Flawed Artists - The Power of Insecurity

Artists can be said to have many flaws. One of the greatest is sometimes said to be insecurity. It reminds me of a quote I’ve seen that pops up every now and again. It goes along the lines of stating that those who know the least speak the loudest, and those who are the most qualified keep quiet because they question themselves and the world. I think it may be safe to say that the more we learn about life, or our various pursuits, the more the wisest among us realize how little we actually know. This in turn leads to insecurity in life.

If we look at some of the greatest artists that have ever lived, many in their interviews mention their insecurities over their own work. Old interviews or memoirs of past film stars such as James Dean and Marilyn Monroe show a deep insecurity of their abilities. Some of the most talented writers, actors, and artists I’ve met always seem to think their work is terrible. Those artists I’ve met who talk about their brilliance or incredible talent leave me to wonder if they’re seeing something I’m not when I’ve watched what they’ve done. In most cases, not all but most, I’m left shaking my head wondering what type of inflated ego must possess them to think they are as talented as they seem to believe.

The sad fact I’ve read about most industries, both in the arts and other areas of life, is that confidence will help one achieve more than actual skill and talent. There was an actor turned casting director who wrote a book I had read several years back who had mentioned the same. Those who came in and gave terrible reads but held their heads high and pumped their fists at the end fared far better than those who gave moving auditions but chastised themselves at the end.

The most he could make of the situation was that the casting directors knew little of acting and based their casting decisions on the reaction of the actors when the audition was over. If the actor was excited it must have meant they did an amazing job. If the actor was tough on themselves it must mean they did something wrong. That was the thought process of the many casting directors he worked with.

While it’s sad that our reactions to our own work may weigh more heavily than the actual skill level of the work we do, I do believe that those who are insecure about their work possess the most potential and have a powerful tool in their hands. In life, it is those of us who are most insecure that will continue to strive to learn and improve. No matter what level we achieve we will always feel as if something is missing. As long as that feeling burns inside of us, as long as we continue to search for that missing piece to make us feel complete, improvement will come. That’s when great artists and great art are born.

It is those artists that feel as if they’ve mastered their craft with supreme talent, those that feel they may be a “gift from god” that will stagnate. These artists have achieved their best work, and there’s nothing more to come from them. What reason is there to strive for something more if one already feels like they’ve arrived?

It is that feeling of insecurity that is the most powerful tool one can possess, regardless of the struggles that may come with it. So take heed my insecure friends because it is you who will create art and achieve great things. It is each one of you who will do ten times what the over-confident cannot, that will bring substance to a world filled only with meaningless flare. That substance is what gets remembered for all time, where the rest merely get their 15 minutes.

Flawed Artists - The Power of Insecurity

Acting"s Like Great Sex

Yes, I said it. I also meant it. Acting is a lot like great sex and vice versa. I guess I could have said it’s also like being in the zone or having a runners high. I don’t think that headline would have gotten as much attention though. Regardless, all three are very similar when you’re “On”. It’s a complete feeling of freedom and yet an awareness. Time seems to fly by so quickly you may not even remember it. Most importantly, you’re completely immersed in the moment.

Since people seem to struggle more with acting than sex, let me explain it from the later point of view. It’s my belief that great sex happens when there’s very little thought. It could last for hours but you may barely remember it when it’s over. It’s not because it was forgettable, but because you weren’t thinking about it. You were in the moment. It’s like those moments when we’re enjoying something so much that time seems to fly by.

While great sex does involve a lack of thought or analyzing, there’s also an awareness that comes with it. We’re so in the moment that we may notice how a certain touch makes the other’s body quiver, or a kiss placed in a peculiar area draws a gasp of breath. We may play to that, tease and move away, only to come back to that spot later on. The catch is, it’s not preplanned. There’s no thought other than pleasuring the other person. Thinking about it too much only makes it unnatural and boring.

There’s no fear when you’re in that frame of mind. It’s merely playing and finding out what makes each other tick. It could be said that there’s a childlike curiosity to it. Fear, like thinking, causes an odd feeling that something’s off. You take yourself out of that moment and place yourself in your head. It’s a terrible state to be in for sex, just as it’s a terrible state to be in when performing on stage or in front of a camera. It could be said that great sex is about making yourself completely vulnerable to the other person, and them making themselves completely vulnerable to you. It’s a state of complete trust and playing off of one another.

Great acting is exactly the same. It deals with being aware of the person you’re on stage with. You breath in their words as they breath in yours. You both must be completely vulnerable to each other and trust each other as the scene plays out. Pre-planning how to say a line, or how to react, creates this odd feeling. It feels fake and off. It’s like watching someone fake an orgasm. You just know something’s not right, even if you’re not sure what it is. If this happens it means you didn’t prepare properly. It also means you’ve taken yourself out of the moment. You’re not allowing the other actor to affect you, and you’ve likely made it that much more difficult for yourself to affect them. It causes in instant wall to grow between the two actors.

