How To Be A Better Actor - Workin’ 9-to-5 - Beverly Hills Playhouse

Workin’ 9-to-5

In case you haven’t heard, The Biz is full of gossip. People sleep with each other. Then they break up. They do stupid shit at parties. They get married. They get divorced. They are “difficult.” People talk about people. It’s a shocker. In another stunning development, because of the many intense, small and ever-changing ecosystems in this business  (read: film sets, play rehearsals, and acting classes), you could find yourself in a holy-smokes relationship in no-time-flat, invested fully in any number of ways, discover within eight weeks that this investment was perhaps ill-advised, and yet somehow you keep doing it again and again and again. New people, intense feelings. New people, intense feelings! Quite a ride. It’s part of The Deal,  part of why a lot of people love the business – they thrive off a bit of emotional chaos and the highs and lows of it all. Artists can be manic high-low people, fueled by emotional responses, and it all fits together a certain way.

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Podcast Interview with Allen Barton - Beverly Hills Playhouse

AB Podcast Interview

Here’s an interview I did for Destination Hollywood Radio, in which I discuss my history at the Beverly Hills Playhouse, the BHP Approach, specifics on career administration, actors v. writing, actors v. agents, and why Brits and Aussies deserve the work they’re getting. They did a partial transcription, and below that is the link to the full podcast.

Acting Training for Professional Storytellers

For almost 4 decades the Beverly Hills Playhouse has helped actors hone their craft of professional storytelling. Recently, DHR’s Patty Lotz sat down with Beverly Hills Playhouse Owner/CEO Allen Barton to talk about the “new normal” for actors in this Internet age and BHP’s unique approach to acting training that addresses Acting, Attitude and Career Administration. Here is an excerpt from the podcast interview:

DHR: Here you are the Owner/CEO of the Beverly Hills Playhouse. You stepped into some huge shoes.

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How To Be An Actor - The Timeless Excuse - Beverly Hills Playhouse

I Gotta Get My Shit Together

Ah, yes. I gotta get my shit together. It’s not exactly a new expression, but I dearly wish it would expire, like I gotta shoe my horse or I gotta go to Strawberries and get the latest LP.

I gotta get my shit together. I need a break. I feel dispersed. I’m uninspired. I need to go make money for a bit. I need to go to Joshua Tree. It’s all of a piece. The Grand Justification. Because, of what is this “shit” comprised? Money, relationships, car repair, dental work, I’m-writing-a-script, spiritual advancement, a place to live, the new job…. On and on. There’s nothing in the world that won’t fit under the generous, welcoming umbrella of I gotta get my shit together.  And no one is immune. Not a human walks the face of the earth who doesn’t have some shit that needs  getting together.

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How To Start Acting: F- Improv Classes 5 Points - Beverly Hills Playhouse

F— Improv Training

Allow me to rage, give voice to thoughts hushed and guarded, unexpressed, trapped, traversing the crania of teachers of serious acting, for fear of grave offense against what THEY say, for fear of pissing off a longtime student who has wandered or wants to wander from serious acting training, and by serious acting I mean training geared towards creating a serious actor, which is to say not someone without a sense of humor, no, no, not that, definitely not that, god have mercy, forbid it, but rather one whose sense of humor is not necessarily the issue per se, that is to say, the thoughts of those of us trying to train a skilled actor who simply can have a real shot at a career in film, television and theatre, an actor who is skilled in both comedy and drama, and can honestly investigate a writer’s premise in any style and any form and do so richly and believably and consistently for as many performances as you’d like, in as many or as few takes as is your preference, on as little notice as you’d wish. Got it? So here goes: Fuck improv training.

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How To Be A Good Actor - Cynema (Cinema with a Why?) - Acting Blog

Cynema (Or Cinema with a WHY?)

[I posted this entry in 2010, but the topic keeps smacking me in the face, so I thought it was worth revisiting with an edit, update and repost.]

It doesn’t quite work, because “Cynema” and “Cinema” are homonyms. Visually – okay. To the ear, it needs to be “Cynical Cinema.”

cynical, adj., 1. concerned only with one’s own interests and typically disregarding accepted or appropriate standards, 2. distrustful of human sincerity or integrity

cynema, n., filmmaking motivated by cynical inclinations as to what will move the creators’ careers forward, at the expense of coherence, humanity or passion; cynema is often characterized by slavish devotion to a style, it rarely demonstrates any devotion to a focused story, it is marked by poor craftsmanship, improvisation in lieu of writing, a desperate desire to be funny (often by imitating others’ humor), emphasis on the ‘mockumentary’ form, hitting visual punchlines, etc.

