Category Archives: Acting

Acting Advice. Acting Method.

When to Get New Headshots

Hey All,

I just got the edited versions of my new headshots. I’m digging the black background. We’ll see if they’re successful. With their introduction, I’m sharing my thoughts on when to get new headshots. As always, grain of salt people. Opinions will vary. Listen to your agent/manager/mom if they disagree.

1. Your Headshots Don’t Look Like You

Angela MorrisFor those who have been following me on the social media front, you know that I wrote a screenplay and that Less Than 30 goes into production this month (WHAT!?). I’m also a producer on the film, and I sat in/was the reader for the auditions. Thus, I know first hand that directors do NOT like it when you don’t look like your headshot. This is not to say that a headshot shouldn’t be a great picture of YOU, but if you’re going to look glamorous in it, you better be prepared to do that makeup for every.single.audition. Alternatively, and my favorite solution, have different headshots for your “types.” For example, in theatre I am often cast as either a cold, sexual b*tch  or the innocent (go figure) and in film I’ve mostly been playing girls next door (from manic pixie to troubled). Can you tell which one’s marketed which way? (If you can’t, tell me. Something’s getting lost in translation and I need to know).

Angela Morris2. You Hate Your Headshots

I don’t know why we do it, but a headshot we formerly loved now makes our toes curl with hate. Why do my eyes look like that?! What am I doing with my mouth!? Do I look drunkie!? Etc. If you don’t love it, you’re going to dread sending it out, so save yourself some angst at the starting gate and pony up for ones you do love.

 

 

3. You’re Rebranding

Do you want to move from “Tough Guy” to “Leading Man?” Jax Teller aside, these are very different looks and your headshot should reflect the new direction. When making a brand switch, do your research. Pinterest has some great boards devoted to actors, as well as, headshots. Look at the people whose career you hope to emulate and gather your inspiration.

Angela Morris

 

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2014 Entertainment Favorites

Happy New Year!

This is the first post in the new blog expansion. I’m interested in lots and lots of things (movies and books and games and television and music and travel and pretty things) beyond just acting theory and acting as a business, and I want my blog to reflect those interests. Thus, kicking it off…

My Favorites of the Year (Caveat, some of these favorites weren’t made/aired/produced in 2014, I just happened to experience them in 2014).

Favorite Movies

Birdman– I saw quite a few movies this year, but Birdman was my absolute favorite. Though I need to see it again to confirm, it may be my favorite movie of all time. The acting was fantastic, the self-awareness was awesome, and the technical achievement was superb. Do yourself a favor, and if you haven’t seen it already, go go.

The Godfather– I know, I know…How can I profess to love movies and never have seen The Godfather until now. Well, I do love movies, this one in particular. Al Pacino is so restrained. It’s a masterclass really.

Favorite Television

Rectify– (Season 1) I wrote about Rectify in a previous post, but I’m going to say it again. The. Acting. It’s a show where characters get to go feel their feelings. In what I’ve seen, there haven’t been crazy plot twists. The big thing happened, then we watch the aftermath.

The 100– I had no idea this show existed until it popped up on Netflix. I watched the first season and caught up on the second within a matter of days. The intersection of a technologically advanced society and a regressed people is interesting to watch play out. And the roles…for WOMEN! They’re strong, they’re flawed, and the lead is female. Plus, it’s really, really good.

Favorite Performance

James McAvoy, Filth– The character he plays in this movie is an absolutely despicable human. However, McAvoy plays him sympathetic enough that, by the end, I was ugly crying.

Favorite Songs

Hozier, “Take Me to Church”– Epic.

Taylor Swift, “Shake It Off”– I’m not really sure where the “It’s Cool Not to Like Taylor Swift” camp came from, if someone could kindly explain it to me, I will listen. However, I enjoy her songs. They’re catchy, she has a way with words, and they’re FUN.

Favorite Song Covers

Lousia Wendorff and Devin Dawson, “Blank Space/Style Mash-Up”– You’ve seen this. It went viral after TSwift tweeted it.

Chase Holfelder, Major to Minor “Girls Just Wanna Have Fun”– Turns this song super creepy and I love it.

Favorite Book

Erik Larson, The Devil in the White City– I’m rather certain that this is the first non-fiction book that I’ve read for pleasure. It’s generally not my thing. This book however, was beautifully written. The intersection of the World’s Fair and a serial killer set the stage for ruminations on art, society, death, and men who are really monsters. Check it out, especially if you live in Chicago.

