Seminar – Producing for Theatre in LA – 3pm Tomorrow (Sunday 10th Feb.)

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Are YOU Ready for Pilot Season and 2013?

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ARE YOU READY FOR 2013?

FREE TWO HOUR SEMINAR WITH RICK PAGANO (“24”, “Franklin and Bash”) AND RUSSELL BOAST (“GCB”, “MOB DOCTOR”)

SATURDAY 19th JANUARY 2013 @The Lillian Theatre in Hollywood

2.00pm – 4.00pm

Special Guests; Aimee Musil (Franklin and Bash, 90210) and more.

SEATING LIMITED – RESERVE YOUR SEAT NOW!

Eventbrite - Are YOU Ready for Pilot Season and 2013?

(Rocket Propelled Students are most welcome to attend but we kindly request that you bring a non Rocket Propelled Guest with you so that we can expand our community.
YOU MUST BE ON OUR “Eventbrite” GUEST LIST TO ATTEND!!!

(Headshot Drop Off Box Available)

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How Second-Guessing Yourself Can Hurt Your Craft

“There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique.

“And if you block it, it will never exist through any other medium and be lost. The world will not have it. It is not your business to determine how good it is; nor how valuable it is; nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.

“You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you.

“Keep the channel open…

“No artist is pleased…

“There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction; a blessed unrest that keeps us marching and makes us more alive than the others.”

– Martha Graham, to Agnes de Mille

So what is Martha Graham’s most applicable advice? Don’t allow self-evaluation and self-judgment to block your expression. It’s just “not your business.”

A theater director once told me that he never reads his reviews. He doesn’t believe the good ones, and he’s always regretted reading the bad ones.

Many actors spend too much time trying to “read the reviews.” They wonder how their last audition went, what went wrong, and how the casting director, producer or director reacted. We all get occasional phone calls from actors who didn’t think they did well, and want to do it again.

Most of the time, if you’re even remotely right for a role, we’ll try to give you a second chance. If we don’t, it’s usually because we’ve already found someone who has set the “mark” far higher than you’ve been able to achieve. We’ve made an offer to someone in the interim between when we set you up and when we see you, or you’re just not right for the role. (Imagine that!) Forget what the breakdown says. Producers, network, studios, and directors can change their minds about what they want, and it can just as easily occur AFTER the breakdown has been released. The process of knowing what we want is constantly evolving. We don’t have time to update you on the matrix of decisions in the casting process. And guess what? It’s not in your control.

What is in your control is still quite a lot. All the things that are involved in preparing for a role, in taking care of your career, and focusing on your attitude as a professional.

What if you could spend a week as an actor, not evaluating, not judging your work, but simply going in prepared, doing your work, and leaving.

Then drop it. Forget it. Let it go. If they want you, they’ll call you. That’s their territory. Yours is the next audition, the next project, the next character, the next opportunity. And that is a full-time job in itself.

The concepts of artistic evaluation and judgment are more closely explored in Rick Pagano and Russell Boasts’ 8-week business intensive “The Living Actor.” Seats are still available for the next course starting in Hollywood in February 2013. For more information, emailthelivingactor@gmail.com.

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How Training for the Olympics Is Like Training To Be An Actor – Rick Pagano

I’d like to talk about discipline, specifically the discipline of the Olympic athlete and how it compares to the acting profession.

Think of Los Angeles as the Olympic Stadium. This is the city where actors come, from all around the world, to compete for the “gold.” Throw a rock in this town, and you’ll hit an actor, writer, director, etc. There are those who hate that fact. Personally I find it a tremendous asset/resource/comfort for those of us who have come here to create.

But the proximity of collaborators comes at a price.hey are also your competition.

Think about swimming for a moment. You are a swimmer, and someone in the next lane wants to swim faster than you. They have trained for thousands of hours for these races and have learned the best way to maximize kick and the best angle the sweep of an arm, and as a result, they glide, seemingly effortless, through the water.

That swimmer brings the right equipment with them: a swimsuit and cap that provide the least resistance in the water and goggles that don’t leak mid-race.

That swimmer has watched tapes of competitors to learn exactly how they won gold. They are constantly learning, pushing, and training.

That swimmer plans to win gold. That swimmer prepares with a discipline that makes winning appear inevitable.

Have you trained properly for your “Olympics”? Or do you arrive at the starting line and compete merely on your “talent”?

Do you show up without having read a script? Without knowing your lines? Without checking the pronunciation and the meaning of the words you will speak?

Have you seen the great films of our culture, those that inspire today’s writers and directors?

Are you surprised when the role goes to someone else? Someone who has prepared better than you? Someone who knows the tone that a particular script demands? Someone who is familiar with the writers and the directors for whom they are reading?

A famous (Oscar caliber) actor once auditioned for the role of Maggie in a production of “Cat on a Hot Tin Roof.” The production had a famous director, a role to kill for, and a big venue. She and the director talked for a few minutes, and then he asked her if she’d like to read a scene. She replied, “Whatever you want.” The director flipped through the script, and chose a scene—at random—for her to read. After skimming the scene for about twenty seconds, she looked up at me and said, “Ready.”

She proceeded to do the scene, barely referring to the pages in front of her. In other words, she had virtually memorized the entire play. And she was, I must say, brilliant.

That’s your competition.

-Rick Pagano

Courtesy of: http://www.backstage.com

ONLY 5  SEATS LEFT FOR OUR NOVEMBER INTENSIVE!!! 

ONLY 5-SEATS LEFT @ AT $400.00!

(Next year the cost of the class will increase to $600.00 – Take advantage NOW!)

Click “UPCOMING NOV CLASS!!” Above for details.

 

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