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Actor & Acting Coach: Charles Tuthill

June 21, 2011 By Kipley Leave a Comment

Charles Tuthill has taught at the Atlantic Theater Company, The Actors Center, Purchase College Conservatory, Caymichael Patten Studios, and New York University. As an actor he has played leading roles in New York at Manhattan Theater Club, Lincoln Center Directors LAB, Revelation Theater Company, Theater for a New Audience, Worth Street Theater, and the WPA. Regionally, he has appeared at Actors Theater of Louisville, Alliance Theater, Arena Stage, Berkeley Repertory Theater, Great Lakes Theater Festival, Repertory Theater of St Louis, Trinity Repertory, and the Williamstown Theater Festival. Film and Television credits include Law and Order, Law and Order: Special Victims Unit, all the New York based daytime dramas, and many short films including the Academy Award Nominated SPEED FOR THESPIANS based on Chekhov’s THE BEAR.

Interviewed by Joanna Parson

Let’s get to the nitty gritty of what our readers want to know about monologues and auditions. In your opinion, what makes a great contemporary monologue, and how can actors find them?
A great contemporary monologue reflects a point of view about our culture that the auditor can identify with or admire. The idea of what is contemporary changes drastically from year to year, sometimes from week to week! I am always curious to know what is on the minds of actors in their twenties because they represent the next generation of theater makers. I am a bit of a voyeur. I enjoy seeing what it is they want to express about themselves, what kinds of questions they are asking and it gives me a clue as to what life will be like twenty years from now when these young actors are leading the way.

It doesn’t interest me to see an actor in their twenties do a piece that was written when I was in my twenties.I was sitting in a class today taught by Olympia Dukakis and she asked the actors who were working: “What is the one deep thought that resides within this play?” This seems to me to a great way to distill what a play can be about into tangible terms. I heard somewhere that we have 3 to 5 really big character developing moments in our lives. Monologues are usually one of those moments in the characters life, so your attachment to the material should be deep.

Ask yourself what you are auditioning for and suit your monologue to that material. Auditioning for an agent or a casting director carries a different set of expectations than auditioning for a season at a theater or for a graduate school. Don’t confuse them, and don’t leave your sense of humor behind. A friend of mine likes to say an initial audition is just a first date, it’s not the wedding!

Your Web site includes a list of monologues that you consider to be overdone. Why is it important for actors to look for newer or less-heard material?
The list you are referring to was compiled by my friend Karen Kohlhaas who teaches a monologue preparation class in New York. She asked several industry professionals to list monologues they were tired of seeing. The interesting thing she learned was how old some of the material was! Often twenty years old! What was going on in the 1980’s really isn’t relevant or immediate anymore! If you are a young actor, find something newer. It’s likely that it will express a point of view that you can identify with and you will get attached to the ideas in the material in a significant way. Don’t underestimate what the material can do to help your acting. I sometimes think when I assign scenes in class that the character will teach the actor more about living life than I will.

However, I could see material from a great play repeatedly rather than average material. I wouldn’t get tired of the material because a great play is dependent on the actor bringing something of himself to the role. I love Shakespeare plays to see what a particular actor brings to it. The same is true for O’Neill, Williams, Chekhov, Shaw, Ibsen…When the strongest aspect of the monologue is the storytelling, you’re in trouble. I just don’t care about the plot. I care about the individual interpretation of the circumstances and how they relate to that particular performer. While I enjoy the writing of Teresa Rebeck or Nicky Silver, when I’ve heard it once, it doesn’t allow for much revelation of individuality. I end up listening to the writing rather than being aware of what the actor is bringing to the audition room.

You also talk a lot about “actions”—what is an action, and how can an actor use action to shape a performance or monologue?
Different schools teach the meaning of action in different ways. It’s a way of finding out what the underlying purpose of the material is. What carries you from one moment into the next, and how are those moments connected?

There are many ways of playing an action. A typical action as taught by a school like the Atlantic might be something like: “I am trying to put my partner in his place” or “I am going to get my partner to accept a beautiful gift”. This way of working is illustrated in the book The Practical Handbook for the Actor. Another school teaches an action as “to get the love I deserve”. Yet another school of thought is “what are you trying to make your partner FEEL?” These to me are all actions. My favorite way of looking at actions, by way of Ron Van Lieu is to ask “How am I trying to move my life forward in this particular moment in time?”

I have to say that when I studied acting I hated playing actions, but as a teacher, I see how invaluable it is to actors. It gives the work focus. What is even more fun is when that initial work is done, to trust it, throw it away, and really play.

