Summer Is Coming! Summer is Coming!!

images Okay, I know you’re thinking, “Is this guy with the megaphone nuts?” it’s not even Spring yet. But on the 18th of April the producer Summer Crockett Moore will be the guest instructor at our next FREE Industry Workshop. Summer is what is known in the business as a fire starter. In ten years she has become one of the most prolific producers in New York.

For those of you that aren’t familiar with this multifaceted lady here is a brief introduction: Summer is an award-winning actress/producer and a Managing Partner and founding member of Choice Films and Choice Theatricals. As a producer, she has helmed award-winning independent feature length and short films, Off-Broadway theater productions and numerous multi-media ventures.  images-3Film projects include: Lost Cat Corona (2016), After the Sun Fell (2016) Wholly Broken (2016), Above All Things (2017), Block Island (2016), Lez Bomb (2017), Junction (2013), Trust Me I’m A Lifeguard (2014), These Things We Hold (2015), Mired (2015), Chosen (2016), Symposium (2016), A Younger Man (2011).  Summer’s upcoming film projects include: The Alternative (optioned), Heather (pre-production), Love Thy Keeper (pre-production), Before I Do (announced) and Miss Liberty (development). Television projects include: Little West 12th Street (2016) Vevo’s One Night Only (2015) and the upcoming hour-long dramatic series More which begins production in New York in April 2017. Theatre projects include the Off-Broadway world premieres of Scrambled Eggs, Reading Under the Influence, Stain and In The Daylight, as well as the regional / world premiere of the new play, American Stare. For a full list of her credits & awards visit: www.choicefilms.com and www.summercrockettmoore.com.

Invitations for her workshop will be going out mid-April so stay tuned.

images-4Also, happy to announce we are in discussion with director Matthew Penn to be the guest at our FREE Industry Workshops in June. Matt was the Executive Producer of Law and Order from 2003 through 2007. He has directed a slew of network TV shows including The Mist, Queen of the South, Unforgettable, Royal Pains, Orange is the New Black, Golden Boy, Damages, Blue Bloods, Law and Order (27 episodes), NYPD Blue, Pan AM, etc., etc. Prior to working in television, Matt spent many years working in theatre and is currently co-artistic director of the Berkshire Playwrights Lab located in Great Barrington, Massachusetts.

We are excited to bring this caliber of talent to our workshops and hope to see you there.

class-announcementCommercial Acting Level 1.   6 March – 24 April 2017 (no class April 10th) ONLY TWO SPOTS LEFT!!

Commercial Acting Level 2: 9 March – 6 April 2017. This class is only offered once a year and is already SOLD OUT!!

On-Camera Scene Study class: 14 February – 11 April 2017. The current session is SOLD OUT! Registration for the next session of this class opens on the 12th of April.

For additional information about any of these classes click here.

See you soon,

John

 

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Status, Why It’s Important

A lot of things need to happen to make a scene successful, some more obvious than others. One thing that helps me gauge how well a scene is going in my on-camera scene study class is whether or not the actors are aware of and playing their character’s status.

First and foremost, actors need to know what their Main Objective is. What is it that your character wants from the other character(s), or from the situation or the circumstances revealed in the scene? The Main Objective is the engine that drives the scene.

imagesOnce a character knows what his/her Main Objective is then the element of status comes into play. There are two possible scenarios for your character in a scene: you are either getting closer to whatever your goal is or you’re moving further away from it.

In a well-written scene the issue of your character’s status should always be in flux.

With each scene the writer wants to impart a certain amount of information but if they23yytwx4h3h2ckhjs47icijwusr4z3_17-1 slant the scene too heavily in one character’s favor the audience will get bored. Why? Because there isn’t enough conflict or tension to hold their interest. So, in a well-written scene, one moment you might be getting closer to what you want only to discover in the next moment you have lost ground and the thing you wanted is actually slipping away from you.

Where actors get into trouble is they pick a main objective and then make a beeline toward it. By doing so they miss out on the chance to orchestrate the scene, to play the highs and the lows, to experience and express the shifts in their character’s status. Once you understand how important this shifting of status is, you can create compelling, exciting characters. Ask yourself the next time you’re working on a scene “Am I, at this moment, getting closer to what I want or is it slipping away from me.” And let the answer to that question motivate what you do next. I promise you, the ride in both directions will be incredibly rewarding.

