of the things you may want to consider when studying.

"Im sorry, there was just so much going on that I can't remember."

WHERE YOU PUT THE INFORMATION (STORAGE):

Now, for the sake of this lesson, we're going to consider the threebasic types of memory that we use.

SENSE - SHORT TERM - LONG TERM MEMORY. Think of your mind as if it were a 'mechanical' computer. Your memory might look something like this.

  

Sense Memory is similar to RAM (Random Access Memory), it only works when the power in on!

Short Term Memory only lasts for a few seconds to a few minutes...then it's gone!

Long Term Memory can last a lifetime...and beyond!

(i really didn't mean for all of this to rhyme...)

HOW TO GET THE INFORMATION BACK OUT (DELIVERY):

When you do the above properly and over time, not cramming at the last minute, your recall will be as easy as remembering your own name.

Not to confuse you, but just take a look at this.

 

We'll be taking all of this to the next level this week. So, remember... don't forget! 

See You In The Studio!

Coach

ACTOR, KNOW THY LINES - Part I

If hope you've been able to follow along with the progression of work we've been doing with SPACE and AGE SKIP. If so, my true desires are that each of you have grown tremendously because of this work. I guess it could be said that we've all just experienced a rather unique form of the SPACE AGE.

Now that space work and age skip are behind us...let's take a look at some of the many other practical areas of the craft. 

  

LINES AND MEMORIZATION  

We'll be going over the importance of line memorization, when it's necessary and the many ways of how to memorize lines. However, your first clue can be found in this weeks definition... [work]! You have to do the work. Becoming an effective actor means changing the way you not only look at life - but live your life.

Sir Anthony Hopkins not only reads his lines well over 200 times (that's right, 200) but he writes each line down three times. By the third time, he feels he's committed the line to memory. Writing your lines down will help you process and memorize them. 

 

This is just one of the many ways to help you to memorize. It's incredibly important for me to stress the amount of 'work' that's involved in properly preparing for a scene.

We'll be covering all of this in greater detail in the next series of blogs as well as this week in the studio. Until then, start working those memory muscles. 

See You In The Studio!

Coach

THE AGE OF YOUR CHARACTERS - Part II

AGE and EXPERIENCE...experience and age. They sort of go together. As the age of your characters change, so must you, the actor, have the proper LIFE UNDERSTANDING to go along with those changes. [Character indicative]

 

This brings me to the expression, "They're an 'old soul'".  What exactly does that mean?  

With the understanding that the SOUL is composed of your MIND, the way you THINK - your HEART, the manner in which you FEEL - and your WILL, how you PERCEIVE and PROCESS life...there are two basic areas to consider.

1 - EXPERIENCE (first hand and/or observed)

2 - DEPOSITED (through genealogy and/or GOD)

It's all quite exciting when you dive into the depths of it all.

So, be sure to really pay attention and STUDY AGE DIFFERENCES in people! 

See You In The Studio!

Coach

HOW OLD ARE YOU REALLY?! - Part I

Have you ever watched a canvas artist recreate an image on their canvas? What do you notice? Do they just keep their eyes on the canvas while they paint or draw? Or, do they STUDY THEIR SUBJECT(s) and then, with their eyes going back and forth between subject and canvas...do they work their way through their masterpieces?  STUDY LIFE! 

 

Examine people! Examine their behavior in LIFE! HUMAN BEHAVIOR, at various stages of life. Observe everything you can about it!

As I've stated time and time again...acting is the understanding and recreation of HUMAN BEHAVIOR.

All of your characters aren't the same age. The more developed you become as an artist...the more ages your characters will be also.

Observe as many of THE STAGES OF LIFE as you can!  

 

Pay as close attention to as much detail as you're able to. Make it a point to study humans fresh on their way IN to [LifE] -- as well as, experienced and on their way OUT. I know it seems a bit blunt...however, it is reality. And an ACTORS' JOB is to know life well enough to RECREATE THE ILLUSION OF THAT REALITY!

Also, try and grab as many pictures (images) of yourself - at as many various stages of your passing years as you're able to get hold of.

LET THE GAMES BEGIN! 

AND GOOD LUCK!!

Coach Banks

KEY INGREDIENTS FOR STARDOM:

Below you’ll find some key meanings that I feel every actor needs in their arsenal in order to be really noticed. In most cases, these are some of the key ingredients that make up Stars.

