By ivi blog Guest Contributor Dr. Rob Moore

In this article, we will acknowledge that, despite the exceptions who do indeed succeed in climbing the Everest that is Hollywood ambition, the odds are small an individual with modest personal resources (primarily contacts and money) will become a major player in motion pictures.

For perspective’s sake, one could say the same of becoming the CEO of a major US corporation…with the caveat that there are many more Fortune 500 CEOs than there are successful film stars.

With that as background, let us take a look at casting agencies, and the challenges they face, standing as they do between  ambition and big screen success.

We need to be clear. In the real world of northwest Los Angeles, equal opportunity is seldom the rule of thumb.

Why is this so? How can there be such a chasm between what prominent performers say about  social inclusion and the behavior of the industry they represent?

The answer is to be found in every Economics 101 classroom. The law of supply and demand.

For instance, in a previous article, we mentioned  that 3000 actors auditioned for the leading male role in the  TV series Moonlighting opposite Cybill Shepherd. Bruce Willis was chosen for the part, and the rest is TV history.

This number of persons may seem outsized. However, at least this many resumes are considered any time a good part in a film is opened to relatively unknown talent.

And, with technology now being used by casting agencies, the number of persons considered for each role of this kind may eventually reach the tens of thousands.

So what do casting agencies do?

On the low end of the prestige spectrum, we have agencies that primarily take orders for film extras. Those are the people you see in films crossing streets or dining in a restaurant when a staged gang hit takes place.

Then there are casting agencies established by former mid-level stars whose careers have run their course, but who wish to use their industry contacts both to make a living and also to help others obtain work, starting with extras and perhaps working up to some minor players. The hope of these agencies is to hit it big with a few performers, demonstrate their worth to noteworthy personalities, and, by word of mouth  graduate to the “big time.”

And finally, there are the big timers like the William Morris agency which serve functions somewhere between the casting agency and personal agent.  These are the kinds of agencies where newcomers need not apply unless they have serious contacts in the industry. If one is a daughter of Meryl Streep, fine. If one is the daughter of a Milwaukee bus driver, better apply to the city of Milwaukee for a driver’s license.

We need to remember also that there are casting agencies by the hundreds in the Hollywood area. Agencies that last, like shooting stars, for a brief moment, and are gone; and those that are well established. Typically, the longer an agency has been in business, the LESS accommodating it is to the newcomer. Once an agency has its stable of competent actors and actresses, that is, dependable revenue producers, these actors and actresses are the first contacted for meaningful roles. That is just good business. If a talent has proven to be a money maker before for an agency, that is, able to compete well at auditions, the more an agency will want to hold on to that asset by providing opportunities for him or her.

What to pay for casting agency services?

Established agencies will tell the newcomer never to pay a membership fee. However, of course, these agencies have usually been in the business awhile or have a guaranteed source of  work for their members, thus producing an income for the agency itself.

But what of the new actor or actress?  Newer agencies often must charge the newcomer a membership fee, sometimes as low as $50 per year. For this fee, the new casting agency can at least pay their office rent.

The key for the new actor or actress dealing with a casting agency is to use common sense. There is no guarantee that you will do any better with the no fee casting agency than one that charges a small membership fee to belong. You have to make certain though, if you do pay a membership fee, there is something positive happening within that business. The best bet is to check references before signing on.

A referral from a friend or acting associate; a list of “happy customers” provided by the agency itself can be helpful, even if one doesn’t follow through with actual phone calls.  Also, sometimes a search of the Internet can turn up valuable information about agencies who have had business complaints filed with the small claims court will give the new person a heads up. (But, be careful. Remember, you have never met the person or persons complaining. There are always two sides to every disagreement. And, only a very small percentage of newcomers without contacts will make a success of their Hollywood experience, if success is gauged by having one’s name high on a marquis. If everyone who failed to obtain work through a casting agency filed a small business claim, there would not be a casting agency in Hollywood without hundreds of them, unless they had just opened their doors.)

How you “feel” about the agency when you walk in is important. And, ALWAYS take paperwork home with you after the first meeting. Never pay a fee the first time in an office.

