AN IDEA ISN'T A CONCEPT!
by Craig Kellem
This is fast world in which we live. And how anxious we all are to get directly
to our (hopefully) plentiful destinies. Perhaps I notice this with writers more
than with others out there, but maybe I'm just more focused on our brethren. But
I suspect this aspect of contemporary living is everywhere.
What I'm trying to say is that too many writers are rushing projects, seemingly
going for the final draft TO GET IT READ PRONTO BY THE POWERS THAT BE before they've spent enough time in the sandbox spawning the prerequisite "art." In
fact, there are more writers than you'd believe who start writing screenplays
before they even have a solid concept.
I'm serious.
You need a real CONCEPT before you can DEVELOP a movie project. It needs to be thought through, fussed over, examined, obsessed about, vetted, loved etc. And
please remember that AN IDEA ISN'T A CONCEPT! A concept isn't a one or two line notion. It's a fleshed out "creative invention" brimming with potential and
ready for the next step on the assembly line, namely development.
Sometimes, on the heels of an underdeveloped creative flash, and on the wings of
our longing to get there, writers commence with ill-conceived projects, and via
the adrenaline which ensues, don't realize their (often) fatal mistake until
it's too late.
Often writers can misunderstand what a solid concept actually is. For example, I
was talking to a writer recently who tried to justify his screenplay which was
" about nothing," with the TV shows Seinfeld and Curb Your Enthusiasm. Boy, was
he ever off! These shows are HUGE concepts involving tremendous strategies which
cleverly mine "the little things" in life, and frame them through a prism of a
certain kind of convincing reality. What ingenuity it takes these show-makers
to convince you it's all real, and what skill and preparation it takes to
explore these kind of niche creative areas that so few other practitioners have
ever been able to exploit in such a way. Bet Larry David and the gang took their
time developing them. Lots of hit and miss, back and forth etc etc..
Another example that comes to mind would be a recent contest winner, Jim Janosky
whose concept was about a guy intent on killing himself and who takes a ride
across the country as a prerequisite to the big jump into eternity. There are
many writers out there who might have built nicely onto this notion but maybe
not as much as is needed and this could end up on the pages. Janosky (who's
getting tremendous reaction to the script as well as some serious action-and
who's given me permission to tell you all this) had his work cut out after
hatching the initial idea. THE IDEA WAS NOT YET A CONCEPT-he really had only
just begun. What followed included MANY hits and misses in the INITIAL spawning
process, followed by the slow carving out of the beginnings of a terrific story
threads and subplots, one involving a relationship with "a one of a kind" mangy
dog, that he finds along the way and with whom he shares many dubious and
poignant parallels; a string of unique and juicy completions of old rivalries,
resentments, and lost love situations; visits to outrageous, story rich and
unique places, and finally a fateful hookup with an old guy, and some nice folks
from whom he derives new strength and sparkle (so much so that he finally
decides to hang around on Earth a little longer). All of these nuggetts (plus
lots more) had to be invented and carefully placed into the matrix, before the
CONCEPT was fully realized and then fully developed.
High Concept is also a candidate for real thought and scrutiny before a script
should be started. A old favorite of mine is the movie BIG. What a good idea it
was to explore what would happen to a kid who makes a wish to be grownup and
then gets it. But did the writer know what he had when he first came up with
this fanciful notion? Could it have been, after scrutiny, just another cute idea
that might make a good sketch on a SNL, or a "C" subplot in a sitcom. Many
might have declared victory after coming up with this idea and started writing
early, on the wings of all the obvious schtick that comes to mind and general
manifest destiny -like situations. This writer didn't. The concept was explored
and tested with the many possible ways to go, and tones to take, not to mention
other important considerations, such as what level of reality should be
maintained and how much humor should be injected, the whole nine yards. The
final choices worked well. Things such as putting the kid in a job as a toy
company maven, juxtapositioning the grown up kid with his little buddy (who even
while being aware of the situation, no longer fitted in) were excellent choices
which enhanced this idea and helped turn it into a real concept. At some point
after all this labor and sifting, a solid framework was decided upon and then,
and only then deep story development commenced.
The point that I'm trying to make is that one must fully dance with the idea,
allow it to breathe, grow and broaden into a fully developed concept followed by
the next step, involving lists of scenes, moments, bits, and pieces and then
begin to connect them into story threads, etc etc before even thinking about the
actual writing. And in doing these things, allow yourself to appreciate the
wonderfully uncomfortable feeling of not commencing with the screenplay until
the concept and all its adjuncts are FULLY realized.
Another symptom of this sometimes "rush to nowhere" are well-intended writers
who seek instant technical solutions to artistic problems. So many want to be
provided with the correct note on the correct page, so that the situation or
problem can be IMMEDIATELY resolved. The real problem is that we sometimes don't grasp what's really needed, which might be a fresh creative turn, or an ounce or two of new artistic inspiration, which only comes from REALIZING THAT YOU NEED IT, AND BEING WILLING TO SPEND THE TIME WALTZING WITH THE ARTISTIC MYSTERY PROVIDER WITHIN OURSELVES, THAT ALWAYS COMES TO OUR RESCUE IF PROPERLY NOTIFIED BY A PATIENT SUITOR. The point is that some things are simply not found even in the fattest encyclopedia!
Hopefully my point here is clear and can be illustrated by my recent
communication to a young writer --"your material continues to feel like the
proceeds of somehow patching things together, rather than something born out of
a burning creative vision dying to be expressed. You seem more like a guy who
can't wait to write a script rather than one who has a script to write. Please
consider this and take your time, you do good work and it deserves to be treated
more delicately"
And as for the perceived urgency of getting your script read I say this-getting
your script read is NOT the problem. It's getting your script RIGHT so that when
it gets read, something good happens!
Tuesday
THE TOP 40 COMMANDMENTS FOR EFFECTIVE SCREENWRITING
1. If the story doesn't work, then the script won't work. If at any given time, your reader is not wondering, "What's going to happen next?"--you've got a problem.
2. Author Julia Cameron says, "The singular image is what haunts us and becomes art." Think about that! At last "a place" to put all of your little insights, moments of truth, fascinations and unique experiences that previously lacked a "file." If you access that "file" while preparing your script and use these hot little tidbits as springboards for scenes, your script is going to be buzzing with honesty and life. This is what audiences crave.
3. There is no such thing as a throwaway or a transitional scene. Scenes should not only add value to the overall story but should also have intrinsic entertainment value as well.
4. Writing a script is relatively easy. The real work is in preparing, building and "arc-ing" out the story and defining the characters. Once the "blueprint" is in place, the writing itself is usually a welcome enterprise. Many writers have trouble being patient enough with this process and it can cost them dearly in the long run.
5. There are many "techniques" for creating and developing characters some of which are effective. However, the single most important thing you can do is to have a strong emotional connection with your character. Intellectual platitudes and techniques are OK, but audiences want characters who are alive. Find your most visceral emotional connections. Don't settle on a character until you do.
6. The difference between good and great material? SOUL. There are some fabulous technicians out there and some great storytellers too, but the bottom line is the emotional impact of a writer's work. When a screenwriter's vision is razor clear and deeply, exactingly rendered, it can have such impact that you the reader feel changed, personally shifted having experienced their art. GREATNESS HAUNTS.
7 "Who is your hero? What is his/her goal? Who or what is preventing her/him from reaching that goal?" (Intense pressure on your hero in an atmosphere of conflict will help keep your story mobile and entertaining).