• A strong, keen ability to bring out inner DYNAMIC.
• The talent to manifest a powerful PRESENCE in any room.
• Creating a 'MOMENT' every time you perform.
• The ability to make an IMPACT on whomever is watching.
• Maintaining the INTEGRITY of the character.

DYNAMIC:

Your dynamic is your full range of everything working together to fill your space:

• Positive in attitude and full of energy and new ideas
• An energetic force(s) producing motion or forceful power, vigorously active
• Range of volume of musical sound (filling the room)
• A basic or dynamic force

PRESENCE:

This is the fullness of who you are - showing up with all pistons firing.

• The impressive manner or appearance of a person
• Have a strong and obvious effect or influence on others or on a situation
• The ability to project a sense of ease, poise, or self-assurance before an audience

IMPACT:

Creating a disturbance in the atmosphere you’re operating in.

• To have an impact or effect on

INTEGRITY:
This is who your character's ARE at their core.

• The state of being whole, entire, undiminished.

MOMENT:
Creating an 'experience' when you're performing. A Moment happens when you have the ability to 'corrupt' the present atmosphere you're working in. In a good way.

• Important, significant, weighty, of interest

Your performance moments are like that of a full symphony orchestra...all of the musical notes must come together to create a moving experience for those watching. This isn't going to happen in a six-week workshop. It's a life pursuit, a journey, a purpose -- it's ART itself! 

Play Strong!

Coach Banks

THE GADGET ACTOR

Acting is a natural process, or at least when it’s executed correctly. Good acting is true, honest, real and organic. OK, so here’s that word again …organic. What’s 'organic' really mean anyway? “Her performance was so organic!” Let’s take a minute and look at this often used and misused term - ORGANIC. 

Throughout the many definitions of the word, you’ll consistently find something to the effect of, or having to do with – “living, or the state of being alive”. 

Organic is alive! It’s a natural process of behavior and experiencing that is fully in the moment. When acting isn’t embraced correctly the actor (or someone who is calling themselves an actor), may succumb to using gimmicks or tricks from their stockpile of shtick. I’ve come to understand this type of actor (who likes to use ‘shtick’, or gimmicks) as...
The Gadget Actor.

The Gadget Actor is a person who pulls from a stockpile of gadgetry, fun things that have gotten them attention or laughs in real life social situations. I call this person the Gadget Actor because their work is more often than not a series of set-ups, opportunities for them to pull out a new gadget or gimmick, although there’s really nothing new about it. 

These gadgets have been used again and again and again… It’s shtick. It’s stock. It’s gadgetry. It’s not even close to being genuine, real, authentic, creative or in the moment. It’s dead! I believe it was Einstein who said, the mind should be like a clear blackboard - as we go through life we write on it, creating our present reality - not a blackboard filled with information that we pull from for our expression. And even if it wasn't Einstein, the point remains the same - we should live and work to be creative beings...in the moment, not shticky actors pulling from stock. 

Shtick is fun for some people but at the same time it can be quite dangerous. The danger lies in the pattern building that the actor’s behavior is creating. Repetition of this pattern will undoubtedly begin to groove itself in. And, as this groove ‘thing’ is repeated and repeated, the groove becomes deeper and deeper until it eventually forms a rut. And as the rut carves deeper, it becomes near impossible to get out. It’s been said that the only difference between a rut and a grave is the depth. Do you see where this is going? It goes beyond forming bad habits – it actually imprints them! 

The moment I catch one of my actors even touching on shtick or gadgetry, I’ll point it out and have them correct it right away. “Get out of that and trust the present moment.” Next, I’ll have them engage their emotional memory to understand what they just did so to prevent them from doing it again. I will continue pointing it out to the actor until it’s removed, completely, all the while teaching them what it is so that they won’t find themselves falling prey to bad habits in the future. Eventually, personal learning curve indicative, it will be wiped out, vaporized, erased completely! 

Outside of some character acting, and I say this with caution, there’s no place for gadgets in the true art form of the craft.

Enough of this!

See You In The Studio.
Coach Banks


SHTICK - A shtick (Yiddish: שטיק) (or schtick) is a comic theme or gimmick. "Shtick" is derived from the Yiddish word shtik (שטיק), meaning "piece". Only giving a piece of. It's incomplete. ~ Wikipedia