Once listed with a casting agency, we recommend that a new actor in town call every few days, dropping in at least a couple of times a month with a pleasant and hopeful smile on one’s face. We recommend attempting to acquire the “direct” number of the owner of a casting agency which he or she will usually give to a few favorites (his or her favorite “pests”). In other words, one needs to stay on top of the agency action. Those who have any hope of obtaining work via this avenue will need to belong to a half dozen agencies, spend lots of time on the telephone, and commute for their monthly or bi-monthly visits.

This is one of the reasons that an automobile is absolutely necessary for the aspiring actor or actress. Both for agency “stalking,” as well as going to auditions, the public transportation in the Los Angeles area is not dependable enough, or direct enough, for a person to show up on time for appointments set up by casting agencies. Sometimes one has as little as an hour to dress and be at the audition site. In those cases, underground transportation or buses are undependable.  Taxis are not the way to make it on time either. Nothing beats running down to your parking slot, jumping into your Rolls or 1980 Ford truck, and scooting off to an audition.

Eventually, this routine will produce at least small “under five” parts for an actor or actress. There is a different pay scale for any part in a production with less than five speaking lines (so-called under fives), than for a part with more than five lines. So, an actor can say, “Will that be all, sir?” and be classified in a certain way for purposes of pay. However, more than five lines, and one becomes a “day actor or player” and must be paid a different scale. (These have to do with union regulations.)

However, in order to obtain a part in most any Hollywood  production, one must be a union member. This requirement is even more restrictive than competing with the hordes at the casting agencies.

A general rule among human beings is the following: Individuals, businesses or organizations first claiming a territory will always organize in such a way so as to discourage competition.

Many businesses restrict competition by lobbying for regulation that they themselves would not have satisfied when they first opened their doors. Others simply tell any audience that will listen to beware of the scammers, defined as just about anyone not operating business as they do.

Whether it be casting agencies releasing negative publicity regarding each other; actors’ unions excluding truly talented competition; the AMA excluding chiropractors or other competent medical practitioners; or the American Bar Association disallowing perfectly capable schools; or wrestling organizations, the principle is always the same: Those first in line make rules that create obstacles for those who come later. They do this for two reasons. First, in some cases to actually improve service to the public, but, more often, to limit competition.

Therefore, at this point, I am going to advise the newcomer to use common sense rather than lay down absolute expert rules of procedure. If you can find a relationship that will help your career, and not abuse your pocketbook beyond reason, it is probably a good idea to proceed.

You will need to write a resume for a casting agency listing your show business experience and skills, as well as have photos taken (some casting agencies like head shots only, some head and torso. All like as many kinds of “looks” as you can manage. For example, for men, a tux shot, a cowboy shot, a worker shot, an athletic shot, a waiter shot — all of these are good, especially if the casting agency is primarily set up for “extra” work.

Also, more and more, casting agencies, instead of working with early 1950’s methods, are FINALLY going to online databases. This is not only more efficient, but much less expensive for the new actor or actress.

Clothes can be a factor with many casting decisions. If a newcomer owns a tux, AND a cowboy outfit, AND a chefs hat and apron, AND, well, you get the idea. On many films, the “wardrobe” budget is limited. The call will come into a casting agency for actors and actresses who have their own, let’s say, formal clothes. So, for example, for an actress listed with a casting agency, throwing away the prom dress is a bad idea. You never know when you will be able to obtain work, sometimes for several days, dancing in a ballroom scene.

Casting agencies also want to know if you have a Screen Actors Guild Card.

This card is harder to obtain than a Green Card to work legally in the US.

The Screen Actors Guild is virtually a closed shop for all but those who can find a person on the inside to give them a part in a union sanctioned film. And, of course, the Screen Actors Guild is expensive, currently $2277,  often to have one’s  performance in a single college play verified.

For a hopeful actress currently washing dishes in a Hollywood restaurant waiting for her big break, a $2277 nonrefundable initial fee represents lots of chapped hands.

In other words, the Screen Actors Guild is a simple way for the profession to select their own, and reject the masses out of hand. This author does not believe that that judgment is too harsh.

Please know that there is a dilemma here. Simply too many great (and poor) hearts believing that Hollywood is the land of open arms. Too many people who believe the great principle of equality mentioned prominently in three places known to them, 1) The US Constitution; 2) The Bible; and , 3) Hollywood press releases.

It is now time to turn this project over to the aspiring actors and actresses who have so faithfully studied this series.

In parting, please allow the author to recommend some additional reading that hopefully will fill in some of the gaps inevitably left in a series of this kind.

