TOOLS YOU NEED TO GROW
HOW TO GET THE "RIGHT" HEADSHOT
HOW TO GET THE "RIGHT" HEADSHOT
HOW TO GET THE "RIGHT" HEADSHOT
WHAT SHOULD I EXPECT WHEN I BOOK
WHAT SHOULD I EXPECT WHEN I BOOK
WHAT SHOULD I EXPECT WHEN I BOOK
WHAT'S FILMING IN THE S.E.
WHAT SHOULD I EXPECT WHEN I BOOK
WHAT SHOULD I EXPECT WHEN I BOOK
STANDARD EXPECTATIONS OF ACTORS
WHAT SHOULD I EXPECT WHEN I BOOK
STANDARD EXPECTATIONS OF ACTORS
FREQUENTLY ASKED "SAG" QUESTIONS
SCRIPT ANALYSIS & ACTING TECHNIQUES
SCRIPT ANALYSIS & ACTING TECHNIQUES
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SCRIPT ANALYSIS & ACTING TECHNIQUES
SCRIPT ANALYSIS & ACTING TECHNIQUES
SCRIPT ANALYSIS & ACTING TECHNIQUES
HOW TO FORMAT AN ACTING RESUME
When formatting an acting resume, it's important to follow certain guidelines. In the acting industry, you might receive various recommendations from different people because casting directors and agents each have their own preferences. However, this is the standard practice that is typically followed.
TOP OF THE RESUME: At the top of your resume, place your agency's logo in one corner. Beneath the logo, include your agent's name, email address, and phone number.
In the opposite corner, list your name in bold and slightly larger font (use a standard font such as Times New Roman, Arial, Garamond, or Georgia). Your email address should be listed directly under your name. Do not include your phone number or address here. Union status should only be mentioned if you are a union member; there is no need to state "non-union" or "SAG-E" on your resume.
FORMATTING: Arrange your resume in the following order, paying close attention to detail, capitalization, and grammar:
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AGENCY YOUR NAME
AGENT'S NAME SAG (OR NOTHING)
AGENT'S PHONE YOUR EMAIL
AGENTS EMAIL (YOU MAY PUT A WEBSITE IF YOU WANT)
YOU MAY PUT HEIGHT-EYE-HAIR COLOR
FILM
MOVIE I WAS IN Lead Dir: John Doe
MOVIE I WAS IN Supporting Dir: John Doe
TELEVISION OR TV
TV SHOW I WAS IN Series Regular NETFLIX
TV SHOW I WAS IN Recurring ABC
TV SHOW I WAS IN Guest-Star AMAZON PRIME
TV SHOW I WAS IN Co-Star XYZ PRODUCTIONS
THEATER
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
COMMERCIALS CONFLICT AVAILABLE UPON REQUEST (If you have commercial bookings you may put this. Do not list commercial bookings on your paper resume.)
TRAINING
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
SPECIAL SKILLS
Singing (Alto)(Intermediate), Horseback Riding, Manual Driving, Precision Driving, Karate, Dance (Hip-Hop, Salsa), Swimming, Rapping (Intermediate), Tactical Weapon Usage, Police Officer Experience.
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Formatting Your Resume: Key Points to Remember
- Always triple check your spelling.
- Ensure correct capitalization.
- For TV projects, if there is no network, list the production company.
- List the highest-level bookings at the top of each section. This should reflect the highest position or network, from highest to lowest.
- Ensure spacing and indents are consistent throughout.
- Do not include extra, background, or "principal" work on your resume.
- Only list positions in the middle section of your resume that noted above. (Exception: It’s acceptable to include "Guest Star Recurring" for TV roles if relevant.)
- Keep your training section concise. Mention specific techniques, such as "Audition Technique," "Meisner Technique," or "Improv." Avoid lengthy descriptions like "The 12-Step Structure of Scene Emotion."
- Do not include workshops as training on your resume, unless you participated in a significant 3-day class workshop. In that case, mention what you learned.
- You may include a small photo in the top or bottom corner of your resume if it fits and keeps the resume to one page.