How can you choose material that’s appropriate for your “type”? Actors can play anything, right? So how do you even know what your type is?
I don’t think actors can play anything. I think actors like to believe they can because they’re actors. Again, I think the material should reflect the actor’s frame of reference. I don’t see how a twenty year old actor can play King Lear. They could certainly play an aspect of Lear, but their life experience isn’t anywhere near the character’s. This isn’t to say that an actor is limited to playing only what he knows. The imagination is an important part of the work as well, and I think we’ve all had experiences acting where we released something we didn’t know was inside us. That’s the kind of acting we live for!

As for typing yourself, I think it’s a good idea to do a couple of things. Ask friends what parts you could play, what actors you remind them of, or what adjectives describe you. Then do it again with people who don’t know you, who only have a first impression of you. After all, we only get about seven seconds from the time we walk into a room before someone has made decisions about who we are. It’s important that you know what you are giving off when you enter a room and your audition material should be in line with who you are.

So, what makes a good Shakespearean monologue?
As far as I’m concerned any Shakespeare monologue is good! But if you want to stand out from the pack, I think it’s best to stay away from pieces that have a lot of antithesis or split focus. Find something that is straightforward, with high stakes, and BOLD. Don’t get involved with trying to find something they’ve never heard. It can’t be done. Find something you want say.

Chekov, Wilde, Tennessee Williams– is it important to have monologues for all of different classical and American play styles?
Absolutely. You can’t use an Oscar Wilde monologue to audition for a Chekhov play. The social behaviors, rules of conduct, and internal needs of the characters are drastically different. If you are auditioning for a Chekhov play, you don’t have to do Chekhov per se. You could use Turgenev, Ostrovsky or Gorky, and it would put you in the landscape that the director is interested in examining. For a Wilde play you could use Granville Barker, Somerset Maugham or perhaps Shaw depending on the material. It always helps a director if your audition selection is in the same ballpark as the material being produced. I can’t tell if you can play Williams if you are doing a monologue by Nicky Silver. I love them both, but to me they ask very different things of the actor playing them.

When, if ever, is it appropriate to choose a monologue where you speak with an accent that is not your own?
I think it only makes sense if the play you are auditioning for contains that accent, and you are letting the production team know that you are capable of that dialect. If you were doing a general audition, and you were allowed two pieces, I would say you could do one with an accent if you absolutely love the monologue, and it shows off your work to great advantage. Otherwise I mostly want to see YOU. When I’m auditioning actors, I’m not only looking for people who are talented, but people who are fun to be around. I want to get a sense of that person. Monologues are so difficult. We get to learn so much about you and your acting when you are doing a monologue which is why they are useful to directors. Don’t complicate it by adding a dialect

Let’s say I have an audition tomorrow, and I don’t feel that I have a monologue that, in my opinion, is perfect for what they might be looking for. Should I try to prepare a new monologue, or stick with something tried and true that may not be exactly appropriate for the part?
This is one of those questions that drives me a little crazy because I imagine one set of circumstances where I have a particular answer, and once that answer is formed in mind, I imagine another set of circumstances where my answer is negated. Karen Kohlhaas says that if you have 20 monologues ready to go at anytime all of your bases will be covered. I think there is truth in that.

At the end of the day, you have to feel good about what you are doing. There is no sense in walking into a room and doing work that you are not proud of. I like to think that if presented with a monologue that doesn’t quite line up with the circumstances in the play I am directing, that I have enough imagination to see you in that role.

What if you’re interested in film acting? Are there monologues that can help you show your “film acting” style? Say, is there such a thing as “film acting style”, anyway?
Of course there is no such thing as film acting style! What I think you mean is: Is this acting the kind of acting where I want to move in for a close-up? Acting for the stage and acting for the camera are two separate jobs. I think it is rare that an actor would be asked to do a monologue from a play when auditioning for a film. Plays are verbal, films are visual, and some of the best acting in film comes in moments that are non verbal. If you are asked to do a monologue for a film audition work on being intimate and simple, and allow your thoughts to tell the story. We don’t need a lot of voice from you in film, we are more interested in whether we can experience you.

Do you suggest actors do any kind of physical or vocal warm-up before a monologue audition, or is all of that a bunch of hooey?
Seriously??? Of course I think you should do a physical and vocal warm-up! Don’t you want range in your expression? If you aren’t needing to do a vocal and physical warm up before a monologue, you are not challenging yourself enough as an actor, and you should go to LA and be on TV and leave the actors who want to be in the theater alone to do their job.