Recommended reading:

Levine, Michael, 1954-
Title    Charming your way to the top : Hollywood’s premier P.R. executive shows you how to get ahead / Michael Levine.
Publisher    Guilford, Conn. : Lyon’s Press, c2004.

Wood, Edward D. (Edward Davis), 1924-1978.
Title    Hollywood rat race / by Edward D. Wood, Jr.
Publisher    New York : Four Walls Eight Windows, 1998.

Orth, Maureen.
Title    The importance of being famous : behind the scenes of the celebrity-industrial complex / Maureen Orth.
Publisher    New York : H. Holt, 2004.

Ripley, Jacqui.
Title    Celebrity style secrets : an insider’s guide to looking A-list / Jacqui Ripley.
Publisher    London : Piatkus, 2003.

Frank, Robert H.
Title    Luxury fever : why money fails to satisfy in an era of excess / Robert H. Frank.
Publisher    New York : Free Press, 1999.

Jazwinski, Peter, 1964-
Title    Act now! A step-by-step guide on how to become a working actor / Peter Jazwinksi.
Publisher    New York : Three Rivers Press, c2003.

By ivi blog Guest Contributor Dr. Rob Moore

Thus far in this series, we have discussed several important aspects of preparing for a film or stage career. Chief among them:

A) The need for personal maturity and perspective. Many successful performers have discovered that the journey toward stardom  is more satisfying than stardom itself. That is, many a performer has been surprised at the lack of freedom and privacy an accomplished star enjoys.

B) The importance of developing multiple performance skills (acting,  dancing, singing, playing musical instrument(s), stage combat, stunt acrobatics and others.) The more an unknown has to offer a casting director, the better the chances of being hired.

In this article, we will briefly discuss the roles played by personal managers and agents, relative to a performer’s career.

Definitions:

Managers: Show business managers tend to have few clients, sometimes a single performer. A manager’s role may include discovering opportunities, negotiating contracts, financial planning, favorable publicity, and damage control should that become necessary.

Agents: Show business agents tend to have a stable of clients and function primarily to search out and present offers to them.

Questions:

Why do newcomers find it difficult to obtain representation from managers and agents?

1) Newcomers have little box office following. That is, other than relatives and friends, few persons are likely to purchase tickets to see or hear an unknown perform. Since managers and agents are generally paid as a percentage of their clients’ incomes, representing a newcomer is unattractive financially — unless the newcomer has the personal resources to support such a manager or agent on salary.

2) Within the show business world, some managers, but especially agents, are rated (read: earn respect) based on the clients they represent.

For example, at one time or another, super-agent Sue Mengers’ stable of clients has included Barbra Streisand, Ryan O’Neal, Ali McGraw, Candice Bergen, Gene Hackman, Tony Perkins, Tuesday Weld, Directors Herb Ross, Peter Bogdanovich, Bob Fosse and writer Gore Vidal, to name a few.

Of what should a newcomer be wary relative to representation?

1) Newcomers should be wary of anyone claiming to be able to transform an unknown into a star in a short period of time. Scammers understand that newcomers are often in the position of seeing their savings (if any) dwindle rapidly. Such a precarious financial situation encourages scammers to circle.

2) It is not uncommon for a so-called manager or agent to a) Rent a small  office with a smaller waiting area, b) Hang a few touched-up photos on the walls showing the manager or agent in the company of various well-known stars, c) Let the newcomer gape at the photos in the waiting area for awhile, d) Finally, a receptionist (usually the scammer’s spouse or “close” friend) announcing, “Mr. Jones or Ms. Smith will see you now.”

Several weeks or months (and several hundreds of dollars later), after the manager or agent collects tens of thousands of dollars from dozens of unsuspecting stars-to-be, the office is vacated without notice, the photos gone. The scammer then turns up in another part of town or another community entirely under another name to start the process all over again. (Convictions for this type of representation are hard to come-by because newcomers are embarrassed they have been so easily taken, cannot afford to remain in the area to testify in court cases, and usually haven’t been swindled out of enough money to make aggressive prosecution worthwhile. In addition, a court might ask how much work the star-to-be expected for $500-$1,000 in the first place.)

3) Finally, a newcomer should be wary of going home with persons after a social event who  claim to be able to help his or her career, if only a certain bedroom production can be managed.