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When Should an Actor Accept a Role?

This may seem counter-intuitive to some, especially when we’re just starting out in our careers, but an actor does not have to take every role that (s)he is offered. So when should an actor take a role?
In my opinion, there are three reasons for an actor to accept a role. Ideally, all three will be present in the project, but that’s not always the case.
Without further ado, I give you PEC.
 
When Should an Actor Take a Role
 
1.  The PAY. We all want to get paid for doing what we love. Unfortunately, this is not always an immediate given unless you are incredibly lucky or really young when you start. However, you must determine how much this reason factors into your decision on whether to accept a role. If it’s a big deal, you shouldn’t be auditioning for things that don’t pay. That’s not fair to anyone. But, if the lack of Benjamins in your pocket doesn’t matter to you, and you want to do it, more power to you. Personally, there are projects that I will do without compensation, and there are projects that I know I’ll only do if there is at least some monetary offer.
2. The EXPERIENCE.This reason covers a lot. It can be a role you’ve always wanted to play, a theatre you’ve never performed at, or a genre you’re not comfortable with. It can be about stretching yourself or resume building. It can be about a boy or a girl you like. It could be because if you spend one more second in the city you’ll scream. Only you know what experiences are right for you when they knock on your door.
3. The CONNECTIONS.The world is big, but the theatre and film community, especially in Chicago, is not. For example, I didn’t have to audition for the past two projects on which I worked. I got the calls because the directors had seen me in a peer’s project and liked what I did. As much as this introvert resists, acting, like life, sometimes comes down to who you know. Get in the habit of googling those attached to the project. Something that doesn’t look great on the breakdown suddenly takes on a whole new light once you watch the director’s reel on vimeo or check out the producer’s IMDB page. The internet is your friend. Do your research. Also, don’t be a jerk. It will get back to people.
Which matters the most? Right now, I am more interested in finding projects that have the potential for both Experience and Connections. Someday I’m going to reach a point where I require all of PEC for every project that I take on, but that’s not my current reality. However, over the past few months, I’ve gone from being only an Experience girl, to looking for the Connections too. Let yourself grow. It’s good business.
Have something to add? Comment below.
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Jason Momoa’s Game of Thrones Audition Tape

As previously discussed in my post about Rose Byrn’s Get Him to the Greek Audition Tape, I firmly believe that studying professionals’ audition videos provide wonderful learning tools for actors.

I hadn’t seen Jason Momoa’s Game of Thrones Audition before, but, luckily for me, the tape is currently trending like crazy.

Talk about a mic dropping audition. He GOES for it. He is terrifying and completely captivating.

Also, let’s discuss wardrobe. This is more than Rose Byrn’s suggestion of character. The man is wearing gauntlets, an open shirt, and a necklace with…are those teeth? I’m pretty sure those are teeth. However, he’s not rocking all out animal skins and war paint. He gives us enough to see him as Khal Drogo. It takes no imagination to believe that he could lead the Dothraki, and yet we aren’t taken out of his performance by any distracting costume choices.

Further, the tape ends with Momoa still in character. The last thing we see is not the actor, but Khal Drogo getting ready to maim a spoiled prince or eat a horse heart or something. He ends as he began, super strong and So. Good.

Voiceover Acting: Part 1

This will be an ongoing series on how to read and perform voiceover scripts as I learn more about this facet of the industry. But, to get you all started, here are some general tips.

1. Stay Consistent. According to the teacher that I studied under at Acting Studio Chicago, Dave Leffel, this is the number one “rule” of voiceover performance. If you start off with a high energy voice you need to be sure that you’re maintaining that voice for the duration of the spot. This can be challenging, especially if it’s 30 seconds of overly written copy. 
2. Research. You need to know what’s out there. Have a habit of skipping over commercials? Stop that. It’s research built into your leisure time. Actively listen to what’s going on, what kind of sound certain advertisers are interested in. Does McDonald’s have a certain sound? What about Plato’s Closet? Start trying to determine where your voice fits in. Be honest.
3. Stay you. I know it’s hard, especially after you’ve done lots of research and know the products that you’d like to pitch and the voices that are used for said products, but don’t do impersonations of the voices you hear on the radio. Use your own unique voice.