What if an actor gets really nervous before auditioning? Do you have any suggestions for handling nerves?
Audition more often. Sooner or later, you will stop thinking about the people at the table and what they think of you. You will start thinking about what you are doing in your work. This is such a good day, that you never go back to worrying about the table again. Even when they are eating their lunch.

I knew a teacher that said: “character thoughts replace actor fears.” If you can be specific and personal, your inner critic will go away and you will become an advocate for your character’s needs. Give yourself something that you WANT to do up there! It has to be PLEASURABLE for you, or you will become self conscious.

Some acting auditions are cold readings, where actors are handed a script they’ve never seen, given ten minutes in a waiting area, and then expected to be brilliant. What do you suggest actors do first when they’re given a script for a cold reading?
I never really had to do this often when I was acting to tell the truth, but my advice is: Take a big bite in the opening moment and let the rest play out from there. No one wants to see timidity, even when you are playing Laura in the Glass Menagerie. We want to see what that character is capable of, and the only way to do that is to put it out there. You will let everyone in the room know that you are a risk taker, and a generous actor. Who doesn’t want to work with that?

What do you think directors and casting directors look for on a resume? Are there common resume mistakes that you see actors making?
Once you get the basic format there isn’t much more to it. Some people like to arrange their credits a particular way, or import headshots into the resume. That’s all fine, I suppose. I don’t think it makes much difference. I want to know who they’ve worked with. Can I call a director they’ve worked with and get a referral? Where have they trained? Do I enjoy the acting that comes from that training ground, or am I going to spend my rehearsal period trying to undo bad habits?

Frankly, I think this topic gets too much importance by young actors. As long as I can read it, it’s fine. Do there have to be do’s and don’ts about everything in this business? Where is the individuality?

How important is a good headshot? What can actors do to get the best headshot possible?
Obviously a good headshot is important at the beginning of your career. It’s all you have. You can get a meeting if you have a great shot.

As for what you can do to get the best shot, someone should poll the headshot photographers on this. Perhaps it will be your next interview! It took me several times before I got good shots, and I got better at it every time I had new shots taken.

My advice is: study headshots before your session. Look at the body language and find what you like and bring it to the photographer. When you are in your session, put your eyes on the floor, drop in an image of a loved one, and slowly raise your eyes in to the lens. Slowly and gently move your face so the photographer can capture the light playing on your face in different ways. When you get tired or you do go dry internally, lower your eyes. The photographer can’t photograph you if you aren’t making yourself available to the lens. It keeps you in the driver’s seat, rather than giving all of your power to the photographer.

You’ve taught acting and actors for years, at some of the best institutions in New York, and privately. What would you say to people who say that acting talent can’t be taught—you’ve either got it, or you don’t?
Some actors have instinct. Some are hungry and determined. I can’t teach these things. I can talk about a particular play, or a period in time that the play was written, or the structure of a scene. I can observe the actors working, and when I’m lucky, see what they are missing in the work and try to offer a way for them to get to it. The potential for better work usually lies in the body, or the breath. I don’t like teachers who direct the students. I am trying to bring out the best in the student and to bring what’s best about them from within themselves and out into the room so it can be shared with an audience. I love actors and their ability to do this. If I can encourage it in the classroom, then I like to believe it will have an impact in the future of the profession. It takes a tremendous amount of courage to act, and I think anybody can do it. There should be as many types of actors as there are stories to tell, don’t you think?

Filed Under: Actors, Featured, Theater Tagged With: , , ,

Actors Who Kick Ass: Seana Kofoed, writer/producer/star of “Donna’s Revenge”

September 16, 2010 By Kipley Leave a Comment

Donna’s Revenge: Confessions of An Ex-Contestant

Give us the quick set up… what is “Donna’s Revenge: Confessions of an Ex-Contestant” about?
It is a comedy about the aftermath of Reality TV fame, and what happens to one contestant when her fifteen minutes of fame are up.  It’s Celebrity Rehab meets The (British) Office.  The addiction is fame.

After being kicked off a popular reality show, Donna clings to living her life on camera, while serving six months probation and completing court-ordered therapy for a crime she’s not permitted to discuss.

What was the original spark that got this started? What are your goals for this project?

The character of Donna came from one of those Mad TV or SNL auditions five or six years ago.  You had to create 3 characters and go in with them – she was one of those, and I always loved playing her because she’s perpetually cheerful.  Even in the face of repeated humiliation and awkward events.