Someone once said that if all the sincerity in Hollywood were placed in the belly of a mosquito, there would be plenty of room for it to rattle around. That may be a bit harsh. However, given the thousands of attractive, financially desperate people who arrive in Hollywood or on Broadway every month attempting to be “discovered,” anything can, and usually does, happen.

So, what are the alternatives if the newcomer cannot attract a manager or agent?

Failing to secure personal representation, newcomers must find other ways of attracting the attention of producers and directors.

For instance, Bruce Willis spent hundreds of nights bar tending in New York schmoozing customers who he thought might be able to advance his acting career.  But, schmoozing was not Willis’ only talent, although in that category, Willis is a siddha level master.

Willis also plays a very “hot” blues harmonica, studied acting for  three years in school, and read for  hundreds of parts before his  big break opposite Cybill Shepherd in the TV series, Moonlighting. (Willis competed with 3000 other male actors for the part.)

All this to say that Willis served as his own manager/agent, prepared well, and succeeded big time.

Can you give us an example of a newcomer who did find a personal manager, and what the outcome was?

Let’s drop in once again on  Clark Gable who we mentioned in a previous article. He discovered a personal manager working as a theater manager in Portland, Oregon. Her name was Josephine Dillon. Josephine, seventeen years Gable’s senior, fell in love with the actor, and on that basis left her position to assist Gable full time.

Services Dillon, his manager, provided Gable (in addition to love):

• Changed his stage name from W.C. Gable to Clark Gable;
• Guided his diet and exercise regimen, building up his slim malnourished body;
• Paid to have Gable’s teeth fixed;
• Taught Gable how to stand on a stage with solid body control and posture;
• Spent months working with Gable to lower his voice. (Gable’s voice was naturally high-pitched, not a good situation  for the future Rhett Butler.);
• Taught Gable how to achieve better tone and resonance with his voice, in addition to lowering its register;
• Taught Gable how to achieve more natural and convincing facial expressions;
• Walked the streets of both Hollywood and New York, knocking on doors for Gable with some excellent success.

Ask yourself, how much it would cost today to hire a professional to manage  such a transformation.

Next time we will discuss Casting Agencies and their role in the process of creating a star.

Casting agencies are significantly more accessible to newcomers than managers and agents.

As we will explain, that very accessibility creates new and serious problems for unknown performers.

By ivi blog Guest Contributor Dr. Rob Moore

For anyone with a personal and professional commitment to compete in Hollywood or Manhattan for upcoming stage and/or screen productions roles, it is always an advantage to have developed many performance-related skills. An actor or actress in waiting never knows when an opportunity will present itself and require one of his or her talents.

Odds for success are always improved when a performer can respond to a variety of casting calls. That is to say, if one cannot dance well, any film calling for that skill is out of reach. The same holds true for singing, playing a musical instrument, acrobatics and any other area that allows a performer to add versatility to the cast of a production.

For example, John Travolta comes from a stage family. All the members of his family were trained from an early age in dance, song and acting. Having developed all those skills, Travolta was ready for just about any role offered him, short of one that required he actually leap from the 20th floor of a burning building.

He was able to fill roles requiring expert modern dance movement, as in Saturday Night Fever and Staying Alive; entertain us with expert singing in Grease, and, of course, act well. Said differently, a casting director could not ask for much more of a single performer.

As a result, in head-to-head competition with other actors, casting directors understood that, if a script needed a re-write, or an unanticipated new skill was required, Travolta could answer the challenge without the need for the directors revisiting the casting process, which entails additional time and, in most instances, lots of money.

Having multi-skilled personnel “on the lot” also allows writers to add scenes to productions that make it much more alive for audiences. Multi-skilled performers allow writers to exercise their imagination to the fullest, rather than being limited to the “spoken word” in a medium demanding lots of visual and auditory stimuli as well.

As with a sports team, the more talented each segment of a production’s membership is, the more management can count on a final product that will translate into box office revenue. As we said earlier, it is not called “show business” for nothing.

What is true of John Travolta is also true of Madonna. She has shown in the past to be a great modern dancer, but Madonna also is an accomplished ballerina, guitarist and drummer. And, oh yes, she is able to add acting and singing skills to a cast as well.