- In film, if you have speaking lines, you are a supporting actor. If you were hired as the lead in the film, you may list "Lead." Film roles are categorized as Lead or Supporting only.
- For television, your roles are categorized as follows:
- Co-Star: Small amount of lines, possibly in only one scene.
- Guest-Star: Featured in one episode, with several lines and multiple scenes.
- Recurring: Appears in multiple episodes but not every episode.
- Series Regular: The lead role, appearing in nearly every episode.
- These are the only TV roles to list on your resume. “Guest-Star Recurring” and “Top-of-Show Guest Star” indicate significant roles across multiple episodes but not as the lead.
- If you booked the role, list it on your resume, regardless of whether the project airs or whether your scene remains in the final cut.
HEADSHOT CHOICES ARE VERY IMPORTANT
THEATRICAL HEADSHOT
YOUR HEADSHOT IS ONE OF THE MOST IMPORTANT MATERIALS YOU HAVE TO MARKET YOURSELF AS AN ACTOR. IT IS YOUR FIRST IMPRESSION, YOUR PHONE INTERVIEW.
NOTE: A THEATRICAL HEADSHOT IS (NO SMILE) A COMMERCIAL HEADSHOT IS (SMILE)
THEATRICAL HEADSHOT
YOU MUST RESEARCH HEADSHOT PHOTOGRAPHERS AND VIEW THEIR PHOTOS TO FIND THE RIGHT PHOTOGRAPHER FOR YOU. DO NOT GET HEADSHOTS DONE BY ANY PHOTOGRAPHER, GET THEM DONE BY A (ACTING HEADSHOT PHOTOGRAPHER).
THEATRICAL HEADSHOT
THERE ARE SO MANY RULES AND INTRICACIES TO ACTING HEADSHOTS THAT THE HEADSHOT PHOTOGRAPHER MUST BE KNOWLEDGEABLE OF BEFORE SHOOTING YOU. LIGHTING, ANGLES, TYPE, AND ATTIRE CHOICES ARE ALL CRUCIAL DECISIONS WITH HEADSHOTS.
COMMERCIAL HEADSHOT
YOU SHOULD ALWAYS HAVE A GOOD THEATRICAL AND COMMERCIAL HEADSHOT. YOUR ACTORS ACCESS DOESN'T NEED TO BE FILLED WITH HEADSHOTS, JUST A FEW THAT SHOW RANGE (THE DIFFERENT CHARACTER TYPES YOU CAN REALISTICALLY PLAY.) YOUR PICTURES SHOULD NEVER JUST BE BARE-FACED. SHOW SOME PERSONALITY, SHOW A CHARACTER TYPE WITHOUT OVER PLAYING IT OR DOING TOO MUCH. A SMIRK OR INTERESTING USE OF THE EYES WORKS, BUT WE NEED TO SEE SOMETHING OTHER THAN A PICTURE.
COMMERCIAL HEADSHOT
THE QUALITY OF THE PICTURE SHOULD BE AS SHOWN. CLEAR, HIGH RESOLUTION, MIDDLE OF CHEST TO TOP OF HEAD, VERY LIGHT RETOUCHING (EDITING) YOU WANT TO LOOK LIKE YOUR PICTURE IN YOUR AUDITIONS, NO DISTRACTING CLOTHES WITH WEIRD PATTERNS OR LOGOS.
COMMERCIAL HEADSHOT
KNOW WHO YOU ARE!!! CAN'T STRESS THIS ENOUGH, TAKE A WORKSHOP LIKE "THE SAM CHRISTENSEN IMAGE INTENSIVE" BY GET TAPED! OWNERS MATT AND BROOKE CORNWELL. THIS WILL HELP YOU UNDERSTAND HOW PEOPLE VIEW YOU. REMEMBER, AS AN ACTOR, IT DOESN'T MATTER HOW YOU VIEW YOURSELF, IT MATTERS HOW EVERYONE ELSE VIEWS YOU. THAT'S WHAT'S GOING TO BOOK WORK -- WHEN YOU LEAN INTO HOW EVERYONE ALREADY SEES YOU. YOUR PICTURES SHOULD DEPICT THIS! THEY NEED TO SHOW WHAT YOUR TYPE IS, AND WHAT YOU CAN REALISTICALLY PLAY.