And I’d been writing scripts with roles I’d like to play – I’d written this short I wanted to shoot but we realized with all the car chases and cops and whatnot, that the costs would be prohibitive…so I began to focus on writing a webseries instead.

It was both a desire to shoot something with a role I loved playing, and to actually go through the process of budgeting, prepping, casting, and filming a show – those were the reasons behind beginning DONNA’S REVENGE.

It’s so satisfying in a business in which we have so little control, to actually GIVE yourself control by shooting a project of your own.  It’s a remarkable, wonderful feeling.  And with a webseries in particular, this is an area in which you can claim that artistic freedom, because the financial stakes are so much lower.

I also knew that I wanted to do it as properly as I could afford to – through SAG, with salaries, paying our crew, feeding people, and spending what it required (within our small budget) to keep it from looking like a cat video on YouTube.

Our hope with DONNA’S REVENGE is to find an audience that sees the series through to the end of Season One, for starters, as audience drop-off is one of the biggest hurdles in the world of the webseries. Until it’s on people’s Tivo queue, it’s a challenge to create that weekly must-see dynamic for something on the web.

Once your tv screen can be surfed, of course, much of that challenge will go away, but in the meantime – follow thru for audience is something we hope to master.  And growing our fan base to create an audience for either a Season Two of DONNA’S REVENGE, or a Season One of some other new exciting series produced for the web.

And the way, our best way to do that, is with views. Simple clicks and votes and feedback on the Donna’s Revenge FB page and the Babelgum FB page.  It seems odd, but that’s the only tool you have when presenting your next project to the web networks and the advertisers.

Your biggest asset is your audience.  Their feedback and their clicks.  So that is what we hope to cultivate.  A relationship with our audience.  Building their loyalty to watching our shows, both current and future ones!  What I would most love is for the web to become a viable, financially lucrative place for actors, writers, directors, and crew to work.  What a great feeling to give your peers and people you admire a job!  That’s truly the overarching goal.  To create more work for all.

Making a video series on this level requires persistence and a lot of support. How did the production team come together?
My long time manager (and long-time friend) Meghan Schumacher and I have always wanted to shoot something together.  I Exec produced, but she co-produced along with our other co and line producer, Jeff Peters. Meghan was wildly helpful in coaxing good actors on baord, is a great cheerleader, and is hugely important now as we work to expand the reach of the show.

And great director, Oliver Oertel, is also a long-time friend, he directed me in a play in Chicago probably 15 years ago (ahem, I mean, just a few short years ago…)  and he’s also been enormously helpful since we wrapped.  He ended up doing the bulk of the editing as well, which is a huuuuge task.  Several of us ended up wearing a number of hats throughout, you’re really asking people to give time and talent beyond what you’re able to pay them.  So, I spent most of my time just being really grateful.

We’ve all heard the stories about indie projects made for 49 cents. What was your approximate budget for Donna’s Revenge, and how did you keep costs down?
Ahhh 49 cents, I wish!  Add about 20k to that and you’re there.  I’m sure it can be done for less, and of course preferably for more! (assuming someone’s paying you to shoot it).  We did the webseries through SAG, and I’m very glad we did.  They were helpful and reachable, and it was not overwhelming at all.

I paid all the lead actors, including pension and health contributions.  The entire crew was paid, we had some insurance we needed to buy to cover the shoot, some location costs, food costs, camera rental, editing, etc.

Certainly no one was getting paid anywhere near what they’d be paid on a proper tv shoot, though, so you’re still being done a huge favor!  I find though, that if people like the material you’re asking them to play or be a part of, they’re happy to be on board.

Are you done shooting the episodes, or does the work continue? How many episodes are there?
There are eight episodes in Season One – we’re completely done shooting and editing – and now Babelgum is just rolling them out every Wednesday!

What is babelgum.com, and how did you come to be associated with them?
Babelgum is a free internet tv platform with a global reach.  They have a channels covering comedy, film, urban culture, art, design, music.  They pride themselves on having high quality visuals and high quality, interesting material.  It’s a cool, smart version of YouTube.

I came to know Amber J Lawson, their excellent VP of comedy, while doing another webseries there called VAMPED OUT, written by Jason Antoon and Kevin Pollack.  She’s a super smart, creative liaison and after having such a great experience with Babelgum during Vamped Out, it was an easy decision for us to bring DONNA’S REVENGE to them as well.