COMING UP:

9 February 6:30 – 9:30

Casting Director Cindi Rush will be our guest at the next FREE Industry Workshop. Invitations will go out February 6th at 11:55 AM. The invitation will be going out via Mail Chimp so please make sure you look for your invitation coming from them. We are discontinuing our relationship with Constant Contact.

Here are a few highlights from Cindi’s bio: NY: Promising, Ruthless, Disenchanted, Drop Dead Perfect, Under My Skin, Silence!,Rooms, Jacques Brel, Urinetown.The Thing About Men, Home Street Home, Regional Theaters: Triad Stage, Hudson Stage, Penguin Rep, Pittsburgh Public, Charleston Stage Co. Film: The Grief of Others (SXSW/Cannes), Runoff (L.A Film Fest), Policy of Truth (SOHO Film Fest),The Woman (Sundance),Funeral Kings (SXSW) Ghoul, Theresa is a Mother, Jugface (Slamdance), In The Family (Independent Spirit). Plus she has been a consultant for NYU Graduate Musical Theatre Writing Program (1999-Present).

New Classes:

Commercial Level 1 class starts the 6th of March and goes thru the 17th of April.

Commercial Level 2 class starts the 9th of March and goes thru the 6 of April.

Two-Camera Scene Study class starts the 14th of February and goes thru 11th April.

For more info on these classes go to click here

Cheers,

John

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Things I Learned About Acting From Beau the Wonder Dog

Beau packed and ready for a trip!

Beau packed and ready for a trip!

The great thing about animals is that they are honest, simple and efficient. Every morning when I take Beau, our almost-twelve-year-old Golden Doodle, out for a walk he stands in front of the door. When I open the door he moves out of the way just enough so the door doesn’t touch him. This isn’t a case of laziness; God knows and thank God for it, when we get to the park he still plays like a puppy. What he is, is efficient. He knows just how far he has to move and that’s what he does.

This is an important lesson for those of us in the acting profession. Too often when we’re asked to play a character we do so much more then we have do to. Usually it comes from a good place — we’ve been hired to tell a story and we want to make sure the audience “gets” what’s going on with our character. But the problem is we often end up trying to influence the wrong group of people. The only people we should be concerned about influencing are the other actors we’re working with. Instead of worrying about the viewing audience we need to focus on having honest and truthful connections with the players we have banded together with to tell our particular story.

The reason what Beau does is so honest is because he doesn’t have any agenda beyond the immediate. He lives in the moment and isn’t overly concerned with what other people think. As actors we can’t be that cavalier, we have stories we have to honor and the best way to do that is to make sure we stay connected to the present. When I am breaking down a script and preforming it I don’t ask myself, “What would Beau do,” but I constantly ask myself “Am I being honest, simple and efficient?” And when I am, those are the times I feel the most connected to my art.

15338768_10157927114345615_8788680208685320905_nThree weeks ago Ross Meyerson, one of New York’s most prolific and respected casting directors (Nurse Jackie, The Affair, The Following, The Americans, Black Box, Rescue Me – just to name a few) was the guest in our FREE Industry Workshop series. He led a very spirited hour and half Q & A session. Many of the people who attended said they felt it was the best workshop we have had so far.

The next FREE Industry Workshop will be on the 9th of February and the casting director Cindi Rush will be out guest. In New York she’s cast: Promising, Ruthless, Disenchanted, Drop Dead Perfect, Under My Skin, Silence!, Rooms, Jacques Brel, Urinetown, The Thing About Men, Home Street Home. Regional Theaters include: Triad Stage, Hudson Stage, Penguin Rep, Pittsburgh Public, Charleston Stage Co. Film: The Grief of Others (SXSW/Cannes), Runoff (L.A Film Fest), Policy of Truth (SOHO Film Fest), The Woman (Sundance), Funeral Kings (SXSW) Ghoul, Theresa is a Mother, Jugface (Slamdance), In The Family (Independent Spirit). Cindi has been a consultant for NYU Graduate Musical Theatre Writing Program (1999-Present).