WHEN SHOULD I GET AN AGENT?
YOU SHOULD GET AN AGENT WHEN AN AGENT FINDS YOU!
The most common mistake new actors make is seeking out an agent before they’re ready. Instead, you should focus on letting an agent find you. Dedicate your time to training—enroll in classes, attend workshops, and participate in seminars to enhance your skills and deepen your knowledge of the craft.
In your acting classes, studios often hold showcases where agents and casting directors observe your performance. Workshops also provide opportunities to demonstrate your abilities to industry professionals. If they find your work impressive, they may reach out to you. Sometimes, even if you’re exceptional, they may already have someone with your type on their roster, which is beyond your control. It can take years of dedicated learning and experience to be ready to sign with an agent.
Remember, when you do sign with an agent, your entire image, brand, and reputation are at stake. They won't excuse mistakes due to ignorance; it's your responsibility to be well-prepared before you sign. Don’t rush the process. Focus on your craft and let opportunities come naturally. Rest assured, an agent will find you when the time is right.
Here’s a personal reflection from Amondre D. Jackson:
"When I first started taking acting classes, I made it into a showcase. I performed well, and a top agency in the city reached out to me. I did the audition but didn’t get signed, which was disheartening. Years later, I reviewed that audition and realized how far off I was. I'm grateful they didn’t sign me, as I would have jeopardized my career before it even began. Today, I’m with a great agent and audition frequently, but I recognize that without the knowledge and experience I’ve gained, I wouldn’t be where I am now."
WHAT SHOULD I BE PAYING FOR?
THIS IS IMPORTANT!
Actors, Beware of Scams!
There are many scams targeting actors, so it's crucial to stay vigilant. Nothing should cost actors thousands of dollars. The only expenses you should incur are for classes and materials. Here’s a breakdown of typical costs for essential services:
- Classes: $100–$300 per month
- Headshots: $150–$750 per session
- Workshops: $95–$900 per event
- Self-Tape Services: Around $1 per minute
- Actors Access: $68 per year
- Casting Networks: Free
These are standard price ranges for the main services actors use depending on where you obtain the services from and the professional's level of talent and expertise. Be wary of anyone demanding several thousand dollars upfront for classes, showcases, or other services they claim will help you land acting work. Building a successful acting career takes time. Consistent training in classes is essential, and you'll find everything else you need through these opportunities.
If you’re serious about acting, consider moving to key industry hubs like Atlanta, Los Angeles, or New York. Many acting studios in these cities also offer online classes, so if relocation isn’t possible, take advantage of online training options.
DEMO REELS AND FOOTAGE STANDARDS
DEMO REELS AND CLIPS ARE IMPORTANT ONLY IF YOU HAVE GOOD FOOTAGE.
Clearing Up Misconceptions: Demo Reels and Clips
A common misconception among actors is that they need a demo reel to get signed by an agent or to book roles. This is not true. In fact, a poorly made demo reel can hinder your chances of being signed or booked. You can still get auditions and secure work without a reel. Focus on having strong headshots and a solid body of work instead. Once you start booking roles, you can gather footage and create a reel.
Creating Clips
Clips are brief scenes, typically around 10–20 seconds, that showcase specific aspects of your acting abilities. These can include comedy, drama, romance, and various character types like a killer, sports agent, or reporter. Clips help your agent pitch and submit you for roles more effectively.
Reel Standards
- Length: Keep your demo reel to about 1–1.5 minutes.
- Content: Skip the special intro; start with your best scenes.
- Scene Length: Show snippets of scenes, highlighting your performance rather than the entire scene.
- Focus: Ensure the focus is on you. Avoid showing more than a second or two of other actors in your scenes. If you’re not clearly visible, don’t include it.
- Content: Include only film and television scenes. Commercials should be in a separate reel if desired.
- Self-Tapes: Do not include self-tapes in your reel.
- Quality: Use only footage with good lighting, sound, and acting.
- DIY Content: Avoid making your own content for your reel unless it meets television quality standards, which can be costly.
SELF-TAPE STANDARDS
EQUIPMENT & USAGE
For optimal results, use a high-quality camera, such as the Sony a6400 or a similar model. These cameras cost over a thousand dollars, and you'll also need an SD card and a RODE mic to mount on top. If this setup isn’t affordable, using your phone is a perfectly acceptable alternative.
You can purchase a suitable backdrop for your skin tone from stores like Amazon. Ensure it’s large enough, similar to the example shown to the left, and that it includes stands and tools for setup. Opt for gray or blue backdrops, as other colors can be risky.
You'll also need box lights. Buy at least two and position them further back from you, ideally angling them slightly away to avoid excessive brightness on your face. Proper lighting is crucial; too much light can cause overexposure. Avoid mixing room lights with box lights, as differing bulb colors can affect the overall look.
A tripod is essential for mounting your phone or camera. Adjust the tripod according to whether you are standing or sitting, ensuring the camera is at eye level. Make all zooming, tilting, and other adjustments from this position.
SHOOTING
When recording, ensure only you and the backdrop are visible. Avoid showing backdrop corners or equipment. The camera should be horizontal, not vertical. Frame yourself according to the casting director’s instructions—typically from the belly button to the top of your head (with no headroom) for the scene, and from the chest to the top of the head for the slate.
Stand several steps away from the backdrop to minimize shadows. Your backdrop should have little to no shadow during your audition.
Verify that your mic is functioning properly. Some people use a lapel mic for better sound quality; if you do, ensure it is discreetly hidden.
Ensure you have a reliable reader who does not overpower your volume but gives you life and something to feed off of.
ACTING
Follow these steps for a self-tape audition:
- Moment Before: Be in action before the scene starts, as if the scene’s environment has already influenced your character. This sets up a seamless transition into the scene.
- Specificity: Make a clear emotional choice before starting the scene. Many actors use an emotional wheel to pinpoint their character’s emotional state, which should align with their overall character choice. Clear choices make your performance more compelling.
- The Build: Your scene should have a clear progression. A beginning, middle, and end. Beats, colors. Begin at a baseline and build up to create an engaging and dynamic performance.
- Conclude: Avoid starting at maximum intensity; it’s important to build throughout the scene. Ending on a high note without maintaining variety can make the performance seem monotonous. Finish in a way that leaves the viewer with a sense of how the story progresses.
COMMITMENT
Fully commit to your choices and infuse energy and personality into your audition. Lack of commitment can make your performance seem half-hearted, diminishing your chances of booking.
Do the Work: Thoroughly analyze the script before filming. Consider the following:
- Where are you?
- Who are you with?
- What is your relationship with them?
- What is the dynamic of that relationship?
- What is your character’s objective in the scene? (What do they want most?)
- What is your overall scene objective? (What story are you telling that viewers need to know to advance the narrative?)
All of this is important when doing a self-tape audition!
EDITING
Use editing software like iMovie, Adobe Premiere, or any other tool that allows for easy video editing. Choose clear starting and ending points that look natural. While you may use a fade-out, avoid fading in as some casting directors prefer not to see it. Use noise reduction if necessary to eliminate background or room noise. Export your files in 720p resolution, ensuring the file size does not exceed 200 MB.
I BOOKED! NOW WHAT?
FIRST OFF, CONGRATULATIONS!
So, You’ve Booked a Gig—What to Expect
Congratulations on booking the job! Here’s what to expect:
You’ll receive communication from the 2nd Assistant Director (2nd AD) or the wardrobe department as your filming date approaches. They will likely want to schedule a fitting in advance so your wardrobe is ready when you arrive on set. For SAG projects, you will be paid for your fitting appointment.
