Whose "sides" are you on? Tips/observations on reading sides 8/31/15

Dear Actor and director,

Whose "sides" are you on?

Sincerely,

The other side

Every actor has good and bad performances on auditions. Over the course of the last few months I've seen them from actors I've auditioned and had them as an actor... Oh yes, I've had really terrible ones and honestly, ones I felt and knew I nailed.

There is always an X Factor whether you will be cast or not. Maybe someone knows you or someone else. Maybe you are brought in as fodder so the casting director will recommend the candidate they really want. Maybe you are too this or not enough that.

Ultimately, you can't concern yourself with the outcome. Once you do your thing, it is really out of your hands. You can however strive to be the most prepared and adaptable candidate when you walk in the room and try to bring your consistency rate of good performances up.

One such challenge I have seen actors do is time limit reading new sides everyday. It's quite useful actually

Sometimes when you go into an audition situation you will be asked read for other characters, or in a worst-case scenario drill, they have other sides that you did not know were required and you may have a few minutes to try to memorize large passages of tricky lines, or have a very last minute audition.

The purpose and activity are much like sight reading for instrumental musicians. The more you do it, the better you become at it and desensitized to the shock of last minute things.

*As an exercise, try learning one set of new sides everyday from TV, films or plays. Give yourself a time limit, say 15 to 20 minutes. It doesn't have to be perfect but it may help you in both your set preparation and for 'emergency' readings*

Music sight reading and reading audition acting sides are very similar. Ultimately, It's all about the execution and also the phrasing/subtext.

Sometimes, in acting situations, you will have explicit stage direction or inflections/tone to emphasize.

Unless it is to put in parentheses are dynamics phrasing/ subtleties, it would be up to your interpretation as an actor.

When you read the piece of music there are dynamics phrasing. There are accent marks and articulations. However, at times, there are not any accent marks... you have nada. That's where your training and your experience as a musician in different genres and styles make a difference.

It's very similar to acting sides. Subjects mean phrasing, slang, multiple meanings, double entendres are not always explicitly put into scripts. It is between the director and actor to find that interpretation. I've been on auditions where directors don't want to tell you anything because they want to see your interpretation. They want to see your range and figure it out.

However, it is good to know when directors wanted specific adjustments or have specific intentions/ideas in mind to communicate that to your actors. Actors are not psychic and neither are directors. If the production wants specific interpretation it should be communicated in a clear calm manner in real time, preferably in advance.

Remember, you both will ultimately be on the same side, and same page, if the goal is to create a great performance and production.

Break a leg.

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Know when to walk away off a set 8/17/15

Dear Union Actor,

Know when to walk away off a set

Sincerely,
The other side


I have walked off of sets for different reasons from safety to professional disputes. I will address one reason in particular now. I am a full SAGAFTRA union actor. If a production doesn't have its paperwork in order and a proper SAG contract, I have had no problem walking off of a set. I have walked off at least 6 productions that didn't have their papers in order. I have explained why to the production on every occasion.

These ranged from student projects, colleagues' and friends' films, short films and features. Did I feel badly?  I did feel disappointed to a certain degree because I had to give up opportunities and "inconvenience" people, but not because I was doing the "correct" thing.

  They said they were going to apply for a SAG production, they were going to fill it out at the school later? "Don't you trust your friend when they said they had already filled out the paperwork and got their id number?"... but no one on the production team could produce a signatory/production ID or SAG rep name in charge of their case,  number in 5 minutes, let alone a day? They may have said they were sag sanctioned, but the night before say they don't have their contracts or haven't yet gotten approval?  Did they not have an approved SAG contract on set?

There were roles I wanted to do and had prepared for, that I walked away from or had to turn down. I wanted to act in that part... I wanted to see and get the footage, I wanted collaboration and to help, wanted to build working relationships and get the experience... why did I walk away and adhere to union rule number 1, to not work on a non union production?

 Do you think it gave me a good reputation? Do you think it made me popular with colleagues and friends who were willing to look the other way just to get the job or the film done?

One of the reasons I walked, in many cases, was because the production had misrepresented themselves. Whether it was intentional or by mistake or by not getting the papers done in time,  in any case, you can't call yourself a union production unless you have a production ID number and a Signatory number. Period.

Can't you just look away and help the project get done and then have them deal with the formalities and technicalities later? Do you have to be so rigid?

You can't film and then go back retroactively and fill out your paperwork in. Why not?

 
Think about it.... you film on a set where the producers say they will fill out the signatory papers later or have them pending.... what happens if they aren't approved? What does that leave anyone with? What happens if the producer goes, "sorry, I'm just going to release it anyway... without making it a union project"?


I remember walking off one set and hearing a union actor say to another about me walking, "He's doing the wrong thing. You know those contracts are really just meant for people you don't trust"

Are you going to allow every project you work on that 'latitude' of not having some basic required things in order? Will you look away all the time?  How much improper procedure would you allow at a doctor's office, at a lawyer's office, in construction, in any business?