Overall, what has been the greatest challenge you’ve faced as the writer/producer/star of Donna’s Revenge?
I would say the edit.  Really and truly it is so time consuming, and even when you’re paying someone, you’re not paying the amount of money that would get them to edit 85 pages in three weeks.

So you have to be patient, which is hard – especially if you want a hand in the edit, to help with the timing, the minutiae of the cut, which I did.  Oliver (our director who then became our editor) and I worked very closely on the edit, back and forth, and it really is an enormous process.  He was tireless, and excellent, but it’s still a huge process.  My hat is off to editors.  I only wish they were free!

The shoot itself was a joy. Stressful on occasion, when you’re trying to get background actors at 6 o’clock the night before, but a complete and total joy.

You’ve been working consistently in theater, film, and television pretty much since  college. What is the best advice you can offer an actor coming out of college hoping to build a long-term acting career?
Multi-task!  With new media exploding in the way it is, and with the economy affecting the amount of traditional media work out there – it’s crucial to multi-task.  If you have any inclination to write, start now. Write yourself a movie, a webseries, a pilot.  If you have access to cameras and friends who will give their time, shoot something and then something else.

The web has leveled certain parts of the playing field, and if you shoot something cool that shows off your writing or your acting and stick it online – it’s just one more way to be seen by someone who could hire you down the road.

Multi-tasking is in addition to training, natch.  And doing plays, auditioning, taking classes and all that good stuff.  I would just add writing or shooting your own film, webseries, or pilot to that.  Lately I’ve been writing scipts with two roles for myself in them.  One major role and one supporting role, so if they need a massive star for the major role, I can still lay claim to the supporting one! :)

Also, just know there are peaks and valleys in our fair business, and if you’re planning to be in it for a long time – which i hope you are! –  you have to keep that in mind as you go.  The valleys never feel great, but you have to remember everyone has them, and your peaks are around, you just have to hang in there!   (As long as you still enjoy the work when you’re working.)

Easy to say, I know, harder to do – but just enjoy the day-to-day of it as best you can!

Filed Under: Actors, Featured, Film/TV, News & Events Tagged With: , , , , ,

Los Angeles Actor, Author, Acting Coach: Judy Kerr, “Acting is Everything”

August 29, 2010 By Kipley Leave a Comment

actor, author, acting coach Judy KerrAccomplished acting coach, actress and director, Judy Kerr brings over 25 years of experience to her book, “Acting is Everything”, now in it’s 11th edition. Click here for more info

Judy is recognized in Hollywood for her unique gift of nurturing talent and helping actors succeed. Coaching one-on-one with some of the top names in the business, Judy works to enhance the artistry and technical skills of actors while building their confidence so they deliver their best performance.

As dialogue coach on the hit series Seinfeld, she worked with the series regulars Jerry Seinfeld, Julia Louis-Dreyfus, Michael Richards and Jason Alexander as well as the show’s many guest stars including Teri Hatcher, Janeane Garofalo, Raquel Welch and Bette Midler.

With this 11th Gold Edition, Judy opens the doors of Hollywood to a new generation of acting hopefuls and professionals with a straightforward road map for building their careers. Judy Kerr takes special pleasure helping young talent and veterans grow as she continues to coach both privately and on sets, and to teach workshops and seminars worldwide.

Interviewed by Kipley Wentz

Judy, your book “Acting Is Everything” (now in it’s 11th edition) is basically the bible for the Los Angeles actor. In case there’s anyone left who hasn’t heard about it, can you describe the book and why it is so valuable for anyone who wants to build a successful career in Los Angeles?

I wrote the book as an acting/guidance coach specifically for the actor who wants to have a professional career. It speaks of what a person, who wants to be an actor, must do to get started where they live. Then when ready, the steps to take when they arrive in Los Angeles. For seasoned and new actors already in Los Angeles, it gives specific services that can be trusted to give them the most value for their dollar. I stand behind all of my resources and if any of my readers has a problem with a service they email me and I take care of it with the offending party. There are no advertisements or kickbacks. My resources are reliable, solid, and golden; I’ve only had about 4 complaints in 22 years.

This book goes way beyond your average “how to be an actor” text. What inspired you to create this incredible resource, and how do you keep it up to date year after year?

The book began as essays for the actors in my acting classes 25 years ago. I am a Los Angeles actor, so I investigate everything for my students and myself. Also my students tell me of someone who is good, a teacher or a photographer. I interview them, go to a class or look at websites.