You’ll also get details and a call sheet from the 2nd AD, usually via email. The call sheet provides comprehensive information about your shoot day, including location, arrival time, scenes being filmed, nearest hospital, and sunset time. This document is your guide for the day.
Here are a couple of links that teach you how to read a call sheet:
The Anatomy of a Call Sheet: A Video Tour | StudioBinder Tutorials
https://youtu.be/px-qMyIOi4w?si=zHtssuk2ocMcvGTA
https://youtu.be/SBMgmyRHOUA?si=Y3iJSE8u3ugGdL3V
If you haven’t received information two days before shooting, don’t worry—sometimes it arrives late the night before.
Upon arrival on set, look for base camp, check in with the 2nd AD, and your journey will begin.
Important Things to Remember:
- No Photos or Social Media: Never take pictures or share any information about the project on social media. This can lead to immediate dismissal.
- Be Early: Always arrive a little early—never be late.
- Bring Comfort Items: Have something to do while you wait and consider bringing a blanket for comfort.
- Extra Supplies: Carry extra hygiene products and clothes just in case.
- Social Media Caution: Be mindful of what you post personally. Ensure your posts align with the character you’re portraying and the views of the producers to avoid being re-cast.
- IMDB Listings: Do not add yourself to IMDB. Production might take time to list actors, but adding yourself could lead to complications.
Congratulations again on your booking! Break a leg!
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What’s Set Like?
Busy! Interesting! Cool!
Set life can vary greatly. It might be hectic, with everyone moving quickly to meet deadlines, or it might be relaxed, with a friendly and enjoyable atmosphere. Assess the environment and adapt accordingly.
Always Be On Time: Arriving 15 minutes early is considered on time.
When you first arrive, head to "Base Camp," where the trailers are located. Here, you’ll typically meet your 2nd AD, receive your wardrobe, complete any necessary paperwork, and collect your per diem (daily spending money, usually in cash).
Hair and makeup will usually be nearby to prepare you before shooting. Introduce yourself to everyone by name; it helps in building rapport and ensures they remember you.
When it’s time to shoot, a driver will escort you to the set. There, you’ll meet the Production Assistant (P.A.), 1st Assistant Director (1st AD), Sound Mixer, 2nd Assistant Camera (2nd AC), Director of Photography (DP), and Director. You and your scene partners will then block the scene (i.e., decide on movements and positioning) before shooting begins.
Tips for Acting on Set:
- Know Your Lines: Be prepared to improvise if needed, listen, react, and interact with your scene partners.
- Handling Mistakes: If you forget a line, stay in character. Pause, and if the line doesn’t come to you, say “Line!” The script supervisor will provide it, and you can continue.
- Continuity: Maintain consistent physical actions between takes for continuity, even if your delivery varies.
You might encounter the "second unit" on set, which stands in for you while the 1st AD, Director, and Director of Photography (DP) set up the scene. Extras will also be present to fill the background.
Typical Set Crew:
- 2nd AD (Assistant Director): Handles administrative tasks and communication.
- 1st AD (Assistant Director): Manages production, ensures smooth operation, and calls “Action!”
- P.A. (Production Assistant): Assists with various tasks on set.
- Director: Leads the production and guides the filming process.
- Producer: Oversees and finances the project.
- Grip: Handles equipment setup and adjustments.
- Gaffer: Manages lighting and electrical needs.
- Sound Mixer: Responsible for sound quality.
- Script Supervisor (Scripty): Ensures script adherence and maintains continuity.
- DP (Director of Photography): Oversees camera work and angles.
- 1st AC (Assistant Camera): Assists the DP, operates the camera.
- 2nd AC (Assistant Camera): Handles camera marks and the slate clapper. Also keeps records and paperwork for the camera.
These are just a few crew members you may interact with. Get to know them and make their jobs easier by doing yours well.
Most sets have a "Green Room," a rest area for you until you’re needed on set. Lunch is provided, and there’s usually a crafty table with snacks. Avoid spilling food on your wardrobe, consuming anything that might upset your stomach before shooting, or making yourself overly sleepy.