Acting should be almost completely about the other person. How are you trying to affect the other person? During sex we may touch a certain spot to get a gasp. We don’t pre-plan it during great sex, we just get a feeling at some point that it feels right. We go with an urge. In acting we are trying to do the same thing. We are saying a line to get a reaction. We’re aware and studying how the other person reacts to that, and as they react back we allow that to affect us before returning it again. There is no point in time though that we pre-plan this. We are merely in the moment reacting and acting based off of what we are seeing and receiving. Acting is like a dance. In this case, it’s like a horizontal dance.

If you want to take your acting to another level then think of it like great sex. There’s no thought but there is an awareness. You should be lost in the moment. Play with the other person and try to get a reaction based off of how they’re responding to you. Allow yourself to be vulnerable, and trust that they too will do the same. Go with your urges without fear. Never, ever pre-plan how to say or do something unless you want to come across as a badly faked orgasm. When one learns to do this with their acting, I can almost guarantee they’ll reach a new level of truthfulness and realism to their performance. And if it don’t there’s always porn…

Acting"s Like Great Sex

Auditioning, Acting Tip

Auditioning can be a tough process. Standing out during your audition is an even bigger challenge. Yet most actors I know attack scenes in almost the same manner, basing their audition on the words on the piece of paper. If the scenes they’re auditioning for consist of two people arguing, they go right into yelling at the other actor. The best advice I’d ever gotten during training was that we should look at life when auditioning, and even after we get the part.

It’s been awhile since I’ve auditioned for anyone else since I’ve focused on writing my own films, or building up knowledge to implement the marketing that will be required to get it out there into the public eye. I did recently though find myself auditioning for a film, and I can use the sides we were given as an example of what I’m referring to about basing auditioning on the words on the paper. The audition was for a movie entitled Sin City Players being made by Michael Mahal. With the audition we were given several choices of sides.

Some of the sides had props within them. I haven’t seen too many auditions go well when someone mimes a prop. You can always ask if there’s an item in the room to use, in this case a cup, but I hate doing that just out of respect for the directors and not wanting to burden them. After narrowing the sides down based on if they had props and the characters in the scene, I chose the scene with a man sitting in a restaurant. In the scene a woman comes over and hits on him quite strongly, to which he rebuts her advances. As the scene ends, the women walks away, and then after a few moments returns as the man apologizes for being lousy at roleplaying the sexual advances of what was actually his wife and not a stranger.

From what I’ve seen in other auditions I’ve gone on in the past, or even playing these types of scenes in class, I think I can confidently say that most people attacked the scene by rebuking the advances completely. They probably read the scene as a guy saying, “No, don’t touch me. I love my wife.” while the women touched and flirted with him. The catch is, if one plays the scene that way the ending makes no sense. Argument scenes are no different. Everyone yells and wants to be the next Al Pacino, but even Al Pacino knows better. As my instructor use to say, when auditioning or reading a part, we should look to life.

If we think about this scene, we have to look at the ending, and how life plays into it. The words don’t matter as much as where the character is coming from. He’s attempting to roleplay with his wife. Obviously his protests of “No” aren’t really what he’s meaning because it’s roleplaying going on between the two of them. With the apology at the end, again we can maybe take that he’s somewhat awkward in the way the scene plays out. There’s conflict in the character. He’s saying one thing, but attempting another. The words don’t matter as much as the emotional state of the character. In this case he’s saying one thing, but the emotional state is likely meant to be a way to turn each other on in this game of theirs. The conflict itself will make the character more interesting to watch, much more so than completely trying to blow his wife off and then out of nowhere saying the opposite at the end.

So when attacking a scene like this it doesn’t make sense here, or even in life, for someone to be so strong in saying no. It makes much more sense for the character to want to touch back, maybe even doing so and awkwardly removing his hand. It makes sense for him to gaze at her fondly or with want, and then try to hide it in his lousy attempt at roleplaying. I can almost guarantee few people actually did that though if my past experiences are any indication of how people normally attack a scene.

The very same can be said for scenes that contain arguments for the auditioning. The casting directors are forced to hear 90% of those coming in yelling like Pacino and congratulating themselves on a great job. Likely what happens though is the casting director is tuning you out because you just did what almost every other actor auditioning attempted. It may be a great feeling as an actor when you can accomplish it, but is it true to the scene and the character? More importantly, is it interesting? Like Shrek, characters in our scenes are like onions. They have layers. The casting director has probably seen the same layer over and over throughout the day. Why not show him another layer to the character?

In life, not everyone yells in an argument. Some laugh and take jabs calmly with that underlying hate in their voice. Others may have long pauses, because they want to think of the words they’re about to say to do the most damage to the other character. While auditioning there may not be time to hit all those different levels, but it is possible to hit one or two. Once you have the part, an actor can start layering all those things into one based off of the character in the script. Think of how much more interesting you become when you argue differently than what every other actor has done before you, and you’re still staying true to your character but in a different way. When you walk into the door for an audition this is what you want to be thinking about. In essence, when auditioning try to look at the different ways people may do things in life. As a result your character is more likely to get someones attention.

Auditioning, Acting Tip