Hope to see you there.

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What I Learned While Falling Off My Bike In Portugal

img_2171It was a beautiful day just outside of Porto, Portugal. Seventy degrees, sun shining bright, blue skies overhead, the Atlantic Ocean on our left, straight, paved road in front of us. And then, boom! Next thing I know I’m on the ground. At first I didn’t know what had happened but I knew I was in a great deal of pain: my head, my ribs, my left arm.

I dis-entangled myself from the bicycle. The group I was riding with, including my lovely bride of twenty-five years (this trip is our anniversary present to each other), hovered over me, asking how I was. I assured everyone I was okay, although I was feeling far from it. I convinced my wife and the group to head back to Porto. Once they are gone I asked the bike tour guide to take me to the hospital.

The hospital was clean but shopworn. Looked like it should have been painted three or four years ago. The hallway outside the emergency room was lined with people laying in gurneys. I was beginning to wonder if going there was a good idea. Then I was taken into triage – the doctor is beautiful, literally one of the most beautiful women I have ever seen. I was in pain but I flirted with her. Couldn’t help it. She ordered a cat scan of my head and x-rays of my left arm and chest. The equipment, unlike the facility itself, was first class; brand new. Everyone I come in contact with was terrific. Most of them speak English.

My head was okay, my ribs were bruised but not broken but my left elbow – not so lucky there, it was broken. The surgeon (another doctor – he wasn’t so beautiful) tells me I’ll need surgery. By this point, facility aside, I was very impressed with the quality of care I had received but I tell him I would prefer to have surgery back in the States – not because I didn’t think he would do a great job – I was sure he would – but it was more about the recovery period. I wanted to be home for that. So, he puts me in a cast and I rejoin Marsha and the biking group. We travel onto to Lisbon the next day and three days later Marsha and I fly home.

The lesson in all of this: pay attention to what’s important. I was distracted by a piece of string hanging down from my pants leg. There was no way it could’ve gotten caught in the chain wheel but I leaned down to tuck it away, took one hand off the handlebars, hit a bump and went down.

Many times during my recovery – walking around Lisbon with a cast on, flying, getting home, having surgery, during re-hab – I thought about those two seconds and the many other times I’ve been guilty of not paying attention to what’s important. And the consequences of those lapses. I’m sure each one of you has a story similar to this – where you stopped paying attention to what was important and then the next thing you knew you were flat on your metaphorical back.

Life is filled with distractions both good and bad and that is why paying attention to what is truly img_7879important is so…important. Take it from a guy who now has a plate and six screws in his elbow.

Okay, here’s what’s coming up:

On the 1st of Dec. we’re going to have a very special guest leading our next FREE INDUSTRY WORKSHOP. Because of commitments to other organizations our guest has requested two things: One, that we don’t use his name. (Trust me you are going to want to be there for this workshop.) and two, that the workshop is only open to actors who have actually studied with me.

As you know, ordinarily these workshops are open to those actors and to the readers of this blog. I wish all of you could be there but because this guy is a GIANT in the industry we are going to honor his requests.

The format for that evening is going to be different as well. Instead of actors doing monologues this workshop will consist of a talk followed by an extensive Q & A. Our guest has assured me this workshop will rock everybody’s world. Knowing him I am sure it will.

Other stuff:

The next two-camera scene study class starts on the 6th of Dec. It goes until the 7th of February. We will be off the 20th and 27th of Dec. for the holidays.

The next commercial workshop starts on the 9th of Jan. 2017 and goes until the 20th of February. More details about both classes can be found here.

That’s all I’ve got. Remember, when you figure out what it is you want, pay attention to what’s important so you don’t end up with a broken elbow.

Happy Thanksgiving!!!

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Tilling the Soil

actor-emotingA problem I often encounter with actors that are just starting to work with me is they rush to learn their lines and then say those lines with little regard to the thought process and emotional content necessary to bring those lines to life.

As human beings, when we experience something: the birth of a child, a wedding, or a car accident, or being mugged, the details of those events are ingrained in our consciousness and we’re able, for the most part, to recall those moments and the accompanying emotions vividly and precisely.