8. When I've written screenplays, it always STARTED WITH WHAT I THOUGHT WAS A GREAT IDEA. Something that gnawed and nagged at me and that I felt needed to be expressed. I was savvy enough after a while to realize that sometimes you can have a great idea that has no business being developed as a screenplay, so I knew it was important to take a good long breath before investing myself in an idea that might take me the better part of the year to fully execute. After determining that it was a go, my approach would be to start collecting "hot" ideas for scenes, character elements, moments, character arcs etc. and just put them "on the board" without giving them continuity and form...yet. This process involves the collection of assets without the pressure of having to do anything else than collect them. Inevitably, these ideas would spawn more ideas, which would then spawn a sense of trajectory and order. At some point when the quiver felt full, I would get into more advanced stages of identifying placement over the acts and giving it all a sense of storytelling. I would avoid writing at all costs, letting the passion to do so percolate while I did my critical spade work. Once I had a fully developed game plan; full stories, a real sense of a beginning, middle, end and scenes that could "write themselves, "I'd happily get into the writing process as if it were my wedding night.
9. Surrender to this fact: writing is rewriting.
10. EXPERIMENT: take a couple of pages out of your script. Are your characters distinctive enough that, if you REMOVED THEIR NAMES from the pages, you could tell who they are JUST FROM the dialogue? If not, you need to do more work.
11. Rule of thumb: get into scenes as late as you can and get out early. Forget about the "glad to meet you's" and the "what would you like for dinner's." "How can I start a scene as close to the end as possible?"
12. Before writing anything, you should be able to tell someone the story (and have it worked out so smoothly) that it's practically ready to “write itself.”
13. Planning a script is an act of simplifying rather than the opposite. And above all it's a blueprint for a practical, doable approach to getting something down on paper.
14. When it comes to dialogue, less is better. Pick up the most successful screenplays and you'll notice great economies when it comes to words.
15. WRITE WHAT YOU KNOW or about what truly fascinates you. Recognize and take advantage of those areas of experience and interest for which you are the sole proprietor! This will give you an automatic leg up in your writing. However you may inevitably need to shape and dramatize the material in order to make it entertaining for the rest of us. (It doesn't have to be based on 100% of the truth. It's enough that the truth is your inspiration and catalyst). Remember there are certain things that you've been “researching” for your whole life.
16. As you bubble and percolate, AVOID the temptation to write at all costs! Instead, let the DESIRE to write build up as you dabble. Let your energy be expressed in the proliferation of creative nuggets randomly thrown on a page or on index cards. Collect them and give them form but don’t start your script until you’re truly ready.
17. ACCEPT THE FACT that the only writers who get the chance to write without grueling preparation are those who are not getting paid. The typical Hollywood writer has to jump through preparatory hoops before she/he will get the chance to initiate the actual writing of the script. Many pros spend about 70% of their time prepping and 30% writing. Many newcomers do the exact opposite. This is a big mistake. Prep thoroughly.
18. STRUCTURE: Screenplays are big and unruly. You can get lost in their breadth. Three (or four acts, (ie: an act 2 break) help to ground it, make it more bite sized. Additionally, it also gives you at least three moments in the script that are going to be extra climatic (ie: the end of act one; the end of act two (part one); the end of act two (part two) etc. Finally, it gives you something to go for. (For this reason TV movies can be much easier to write than features because they require seven acts (that's six act breaks - plot twisting, climatic, breathless moments to look forward to). Think of each of them as an oasis).
19. STAGE DIRECTIONS ARE OKAY. Someone spread a FALSE rumor that you shouldn't tell directors and actors what to do. Physical actions/gestures/attitudes/reactions etc. described in narrative or parentheses that enhance subtext and cinematic action are called stage directions. Don't hesitate to use the very tool that can help make or break your script.(IE stage directions)
20. The predicate of all successful films, plays and TV episodes is CONFLICT! JEOPARDY, OBSTACLES, AND ANGST will also bode well for you.
21. STORY ARCS (ie: meaning the plot points in any given main story or subplot): Checking them out before writing or revising can produce handsome rewards. Once story arcs are completed, look them over. Look at each story on a microscopic level. Does it have a beginning, middle and end? Is it fat or skinny or just right? Is it balanced? Does it have a surprise or two? Does it have a payoff? Has it fulfilled whatever thematic idea you're going for? Can you tell the story to someone clearly, confidently and without their eyes glazing over? Do the scenes work? Is it ready?
22. RESIST the temptation to start marketing your idea to Hollywood before it's ready. C'mon, you don't need an agent yet. Nor do you even need a query letter. The impulse that Hollywood must be alerted must be muted. You must remain in the role of the mad scientist mixing his/her elixir and letting it brew.
23. SELLING a script is a magical experience but the route to success can be unpredictable, mercurial, often maddening and it usually doesn't happen on your timetable. Thus in this effort, ATTITUDE is paramount. Writers are often made or broken in how they handle this effort! If your expectations are too high and your timetable is too ambitious, you're probably going to derail yourself. Agents and producers are important only AFTER the material is READY.
24. SOME MAY THINK, "c'mon, If my script isn't perfect, surely the industry bigwigs will see the potential. Whatever's wrong can be fixed in the rewrite AFTER the big sale." Wrong! The notion that if your material is "almost" there, surely smart professionals will recognize the potential just doesn't happen. Material must be HOT and READY or you're wasting your time!
25. Spend a percentage of your time pushing the material and the majority of the time working on your NEXT SCRIPT. Taking all that wanting and energy and projecting it into the next project is a lot healthier than agonizing over the inevitable frustration of wanting and waiting. Under these conditions, time is on your side. You're dug in for the long haul, the battle will be on your terms.
26. REMEMBER, the business of screenwriting is not a lottery. It's a process. You get better. You develop an inventory of material and ideas. If lucky, you begin to get compliments. You start to experience breakthrus that, at first, only you notice. People start to genuinely like your stuff. You get turned down but someone asks what else you might have. The stakes are raised--you get romanced by the wrong people but it's proof that someone's interested. You almost get a deal. Finally, you may get lucky. The point of critical mass has been reached. It's happening now. This takes time. It can be a circuitous process.
27. APPRECIATE and covet any sign of life (re your writing).
28. KNOW that it's hard for everyone.
29. BE AWARE that people do sell scripts.
30. WITHIN REASON, continue to write from the heart and not for the
marketplace.
31. In life and art we RELY ON ANCHORS, predictable and reliable structures we can hold onto that permit us to relax into an often chaotic and nonsensical reality. Screenplays demand that no matter how avant-garde, experimental or conventional your writing, there be some basic elements that hold us inside of your fantasy.
32. The mind is a funny thing. Sometimes what we perceive to be true is not true. This happens often with screenwriting when writers think that there’s something on the page that isn’t on the page. We must closely examine our manuscripts making sure WHAT’S IN OUR MINDS AND HEARTS HAS ACTUALLY BEEN WRITTEN.
33. There is hardly a situation in any movie, dysfunctional or otherwise, that can’t be justified by some movie somewhere that got away with it. But consider the other 2000 MOVIES IN WHICH IT DIDN’T WORK!
34. Developing ideas is an interesting activity. Two things happen when you do it on a regular basis. One is that your relationship with your subconscious and your “creative guide” gets keener and ideas begin to flow. If you’re lucky, you begin to flow to such an extent that you begin to “WRITE ON THE WALLS.” The other is that as you grow ideas, some take flight as if on their own. This is powerful stuff.
35. If you have to stretch reality, do it judiciously and surround it with a bedrock of credibility and truth in other issues.
36. Succeeding as a screenwriter is a PROCESS. It's less about hitting a home run with the big script and more about doing the next right thing that propels you and your material a step further up the ladder.
37. Although it's natural for writers to do what they do best, it's necessary to also use other methods to accomplish our creative tasks. The humorist may need to access real drama in order to steady his screenplay and give it a realistic foundation. The sci-fi aficionado might be Einsteinian in her imagery but still has to find a way to tell a story with a beginning, middle and end. And so forth. The point of this is simple. It’s imperative that you sometimes turn your back on your “A” weaponry and take care of business in areas of craft that may not be your first love. For many writers, particularly those who are not working under the lash of producer or studio, this kind of discipline can be elusive.
38. Have another (nice) way of making a living while you're trying to make it as a writer. This will give you space to grow and create without going nuts. Waiting by the telephone is a prescription for despair.
39. The funniest writers on God’s earth still need a keen sense of reality, relatability, normalcy and even poignancy and drama in their scripts. Is this “rule” ever broken? Sure. But most of the time, the result of these digressions is failure, and often just on a developmental level, since material that’s gratuitously funny and lacks the other needed elements usually ends up on the dust pile. The trick is to create multidimensional situations and amply utilize the honest tragic-comedic human condition as the predicate of things to come. In other words, reality is very much the comedy writer’s friend.
A FINAL NOTE--MIRACLES DO HAPPEN
40. I have witnessed and personally experienced miracles in this business, namely when good things happened for long shot projects and people. I remembered that these good tidings ALWAYS came as a result of a “patron’s” (ie agents and producers etc) pure and infectious belief. And how winning a combination it could be; the supportive individual paired with projects which with a little TLC, seemed to take on lives of their own. Observing otherwise “tough as nails” movers and shakers softening and supporting when their hearts were touched, was always a sight to behold. Passion, the magical ingredient in all of these cases, is surely the decisive factor. And it’s nice to know that it’s still alive and well and making things happen. Stars-to-be, scripts that will find a home, and other worthy product can find warmth in the prospect that after all is said and done, it still can be about deserving talent and material getting caught in the throat and the heart of folks, finding ways to break through. My own personal experience has borne out this truth. Perhaps it has something to do with deep energy which transforms into something tangible. If you believe, like many do, that all things are ultimately created from one’s most passionate beliefs and desires, then maybe “being on fire” has inevitable physical consequences, even in a seemingly impenetrable world.
by Craig Kellem
2. Author Julia Cameron says, "The singular image is what haunts us and becomes art." Think about that! At last "a place" to put all of your little insights, moments of truth, fascinations and unique experiences that previously lacked a "file." If you access that "file" while preparing your script and use these hot little tidbits as springboards for scenes, your script is going to be buzzing with honesty and life. This is what audiences crave.
3. There is no such thing as a throwaway or a transitional scene. Scenes should not only add value to the overall story but should also have intrinsic entertainment value as well.
4. Writing a script is relatively easy. The real work is in preparing, building and "arc-ing" out the story and defining the characters. Once the "blueprint" is in place, the writing itself is usually a welcome enterprise. Many writers have trouble being patient enough with this process and it can cost them dearly in the long run.
5. There are many "techniques" for creating and developing characters some of which are effective. However, the single most important thing you can do is to have a strong emotional connection with your character. Intellectual platitudes and techniques are OK, but audiences want characters who are alive. Find your most visceral emotional connections. Don't settle on a character until you do.
6. The difference between good and great material? SOUL. There are some fabulous technicians out there and some great storytellers too, but the bottom line is the emotional impact of a writer's work. When a screenwriter's vision is razor clear and deeply, exactingly rendered, it can have such impact that you the reader feel changed, personally shifted having experienced their art. GREATNESS HAUNTS.
7 "Who is your hero? What is his/her goal? Who or what is preventing her/him from reaching that goal?" (Intense pressure on your hero in an atmosphere of conflict will help keep your story mobile and entertaining).
8. When I've written screenplays, it always STARTED WITH WHAT I THOUGHT WAS A GREAT IDEA. Something that gnawed and nagged at me and that I felt needed to be expressed. I was savvy enough after a while to realize that sometimes you can have a great idea that has no business being developed as a screenplay, so I knew it was important to take a good long breath before investing myself in an idea that might take me the better part of the year to fully execute. After determining that it was a go, my approach would be to start collecting "hot" ideas for scenes, character elements, moments, character arcs etc. and just put them "on the board" without giving them continuity and form...yet. This process involves the collection of assets without the pressure of having to do anything else than collect them. Inevitably, these ideas would spawn more ideas, which would then spawn a sense of trajectory and order. At some point when the quiver felt full, I would get into more advanced stages of identifying placement over the acts and giving it all a sense of storytelling. I would avoid writing at all costs, letting the passion to do so percolate while I did my critical spade work. Once I had a fully developed game plan; full stories, a real sense of a beginning, middle, end and scenes that could "write themselves, "I'd happily get into the writing process as if it were my wedding night.
9. Surrender to this fact: writing is rewriting.
10. EXPERIMENT: take a couple of pages out of your script. Are your characters distinctive enough that, if you REMOVED THEIR NAMES from the pages, you could tell who they are JUST FROM the dialogue? If not, you need to do more work.
11. Rule of thumb: get into scenes as late as you can and get out early. Forget about the "glad to meet you's" and the "what would you like for dinner's." "How can I start a scene as close to the end as possible?"
12. Before writing anything, you should be able to tell someone the story (and have it worked out so smoothly) that it's practically ready to “write itself.”
13. Planning a script is an act of simplifying rather than the opposite. And above all it's a blueprint for a practical, doable approach to getting something down on paper.
14. When it comes to dialogue, less is better. Pick up the most successful screenplays and you'll notice great economies when it comes to words.
15. WRITE WHAT YOU KNOW or about what truly fascinates you. Recognize and take advantage of those areas of experience and interest for which you are the sole proprietor! This will give you an automatic leg up in your writing. However you may inevitably need to shape and dramatize the material in order to make it entertaining for the rest of us. (It doesn't have to be based on 100% of the truth. It's enough that the truth is your inspiration and catalyst). Remember there are certain things that you've been “researching” for your whole life.
16. As you bubble and percolate, AVOID the temptation to write at all costs! Instead, let the DESIRE to write build up as you dabble. Let your energy be expressed in the proliferation of creative nuggets randomly thrown on a page or on index cards. Collect them and give them form but don’t start your script until you’re truly ready.
17. ACCEPT THE FACT that the only writers who get the chance to write without grueling preparation are those who are not getting paid. The typical Hollywood writer has to jump through preparatory hoops before she/he will get the chance to initiate the actual writing of the script. Many pros spend about 70% of their time prepping and 30% writing. Many newcomers do the exact opposite. This is a big mistake. Prep thoroughly.
18. STRUCTURE: Screenplays are big and unruly. You can get lost in their breadth. Three (or four acts, (ie: an act 2 break) help to ground it, make it more bite sized. Additionally, it also gives you at least three moments in the script that are going to be extra climatic (ie: the end of act one; the end of act two (part one); the end of act two (part two) etc. Finally, it gives you something to go for. (For this reason TV movies can be much easier to write than features because they require seven acts (that's six act breaks - plot twisting, climatic, breathless moments to look forward to). Think of each of them as an oasis).
19. STAGE DIRECTIONS ARE OKAY. Someone spread a FALSE rumor that you shouldn't tell directors and actors what to do. Physical actions/gestures/attitudes/reactions etc. described in narrative or parentheses that enhance subtext and cinematic action are called stage directions. Don't hesitate to use the very tool that can help make or break your script.(IE stage directions)
20. The predicate of all successful films, plays and TV episodes is CONFLICT! JEOPARDY, OBSTACLES, AND ANGST will also bode well for you.