Bruce Willis made many contacts via his skills, even though many of his particular talents were not directly related to performing in a film production. Willis was an excellent private investigator, bartender and security expert before hitting it big in film. Imagine how those skills might have allowed Willis to connect with many people in Hollywood! (If a star or director is grateful for a service performed by an individual, it is not unheard of for that gratitude to translate into screen opportunity.)

Clint Eastwood was a fireman and ragtime pianist; Steven Seagal, a martial arts coordinator and stunt person; Jean Claude Van Damme, a male ballet partner, martial artist and award winning body builder; and, Henry Fonda, a printer and sketch artist.

Whether you are Harrison Ford, an excellent set carpenter, Vin Diesel or Sylvester Stallone, both fine screenwriters, having diverse skills makes the star-to-be that much more valuable in the eyes of production directors.

The challenge is to know where those EYES are on any particular day.

And, that is where our next article will begin.

Knowing where the EYES are most likely to be fits the job description of managers, agents and casting professionals.

Join us next time when we look at each of these professions as they work for their client, the star-to-be.

CELEBRITY GOSSIP comes to the ivi blog via Guest Contributor Dr. Rob Moore, Ph.D. Dr. Moore is a mathematician and academic, has enjoyed social life in Hollywood for many years, making many friends in the acting and directing film communities. Dr. Moore regularly writes for the blog of ToysPeriod, a premier source of classic Lego set toys and model trains.

]]> http://blog.ivi.tv/2009/10/becoming-a-star-in-the-movies-part-5-%e2%80%94-skills-and-employability/feed/ 9 http://blog.ivi.tv/2009/09/becoming-a-star-in-the-movies-part-3/ http://blog.ivi.tv/2009/09/becoming-a-star-in-the-movies-part-3/#comments Sat, 26 Sep 2009 18:32:04 +0000 Abigail Hamilton http://blog.ivi.tv/?p=1271 CELEBRITY GOSSIP comes to the ivi blog via Guest Contributor Dr. Rob Moore, Ph.D. Dr. Moore is a mathematician and academic, has enjoyed social life in Hollywood for many years, making many friends in the acting and directing film communities. Dr. Moore regularly writes for the blog of ToysPeriod, a premier source of classic Lego set toys and model trains.

“The trail may be cold, but the stories are hot!”

By ivi blog Guest Contributor Dr. Rob Moore

From the Advice From Those Who Have Tried and Made It Department:

College

In the first two parts of this series, the need for perspective was emphasized when planning a film career.  (Note: When speaking of a film career, we are generally also including the live stage as well, even when not specifically stated. It is rare for a star of live stage never to be recruited for film, and the reverse can be said to a lesser degree.)

We said that success in Hollywood (film) or New York (stage) does not generally depend on ready contacts. We pointed out that, at times, such contacts can serve to actually  disadvantage the performer, especially if they, the contacts, are used to secure roles which pre-date acting mastery. Incompetent actors are quickly sidelined by the film and stage industries.  First and foremost, for investors, the “business” element of  “show business” is paramount. Anyone  threatening business with inadequate skills is not going to be retained in current, nor recruited for future projects, irrespective of contacts.

Finally, in previous articles, we explained how important it is to accurately evaluate acting successes in high school, college or other amateur venues. With over 5,000 colleges and universities and 30,000 high schools in the US alone, starring roles at that level, although fodder for happy memories, do not necessarily prepare one for stardom.

In this, the third article, we are going to begin to outline how one may go about preparing for a film and/or stage career.

As Abraham Lincoln once said, “I will prepare and some day my chance will come.”

So, how does one prepare oneself to be ready when  one’s chance arrives?

One of the first questions usually asked about preparedness involves whether or not an individual should attend a formal college.

The answer to that question, of course, varies from individual to individual.

College can provide a place to transition from adolescence to adulthood. If an individual is not sure of himself or herself in terms of strengths, weaknesses and life options,  college can be an important step in preparation for entering a very adult rough and tumble world.

On the other hand, for the present, let’s assume the time spent obtaining a college degree could be used to better advantage.

There are plenty of examples of stars who found college unhelpful when it came to supporting their dreams.