When Parents, Spouses, Friends, etc. Don’t Support Your Dream

I am going to preface this post with a disclaimer. I am fortunate to have a family and friends that are beyond supportive of my creative career path. However, many of my peers are not so fortunate. What follows is a wonderful video to inspire you. This video applies not only to careers in acting, but any sort of non-traditional life pursuit. I hope you enjoy and I hope it brings you some comfort.

If you follow me on twitter you’ll have seen this one, but I think it’s worth sharing again.

Should Actors Do Student Films?

As I’ve mentioned on this blog before, I have significantly more theatre credits than film credits. I’m comfortable in the theatre (as comfortable as I get anyway, still get nervous, etc.), but, when I started this blog I’d had one film experience. Since January, I’ve taken a highly recommended class, and participated in several film projects, the majority of them student produced. For one of those projects, check out the video below the list. These are some of the reasons I think student films are valuable for an actor.

1. We’re learning together.
I find that student projects allow a bit a leeway. For example, (you’ll see this in the video below) I had never done a Point of View (POV) shot. I didn’t know where to look. If you look directly into the lens your eyes look a little crossed. The sweet spot is just above the lens. On the camera that was used (Canon, can’t remember the model), I looked at the logo on the front of the body. The acting itself reminded me of when I was little and would playact to some inanimate object in my room. (You all did that right?) It’s challenging in a different way than having a partner off which to play. The point is, at this juncture in my filmmaking journey, I’m still learning, still finding what works and so are they.

2. Questions are fine.
This is probably my favorite part of working on a student film. I’m interested in not only acting, but the process of making film from pre to post production. I ask questions when I’m on set. I want to know what lens they’re using, why they chose it, what the ISO does for a shot, etc. I want to know what the sound guy’s favorite equipment is and how the director found the location. I would never, ever, do this on a professional set where time is money, etc. For professional shoots I’m there to do my work and get out. On student projects, however, I’ve always felt comfortable asking questions and I generally get enthusiastic replies. The crew is devoting their time to this project too. They like what they do, and when people like what they do they tend to like to talk about it. This being said, ask your questions in one of the myriad down times, not when people are trying to get stuff done.

3. Quick and Dirty
Granted, I’ve only done short films to this point, but I love how fast, at least for me, the process is. I learn my lines, maybe have a rehearsal, and then shoot. In general, filming takes a day or two. Granted, these days are often very long.

4. Micro-budget to the extreme.
This pertains more to my specific interests, but I am really into the micro-budget filmmaking process. Technology has opened up movie making to the masses. Anyone with an iPhone can make a film. Skeptical? Check out Uneasy Lies the Mind, a feature film shot entirely on the iPhone. With student films I get to observe who is necessary to a shoot, what can be cut, and creative solutions to make things work with very little man power.

5. These are the future superstars.
Is this too optimistic? Maybe. But, you are working with future professionals in an industry where relationships mean everything. In fact, I was recently contacted to audition for a project that I saw a breakdown for, but to which I didn’t submit. I didn’t think I was right for the role. However, one of the producers had seen my work in a classmate’s project and liked what I did and wanted me to come in and read for it. Did I get the part? Probably not. But, I know I did well in the audition and met some more people.

My experiences have, thus far, been positive. This is not to say that I won’t inadvertently get involved in a horribly inefficient and miserable project. But, I think that risk is worth the benefit of continuing to work on my craft with people who are also trying to perfect theirs.

What are your thoughts on doing student films?

Dealing with the Doldrums: Downtime and the Actor

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Taken on a morning run along Lake Michigan.


Yes, yes, I’m late again. My dog had surgery back in my hometown so I had to take her down south, return for rehearsal, and then drive back to get her. I know, excuses, excuses.

The Doldrums “is a colloquial expression derived from historical maritime usage, in which it refers to those parts of the Atlantic Ocean and the Pacific Ocean affected by the Intertropical Convergence Zone, a low-pressure area around the equator where the prevailing winds are calm…. The doldrums are… noted for calm periods when the winds disappear altogether, trapping sail-powered boats for periods of days or weeks.” Wikipedia

I am in the midst of my own Doldrums. I’m not sure how it is for other people, but my acting cycle tends to come in starts and stops. I will have a hellishly busy (read wonderful) week where I feel like I can barely breathe for all the auditioning, filming, and rehearsing, my sink gets full of dirty dishes, and my tiny apartment looks like a hurricane blew through. (Nautical theme today, happy summer y’all). Then, the next week, nothing. Not a single audition. I try not to let despair set in. I know that eventually there will be another audition, this town is so full of theatres how could it not happen? It’s a numbers game, and I haven’t been here long enough for them all to hate me (<– Bad state of mind. Avoid this!) So I try to use the time to learn about other areas of this business and to catch up on some good TV and film.