21. STORY ARCS (ie: meaning the plot points in any given main story or subplot): Checking them out before writing or revising can produce handsome rewards. Once story arcs are completed, look them over. Look at each story on a microscopic level. Does it have a beginning, middle and end? Is it fat or skinny or just right? Is it balanced? Does it have a surprise or two? Does it have a payoff? Has it fulfilled whatever thematic idea you're going for? Can you tell the story to someone clearly, confidently and without their eyes glazing over? Do the scenes work? Is it ready?
22. RESIST the temptation to start marketing your idea to Hollywood before it's ready. C'mon, you don't need an agent yet. Nor do you even need a query letter. The impulse that Hollywood must be alerted must be muted. You must remain in the role of the mad scientist mixing his/her elixir and letting it brew.
23. SELLING a script is a magical experience but the route to success can be unpredictable, mercurial, often maddening and it usually doesn't happen on your timetable. Thus in this effort, ATTITUDE is paramount. Writers are often made or broken in how they handle this effort! If your expectations are too high and your timetable is too ambitious, you're probably going to derail yourself. Agents and producers are important only AFTER the material is READY.
24. SOME MAY THINK, "c'mon, If my script isn't perfect, surely the industry bigwigs will see the potential. Whatever's wrong can be fixed in the rewrite AFTER the big sale." Wrong! The notion that if your material is "almost" there, surely smart professionals will recognize the potential just doesn't happen. Material must be HOT and READY or you're wasting your time!
25. Spend a percentage of your time pushing the material and the majority of the time working on your NEXT SCRIPT. Taking all that wanting and energy and projecting it into the next project is a lot healthier than agonizing over the inevitable frustration of wanting and waiting. Under these conditions, time is on your side. You're dug in for the long haul, the battle will be on your terms.
26. REMEMBER, the business of screenwriting is not a lottery. It's a process. You get better. You develop an inventory of material and ideas. If lucky, you begin to get compliments. You start to experience breakthrus that, at first, only you notice. People start to genuinely like your stuff. You get turned down but someone asks what else you might have. The stakes are raised--you get romanced by the wrong people but it's proof that someone's interested. You almost get a deal. Finally, you may get lucky. The point of critical mass has been reached. It's happening now. This takes time. It can be a circuitous process.
27. APPRECIATE and covet any sign of life (re your writing).
28. KNOW that it's hard for everyone.
29. BE AWARE that people do sell scripts.
30. WITHIN REASON, continue to write from the heart and not for the
marketplace.
31. In life and art we RELY ON ANCHORS, predictable and reliable structures we can hold onto that permit us to relax into an often chaotic and nonsensical reality. Screenplays demand that no matter how avant-garde, experimental or conventional your writing, there be some basic elements that hold us inside of your fantasy.
32. The mind is a funny thing. Sometimes what we perceive to be true is not true. This happens often with screenwriting when writers think that there’s something on the page that isn’t on the page. We must closely examine our manuscripts making sure WHAT’S IN OUR MINDS AND HEARTS HAS ACTUALLY BEEN WRITTEN.
33. There is hardly a situation in any movie, dysfunctional or otherwise, that can’t be justified by some movie somewhere that got away with it. But consider the other 2000 MOVIES IN WHICH IT DIDN’T WORK!
34. Developing ideas is an interesting activity. Two things happen when you do it on a regular basis. One is that your relationship with your subconscious and your “creative guide” gets keener and ideas begin to flow. If you’re lucky, you begin to flow to such an extent that you begin to “WRITE ON THE WALLS.” The other is that as you grow ideas, some take flight as if on their own. This is powerful stuff.
35. If you have to stretch reality, do it judiciously and surround it with a bedrock of credibility and truth in other issues.
36. Succeeding as a screenwriter is a PROCESS. It's less about hitting a home run with the big script and more about doing the next right thing that propels you and your material a step further up the ladder.
37. Although it's natural for writers to do what they do best, it's necessary to also use other methods to accomplish our creative tasks. The humorist may need to access real drama in order to steady his screenplay and give it a realistic foundation. The sci-fi aficionado might be Einsteinian in her imagery but still has to find a way to tell a story with a beginning, middle and end. And so forth. The point of this is simple. It’s imperative that you sometimes turn your back on your “A” weaponry and take care of business in areas of craft that may not be your first love. For many writers, particularly those who are not working under the lash of producer or studio, this kind of discipline can be elusive.
38. Have another (nice) way of making a living while you're trying to make it as a writer. This will give you space to grow and create without going nuts. Waiting by the telephone is a prescription for despair.
39. The funniest writers on God’s earth still need a keen sense of reality, relatability, normalcy and even poignancy and drama in their scripts. Is this “rule” ever broken? Sure. But most of the time, the result of these digressions is failure, and often just on a developmental level, since material that’s gratuitously funny and lacks the other needed elements usually ends up on the dust pile. The trick is to create multidimensional situations and amply utilize the honest tragic-comedic human condition as the predicate of things to come. In other words, reality is very much the comedy writer’s friend.
A FINAL NOTE--MIRACLES DO HAPPEN
40. I have witnessed and personally experienced miracles in this business, namely when good things happened for long shot projects and people. I remembered that these good tidings ALWAYS came as a result of a “patron’s” (ie agents and producers etc) pure and infectious belief. And how winning a combination it could be; the supportive individual paired with projects which with a little TLC, seemed to take on lives of their own. Observing otherwise “tough as nails” movers and shakers softening and supporting when their hearts were touched, was always a sight to behold. Passion, the magical ingredient in all of these cases, is surely the decisive factor. And it’s nice to know that it’s still alive and well and making things happen. Stars-to-be, scripts that will find a home, and other worthy product can find warmth in the prospect that after all is said and done, it still can be about deserving talent and material getting caught in the throat and the heart of folks, finding ways to break through. My own personal experience has borne out this truth. Perhaps it has something to do with deep energy which transforms into something tangible. If you believe, like many do, that all things are ultimately created from one’s most passionate beliefs and desires, then maybe “being on fire” has inevitable physical consequences, even in a seemingly impenetrable world.
by Craig Kellem
Saturday
INSIDE NOLLYWOOD ... the making of nigeria film industry( Nollywood)
This is yet another page in our magazine, sincerely you can never waste your time reading junks again, cos we are out just for you this year. ENJOY.
Welcome to Nollywood; the world third largest movie industry growing up within the last two decade to become the second largest film industry in the world in terms of number of films produce per annual. This is ahead of the United States and behind the
Indian film industries; just according to Hala Gorani and Jeff Koinange formerly of CNN, Nigeria has a US$250 million movie industry, churning out some 200 videos for the home video market every month.
Nollywood is Africa’s largest film industry in terms of number of movie produce annually and value of the movie industry. The Nigerian films have been produced since the 1960s, the rise of affordable digital filming and editing technologies has stimulated the country's video film industry.
The Nigeria first films were made by film makers such as Hubert Ogunde and Ola Balogun in the 1960s, but though, they were troubled by high cost of film production. But the introduction of the television broadcasting in Nigeria in the 1960s and the government supporting them in their early year goes a long way in promoting the movies circulation in Nigeria.
Today in Nollywood, thousands of stars have been made and not only that, the industry is far growing in terns of movie produce annually. We have over thousand producers whose job is to ensure that in every month, not less than two hundred good movies are produce and this also has been going a long way in promoting the industry.
Many Nollywood movies have themes that deal with the moral dilemmas facing modern Africans. Some movies promote the Christian or Islamic faiths, and some movies are overtly evangelical. Others, however, address questions of religious diversity, such as the popular film One God One Nation, about a Muslim man and a Christian woman who want to marry but go through many obstacles.
Many of Nollywood films deal with AIDS, corruption, women’s rights, and other topics of concern to ordinary Africans, and all these impact in peoples life positively…
The entire write up, calls, emails and so on from people out there encourages us and makes us to believe that people are not only entertained but also benefiting from the industry.