Most important to me is the personality of the person I am recommending. I don’t like actors to work with anyone who is hurtful or demeaning. I only want my people with services who support and encourage their efforts. We all have nay-sayers in our lives, but we don’t want to hire them and pay them to work for us. Let our families or friends have that role – if we must.

On the first page of the book is written, “What you need to know to master acting is everything you need to know to master your life.” Is it truly possible to “master” my life, and how will I know when I’ve mastered it? 

You got me there, you are right; it is not possible to master your life until death. More properly it is the process of mastering acting, it is the process of mastering our life that is everything. The knowledge, the path, the investigations, the failings, the successes are what is the joy. Over and over again you will hear actors talk about how much they enjoy the rehearsal process.

So I guess with that statement I mean, it is the path that is important, not the final arrival. I feel that if an actor can’t enjoy the path they miss out on life. For most actors we never have enough “performance moments” but have many more “path moments” if that makes sense. I encourage people to look for the fun and joy during all the aspects. To me, living my life as an actor is my life.

You write, “When we operate from poverty thinking, we will always be lacking.” What is “poverty thinking” and how can actors avoid that trap? 

Poverty thinking is talking about what you lack; it is saying statements like, “I can’t afford pictures, I have to put all my time in on my day job, I can’t find a teacher who is cheap enough, no one wants me,” etc. Makes me sad just to write them. No one wants to hear you can’t afford something. Many, many people are creating their own realities and I say find a way to make the reality you want happen for yourself.

People in the world hate to hear complaints – yes you can find listeners but why not give your listeners stories about what you have been doing, not what is lacking. Never talk about what you are going to do when you have the money. Get the money, do your plan, then talk about what you did.

I am a fan of THE FOUR AGREEMENTS by Don Miguel Ruiz. The first agreement is “Be Impeccable With Your Word.” That means be careful what you say – act as if what you say will be your reality. Often times saying you can’t afford something is a way of not taking responsibility for your actions.

Many aspiring actors arrive in Los Angeles dreaming of fame and wealth. By what standards do you measure success in life?

Fun, pleasure and joy are my goals. That may sound trivial to some, but that is what life is about for me. I feel very successful. For others it would take much more than what I have in my life for them to call their life successful. To be truthful, I don’t measure others’ success; we each have our own yardsticks and have to satisfy ourselves. I sometimes have to scramble to find the fun and joy in some circumstances in my life. These are success goals, after all, and aren’t reached on a consistent basis.

You talk about three components to acting… the art, the business, and the dream. What do you wish more actors understood about the business of acting?

That you must be a master craftsman, you must be the best actor you can be. You must work on your craft every day. That acting is vocal art and a physical art. That you are never done, you are always in development for the part, the next scene, the next audition. We spend much more time in development than work. As an actor you must develop all aspects of your life. Sometimes you will learn something incredible about yourself while you are playing basketball at the park or looking at a painting in a museum. We must be well-rounded. We must keep investigating who this actor/person is who occupies our body.

While it is typically the experience of seeing great artists perform that inspires people to become actors, often actors can become so focused on “making it” that they lose sight of the art of acting. How can actors satisfy the artist within their soul amidst the constant pressure to remain focused on the business of acting?

In acting class. That is where you get to express yourself doing the characters that you are dying to do. If you are type cast as the gorgeous one, you may be longing to play ugly. If you are cast as the villain, you may be eager to play the hero. You can fulfill yourself artistically by playing roles that fill your heart. Another way is by creating a gathering of friends in your living room and reading the plays or scripts that speak to you. Cast your friends and maybe ask one of them to be the one to give notes and read it again the next week. Maybe stage one of the scenes between two of the characters and the rest of your friends are the audience to applaud you.

At ActorsLife.com, we get a lot of e-mail from people who dream of moving to LA. How can aspiring actors best prepare for Los Angeles before they move?

The best way to prepare is by saving money and training. But I often say if that isn’t available then take the leap and move and deal with it all when you get here. The information in the book or one of my traveling “Los Angeles Bound” workshops will give you the lay of the land, so to speak. For some that is all they need to take a lot of the fear out of making the move. If you are in NYC, Florida, Austin, Seattle or Chicago, chances are you can get great pictures, a demo reel, and a decent resume before you arrive. If you also were SAG or SAG eligible that would be a huge bonus.

Warner Loughlin is quoted in your book saying that choosing to become an actor is “brave and courageous”. In your experience, what about acting requires the most bravery and courage?