WHAT'S FILMING IN THE SOUTHEAST?
FILMING IN THE SE
THE FOLLOWING LINK WILL TAKE YOU DIRECTLY TO GEORIGA'S NOW-FILMING PAGE:
Now Filming In Georgia | Georgia Department of Economic Development
As of: 4/10/2025
TV:
ALL THE QUEENS MEN S5 - BET+
BEYOND THE GATES - CBS
BMF S4 - STARZ
DTF ST. LOUIS - HBO
ENGLISH TEACHER S2 - HULU
FOUND S2 - WB
GROSSE POINT GARDEN SOCIETY S1 - NBC
HIS & HERS S1 - NETFLIX
MURDAUGH MURDERS - HULU
OUTER BANKS S5 - NETFLIX
PEACEMAKER S2 - HBO
P-VALLEY S3 - STARZ
PERIMETER S1 - BET+
REASONABLE DOUBT S3 - HULU
STRANGER THINGS S5 - NETFLIX
SWEET MAGNOLIAS S4 - NETFLIX
TELL ME LIES S3 - HULU
THE BONDSMAN S1 - AMAZON PRIME
THE GOOD DAUGHTER - PEACOCK
THE HUNTING WIVES S1 - STARZ
THE MS. PAT SHOW S5 - BET+
THE RUNAROUNDS S1 - PRIME VIDEO
TULSA KING S3 - PARAMOUNT+
TYLER PERRY'S ASSISTED LIVING S7 - BET+
TYLER PERRY'S HOUSE OF PAIN S14 - BET+
TYLER PERRY'S SISTAS S9 - BET+
TYLER PERRY'S ZATIMA S4 - BET+
TYLER PERRY'S BEAUTY IN BLACK S2 - NETFLIX
TYLER PERRY'S RUTHLESS S5 - BET+
TYLER PERRY'S THE OVAL S7 - BET+
TYLER PERRY'S YOUNG DYLAN S5 - NICKELODEON
TYLER PERRY'S BRUH S5 - BET+
WILL TRENT S4 - ABC
FILM:
BY ANY MEANS
GIVE ME BACK MY DAUGHTER
JUDGEMENT DAY
MURDER AT THE HOMESTEAD
REGRETTING YOU
SANTA MARIA
SCAR TISSUE
MARVEL UNTITLED - MARVEL
ROLLING LOUD FILM
YOUR MOTHER, YOUR MOTHER, YOUR MOTHER
VOICE-OVER
Voice acting is a great way to make extra money as an actor. There's a ton of work for actors to go after. You can get training from Bill Celler at Bill Does Voices, a tremendous voice coach who has helped so many voice actors in Atlanta become successful. There are many ways to get voice-over auditions:
Voice 123
From your agent
Bill sends you auditions if you train with him
Casting Networks
Actors Access
Networking
To be an effective voice actor, you'll need a home studio, or a voice studio like Atlanta voice-over studio to go to on short notice. Voice-over auditions come fast and are typically due fast, so you'll need the following to build a home studio:
A small room, area, or closet in your house with no noise. Two-inch wall padding foam squares to cover your walls, a Blue Yeti mic, or a RODE MV-1 mic (similar to the one in the pic above), an interface to connect the mic to, and a laptop with sound editing software to edit with. Voice coaches teach you how to edit your work as part of your training process, and help you create a demo reel.
SCRIPT ANALYSIS
WHERE ARE YOU
CHARACTER'S OBJECTIVE
WHERE ARE YOU
Every audition should start with a “moment before.” To create a believable moment before, you need to understand and convey the scene's location. Are you in a hospital, a classroom, a restaurant, at home, in a busy place, a loud place, a hot place, or a cold place? Your actions, dialogue, and interactions should reflect the environment. The audience should be able to discern the setting through your performance, including how you talk, acknowledge your surroundings, and physically respond to the environment.