But are the people inside enjoying it also? In the industry where we have many guilds such as the Actors guild (AGN), Directors guild (DGN), script writers guild (SWGN) the movie producers (AMP) costumiers, continuity writers etc. and the big question is, are they enjoying it? Till I come your way next edition, help stop piracy in Nigeria.
Article By Fred Stanley
An audition xpo reporter
Welcome to Nollywood; the world third largest movie industry growing up within the last two decade to become the second largest film industry in the world in terms of number of films produce per annual. This is ahead of the United States and behind the
Indian film industries; just according to Hala Gorani and Jeff Koinange formerly of CNN, Nigeria has a US$250 million movie industry, churning out some 200 videos for the home video market every month.
Nollywood is Africa’s largest film industry in terms of number of movie produce annually and value of the movie industry. The Nigerian films have been produced since the 1960s, the rise of affordable digital filming and editing technologies has stimulated the country's video film industry.
The Nigeria first films were made by film makers such as Hubert Ogunde and Ola Balogun in the 1960s, but though, they were troubled by high cost of film production. But the introduction of the television broadcasting in Nigeria in the 1960s and the government supporting them in their early year goes a long way in promoting the movies circulation in Nigeria.
Today in Nollywood, thousands of stars have been made and not only that, the industry is far growing in terns of movie produce annually. We have over thousand producers whose job is to ensure that in every month, not less than two hundred good movies are produce and this also has been going a long way in promoting the industry.
Many Nollywood movies have themes that deal with the moral dilemmas facing modern Africans. Some movies promote the Christian or Islamic faiths, and some movies are overtly evangelical. Others, however, address questions of religious diversity, such as the popular film One God One Nation, about a Muslim man and a Christian woman who want to marry but go through many obstacles.
Many of Nollywood films deal with AIDS, corruption, women’s rights, and other topics of concern to ordinary Africans, and all these impact in peoples life positively…
The entire write up, calls, emails and so on from people out there encourages us and makes us to believe that people are not only entertained but also benefiting from the industry.
But are the people inside enjoying it also? In the industry where we have many guilds such as the Actors guild (AGN), Directors guild (DGN), script writers guild (SWGN) the movie producers (AMP) costumiers, continuity writers etc. and the big question is, are they enjoying it? Till I come your way next edition, help stop piracy in Nigeria.
Article By Fred Stanley
An audition xpo reporter
WHAT IS THIS SITE ALL ABOUT? FIND OUT NOW!
Desperately needed to offload these!
Friend, if you are not the owner of this copy you are holding, sorry i mean the ticket . ok -- I suggest you go get yours. But if the copy is yours, I must say a big thank you and congratulation for making a very wise decision. Because we have too many stuff we want to offload into your brain.AUDITION XPO MAGAZINE DECLARES.
I must tell you how passionate we are about your progress in life and career, which we didn’t fail to demonstrate on the pages of this newsletter. Below is the legend of the month which was carefully selected and we strongly believe that after going through the achievements of this individual, your life will be influenced positively, making you ,to want to do more than this individual.
We also went on to expose income opportunity in the music industry and how you can tap from it. Next is the music lyrics of one of the world’s best pop singers- Michael Jackson and a brief history about his rise to stardom.Which we believe can be of importance to you. The good part of it is that you our dear reader can now decide the music lyrics you want in the next edition- amazing! Isn’t it? THIS IS JUST A PAGE FROM OUR MAGAZINE LOOK OUT FOR MORE.
Friend, if you are not the owner of this copy you are holding, sorry i mean the ticket . ok -- I suggest you go get yours. But if the copy is yours, I must say a big thank you and congratulation for making a very wise decision. Because we have too many stuff we want to offload into your brain.AUDITION XPO MAGAZINE DECLARES.
I must tell you how passionate we are about your progress in life and career, which we didn’t fail to demonstrate on the pages of this newsletter. Below is the legend of the month which was carefully selected and we strongly believe that after going through the achievements of this individual, your life will be influenced positively, making you ,to want to do more than this individual.
We also went on to expose income opportunity in the music industry and how you can tap from it. Next is the music lyrics of one of the world’s best pop singers- Michael Jackson and a brief history about his rise to stardom.Which we believe can be of importance to you. The good part of it is that you our dear reader can now decide the music lyrics you want in the next edition- amazing! Isn’t it? THIS IS JUST A PAGE FROM OUR MAGAZINE LOOK OUT FOR MORE.
HOW TO PASS A MOVIE AUDITION, EVEN IF IT YOUR FIRST TIME QUARANTEED STEPS
1. LEARN YOUR LINES
- learn them, for goodness sake, nothing says unprofessional time waster than not knowing your lines. It is only a casting there will only be a few lines. I read my lines at least 100 times the night before and 100 times that morning. I am sick of the lines - but I know them and the other guys lines too, that impresses a lot if you can help the stumbling fool playing opposite with his lines. Look like a pro actor and know your lines
2. DRESS IN CHARACTER
- who cares what the old lady on the bus thinks when a cowgirl in stirrups sits next to her. The job of the casting director is to visualise you in the role, if you make the job easier for them, then you will be remembered better. Who looks more the CEO for that high power TV drama, you with good lines and dressed in a suit or the construction worker turning up in his dust covered overalls and hard hat with good delivery. If you look more like the part they are likely to think that is actually a part of your personality and thus can play the part easily, it's professional do it. I have turned up to a wrestling casting, gone into the toilets and come out in my professional wrestling costume - 1/2 way through the casting they said you have the part - we are calling the others to tell them not to come in. I looked the part, I was the part, I got the part. Look like the character you are acting.
3. BE EARLY
I don't care if traffic was heavy and neither do they, if you are late to a movie set you can cost them thousands, organize yourself the night before with a bag with props, your script and clothes to wear. There are no excuses for being late.
4. NEVER APOLOGISE OR SAY YOU MESSED UP
professional actors don't do it so don't you do it, if you feel uncomfortable about a take they will often give you another chance, if not you can ask if you can do one more, but never more than one more. A casting is short and easy, you have had time to practice, and you should get it right first time
5. PRACTISE THE NIGHT BEFORE - practice, practice, practice. Get in front of a mirror and watch your own performance. Do not stop acting until you get it 100% right
6. ACT 3 DIFFERENT CHARACTERS FOR THE SCENE - read the scene and make up 3 different characters to act out the scene. For example, you are to act as a killer, you could practice a Vietnam Vet who took one to many acid trips and does not realize what he is doing, you could act out a guy who has bad problems with an abusive mother to the point he hates and wants to kill all women, or you could play a deranged maniac who has voices that tell him to do it. You do not need to tell the Director what you are doing, as an actor you let them see and feel that character and you use different expressions and actions that convey the different characters. On each take you play a different character. This has two benefits, it allows them to see you are talented and can play a range of role and it allows you
3 chances to look like a character they want and get the job rather than the others who play the same character 3 times. Triple your chances - I think this one is one of the best methods to get jobs.
7. ACT LIKE YOU ARE IN AN APPROPRIATE SETTING - how many times I have seen people stand there, arms by their sides and deliver perfect lines with little expression and no movement. For example the acting audition has you talking to someone in a bar you could deliver a few lines, pause, pretend to take a sip of your drink, let your gaze follow the woman walking past, then finish your lines, sip your drink again and wipe the back of your hand across your mouth and call for another round
8. BE CONFIDENT - if you practice till you know it back to front and are dressed like the character you will look more like a professional actor and with your triple chance play, you have a much better odds than the others, go in there like this is your role, you have it, you are now just there to show them how it is done properly. I have previously instructed my agent to call the casting director back and say Conan said he will be there for his part at 11.00am, he said to say thank you. This was for a acting audition (casting) that was absolutely perfect for me - and they were expecting something special, I gave them something special and I got the job. But do not brag; only use this sort of direct approach if you really can back it up.