We’ve all had enough of it, right? How many invitations have we received to look at vimeo, youtube, whatever, to see the latest work by an acquaintance, and you want to throw heavy objects at your fragile computer? If I never see another stupid fucking unfunny mockumentary again in this lifetime or any lifetime to follow, it will be too soon. Stop it! If you aren’t going to be funnier than Spinal Tap or Waiting for Guffman (or that delicious Extras skit between Gervais and McKellen about acting), don’t do it! And trust me, you probably aren’t funnier than those films. Those are professionally funny people, and in this business if you haven’t been paid to be funny, there’s an awfully good chance that if you tried, you simply aren’t funny enough to be paid for it.

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How To Become an Actress: Follow Up! - "Peer to Peer"

Peer to Peer

I’ve emphasized in plenty of entries here how important I think it is that actors follow-up on all professional interactions. Auditions, callbacks, meetings, on-set work… Fact is, once an actor knows how to act, the business they’re really in is the name-collecting and follow-up business. In A Universal Career Jumpstart, I put down three lists I think every actor should draw up and add to on an ongoing basis. Setting to the side any and all internal work the actor might do to keep themselves moderately sane, and all the forward-gazing goals, mantras, and conceptualizing, if an actor can do these two things – act well and follow-up – those two skills alone, pursued with discipline over time, will beget more acting work.

So. What to say to these people? Not for me to dictate, as clearly it’s too context-dependent. BUT, I can say this: Communicate on a peer-to-peer basis. By this I mean that too much of the correspondence I have occasionally been able to review comes from a lowly, I’m-just-aspring, you-are-a-god-and-I’m-out-of-work, look-how-clever-I’m-being-to-get-your-attention place. That stuff reeks of insecurity and low esteem. Don’t do it.

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Becoming An Actor - An Actor is a Prism. The Writing is the Light

A Prism Doesn’t Think

An actor is a prism. The writing is the light.

Each writer, being utterly unique, will create a different variation of light.

Each actor, being utterly unique, will refract light in his or her own distinct way, before even thinking of making a choice about the matter.

A director’s job is to look at the light, figure out which prism does the best job refracting that particular light, and manipulate a bunch of prisms during rehearsal or shooting so in combination they create a light show… like that. No… Like THAT.

So one thing you can do is ensure you, the prism, are clear, not cracked, not sharp to hold, that you’re easy to move this way and that, and that the light shines through you in a nice vivid way. Meaning: say the damned lines correctly and in order, and of course imbue them with reality and emotions appropriate to the situation of the story and the tone of the script, and style of the writer. Once you do that, the nature of your instrument – including age, voice, look, body, ethnicity, etc – will either contribute to your being right for the part or not. So the part of that equation you really control is the “imbue them with the reality and emotions appropriate to the story point and tone of the script and style of the writer.”

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Acting Skills - What is Required Of Me By This Story - The Study of Acting

What is Required Of Me By This Story?

Here’s a question I think actors should ask themselves more often:

What is required of me by this story?

Asking this question can lead to a much faster understanding of “what to play” than will hours of mental gymnastics regarding “what is my internal truth regarding the character/situation”? I’m not trying to knock that traditional question, but I find there to be a major pitfall with singular “what is my personal truth?” analysis:

Sometimes your own truth about a given situation is simply not appropriate to the story before you. Take your standard relationship fight: You might have a personal truth about this that leads you to play contempt and anger and vitriol – after all, it’s what happened to you in a similar situation in your life. Last month you had a breakup and it was nasty. Or it’s what you observed in your parents’ marriage. Problem: The scene is from Barefoot in the Park, if you play it with contempt and bile, the scene dies a horrible death –  there’s no fun in it, there’s no comedy. But on the other hand, if the scene before you is Revolutionary Road, then all that contempt is exactly what it needed. If you’re funny with Revolutionary Road  then we’re in as much trouble as we are when you are contemptuous with Barefoot in the Park. And yet both stories deal with a marriage in trouble.

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Showcases, Workshops & Integrity. Lights up on…. An agent showcase.

Showcases, Workshops & Integrity

Lights up on…. An agent showcase. Over the next hour or so, fifteen scenes will be performed, about 3 minutes each. Almost all will be glib comedies with glib acting, no one giving a shit about anything other than whether this so-called ‘work’ will please… them. THEY. The all-powerful THEY, who will assess your talent, your look, and then hopefully represent you and get you auditions. 

Recently a scene was performed in class. It was a two-and-a-half-minute rather glib comedically-tilted fight between a young couple at a party – an awkward compliment he had previously paid her anatomy was received poorly, she was still stewing on it, and that was the premise. Banter was exchanged, actress walks off in a huff, actor follows, exasperated, and…… scene.

Turns out one of the actors had written the scene, because they were performing in an agent showcase a couple nights later, and they couldn’t find something that would suffice for the three-minute limit. In addition, the omniscient, all-mighty THEY  say it’s good to do comedy in these workshops. It’s what THEY want to see.

How does this situation make me vomit? Let me count the ways:

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