Taking the rejections. There are many, many rejections and learning not to take them personally can build bravery and courage. As actors we have to walk through our fear all the time. Then we have to be brave and stand up for ourselves when someone we love may look at our lives and judge them as not working out. I’m so glad I’ve lived my life as an artist—that is the payoff for me. Did I have a choice? I guess, but it never felt like it. Doing anything else other than acting or working with actors has never worked out for me; it is way too painful.

There is a whole section on acting training and coaches. Let’s say I’ve just spent four years and tens of thousands of dollars earning a degree in acting. Why is it important that I take more classes once I arrive in Los Angeles? Is there ever a point at which I’m done studying acting?

College is college and is not a training ground for professional actors – it isn’t meant to be. You need graduate school, and that is what you come to Los Angeles for: a new area of expertise. You need to get on the set, you need to deliver professional performances, you need to become worthy of them turning on the cameras. Are you worth being paid $20,000 a week to have a regular role on a series when you graduate from college? If you can land the job, if you are “audition ready” from college then you will still need a class to get connected, to meet people, to hear of opportunities.

There is never a point in my opinion that you stop taking class unless you are working consistently on the set. I go every Wednesday afternoon and study in Kimberly Jentzen’s master class. It keeps my acting chops in good shape and keeps me connected with working actors. I have a personal trainer twice a week to keep my body in shape; why wouldn’t my acting muscles have to stay in shape as well?

You have worked with many of the best actors of our time. Have you noticed any qualities that the most successful actors have in common?

Yes, and it is how much they care about their performance. I consider my years as a coach on Seinfeld as some of my most important learning years. Each of the stars of the show cared so much about the performance they were giving and the quality of what they were doing. Nothing was ever, ever “phoned in” as they say. Each word was important.

Sometimes I would work with a guest star on the show and I would be so disappointed with them if they didn’t throw their whole self into each moment. Because the show was such a big hit and so much pressure, sometimes actors would be really scared. It was my job to calm them down and help them enjoy the process and deliver the best performance they were capable of. What a great job that was. I miss it. All the actors always showed up on time and no matter what might be going on in their personal life, they strove to deliver.

In sports and other performing arts such as dance, the fundamentals are practiced every day. What would you recommend that actors do every day to ensure continual growth and success?

I would say join Showfax.com and download scripts every day and practice delivering the script.

Let’s talk a bit about some of the actors’ tools. What, in your opinion, makes for a good headshot?

I’ll say what everyone else says – make sure it looks like how you will be cast. I think it’s smart to even wear the same outfit you wore for the pictures if it’s close to what you are being cast for.

Photo sessions can be very expensive and intimidating. What can actors do to insure that they’re hiring the right photographer?

Go to the photographer’s website and print out pictures of people that look like you. In fact, do that with a lot of sites. If you like the way the photographer shoots the people who look like you then that person is a good bet for you. Meet them, see if you can expose yourself to them. Will you feel comfortable almost being naked with them? Do you feel safe to expose your feelings? That is what your photo shoot consists of.

We get a lot of questions about cover letters. Should actors include a cover letter with every headshot they send, and what information should actors include?

Well, I’m used to on-line casting. There is a place for comments and if you really have something to say, then put in a comment, but something very specific. The character rides horses and if you are a champion equestrian then put that in. When mailing, a post-it on the picture with the character’s name is enough or a short comment why this role is a good fit. Also put the character name on the envelope.

In your experience, are “mass mailings” an effective way to get the attention of agents and casting directors? How often should actors do mailings, and is there anything specific they should consider before spending the time and money on that effort?

I don’t think mass mailings work in getting work. I think the people you mail to should be targeted, and you should have something specific to say. “Watch me Thursday night on Grey’s Anatomy” or “come to my play this weekend.” Maybe in commercials your face coming across the desk might help. I do think it helps to drop off headshots and resumes to casting offices for shows you are right for.

In conclusion, you write that “Having fun can be the most important goal in life”. It seems like such a difficult life… What does it take to actually enjoy the process of being an actor?

Well, saying it is difficult is a choice. I think any other life would be difficult. Life is a process and the ups and downs make it interesting. It’s what we do with what we are given that makes it an adventure. I would tell someone to give up saying or believing life is difficult, I don’t see the payoff.

Beyond “Acting is Everything”, do you have a recommended reading list for actors?

My recommended reading list and many other resources are on my website.

Filed Under: Actors, Featured Tagged With: , ,

From Derek Smalls to Mister Burns, Harry Shearer does it all.