9. GO TO EVERY ACTING AUDITION YOU CAN
you will probably muck up the first few, don't worry I did too, so does everyone, just keep going and you will come to understand what they want and how it works after a few. The more practice at auditioning you get the better you get, the better you get the more jobs you get, etc
10. TALK TO THE STAFF AT THE AGENCY
get to know them, let them get to know you. If they remember you then they can call you if an appropriate part comes up. If you are equal choice in skill for a part and they know and like you vs someone they do not know then you will get the part. Make friends in the industry. Be helpful to the others at the acting casting too, they may be your competition today but next week you could be working with them. Be nice to people in general.
If you follow these simple guide lines then even if you do not get this acting audition (casting) the casting director will remember you in a good light for future acting auditions (castings) - after a few times they will get to know you and you will get calls direct asking for you personally.
At this point you will be able to skip the actor audition (and the competition) and get acting job offers direct. IF THESE TIPS DOES NOT WORK FOR YOU CALL ME.
- learn them, for goodness sake, nothing says unprofessional time waster than not knowing your lines. It is only a casting there will only be a few lines. I read my lines at least 100 times the night before and 100 times that morning. I am sick of the lines - but I know them and the other guys lines too, that impresses a lot if you can help the stumbling fool playing opposite with his lines. Look like a pro actor and know your lines
2. DRESS IN CHARACTER
- who cares what the old lady on the bus thinks when a cowgirl in stirrups sits next to her. The job of the casting director is to visualise you in the role, if you make the job easier for them, then you will be remembered better. Who looks more the CEO for that high power TV drama, you with good lines and dressed in a suit or the construction worker turning up in his dust covered overalls and hard hat with good delivery. If you look more like the part they are likely to think that is actually a part of your personality and thus can play the part easily, it's professional do it. I have turned up to a wrestling casting, gone into the toilets and come out in my professional wrestling costume - 1/2 way through the casting they said you have the part - we are calling the others to tell them not to come in. I looked the part, I was the part, I got the part. Look like the character you are acting.
3. BE EARLY
I don't care if traffic was heavy and neither do they, if you are late to a movie set you can cost them thousands, organize yourself the night before with a bag with props, your script and clothes to wear. There are no excuses for being late.
4. NEVER APOLOGISE OR SAY YOU MESSED UP
professional actors don't do it so don't you do it, if you feel uncomfortable about a take they will often give you another chance, if not you can ask if you can do one more, but never more than one more. A casting is short and easy, you have had time to practice, and you should get it right first time
5. PRACTISE THE NIGHT BEFORE - practice, practice, practice. Get in front of a mirror and watch your own performance. Do not stop acting until you get it 100% right
6. ACT 3 DIFFERENT CHARACTERS FOR THE SCENE - read the scene and make up 3 different characters to act out the scene. For example, you are to act as a killer, you could practice a Vietnam Vet who took one to many acid trips and does not realize what he is doing, you could act out a guy who has bad problems with an abusive mother to the point he hates and wants to kill all women, or you could play a deranged maniac who has voices that tell him to do it. You do not need to tell the Director what you are doing, as an actor you let them see and feel that character and you use different expressions and actions that convey the different characters. On each take you play a different character. This has two benefits, it allows them to see you are talented and can play a range of role and it allows you
3 chances to look like a character they want and get the job rather than the others who play the same character 3 times. Triple your chances - I think this one is one of the best methods to get jobs.
7. ACT LIKE YOU ARE IN AN APPROPRIATE SETTING - how many times I have seen people stand there, arms by their sides and deliver perfect lines with little expression and no movement. For example the acting audition has you talking to someone in a bar you could deliver a few lines, pause, pretend to take a sip of your drink, let your gaze follow the woman walking past, then finish your lines, sip your drink again and wipe the back of your hand across your mouth and call for another round
8. BE CONFIDENT - if you practice till you know it back to front and are dressed like the character you will look more like a professional actor and with your triple chance play, you have a much better odds than the others, go in there like this is your role, you have it, you are now just there to show them how it is done properly. I have previously instructed my agent to call the casting director back and say Conan said he will be there for his part at 11.00am, he said to say thank you. This was for a acting audition (casting) that was absolutely perfect for me - and they were expecting something special, I gave them something special and I got the job. But do not brag; only use this sort of direct approach if you really can back it up.
9. GO TO EVERY ACTING AUDITION YOU CAN
you will probably muck up the first few, don't worry I did too, so does everyone, just keep going and you will come to understand what they want and how it works after a few. The more practice at auditioning you get the better you get, the better you get the more jobs you get, etc
10. TALK TO THE STAFF AT THE AGENCY
get to know them, let them get to know you. If they remember you then they can call you if an appropriate part comes up. If you are equal choice in skill for a part and they know and like you vs someone they do not know then you will get the part. Make friends in the industry. Be helpful to the others at the acting casting too, they may be your competition today but next week you could be working with them. Be nice to people in general.
If you follow these simple guide lines then even if you do not get this acting audition (casting) the casting director will remember you in a good light for future acting auditions (castings) - after a few times they will get to know you and you will get calls direct asking for you personally.
At this point you will be able to skip the actor audition (and the competition) and get acting job offers direct. IF THESE TIPS DOES NOT WORK FOR YOU CALL ME.
Do you have passion for music? this is how to make millions with your music career.
The music industry is now worth billions of Naira the likes of 2face, Olu maintain, Dbanj are millionaires through music. You can also become a millionaire if you know how this music business works. That is our passion in AUDITION XPO All these guys were able to get successful within a very short time. Some factors are responsible for their quick success. And they are: Getting sponsors, working with good music Promoters, eg, Galaxy music, Gozmok production etc. if you are able to contact these guys at the right time, I tell you. Your success in this business is guaranteed. But before you go on looking for these guys, there are some basic steps you must take and some knowledge you must possess in order to be acceptable. Let me tell you friend don’t try to cut corners,, because you will pay for it in the long run Every one of us is a singer or musician ask me how? Well I want you to know that everyone of us sang his or her first song the second we were born. That shrieking cry and crackle becomes your first hit song Even as we grow into adulthood every heartbeat is our rhythm drummer, every
Laughter is a sound, and each step we land on the ground is an integral member of the band.
Turning yourself from nobody to an almost over night star celebrity: if you religiously follow these stop by step instruction below its very possible and achievable but it requires maximum measure of discipline,, unless you want to be a local champion that is known only in your community. Now get ready and let’s roll.
STEP 1; YOUR VOICE AS A POWERFUL TOOL
To become a successful singer or musicians, your vocal prowess is one of the most vital work tools. It’s so unique to you only. In fact, no twin has been known ever to have exact decibel or identical vocal at least in resonance and depth. Today there are few vocal altering devices deployed by musicians in the recording studio due to emerging digital technology, but wise and career minded singers know better, that it is often short-lived and besides, it cannot support live performances anything mechanical is bound to disappoint us without notice. So the point here is Go for a voice training course. till I come your way next time, stay informed. Watch out for the next edition of AUDITION XPO where we will discuss “how to contact a good music promoter”, how to self produce your music etc. courtesy success digest extra News paper. (SDE)
Laughter is a sound, and each step we land on the ground is an integral member of the band.
Turning yourself from nobody to an almost over night star celebrity: if you religiously follow these stop by step instruction below its very possible and achievable but it requires maximum measure of discipline,, unless you want to be a local champion that is known only in your community. Now get ready and let’s roll.