For instance, Reese Witherspoon dropped out of Stanford after one year as an English major to pursue acting full time. Ben Stiller left UCLA after a semester and a half. Madonna stopped attending classes at the University of Michigan very early. Sandra Bullock dropped out of East Carolina University to pursue her acting career. Tom Hanks walked away from Sacramento State University to sign on for a three year acting internship at the Great Lakes Theater Festival. Julia Roberts did graduate from Georgia State University, however, her concentration was veterinary science. And, Jennifer Garner, having graduated from Denison University with a major in drama, had to study acting and stage combat at the National Theater Institute,  and then move on to New York before her career began to show signs of  life.

On the directing side of the film equation, even notables like Steven Spielberg dropped out of college (University of Southern California)  because of poor grades. He did turn up 30 years later at California State University Long Beach to receive a degree. By that time, though, Spielberg could have purchased both campuses.

If I choose college, what should I do while on campus?

If you do decide to attend a traditional college, it is important that during your time on campus, you do everything you can to advance your practical stage and screen related knowledge and skills.  Make certain, for instance, you choose modern dance over time on the college’s water slide. Be sure you sign up for the Method Acting course over one involving the finer points of badminton.

The more you understand and CAN DO after graduation from college relative to the various phases of stage and screen production, the better. For example, if a student must choose between a major in drama history vs. a major emphasizing things like stage lighting, film camera work, scenery design, sound board mastery, etc., the choice needs to favor the practical vs. the theoretical. This is because, although drama history may make for pleasant conversation, screen writing aside, it doesn’t necessarily serve to make you more competitive when a casting director is looking for specific kinds of skills to round out a film or stage crew. Remember, you want to get your foot in the door. An individual with lots to say about film history may be tremendous company in preparation for a final examination. However, that knowledge doesn’t do much when a casting director is attempting to cast for a project within a specified budget.

If I have chosen college, where should I attend?

Common sense tells us that the two major universities in the Hollywood area, UCLA and University of Southern California, have very strong performing arts departments. In addition (this is changing to a certain extent), companies providing the companion services involved with making a film, that is, editing, sound, special effects, etc., are based in the general Hollywood area. With the advances in technology, college location has become a bit less important for learning companion skills.

On the other hand, the odds of being seen by someone who can help your career are greater if you are starring in a  play on the UCLA campus as opposed to  top billing on a campus in Granville or Biloxi.

However, and this is important, to depend on college location to drive a stage and/or film career would not be a competent career coach’s first recommendation.

If one lacks insight regarding these issues as a new high school graduate, that is understandable. In those cases, college may be the safest (and smartest) way to proceed.

Then there are those, as mentioned, like Madonna, who, knowing herself, and having confidence in her abilities, was willing to live in squalor in order to have the time to perfect her skills, and seek out opportunities.  (If you are not familiar with Madonna’s background, she came from a large family, dropped out of University of Michigan, and, ignoring the less than modest accommodations that surrounded her for several years, finally emerged a star. What was she doing during her time in poverty? She was becoming a fine drummer, guitarist, ballerina, modern dancer and, of course, singer and actress. Add to that her complete understanding of the promotional aspects of a career in show business, and you have, well, MADONNA.)

What if I don’t go to college and fail to become a star?

Psychologists tell us that sometimes a life of “trying” is as satisfying, or more so, than actually succeeding. How can this be?

When one is struggling toward a goal, one is presented the combined gifts of hope and purpose each and every day.

On the other hand, once an individual has reached the top of ambition’s mountain, disappointment may be the long awaited reward. For instance, Mia Farrow, being rushed by a crowd at New York City’s Rockefeller Center where she had, before her fame on the series Payton Place, enjoyed many hours of private, happy skating, said about her fame, “I’ve made a mistake.”  Also, once one has become an acting “business” asset under contract, image makers take over command of everything that happens outside the asset’s home. The star’s public life is no longer his or her own. For some, this loss of freedom becomes intolerable.

The point is that happiness begins and ends with you, the individual. If you are expecting something or someone out there to MAKE you happy, most competent life coaches would recommend you to stay away from Hollywood and New York show business enterprises until you can generate more inner directedness. We don’t want to see your name among the legion of failed actors who have jumped from the famous Hollywood sign. Nor do we want to see you resorting to drugs and alcohol in order to compensate for a certain emptiness that can accompany a star’s time off screen.

Frequently, actors and actresses will look back on their careers and find that they were truly happy only during the journey to stardom. When the struggle ended, so too the joy.

Next time we will focus on other ways to train for the stage and screen.