But as actors our characters come to us as one-dimensional entities that initially only exist on a piece of paper. It is our job to consciously develop a subconscious for our characters so we can present them in a truthful, impactful manner. We need to know not only what they’re thinking but how they feel about those thoughts so our presentation seems believable and genuine.

images-1Ask ten different accomplished actors how they do this and you’ll get ten different  answers. Here’s the way Mark Rylance (two-time Tony Award winner and 2015 Academy Award winner) so aptly put it in a recent interview in the New York Times. “I like to do all this work before, which to my mind is like turning the soil in a garden,” so that when he begins rehearsals, “the soil is all turned, it’s all bouncing around in my psyche.” (Art Section NY Times, August 16th, 2016).

I feel every actor, rookie or veteran, should do this and do it as early in the process as possible. The sooner you start “tilling the soil”, the more time you’ll have for those thoughts (and emotions) to ruminate. That way, by the time you get ready to preform, you will have had the time to weigh both the good and the bad ideas and toss out the ones that don’t work and re-enforce and solidify the ones that do. I feel we owe this not only to the writer, the director, but to the characters themselves. And, oh yeah, the audience will appreciate it as well.

Maybe it’s because my grandfather was a farmer that this tilling the soil metaphor resonates so strongly with me. I feel by tilling the soil, by getting our hands dirty, our work will be stronger, the roots will run deeper, and the opportunity to produce well-developed, believable characters will be greater. It will certainly be a richer experience than just learning and repeating a bunch of lines.

By doing this kind of “cultivating” you give your character a background filled with events and emotions that will bring him into the present moment as a fully realized, complete person. That makes for exciting acting. Please dare to be an exciting actor.

My October classes are already filling up. There are only 6 spots left in my Scene Study class and 4 left in the commercial class. For more information or to sign up go to https://johnhowardswain.com/classes-2/

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Last Free Industry Workshop…

…before we go on hiatus. This will be our last free workshop until early December.

Our guest will be Debbi Epstein with Stewart Talent. The workshop will be on the 27th of July from 6:30 to 9:30 PM. Invitations to the workshop will go out on the 25th at 11:55 AM. The invitations go out via Constant Contact. If you aren’t getting my Constant Contact posts (one just went out at 1:20 today – Monday) and you want to get an invitation to these workshops let me know.

Debbi Epstein came to Stewart Talent from APA where she worked as a junior agent for Partner Barry McPherson. Before that she was at Gersh working for Randi Goldstein. She grew up in Staten Island, went to La Guardia High School and Purchase College after that. She loves Billy Joel.

Stewart Talent is one the of hottest new agencies in New York. They also have offices in Los Angeles, Chicago and Atlanta. This is your opportunity to showcase your work for one of the top new agencies in the country!

Starting the 2nd of August I’ll be teaching a special three-week class.  This is a chance for actors who haven’t been able (because of  time or money) to take my regular 8-week class to experience the technique I’ve developed. This unique approach is designed to give actors the tools they need to present their work at performance level without the benefit of rehearsal.

Without rehearsing? Is he kidding? Nope. If you’ve ever sat in on one of my classes you will know exactly what I’m talking about. Why no rehearsal? Because the reality of TV and film is that there isn’t any  money for rehearsal. Actors who aren’t prepared don’t get a second chance.

“John’s approach to acting is the foundation of my work. He has given me a set of tools that I continually rely on. As I learn more from my experiences I’ve gained even more respect to the depth and flexibility of his technique. I couldn’t imagine going on an audition without using the things I learned from him.” Sumalee Montano Rizzoli and Isles, Shameless, VEEP, Sorry Ari, NCIS: New Orleans, Nashville, The Mentalist, Beware the Batman, Touch, Nip & Tuck, Big Love, Close to Home, Bones, ER. West Wing, etc., etc., etc.

I’m not sure what your aspirations are but if you want to work in film or TV you need to make sure your craft is in tip-top shape. For more information on this class click here.

Okay, that’s it for the summer. I hope to do some posting over the next few months…we’ll see As always though, if you have any questions, shoot me an email and I will get back to you as soon as I can.

Hope to see you in the workshop…or in class. Or both. Have a great summer.