August 25, 2010 By Kipley Leave a Comment

Harry Shearer is a comic personality who takes “hyphenate” to new levels. First and foremost an actor, he is also an author, director, satirist, musician, radio host, playwright, multi-media artist and record label owner. For nineteen years the Los Angeles native has enjoyed enormous success and planted the fruits of his talents in the heads of millions worldwide thanks to his voice work for THE SIMPSONS and THE SIMPSONS MOVIE. Shearer plays a stable of characters: most notably Mr. Burns, Smithers, Ned Flanders, Rev. Lovejoy and Scratchy.

In July, 2007, Shearer plunged into the on-line video universe when the Harry Shearer Channel became a cornerstone of My Damn Channel, an entertainment studio and new media platform specifically created to empower artists to co-produce, distribute and monetize original, episodic video content. Each week a new political or pop culture satire written by and featuring Shearer is unveiled.

Interviewed by Joanna Parson

You were born in Los Angeles and began your career as a child actor. Did you ever imagine yourself doing anything else with your life, or did you always plan to be in show business?

No, I quit show biz at the age of 15 to enter college, and embark on what I thought my grown-up life would be: something to do with either teaching, politics or journalism.  I dabbled in all three before coming back into the business after a couple of years out of school.


How did you get involved with Roxanne Captor’s short “White Chicks at the Hairdresser”? What do you look for in an on-camera role?  Are there certain types of characters you’re attracted to at this point in your career?

Frankly, I just look for interesting parts and interesting people to work with.  I try not to repeat myself in terms of the kinds of people I play.  And I stay away from any parts in violent films.
People familiar with your work only from The Simpsons may not know that writing has been a huge part of your career – among many other projects, you’ve published books, joined the cast and writing team at Saturday Night Live in 1979, co-wrote This is Spinal Tap in 1984, and hosted the public radio show “Le Show” since 1983.  Do you think every actor reading this should open up a Word document and start writing?  Is it an especially important skill for comedic actors?

Not necessarily.  There are plenty of wonderful, even improvisational, actors who don’t write, and it took me a long time to migrate from writing to improvising.  Writing is probably the least intrinsically pleasurable of all the show-biz crafts I have acquaintance with.  I like to say that writing is something I like having done, rather than something I like doing.  Of course, that all changes when you write collaboratively with people who stimulate and challenge you.

You were a member of a Los Angeles-based radio comedy group for six years in the ’70s, “The Credibility Gap.”  Did that lead you into voice-over acting?  How did you develop the skills that have made us crack up on The Simpsons for years?

That work probably honed my skills, but I used to put myself to sleep as a kid doing voices from my favorite TV and radio shows, so this goes way back.

How different is voice-over acting from on-camera acting, anyway?  Can any actor get on the microphone and make us laugh?

Well, there’s a lot less waiting to do.  And, of course, all your expressiveness has to be channeled through one instrument.  As to “any actor”, I don’t know, I don’t make the rules for this business….

You’ve got videos up right now on Mydamnchannel.com that are funnier and more politically astute than anything we see on network TV.  How did you get involved with the Web site?

Thank you, I’m very proud of that work.  Rob Barnett, founder of the website, approached me in March with an irresistible offer: he’d finance my work, and he’d let me do it as I wish.  He comes from network TV and radio, so he knows exactly how and why the old model is broken, and I think he’s pioneering the new model.

How important is musicality to your comedy, and comedy in general?

It’s intriguing how many intersections there are between comedy and music.  Certainly people with a talent for mimicry for either voices or dialects are gifted with a musical ear.  And timing in comedy is intricately connected with a rhythmic sense.  Ever since we started doing Tap, I’ve become more and more involved in musical projects, because it’s so damn much fun to play.

At Actorslife.com, we strongly encourage beginning actors to create their own work.  You’re a great example of someone who, throughout his career, has always been self-propelled.  When you start a new self-generated project, do you have a long term vision of how it might affect your career, or do you just create for creation’s sake and let the chips fall where they may?

I think it’s fun to fantasize about the effect a project may have on your career, but I don’t think we have any better gift for seeing the future than the executives who usually have life-or-death power over our creations.
Do you have any advice for comic actors just starting out?  What do you wish you knew then, that you know now?

My advice is that talent is good, luck is better, but nothing beats sheer brute persistence.

What did you think of this interview? Let us know!
feedback@actorslife.com

Filed Under: Actors, Film/TV, Voice Over Tagged With: , , , ,