 It doesn't matter if the cast is 90% union actors. If the production isn't a union production,  that 90% are working on a non-union set.

The production, or the actors themselves, would be putting their union actors in a compromising situation and any non union actors would not be eligible for Taft-Hartley to become SAG-eligible even though they may think they are working on a union set.

You could have 1000 union actors on it, the production STILL wouldn't be union production until it has gone through the appropriate channels.

You'd be in violation of the union regulations. You would have no recourse against certain production situations and conditions if they arose. You are on your own, and also may be subject to union fines or disciplinary action depending on the circumstances.

"But, these are just small time productions, the union wouldn't care, can't you just look away this one time so we can get this done and then we can fix it?", I've also heard or been asked.

To me, if I get in that habit of looking the other way on basic required things on a small production, I may be tempted to do that on larger ones when more money or prestige may further complicate and tempt things to be harder to walk away from... to compromise integrity for quick results.

Personally, I feel that it would be better to be known as someone that people know they would to have their business in order if they wanted to work with you and to be known as a producer that does right by people. It's not about money, it's about standards and expectations. Doing right things and doing things right.

I have produced SAG productions and been expected to have things in order and would expect productions to have their effects in order both from an actor and from a producer point of view. I have been fortunate to have worked with many productions that have had things done right and I look forward to working with more of them in the future.

If you film your production and then apply to get your signatory and production ID later, don't you think the SAG rep may look at your proposed shooting dates (especially if they have already passed) and ask if or why you have filmed already? Will you lie, ask your cast and crew to misrepresent, and say you didn't shoot yet? Will they say that any footage filmed prior to the approval date is not sag approved? Will they ask if the actors listed participated?

It's very possible that nothing would happen. It's possible that you may luck out and get things done and not have anyone find out except you.

I just wouldn't want to put myself, my fellow actors, crew or my production in a potentially bad situation or a situation that could escalate into a bad situation.

Break a leg.

Be well,
Vincent


My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.

I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.

imdb.me/vincentveloso
vimeo.com/ondemand/changelingstheseries
facebook.com/changelingstheseries
facebook.com/cenotaphtheseries
dearactorfromtheotherside.blogspot.com/

© 2015 Vincent Veloso, Xavmax Multimedia Productions L.L.C. All rights reserved

Collaborations & reasons someone might want work with you or want you to work with you 8/9/15

Dear actor and producer,

Collaborations: Many hands make light work. Making music and movies are often very collaborative endeavors. Even if you are creating everything yourself, eventually you have to work/deal with somebody to get your stuff out there.

Sincerely,
The other side.

Whether you are on cast or crew, any time you potentially lead or are a part of a production, you can keep these points in mind, which may help things run smoother.

There are basically 4 types of relationships

1. win/win: mutually beneficial
2. win/lose: I win, you lose in the interaction
3. lose/win: I lose, you win in the interaction
4. lose/lose: I lose and you lose in the interaction

Hopefully, you will only work in situations that mutually beneficial and that are win/win.

There are several reasons why someone may want to work with you and it's not always because they are getting paid. Some of the reasons could be:

1. they like/respect you
2. they like the material: script, music, etc.
3. they are getting paid for it
4. they want to gain more experience in something in the production
5. they want to gain a new skill set that the role/position would require (learning a new language/ learning a martial art, etc)

Why might you want to work with someone? (these could also be reasons why someone would hire you) Again, there could be many reasons, but the list could include:

1. skillsets/areas of strength an expertise
2. connections/resources
3. reputation
4. attitude/vibe: how you treat and deal with others
5. track record

You are assembling a mastermind group, a team, you would want to be sure the team has:

Unified vision: People need to know where they are going and what the endgame is. Good script, schedules and clear defined timetables and expectations are all part of communicating that unity of vision.

Diverse skillsets: a team needs people with different strengths to be sure everything is covered. Probably not a good idea to have a basketball team of all centers.

I had seen and interview of Quentin Tarantino where he mentioned he was told by Director Terry Gilliam (paraphrased)that the role of the director is to communicate the vision. Surround yourself with people that know their specialties better than you do.

Break a leg.

Be well,
Vincent

My name is Vincent Veloso. I am a writer, producer, director, actor and musician and martial artist. I have worn many hats in my career, learned some things, still learning, but in this blog, I will be addressing my experience and insights making films and music... stories from casting to wrap party... the good, the bad, the really bad and the ugly.... and the really ungood.


I never use real names, and many times I address my concerns on the day directly to people in real time. I point out my own missteps  just as much if not more because I have been that actor/writer/producer/director who has made the same gaffes just as much if not more. Hopefully as I address the circumstances,  others can gain valuable insight, through story and my experiences, it will give people help. It is not meant to be mean spirited, but like all subjective commentary and blogs, and many other existing advice and commentary articles, I understand that audience perception is subjective and do hope you know that I hope to help others.