STEP 1; YOUR VOICE AS A POWERFUL TOOL
To become a successful singer or musicians, your vocal prowess is one of the most vital work tools. It’s so unique to you only. In fact, no twin has been known ever to have exact decibel or identical vocal at least in resonance and depth. Today there are few vocal altering devices deployed by musicians in the recording studio due to emerging digital technology, but wise and career minded singers know better, that it is often short-lived and besides, it cannot support live performances anything mechanical is bound to disappoint us without notice. So the point here is Go for a voice training course. till I come your way next time, stay informed. Watch out for the next edition of AUDITION XPO where we will discuss “how to contact a good music promoter”, how to self produce your music etc. courtesy success digest extra News paper. (SDE)
Friday
TOP AUDITION OF JANUARY
As promised in this site that we will be updating you on all the audition taking place every month in the entertainment industry, Here are still some audition you may need to attend or know.
MODEL AUDITION
DATE 22/10/2010
VENUE NATIONAL THEATRE {NCAC} ARTISTE VILLAGE
CONTACT 07035566455
MOVIE AUDITION
DATE 27/1/2010
VENUE NO 57 OGUNLANA DRIVE SURULERE
INTERESTED CANDIDATE SHOULD GO ALONG WITH A 5 BY 7 PASSPORT PHOTOGRAPH
MALE AND FEMALE ARE ALL WELCOME
MOVIE AUDITION
DATE 16/1/2010
VENUE IS NCAC
STAGE PLAY AUDITION
DATE 24/1/2010
TIME 3PM
CONTACT 07061961023
INTERESTED CANDIDATE SHOULD COME ALONG WITH A PASSPORT SIZED PHOTOGRAPH
TO THE BEST OF MY KNOWLEDGE THIS IS THE AVAILABLE AND REAL AUDITION, VISIT US ALWAYS TO GET NEW AUDITION LISTING.
MODEL AUDITION
DATE 22/10/2010
VENUE NATIONAL THEATRE {NCAC} ARTISTE VILLAGE
CONTACT 07035566455
MOVIE AUDITION
DATE 27/1/2010
VENUE NO 57 OGUNLANA DRIVE SURULERE
INTERESTED CANDIDATE SHOULD GO ALONG WITH A 5 BY 7 PASSPORT PHOTOGRAPH
MALE AND FEMALE ARE ALL WELCOME
MOVIE AUDITION
DATE 16/1/2010
VENUE IS NCAC
STAGE PLAY AUDITION
DATE 24/1/2010
TIME 3PM
CONTACT 07061961023
INTERESTED CANDIDATE SHOULD COME ALONG WITH A PASSPORT SIZED PHOTOGRAPH
TO THE BEST OF MY KNOWLEDGE THIS IS THE AVAILABLE AND REAL AUDITION, VISIT US ALWAYS TO GET NEW AUDITION LISTING.
HOW TO PASS A MOVIE AUDITION
It’s no longer a speculation that the industry is getting more corrupt everyday as some girls are using their HOT PANT to get HOT ROLES and also some so-called Directors using their so-called script as a privilege to sleep with ninety-nine girls per second but is that the way forward?
If you ask me, I’ll simply say is madness but what do you expect when some people don’t believe in themselves… they will go extra miles just to get what they want even though it has to cost them their most precious, they give no shit. In an audition setting today, many things are happening, but the one that baffles me most is the way most of our girls dress, it makes me wonder of what they take audition for… maybe a place of fun or hotel; but is it suppose to be so?
For me I don’t see any different between audition and interview, but for an interview, you don’t dress anyhow… your appearance on it’s own is a percentage because the way you presents your self determines who you are and what people should call you that is, your name is in your appearance… just for an instance; a bus offloaded his passengers as the bus conductor dissappeared with the passengers change, and at the other side were two friends waiting for a bus, one was on corporate, while the other was on crazy sagged jean with a singlet on top, as the passengers were searching for their bus conductor,in the process,a passenger approached these young men and turned to the one in jean,“where is my change” this guy took it as an insult as the man thought he was their bus conductor but the blame goes to him, he presented himself as a tout so the outcome should be welcome.
The same goes to our girls; that a director is asking you for sex before his script is not because you’re the most beautiful but simply because you present yourself as a cheap harlot, and what do foolish men do with harlot? i leave you to answer that
To become a movie star is not by beauty, you must work for it with your hot brain and not your hot pant. Many have fallen victims and more are going to fall if the right step is not taking… many thinks that the first step to become a movie star is by registering with the A.G.N. but to me, I think is the last… the first step is you discovering who you are; many jump into the industry just because they want to make name or their friends are there, but that is a wrong motive… the passion must be there and the motto ‘it’s you’ must not lost. So after these have been confirmed, the second step is training;
we have many training schools like The Arts Pavillion where I was trained, PEFTY and many more… and don’t think you’re too good that you don’t need a training because that’s where you will know everything base on what you trained for. I know some people are naturally good but lack directions; there are so many things you’ll be exposed to on a workshop… for example; Artist Languages, terminologies, Camera techniques, Stage movements, Speech etc. and when these have been settled, you can then go and register with the A.G.N. not as a nonentity this time but as a fully trained actor/actress that knows his or her onion and I bet you, every little thing you do, people will commend.
FIVE SURE WAYS TO PASS AUDITION
1, Your appearance
2, your ability to read
3, your speech
4, Flexibility (your body movement)
5, How you flow with lines (how you act)
And always bear in mind that not only when you’re facing the director in an audition that you’re acting, eyes are watching you so always ensure that you’re original, do your thing your own way and always believe in your self because the best actor/actress your self can ever produce is you and nobody…
stay glued to this site and you will never miss any audition tip.
Fred Stanley
08032803895
If you ask me, I’ll simply say is madness but what do you expect when some people don’t believe in themselves… they will go extra miles just to get what they want even though it has to cost them their most precious, they give no shit. In an audition setting today, many things are happening, but the one that baffles me most is the way most of our girls dress, it makes me wonder of what they take audition for… maybe a place of fun or hotel; but is it suppose to be so?
For me I don’t see any different between audition and interview, but for an interview, you don’t dress anyhow… your appearance on it’s own is a percentage because the way you presents your self determines who you are and what people should call you that is, your name is in your appearance… just for an instance; a bus offloaded his passengers as the bus conductor dissappeared with the passengers change, and at the other side were two friends waiting for a bus, one was on corporate, while the other was on crazy sagged jean with a singlet on top, as the passengers were searching for their bus conductor,in the process,a passenger approached these young men and turned to the one in jean,“where is my change” this guy took it as an insult as the man thought he was their bus conductor but the blame goes to him, he presented himself as a tout so the outcome should be welcome.
The same goes to our girls; that a director is asking you for sex before his script is not because you’re the most beautiful but simply because you present yourself as a cheap harlot, and what do foolish men do with harlot? i leave you to answer that
To become a movie star is not by beauty, you must work for it with your hot brain and not your hot pant. Many have fallen victims and more are going to fall if the right step is not taking… many thinks that the first step to become a movie star is by registering with the A.G.N. but to me, I think is the last… the first step is you discovering who you are; many jump into the industry just because they want to make name or their friends are there, but that is a wrong motive… the passion must be there and the motto ‘it’s you’ must not lost. So after these have been confirmed, the second step is training;
we have many training schools like The Arts Pavillion where I was trained, PEFTY and many more… and don’t think you’re too good that you don’t need a training because that’s where you will know everything base on what you trained for. I know some people are naturally good but lack directions; there are so many things you’ll be exposed to on a workshop… for example; Artist Languages, terminologies, Camera techniques, Stage movements, Speech etc. and when these have been settled, you can then go and register with the A.G.N. not as a nonentity this time but as a fully trained actor/actress that knows his or her onion and I bet you, every little thing you do, people will commend.
