Spring 2017 GETTING ‘HOOKED’ … AND UNHOOKED By Lee Garlington Entering into the life of the “business of show,” as I like to call it these days, requires developing a specific toolset for your emotional well-being. I mean, seriously, you gotta do it. It’s a toolkit that is different for each and every one of us thespians because each us of has different ways in which we get “hooked.” What does getting “hooked” mean? It means that thing, that experience, audition or job, that comment by a “frenemy,” coach, agent, manager, teacher, casting director or even a well-meaning family member that gets its claws into your psyche and won’t let go. I envision an actual fishhook. It grabs you, it hurts and it won’t kill you as long as you get it out. Why does this happen? I think it’s partly because we make our living in a way that usually involves us being vulnerable in front of others. We are not hiding out in the background; the camera or audience’s eyes are on us. We put all of ourselves on the line, fully visible, so that when something unpleasant this way comes, our psyches are open. We are available to be hurt a little more than the average bear. I get “hooked” by not getting a part I really, really wanted to get and was convinced I had done such a good job at the audition that no one could possibly have done a better job. Then I don’t get that part. Then I get hooked. An old tape begins to play in my head and my heart: I’m less than; I’m not good enough; I’m a failure; it’s not fair; where’s mine; why, God, why? My tape is about feeling like a victim. I’m being victimized by the business of show. It doesn’t happen very often — I’ve been doing this for a thousand years now, so it better not! But every now and then, one slips in and grabs me and I have to pick up my toolkit. My tools for getting unhooked are the following: 1. Right-sizing. I neither diminish nor augment what I’m feeling. I don’t make this one experience an indictment of the horror of the entertainment industry. I don’t beat myself up because I’m feeling disappointed and a little sorry for myself. I own it. I experience it. I see it for what it is: a part I didn’t get that I wanted, not one I was entitled to. 2. Expressing my disappointment. I talk about it with my husband or a trusted friend. I write about it. I cry. I meditate. 3. Letting it go. I express my disappointment for a finite time period. I don’t talk about it endlessly with multiple parties. I get it out, I feel the feelings and then I put a lid on it — time to put on my big-girl pants and move on. I do have actor friends who don’t go through this. At all. They are healthier and more well-adjusted than I am, and I secretly hate them. I have other actor friends who get hooked by completely different things: a director who wouldn’t let them have that third take; a part that was bigger in the audition than it was on the set; feeling judged by fellow actors; feeling envious of another actor with a “better” career; never feeling that what they did was good enough. Those things don’t hook me. Not today. What hooks you? Do you ever get caught by something that hurts you or makes you angry? What tools do you use? I have heard for most of my life that the hallmark of emotional sobriety is living with unresolved conflicts. There is so much of show business that is not explained, resolved or smooth sailing. There are tons of traps, triggers, pitfalls, and looming disappointments and letdowns. We have to be emotionally supple and flexible. In addition to taking classes and learning about the business side of show business, part of your job is to maintain your emotional well-being. Keep that toolset handy! IN THIS ISSUE: How to Register for Classes 3 Workshop Schedule 4-5 Workshop Descriptions 6-8 Conservatory Rules and Regulations 12
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Spring 2017
GETTING
‘HOOKED’ …
AND UNHOOKED By Lee Garlington
Entering into the life of the “business of show,” as I like to call
it these days, requires developing a specific toolset for your
emotional well-being. I mean, seriously, you gotta do it. It’s a
toolkit that is different for each and every one of us thespians
because each us of has different ways in which we get
“hooked.”
What does getting “hooked” mean? It means that thing, that
experience, audition or job, that comment by a “frenemy,”
coach, agent, manager, teacher, casting director or even a
well-meaning family member that gets its claws into your
psyche and won’t let go. I envision an actual fishhook. It grabs
you, it hurts and it won’t kill you as long as you get it out.
Why does this happen? I think it’s partly because we make our
living in a way that usually involves us being vulnerable in
front of others. We are not hiding out in the background; the
camera or audience’s eyes are on us. We put all of ourselves
on the line, fully
visible, so that when
something unpleasant
this way comes, our
psyches are open. We
are available to be
hurt a little more than
the average bear.
I get “hooked” by not
getting a part I really,
really wanted to get
and was convinced I
had done such a good
job at the audition
that no one could
possibly have done a
better job. Then I
don’t get that part.
Then I get hooked.
An old tape begins to
play in my head and
my heart: I’m less than; I’m not good enough; I’m a failure;
it’s not fair; where’s mine; why, God, why? My tape is about
feeling like a victim. I’m being victimized by the business of
show.
It doesn’t happen very often — I’ve been doing this for a
thousand years now, so it better not! But every now and then,
one slips in and grabs me and I have to pick up my toolkit.
My tools for getting unhooked are the following:
1. Right-sizing. I neither diminish nor augment what I’m
feeling. I don’t make this one experience an indictment
of the horror of the entertainment industry. I don’t beat
myself up because I’m feeling disappointed and a little
sorry for myself. I own it. I experience it. I see it for what
it is: a part I didn’t get that I wanted, not one I was entitled
to.
