by Skyler Caleb
Two of the toughest things to perfect when you're writing a screenplay are dialogue and marketing. I've been running ScreenplayCoverage.com for a while now, and I see that we frequently come across screenplays with good stories, but dialogue that just isn't natural. Some people seem to be born with this natural ear for dialogue, and some aren't.
Sometimes it can be as simple as using contractions incorrectly. I'm still shocked at how often writers seem to avoid using contractions when they're doing dialogue. One writer told me he avoids it because he doesn't know where the apostrophes go. First of all, if you're going to tackle writing a screenplay, you should make it a point to remember the apostrophe goes where letters were removed. Second, is this really worth sacrificing the natural flow of your dialogue? Here's an example: "MIKE: I am going for a run, honey. Please do not forget to call your mother." Sure, we get the point, but do many people really talk that way?
But let's not get too caught up on contractions. Having a natural ear for dialogue is much more complicated than that, and sometimes can't even be taught. I often suggest that writers team up with someone who they know has this natural ear for writing dialogue. That can be difficult to find. Just try calling up your writer friends and asking them if they have it. You'll probably get a yes.
I launched our newest service, Performed Readings, to try to help writers with this. We set up studio recordings and hire trained actors to perform screenplays. We send the audio files as mp3's so the writer can burn as many CD's with as they'd like.
I really feel we're treading new ground here, and this will become a major way screenwriters refine their dialogue and overall flow of their screenplays in the future.
This also comes back to marketing. I don't know about you, but at least half the time I e-mail someone my screenplay, or even print them a hard copy, it just doesn't get read. People are busy. They would love to have read your script already and give you some feedback, they just don't have the time or energy to sit down with a 2 hour homework assignment. So give them your screenplay on CD. Let them pop it in their CD player on the way to work.
We have launched a whole other sister site for this service, at www.ScreenplayReadings.com, to go along with our trusted coverage service at ScreenplayCoverage.com. Give a reading a shot, and tell me what you think!
Skyler Caleb is an accomplished actor, writer, and director, and has been overseeing screenplay coverage by the staff of ScreenplayCoverage.com (formerly Creative Screenplay) for 2 years.
Monday, April 6, 2009
Tuesday, February 10, 2009
HOW TO CREATE A GREAT HEADSHOT
By Aaron Marcus
Excerpts from this article are taken from Aaron Marcus’ book "How to Become a Successful Commercial Model."
A head shot is the actor’s business card. This is what the agent will send out to help get work for the actor. Quite often the producer or casting director will ask for a copy of a head shot at auditions. It is essential that the actor is very well prepared before his or her head shot session. Without a great head shot it is very difficult to get work.
Head shots have traditionally been a close-up photo of your face from your shoulders to the top of your head. At the end of the article I will describe other formats for head shots.
It is important to understand what is needed to produce a great head shot. People want to see warm, inviting and interesting looks. It should capture your personality or the personality you want to project. When an actor walks into a casting office, before he or she even says hello, the casting director will immediately sense if the actor is right for the part. That’s not to say that the actor will book the job because of his or her looks, but the personality that surrounds the actor is immediately noticed by the casting director. It doesn’t matter how talented you are as an actor, if you physically don’t look right for the part, you won’t get cast. I just auditioned for a film and was told by the producer that the casting director loved my read, but the director didn’t think I looked “ethnic” enough. It is essential that the actor figures out how he or she is perceived by others and capture that personality on the head shot. The actor needs to learn what types of roles he or she would be cast for in a film, TV series or commercial? Is it the heart throb, the girl next door, the tough no nonsense corporate executive look? It is important to learn how you are viewed by industry people and capture that look in a believable, comfortable and honest way on your head shot.
A commercial head shot should not be too dramatic. Avoid jewelry and clothes that are distracting. You want people to focus on your face. Have the photo taken by a photographer who understands the look you are trying to achieve and the area in which you want to work.
Styles change, but today most people choose matte finish prints (non-shiny) as opposed to a glossy finish (shiny). 8 x 10 is the standard size for a head shot. Because of the lower costs in printing, most people are shooting their head shots in color.
One last comment about head shots. Some people are moving away from the traditional head shot, which is a close up shot from the shoulder to the top of the head. Instead, many people are having a half or three-quarter body shot taken. This shows much more of the person than a tight shot of the face.
Aaron Marcus has been cast in 1,125 (to date) acting and modeling projects. His work can be seen and heard at: http://www.aaronrobertmarcus.com/about_aaron/
Along with working full-time as an actor, Aaron is the author of How to Become a Successful Commercial Model, and publishes the Tear Sheet newsletter. He also offers his Becoming an Actor and Model Workshop throughout North America and Australia.
For additional workshop, book, newsletter or general information call:
Aaron Marcus (410) 764-8270, e-mail: aaron@aaronrobertmarcus.com, or visit www.aaronrobertmarcus.com
Excerpts from this article are taken from Aaron Marcus’ book "How to Become a Successful Commercial Model."