RELATIONSHIP
CHARACTER'S OBJECTIVE
WHERE ARE YOU
Understanding the relationship between you and your scene partner is crucial. The audience needs to know if your scene partner is your mother, brother, friend, spouse, boss, co-worker, etc. This is achieved through your interactions. How would you naturally speak to a co-worker, a parent, a sibling, or a spouse? Additionally, you must convey the dynamic of the relationship. Are you on good terms, or is there tension? Do they annoy you or make you happy? The audience should feel the relationship's dynamics through your performance.
CHARACTER'S OBJECTIVE
CHARACTER'S OBJECTIVE
OVERALL SCENE OBJECTIVE
Every character has an objective in each scene—what they want most. Scenes are crafted to advance the story and convey important information. Your character should be striving for something significant in each scene. Your job is to identify this objective and perform in a way that reflects your commitment to achieving it, thereby effectively communicating your character's desires to the audience.
OVERALL SCENE OBJECTIVE
OVERALL SCENE OBJECTIVE
OVERALL SCENE OBJECTIVE
The overall scene objective ties into the writer's vision. While the writer crafts the screenplay, your role as an actor is to bring this story to life. Each scene serves a purpose in moving the narrative forward. Understand what key information or message the scene is meant to deliver. Your performance should align with this objective, using your choices, dialogue delivery, and commitment to convey the necessary information. As an actor, your ultimate job is to tell a story.
CHARACTER BACKSTORY
OVERALL SCENE OBJECTIVE
CHARACTER BACKSTORY
Creating a detailed backstory for your character is essential. Writers provide a general outline, but it’s up to you to flesh out the details. Why is your character wise beyond their years? What experiences have shaped their demeanor? What is their occupation or financial status? What is their family background? Consider their upbringing, what they wanted from their parents, their sexual orientation, personality traits, education, and flaws. Developing a comprehensive backstory will help you understand and portray your character more authentically.
MEMORIZATION
OVERALL SCENE OBJECTIVE
CHARACTER BACKSTORY
Memorizing lines should be the final step in your script analysis process. Once you have a clear understanding of your character, their objectives, and the scene, you can begin memorizing lines. Understanding the context makes it easier to remember your lines. Start by breaking down the script into manageable sections. Read a few lines at a time, then recite them aloud without looking at the script. Continue this process until you can recall all lines comfortably. Practicing with a partner can further reinforce your memorization by running through the scene and addressing challenging spots.
METHODS & TECHNIQUES
ACTING TECHNIQUES
THERE ARE MANY ACTING TECHNIQUES, AND DIFFERENT TECHNIQUES WORK FOR DIFFERENT PEOPLE. YOU HAVE TO LEARN ABOUT THE DIFFERENT TECHNIQUES TO DETERMINE WHICH TECHNIQUE WORKS BEST FOR YOU. HERE ARE A FEW TO LOOK INTO.
MEISNER TECHNIQUE
"To live truthfully under imaginary circumstances." Do emotional prep and act off impulses rather than intellect.
CHUBBUCK TECHNIQUE
12-step technique based on intellect. - The 12-Step Chubbuck Acting Technique (actbroward.org)
STANISLAVSKI TECHNIQUE
Remember the emotional reactions that you have in your daily life and use them under fictional circumstances.
LEE STRASBERG TECHNIQUE
Use deep psychology and make use of personal experience to bring life to your character.
STELLA ADLER TECHNIQUE
Deep script analysis and using real observations to fuel your imagination.
UTA HAGEN TECHNIQUE
Substitution, transference, specificity, authenticity, and prep.
ALEXANDER TECHNIQUE
A technique used mostly in L.A. Perfect line memorization, little movement, more poise, balance, and focus in the scene.
CHEKHOV TECHNIQUE
A physical movement or gesture that captures the total essence of a character and is executed inwardly while an actor portrays a character.
METHOD ACTING
To decide who your character is and become them by any means necessary. Method actors may spend a lot of time with someone on whom they wish to base their character, to learn as much as they can about them, they may stay in character at all times and even do the good and bad things that their character would do just to drive believability and never lose touch of the character. This can sometimes be dangerous to your health and reputation, but it has been known to work for a lot of popular actors.