2. Expressing my disappointment. I talk about it with my
husband or a trusted friend. I write about it. I cry.
I meditate.
3. Letting it go. I express my disappointment for a finite
time period. I don’t talk about it endlessly with multiple
parties. I get it out, I feel the feelings and then I put a lid
on it — time to put on my big-girl pants and move on.
I do have actor friends who don’t go through this. At all. They
are healthier and more well-adjusted than I am, and I secretly
hate them.
I have other actor friends who get hooked by completely
different things: a director who wouldn’t let them have that
third take; a part that was bigger in the audition than it was on
the set; feeling judged by fellow actors; feeling envious of
another actor with a “better” career; never feeling that what
they did was good enough.
Those things don’t hook me. Not today. What hooks you?
Do you ever get caught by something that hurts you or makes
you angry? What tools do you use?
I have heard for most of my life that the hallmark of emotional
sobriety is living with unresolved conflicts. There is so much
of show business that is not explained, resolved or smooth
sailing. There are tons of traps, triggers, pitfalls, and looming
disappointments and letdowns. We have to be emotionally
supple and flexible. In addition to taking classes and learning
about the business side of show business, part of your job is to
maintain your emotional well-being.
Keep that toolset handy!
IN THIS ISSUE:
How to Register
for Classes 3
Workshop
Schedule 4-5
Workshop
Descriptions 6-8
Conservatory
Rules and
Regulations
12
Just Wing It By Bill Applebaum
An actor may hear at an audition,
“Just wing it,” but what does that
really mean?
The term “to wing” can be traced
back to the late 1800s and the
London theater, when actors played a role without fully
knowing the text. They learned the best they could in
the wings and then were given assistance when they
were on stage by a special prompter who was screened
by a piece of scenery or a wing of the stage.
To “wing it” is now an idiom that means to do
something without preparation, to improvise. However,
even great improvisers never “just wing it.” People
don’t improvise in a void. They prepare. People can
and do prepare to improvise.
First, one learns the guide-
lines for what helps make
successful improvisations.
We all have heard “don’t
deny,” “yes and,” “show us,
don’t tell us.” But more
importantly, one needs to
know in what context are
you improvising?
Improvising on stage is
different than
improvising for film/
television or for
commercials. Know what,
if any, limitations there are when you are improvising.
For example, it’s unlikely in the U.S. market one would
ever swear while improvising at a commercial audition.
However, that likely wouldn’t hold true for a theatrical
audition. Knowing that context is important, which
would then allow the actor to improvise creatively
within that audition.
Improvisation began as a way to help actors develop
characters, examine possibilities and explore the
creative process. Actors need to remember creativity is a
process, not an event. Entering a creative state takes
practice. Practicing helps suppress the need to be perfect
and, when one ceases trying to be perfect, one becomes
free to improvise creatively. That’s what classes are all
about: to practice, to learn what it feels like to be
inspired and play in the moment.
Don’t worry about trying to be funny when improvising.
That’s not what improvisation is about. Improvisers
aren’t trying to think of funny things to say. They are
listening to what their partner is saying, staying in the
moment and discovering what is happening together.
Improvisers share the experience in true ensemble
fashion, playing the truth in what is happening, while
trying to make their partner look good. If an actor does
that, then the funny will come. The funny comes from
playing the truth.
Casting directors want actors to be able to improvise to
free up their imaginations, not to be clever but to be
creative. That affords each individual to bring their
unique take on whatever role they happen to be
auditioning for. So prepare yourself. Take an improv
class. Take many. Don’t worry if you don’t think you’re
funny or if the idea of improvising terrifies you. Know
that improvisation is just about learning to trust one’s
creative impulses. Once an actor understands that,
they’ll be able to “just wing it” anytime.
ACTORS
NEED TO
REMEMBER
CREATIVITY
IS A PROCESS,
NOT
AN EVENT.
IS IT TIME TO UPDATE YOUR REEL
AND YOU ARE MISSING
AFI FOOTAGE?
You auditioned, booked the job, shot the movie,
screened the film and then …?
One of the many great benefits of the
relationship between AFI and the
SAG-AFTRA Conservatory is that you, as the
actor, are guaranteed to receive a copy of the
work you have done for the first-year AFI
cycle films.
Currently, we have hundreds of DVDs
waiting for their homes. Because of space
limitations, we cannot keep these for more than
two years, so please make sure you pick up your
copy. You may call before coming in to verify
one is waiting for pickup. Please have the name
of the film project ready when you call and then
you can come claim your footage during the
Conservatory office business hours:
Monday - Friday
10 a.m. - noon and 1 - 4 p.m.
2
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CLASS REGISTRATION
IS NOW ONLINE! To see an online calendar of our classes
and find links to enroll,
please visit our website at
sagaftra.org/laconservatory
On the left side of the page click the link that says
Workshops
You must be logged into your SAG-AFTRA
account to see the online calendar and to
enroll in a class. Registration for classes and special
events will open at exactly 10 a.m. one week prior