A head shot is the actor’s business card. This is what the agent will send out to help get work for the actor. Quite often the producer or casting director will ask for a copy of a head shot at auditions. It is essential that the actor is very well prepared before his or her head shot session. Without a great head shot it is very difficult to get work.
Head shots have traditionally been a close-up photo of your face from your shoulders to the top of your head. At the end of the article I will describe other formats for head shots.
It is important to understand what is needed to produce a great head shot. People want to see warm, inviting and interesting looks. It should capture your personality or the personality you want to project. When an actor walks into a casting office, before he or she even says hello, the casting director will immediately sense if the actor is right for the part. That’s not to say that the actor will book the job because of his or her looks, but the personality that surrounds the actor is immediately noticed by the casting director. It doesn’t matter how talented you are as an actor, if you physically don’t look right for the part, you won’t get cast. I just auditioned for a film and was told by the producer that the casting director loved my read, but the director didn’t think I looked “ethnic” enough. It is essential that the actor figures out how he or she is perceived by others and capture that personality on the head shot. The actor needs to learn what types of roles he or she would be cast for in a film, TV series or commercial? Is it the heart throb, the girl next door, the tough no nonsense corporate executive look? It is important to learn how you are viewed by industry people and capture that look in a believable, comfortable and honest way on your head shot.
A commercial head shot should not be too dramatic. Avoid jewelry and clothes that are distracting. You want people to focus on your face. Have the photo taken by a photographer who understands the look you are trying to achieve and the area in which you want to work.
Styles change, but today most people choose matte finish prints (non-shiny) as opposed to a glossy finish (shiny). 8 x 10 is the standard size for a head shot. Because of the lower costs in printing, most people are shooting their head shots in color.
One last comment about head shots. Some people are moving away from the traditional head shot, which is a close up shot from the shoulder to the top of the head. Instead, many people are having a half or three-quarter body shot taken. This shows much more of the person than a tight shot of the face.
Aaron Marcus has been cast in 1,125 (to date) acting and modeling projects. His work can be seen and heard at: http://www.aaronrobertmarcus.com/about_aaron/
Along with working full-time as an actor, Aaron is the author of How to Become a Successful Commercial Model, and publishes the Tear Sheet newsletter. He also offers his Becoming an Actor and Model Workshop throughout North America and Australia.
For additional workshop, book, newsletter or general information call:
Aaron Marcus (410) 764-8270, e-mail: aaron@aaronrobertmarcus.com, or visit www.aaronrobertmarcus.com
Friday, January 16, 2009
NO TRAINING = NO WORK
For those seeking a career in Filmmaking, know now that the more tools you have in the ol' toolbelt going in, the better your chances at success.
This means T-R-A-I-N-I-N-G.
Those who most often fail in filmmaking or other personal endeavors, do so because they aren't willing to put forth the added effort toward their own success. Invest in yourself. Otherwise, as motivational speaker Les Brown would say, "If you want to keep getting what you're getting, keep doing what you're doing."
Below are some AWESOME online training opportunities and if you look carefully enough, you will find them to be very cost effective. You're gonna spend that money on burgers and fries anyway - why not invest in yourself for a change instead? Keep checking back as I will update this particular post as I discover new online training opportunities.
ReelGrok Online Seminars & Hands-On Instructions:
http://www.reelgrok.com/classes.cfm
Filmmaking taught by industry professionals.
Michael Wiese's Virtual Film School
http://shop.mwp.com/pages/virtual-film-school
Find articles, videos and other resources for aspiring film makers. (Note: This dude is AMAZING and no filmmaker worth his salt would go into the film or music industry without this guy's books and info!)
Keep Writing - Writing Courses & Workshops
http://www.keepwriting.com/online.htm
Dave Trottier is the BOMB when it comes to screenwriting! If you are seeking a writing career you would be FOOLISH not to invest your time with Dave - the Guru of the Script World.
This means T-R-A-I-N-I-N-G.
Those who most often fail in filmmaking or other personal endeavors, do so because they aren't willing to put forth the added effort toward their own success. Invest in yourself. Otherwise, as motivational speaker Les Brown would say, "If you want to keep getting what you're getting, keep doing what you're doing."
Below are some AWESOME online training opportunities and if you look carefully enough, you will find them to be very cost effective. You're gonna spend that money on burgers and fries anyway - why not invest in yourself for a change instead? Keep checking back as I will update this particular post as I discover new online training opportunities.
ReelGrok Online Seminars & Hands-On Instructions:
http://www.reelgrok.com/classes.cfm
Filmmaking taught by industry professionals.
Michael Wiese's Virtual Film School
http://shop.mwp.com/pages/virtual-film-school
Find articles, videos and other resources for aspiring film makers. (Note: This dude is AMAZING and no filmmaker worth his salt would go into the film or music industry without this guy's books and info!)
Keep Writing - Writing Courses & Workshops
http://www.keepwriting.com/online.htm
Dave Trottier is the BOMB when it comes to screenwriting! If you are seeking a writing career you would be FOOLISH not to invest your time with Dave - the Guru of the Script World.
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