For example, I recently finished The Screenwriter’s Bible. I’m interested in the process, and have a few ideas kicking around in my head. So I started a screenplay. We’ve talked about content creation and my doldrums are the time when I try to create more. To be perfectly honest, it doesn’t always work. I tend to be massively inefficient when I’m not busy, but I know this about myself and am, sort of, working on it. 

I also use the time to catch up on TV and film that I’ve not seen. I love entertainment. Obviously, right? Observe what I’m doing with my life. I think it’s valuable to be exposed to lots of different styles and genres. I learn something from every actor’s performance that I watch. I even base (steal) some characters that I audition for on tics that I’ve seen other actors do. Right now I’m on a TV kick. I recently burned through the first season of Rectify. The show breathes. It’s slow and methodical and the performances are absolutely amazing. It’s tempting to say that nothing much happens, but it’s rare for a show where the characters get to spend an entire episode, heck, a season, feeling. I cannot recommend it enough. Then, I tore through the first two seasons of Arrow. So. Good. I love that show and am obsessed with #Olicity. It’s going to happen. But, I digress. Arrow is a completely different show than Rectify. It barely has room to breathe with the 45 minute action movie that every episode presents. But, I still find the characters to be compelling and the acting super solid. Different styles, different lessons.

Basically, I’m always trying to learn something about this craft that I love. Next up on my reading list is The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age. It’s probably going to take me awhile.

How do you all deal with the doldrums?     

Acting Studio Chicago Review: On Camera II

I have in no way be compensated or solicited for this review. This is solely my opinion. 

I cannot believe that it’s been 8 weeks since I started my On Camera II class with Chris Agos at Acting Studio Chicago. The time has absolutely flown. Pretty frightening if I think too hard about it. I’ve got a lot I want to accomplish on my arbitrary timeline.

Now, for the review. I am going to preface this by saying that, if you can, you should absolutely take this class. You can stop reading now, or continue for a more detailed examination.

I am not a person who responds well to a bullying teaching method. This class is absolutely NOT that. I write this because some people do need someone to push and prod and make them feel bad about themselves to make progress. If that’s you, that’s fine, but this isn’t the class for you. This isn’t to say that Chris won’t get you were you need to be. In fact, you’ll sometimes do take upon take until the objective is achieved. But it’s never from a place of destructive criticism, it’s just the opposite.

Which leads me into: take upon take upon take. You are on camera every. single. class. Then, the whole class watches your first take and your last take and you and Chris discuss the changes that were made, whether they were good, etc. Before coming to Chicago I had one on camera role. Since March, I’ve completed three and one I’m currently in wraps up, weather permitting, next week. I’ve also been auditioning for on camera things pretty regularly. This was a bit overwhelming at first given my utter lack of experience (theatrekid4eva). However, I was at an audition yesterday and I felt at ease. I went in, felt the floor, and did my thing. I came out happy with how I did and, as you know, that’s the most that you can ask of yourself in this business. It was invaluable, confidence and technique wise, for me to literally be on camera every week working with, most often, unfamiliar copy. (We were given copy in advance only twice. The rest of the time was devoted to semi-cold reading.) Also, a word about that copy: we used real scripts from things that were, mostly, shot in the area. Being able to work off of the kind of copy that we are most likely to encounter here was (can you sense a theme?) indispensable. (JK. I used my thesaurus for invaluable).

Finally, the last part of class was always devoted to the business of the Chicago acting market. As I’ve written before, Chicago is different from the coasts. We talked about everything from agents to headshots/resumes to the confusing world of the unions specific to Chicago. This might have been worth the cost of the class alone.

Take it. That’s the verdict. Their contact information follows.

Website: Acting Studio Chicago
Phone312.527.4566

Sirens in Chicago

Here’s some extremely good news for the Chicago acting community: The Sun Times reports that the USA show Sirens is shooting its second season in Chicago. All rejoice, more work more work.

I’m a little tuckered out so that’s it for tonight. But, considering the magnitude of the news, I don’t feel so bad. 😉