Cheers,

John

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Danger or Opportunity

First, a shout out to Carlos Wayne Anderson. The talk he gave at Symphony Space in New York City on June 5th is the inspiration for this piece.

In his talk, Carlos mentioned that the Chinese have a coin that has the same symbol on thboth sides. On one side the symbol means Danger, and on the other, it means Opportunity.

Listening to him I was reminded of how often I’ve shied away from choices because I was afraid. I used to, for any number of reasons, focus on the Danger instead of the Opportunity. This limited perception prevented me from seeing life for the adventure it is.

I’m often asked: why did you become an actor? The biggest reason was the challenge. I consider myself a clever person; I pride myself in my ability to figure things out. But oddly enough I realized early on I would never know all there was to know about acting. I would never be able to figure it all out…not entirely. And not knowing all the answers, knowing nothing would ever turn out the exact same way twice—that spoke to the spirit of adventure in me.

Over the years, and it’s been a slow process, I have trained myself to look at danger in a different way. Yes, there are things out there that are truly dangerous. I’m not suggesting th-1you fly to Spain this week and run with the bulls in Pamplona but I do invite you to look at danger differently.

Several years ago my wife and I were living a very comfortable life in San Francisco. I had started and together we had built a well-respected and successful acting school, Full Circle Productions. Marsha had established herself as one of the top actors in the city. We had a beautiful house – all paid for, plenty of disposable income, new cars, etc. But something was missing. We felt stale, life was no longer challenging. The adventure of building the school, which had been both wonderful and rewarding, was over. We needed a new challenge. Then one day at breakfast, we looked at each other and said, “Let’s move to New York.”

Really, that’s how it happened. Because we had already jumped off life’s cliff several times before we didn’t spend too much time dwelling in the danger. What we saw was an th-2opportunity to grow. We didn’t necessarily know exactly what that meant, what challenges New York would offer (and believe me it offered plenty), but we knew in order for us to continue growing as artists and as human beings we needed to see past the danger and look to the opportunity.

 

How did the move turn out? Here’s something I’ve heard Marsha say many times. “By moving to New York I found everything I was seeking and nothing I expected.” I concur wholeheartedly.

New York was/is a very different animal than we expected but by seeing past the danger and seizing the opportunity we were able to grow in ways we never could have if we had stayed in the safe, comfortable world we had created in San Francisco.

I invite you, not to be reckless, not to endanger yourself, but to look past whatever it is that scares you and see if there isn’t an opportunity there that could spark the adventurer in you.

Push past the Danger so you have the Opportunity to become the person and the artist you were meant to be.

COMING UP:                                                                                                                           WYGT_July2016_JPEG

 

July 14th and 17th  – A special workshop production of When You Get There by Marsha Mercant will be presented by the InterAct Theatre Company at the Pico Playhouse in Los Angeles. If you haven’t seen this play check it out. And if you have see it, and you know how good it is, come see the changes that have made it even better.               

 

July 27th – Our next Free Industry Workshop featuring Debbi Epstein from Stewart Talent. Debbi came to Stewart Talent from APA where she worked as a junior agent under Partner Barry McPherson. Before that she was at Gersh working for Randi Goldstein. She grew up in Staten Island, went to La Guardia High School and Purchase College after that. She loves Billy Joel. Stay tuned for more information.

July 11th – Commercial Level 1 class starts. The class provides each student, whether new to the business or a seasoned actor, with a set of skills that takes the guesswork out of the commercial audition process. One spot left. Click here for more info.

July 14th – On-Camera 1 class starts. Presented by the Terry Schreiber Studios this class is for people of various skill levels who are new to working on camera. Focus is on training the actor to understand and fulfill on-camera blocking and direction while incorporating truthful moment-to-moment involvement and spontaneity. Five spots left.  To learn more click here.

August 2ndSpecial Three Week, Two-Camera Scene Study class starts. This is a special three week class I am conducting before taking a two-month hiatus. Geared toward more advanced actors, this class is designed to teach actors how to break-down and present a scene at performance level without the benefit of rehearsal. Three spots left. Click here if you want to learn more.

Okay, that’s a lot but that’s it. Hope to see you soon.

Cheers,                                                                                                                                                John

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