FIVE SURE WAYS TO PASS AUDITION
1, Your appearance
2, your ability to read
3, your speech
4, Flexibility (your body movement)
5, How you flow with lines (how you act)
And always bear in mind that not only when you’re facing the director in an audition that you’re acting, eyes are watching you so always ensure that you’re original, do your thing your own way and always believe in your self because the best actor/actress your self can ever produce is you and nobody…
stay glued to this site and you will never miss any audition tip.
Fred Stanley
08032803895
Thursday
Top Model of Colour Nigeria 2010Category:Entertainment & Arts - GeneralDescription:
The top international modelling competition for models of colour will be coming to Nigeria starting from 2010.
The Competition is Open to All Models or Aspiring Models who either
• Living in Nigeria
• or are of Nigerian Heritage/Origin but not residing in the country
• With a connection to Nigeria through work, education or residency
THIS COMPETITION IS OPEN TO MALE & FEMALE MODELS in these Categories:
• Runway/High Fashion
• Editorial
• Commercial
Minimum height is 5.1 and maximum dress size is 14.
UPLOAD YOUR PICTURE AT THE BOTTOM OF THE TMC NIGERIA FACEBOOK GROUP WHERE YOU HAVE "PHOTOS".
Once registration begins people will be able to vote for you and 30 models with the highest amount of SMS votes will be guaranteed a place in the live regional heats.
There will be some fantastic prizes including a modelling contract with Mahogany Models International (and with a leading agency in Nigeria), A CAR (female models only) the opportunity to participate in TMC (UK) Finale as well as a London Fashion Week show in 2011. Cash Prizes and much more.
If you would like to donate a prize, provide services or be a sponsor of TMC Nigeria please email info@topmodelofcolournigeria.com or call +2348074163355 (read less)
The top international modelling competition for models of colour will be coming to Nigeria starting from 2010.
The Competition is Open to All Models or Aspiring Models who either
• Living in Nigeria
• or are of Nigerian Heritage/Origin but not residing in the country
• With a connection to Nigeria through work, education or residency
THIS COMPETITION IS OPEN TO MALE & FEMALE MODELS in these Categories:
• Runway/High Fashion
• Editorial
• Commercial
Minimum height is 5.1 and maximum dress... (read more)Privacy type:Open: All content is public.
Contact Details Email:Website:http://www.topmodelofcolournigeria.com
http://www.topmodelofcolour.comOffice:Lagos, Amsterdam, Banjul, Johnanesburg & London
Recent news News:Applications for TMC Nigeria 2010 open from the 1 February 2010 and we suggest you visit this site to be updated on TMC 2010 and the application process.
GOOD LUCK
The Competition is Open to All Models or Aspiring Models who either
• Living in Nigeria
• or are of Nigerian Heritage/Origin but not residing in the country
• With a connection to Nigeria through work, education or residency
THIS COMPETITION IS OPEN TO MALE & FEMALE MODELS in these Categories:
• Runway/High Fashion
• Editorial
• Commercial
Minimum height is 5.1 and maximum dress size is 14.
UPLOAD YOUR PICTURE AT THE BOTTOM OF THE TMC NIGERIA FACEBOOK GROUP WHERE YOU HAVE "PHOTOS".
Once registration begins people will be able to vote for you and 30 models with the highest amount of SMS votes will be guaranteed a place in the live regional heats.
There will be some fantastic prizes including a modelling contract with Mahogany Models International (and with a leading agency in Nigeria), A CAR (female models only) the opportunity to participate in TMC (UK) Finale as well as a London Fashion Week show in 2011. Cash Prizes and much more.
If you would like to donate a prize, provide services or be a sponsor of TMC Nigeria please email info@topmodelofcolournigeria.com or call +2348074163355 (read less)
The top international modelling competition for models of colour will be coming to Nigeria starting from 2010.
The Competition is Open to All Models or Aspiring Models who either
• Living in Nigeria
• or are of Nigerian Heritage/Origin but not residing in the country
• With a connection to Nigeria through work, education or residency
THIS COMPETITION IS OPEN TO MALE & FEMALE MODELS in these Categories:
• Runway/High Fashion
• Editorial
• Commercial
Minimum height is 5.1 and maximum dress... (read more)Privacy type:Open: All content is public.
Contact Details Email:Website:http://www.topmodelofcolournigeria.com
http://www.topmodelofcolour.comOffice:Lagos, Amsterdam, Banjul, Johnanesburg & London
Recent news News:Applications for TMC Nigeria 2010 open from the 1 February 2010 and we suggest you visit this site to be updated on TMC 2010 and the application process.
GOOD LUCK
Audition Dates & Venues of the greatsearch powered by DAARSAT
This is the oly site you can get any movie , modelling, Reality show and dance Audition. visit this site daily to get audition dates or call 07061961023
Note: All Contestant should come to the audition ground with their recent 5 By 7 Photograph. Contestant are expected to dress decently. The call time is 8:00am prompt.
Abuja
Date: 9th January, 2010.
Venue: Nicon Luxury, Area II, Garki, Abuja.
Benin
Date: 26th January, 2010.
Venue: Urokpota Hall, Near Oba Market Ring Road, Benin City.
Bayelsa
Date: 18th January, 2010
Venue: Abode Suite “N” Hall, John Egbi Street, Swali, Yenegua.
Jos
Date: 11th January, 2010
Venue: Hill Station Hotel, Jos.
Kaduna
Date: 13th, January 2010.
Venue: NAF Club, Kaduna.
Kano
Date: 15th January, 2010.
Venue: Central Hotel, Bompa Road, Kano.
Port-Harcourt
Date: 20th January, 2010.
Venue: Le-Meridian Ogegi Place, Tombia Street, Gra Phase 2, Port-Hacourt.
Enugu
Date: 22nd January, 2010.
Venue: Top Rank Hotel, Independence Layout, Enugu.
Lagos
Date: 30th January, 2010.
Venue: New Great Hall, LUTH Compound, Idi-Araba, Lagos.
Note: All Contestant should come to the audition ground with their recent 5 By 7 Photograph. Contestant are expected to dress decently.The call time is 8:00am prompt.
Note: All Contestant should come to the audition ground with their recent 5 By 7 Photograph. Contestant are expected to dress decently. The call time is 8:00am prompt.
Abuja
Date: 9th January, 2010.
Venue: Nicon Luxury, Area II, Garki, Abuja.
Benin
Date: 26th January, 2010.
Venue: Urokpota Hall, Near Oba Market Ring Road, Benin City.
Bayelsa
Date: 18th January, 2010
Venue: Abode Suite “N” Hall, John Egbi Street, Swali, Yenegua.
Jos
Date: 11th January, 2010
Venue: Hill Station Hotel, Jos.
Kaduna
Date: 13th, January 2010.
Venue: NAF Club, Kaduna.
Kano
Date: 15th January, 2010.
Venue: Central Hotel, Bompa Road, Kano.
Port-Harcourt
Date: 20th January, 2010.
Venue: Le-Meridian Ogegi Place, Tombia Street, Gra Phase 2, Port-Hacourt.
Enugu
Date: 22nd January, 2010.
Venue: Top Rank Hotel, Independence Layout, Enugu.
Lagos
Date: 30th January, 2010.
Venue: New Great Hall, LUTH Compound, Idi-Araba, Lagos.
Note: All Contestant should come to the audition ground with their recent 5 By 7 Photograph. Contestant are expected to dress decently.The call time is 8:00am prompt.
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