November 2008 Archives

Judy Kerr, of Acting Is Everything, has an ongoing series of acting industry interviews that you should check out. The one's that I find most interesting, I'll re-post here.

Up today! Judy talks with acting coach & actress Caryn West (NYC actors can study with Ms. West at Michael Howard Studios where she is a guest teacher when she is in town).

It's a terrific interview and talk, and Ms. West makes several points:

My day job is as a NYC Firefighter, which allows me the flexibility within my schedule to pursue this craft. I have studied the martial art of Taekwon-Do for 20 yrs, which enables me the discipline, strength, integrity and perseverance to continuously work hard at my career as an Actor.

Rejection doesn't prevent me from moving forward; it only strengthens me to work harder and smarter. I am passionate and dedicated about my craft and career. I don't believe in waiting for my BIG break, I believe in creating it! I have a responsibility in telling a good story. Having an audience connect, relate, feel various emotions as I take them on my journey, are very gratifying for me.

To me, that is success. If I accomplish that, then I have done my job.

In addition to being a Firefighter & Actor, I am a Father, Husband & caretaker for my disabled mother who suffers from Multiple Sclerosis. People always ask me how have I accomplished so much in being an Actor for only 4 years and having so much on my plate. I tell them it's about having a balance, staying focused, dedicated and very hungry towards becoming a TRUE Actor.

I am a firm believer in doing something productive everyday towards my career, shaking as many hands as possible, always maintain a professional positive attitude and understand that this is a business. I am the CEO of my own business and should always showcase myself in the best possible light.

I have been meeting as many CD's, Agents & Managers as possible to show them my work, personality & build as well as maintain relationships via career updates. I understand this business and my type/product well & focus my time, energy & money in areas that I am best suited. Also, I have have registered the treatement for my full-length screenplay entitled, "FORBIDDEN", which is based on a true story. It's compelling subject matter is relevant to today's world & will provoke thought worldwide. Soon, I will be writing, producing, directing and starring in a documentary style short that I will look to pitch to various networks, especially HBO.

Lastly, I not only enjoy being a part of projects that have great messages that need to create awareness to the public but also feel a need to get involved as a human being. I believe it is my duty as a person to help anyone I can that maybe can't help themselves, do not know where to go for help or simply do not have the ability for their voice to be heard for reasons beyond their control.

Some of the many topics that intrigue me:

I haven't posted for a while because I've actually been quite busy: a LOT of auditions, took an "Improvisation for Commercials" class at Weist-Barron, a "Commercial Casting Director Festival" through The Network, and I'm starting to do more background work (mostly for the money). As a quick aside, the improv commercial class and The Network casting director meet-and-greet resulted in some commercial agent referrals. One of my major goals is to get commercial representation, and I seem to be making progress in that direction . . .

But for the moment, I've been focusing on how best to grow between acting jobs (i.e., off-off-Broadway theater, which I consider really more on-the-job training). One of the best ways, I've discovered, is scene work. We've been focusing on scene work in Deborah Carlson's Word Of Mouth Studios, but up till now, I haven't fully appreciated its value and opportunity. I mean, I knew it was important, but I underestimated its value.

I was cast in a Columbia University MFA director's scene study workshop: the goal of the class was for a director to put together a scene with about 1-2 weeks of rehearsal. I was cast against type as king Creon in Sophocles epic Antigone. I've put the scene below. It was a fair amount to understand and memorize in a week & a half — between working on the scene at home and the 3 rehearsals we had, it actually turned out to be a major project that crowded out auditions I had planned for that week — rehearsals took place in the tower of Riverside Church up near 119th Street in Harlem, so it was a fair commute from Brooklyn).

What I learned: