Law of Attraction Subconscious Mind Power
Always remember that your mind is your most powerful tool, concludes Carole. Use your mind to create your art and manifest the money, contacts, and the right people to your project, and always maintain yourself in the highest caliber. Keep your mind free of resentment and negativity. Live with thoughts of forgiveness and love and acceptance and enjoy what you're doing.
Who the hell is talking to you like this How old is he The author is 52 and he loved the decade of the 1970s and its movies. We had movies then that you had to watch. Many of them had unfamiliar shapes, new narrative structures or strategies. They began late. They switched course. And they did not end well or happily or comfortably. Sometimes they broke off in your hands, or your mind.2
The male body has become big business visual spectacle, in contrast to the classical male body, usually seen as the bastion of abstraction from its physical manifestations (except in pornography), neither eroticised nor 'marked' (for fear, it is said, of yielding to the homoerotic subtext that has always been present in Hollywood). Although there have been exceptions in certain genres (such as the boxing film or the war film), certain stars (Clark Gable's string vest), and certain directors, notably in Anthony Mann's Westerns, and almost all of Robert Aldrich's films, classical cinema has mostly shown its-men fully clad and physically unimpaired their Oedipal wounds have remained symbolic, the bodily envelope largely unaffected. But not so in Die Hard, where Bruce Willis's body is exposed and put on display. Physically wounded and relentlessly punished, McClane's vulnerability is graphically shown indeed, his body is 'somatized' and so are we as spectators we 'feel' how...
If you decide that Zone II is the appropriate zone for the Important Shadow Area of your subject, place your meter reading on Zone II and start from there. (The only danger with this approach is that you cannot change your mind after taking the picture and give that area more exposure later.) The purpose of the Zone System is to give you creative control, not to lock you into hard and fast aesthetic limitations. Whenever you are in doubt about how to proceed with a given image, make a decision and pay careful attention to your results. Be sure to keep careful records when you are unsure. In general, you can count on the obvious associations I have mentioned before. Light clothing, concrete, and white objects in the shade are usually Zone VII. Dark foliage, dark clothing, and brown hair are commonly Zone III. Paper and white objects in sunlight are generally Zone VIII.
Let's assume you have received some information about the character from the casting director, but you won't see the sides until the day of the audition. You have to begin with the information that you have. What is it that instinctually attracts you in the part Forget about the excitement that you feel about the audition, thinking about what it will be like to see yourself on the screen, how great it will be to tell all your friends that you had an audition, got the part, got great reviews, and won the Academy Award. I'm not kidding. Actors have vivid imaginations, and if that's the track your mind is racing around before an audition, put the brakes on, and concentrate on the matters at hand. Take the elements of the part that attract you the most, from whatever information you have, and go to work.
You are a few weeks into the film, and things are beginning to clarify in your mind. You have decided to do the film as story plus essay. You think that you have found the right approach and structure, and you are beginning to see a possible opening, middle, and end. Great Now all you have to do is sit down and write your first draft. This may take the form of either a draft shooting script with ideas only or a draft shooting script with commentary. In the first case, you will merely set out the ideas you want to accompany the visuals. In the second case, you will actually write a preliminary commentary, even though this may well change as the film progresses.
But before you make any final decisions about how you fit into this thing, take a few seconds to visualize the spot in your head. Watch it play on your mind's TV. Don't worry if your inner vision isn't how the spot will really be shot the idea is to allow yourself to get into some kind of flow. And before you go in, don't forget we want you to win.
Let scene B develop at a natural and comfortable pace. Don't feel the need to raise the stakes of scene A in the first few offers of scene B or to know before you even begin scene B exactly how the task is to be accomplished. Rather, just relax into the scene, have one or two thoughts in the back of your mind, and discover the rest together with your partner on stage.
First, letting your mind run free, try to call up two or three painful incidents from your past, incidents in which you were essentially the protagonist. Take a few moments to reflect on each of these, dismissing any memories that still seem in process occasions that you can't recall without feelings of discomfort. Then choose a recollection to write about, even if you have to do so arbitrarily.
You are going to conduct a friendly, imaginary interview with someone you know, or have known, well enough to have a good idea of how the person usually spends a day off. For obvious reasons, don't choose anyone you live with or are involved with, or anyone who would be uncomfortable being interviewed by you. Close your eyes and imagine this person in the room in which he or she would be most at ease talking to you. In your mind, explain that the interview is just a writing exercise in which the person will be anonymous (as they should be).
There is an Academy Award-winning film by a first-time director that often provides a good prototype for use in my classes and at this point I urge you to view it immediately on VHS or DVD so that it is fresh in your mind as we progress through the next pages. It is particularly well suited for our purposes because, in addition to being the work of a first-time director, it is a small canvas, actor-driven film. The film is Ordinary People (1980), directed by Robert Redford. It is an old chestnut to be sure, but because of its universality, clarity of line, and fine performances by the actors, it holds up amazingly well.
Seemingly small adjustments can change the whole thrust of the character's needs, presenting the director with a rude surprise upon viewing the tapes or the dailies. Thus it is essential that the director overcome the thousands of other distractions brought to bear during a shoot that conspire to take your mind off the actor. This is the occasion where the shorthand vocabulary can be most useful. A brief reminder to the actor of the needs or an action choice found previously, and noted in your script, in a given moment is usually all it takes to get the scene back to what you arrived at in rehearsal.
Movies are a media of pre-visualization. They are seen within the mind like a dream and then transposed onto the frame. Actors pre-visualize when they read a script or work on the character. This pre-visualization happens automatically and affects how you proceed with your preparation of the character. The medium, as it exists in script form, is constructed to make pre-visualization a must. However, it is not the vision of the actor that is transposed to the frame it is the vision of the director and the director of photography. So how do you deal with the rejection of your vision or the rash clash that happens within you when what you thought was going to happen doesn't When what you saw in your mind's eye has nothing to do with what is being presented to you In your mind's eye, when you first read the script, you saw the backroom in this scene as being a small, closet-sized office. You imagined that because
Close your eyes and allow the movie in your mind to travel through the land of your favorite film images. Don't try to remember a title or a specific movie and then search for the image. Allow your mind's eye a free hand, and sit back and enjoy the show. Films from childhood, cartoons, adventures, love scenes, swells of music, and magnificent landscapes will dance in your imagination, but more than anything, there will be faces. Faces looking out at you telling you their stories through their expressions. Faces of famous actors, and faces of unknowns. Faces in the crowd. Faces of children, of old people, of nymphs and heroes. Whatever they look like, whoever they are, they will all have one thing in common. They will all be beautiful. They are beautiful because they have touched you in a special way that has become part of the fabric of your identity. This relationship you have with the movie images in your mind is a very intimate one. It is, in fact, a love relationship, and being...
Keep a journal of your character preparations, and include in your log the quotes that reveal vital information to you. An insight that you have while working can appear complete and clear in your mind, and in that moment, you know exactly what you want to do with it in your acting. But on the set, with exhaustion and the pressures of filming, this same insight might get lost or thrown by the wayside. Keep track of these insights and g be sure to include them in your log. You only need a small portion of a greater discovery to bring it back fully to the forefront of your mind. In the journal, you can write it all full out in the log, a sentence or two or a pic- 5 ture will bring it back to full recall. k
Just wanting to be in the entertainment industry isn't enough. You need to know what you want to do in the industry and which facet of the business is going to be the best fit for you. These are questions only you can answer, but evaluating your responses to the above-listed questions will help. So will realistically researching your career options and soliciting the advice of those who currently occupy the positions you covet. Also keep in mind that you can change your mind at any time. You can change your mind ten times if you'd like. But right now today you should have a decisive goal and direction.
You're bound to have setbacks, disappointments and times in between jobs when you'll wonder if you're ever going to work again. And there will be occasions when your self-confidence, commitment and bank balance will all be wobbling at the same time. But if you have your emergency preparedness kit in place and ready for deployment at a moment's notice, you'll be back up and running in no time. Surviving the tough times involves that Teflon coat I mentioned earlier. It's also having a Plan B to fall back on, reversing the doubts and negative thoughts that run through your mind, developing some new positive mantras, learning how to quickly get past the disappointment and depression and being able to slightly change your course when facing a brick wall. Your survival will be a result of being persistent but realistic, having the courage to do what's uncomfortable and avoiding all comparisons to others (because there will always be someone who gets a better deal, a better job or a better...
When the writer returns to the work (with its previously unsolvable problem), he's amazed to find that his creative dilemma is now somehow easily resolved. Having stopped all the agonizing to make it work, the writer has allowed his subconscious mind to help him out. When you find yourself working too hard on a section for too long, with minimal, diminishing results, perhaps it's time to let it go for a while. Put it in a drawer and just forget about it. When you come back to it with a fresh, open mind, you may find the problem easily resolved.
It's important to try to work every day, even if it's just for a half hour. When you're not working on your piece, it's usually a good idea to have a pad and pen around to jot down ideas or dialogue that may suddenly come to you during the day. One thing you'll start to realize is that your subconscious mind is always working on your monologue, even when you're not consciously thinking about it. Some of the most inspired moments and best lines of dialogue occur when you're sitting on a bus going uptown or watching TV. If an idea comes to you, simply take out your pad and pen and write it down. I'm sure that as an actor, while working on a role, these inspired insights also occurred when you weren't actually rehearsing.
During a break I'll get up, leave the work area, perhaps go into another room. I try to get my mind momentarily off what I'm doing. Sometimes you just need a good stretch, perhaps a brief walk outside in the fresh air. I'll listen to music for a few minutes, have a light snack (preferably a healthy one), or fix myself a cup of coffee. Any short distraction will work, as long as you keep your mind off the monologue.
And if all else fails and you find yourself sitting with writer's block, enjoy it. There's absolutely nothing wrong with just staring at the ceiling for a while. Yes, you read correctly. Stare at the ceiling, or perhaps move those books around on the bookshelf (for the twelfth time), or give in to any slight diversion from doing your work. Meander, let your mind go, mentally wander. Yes, go ahead and avoid writing. Let yourself off the hook, obligation-wise. While sitting there, perhaps feeling frustrated, let your mind go wherever it wants. Give yourself permission to daydream, fantasize. This is one of the few times in life that it's not only okay, but perfectly appropriate. Remember back when you were in school and were bored Back then you'd daydream all the time. What I'm talking about here is volitional daydreaming. Back in school, no one ever had to give you permission to let your mind wander, right It was an escape from the boredom. If you're feeling blocked, there's nothing...
Many actors enjoy the freedom of working totally improvisationally. If you've worked as an actor, you know that improvisation is a form of theater where no scripts are used. There are many different ways to approach and set up improvisational situations, from the highly structured to the completely freeform. The really great thing about using your improvisational skills to create a monologue is that in improv, you give your mind permission to go wherever it wants and your mouth permission to say whatever comes out. When you improvise, you ignore the tiny censor in your head that sits in judgment, criticizing your every effort. The secret to successful improvisa-tional work is to not put any restrictions on yourself, but leave yourself open to any impulse, physical or verbal. As you start working this way, you may want to tape-record your work. To some degree, much of the work we'll be doing on monologues incorporates some aspect of improvisation.
For me, in the bundle of words historical documentary filmmaker, there's no question that the word film is the most important. And that's because of how powerful and dreamlike film can be. Certainly the experience of film that I value most is an experience of being taken to some very deep place by the flow of light and shadow and sound and words and music, which are the elements of film. It's always about contrasts. Visually, thematically, emotionally. Think about the Donner Party. Read a one-paragraph account of the Donner Party, and if it's accurate, you'll feel that interplay of brightness and darkness. In one of the biggest years of the American dream, 87 people go West thinking they're going to find Paradise and end up in a terrible nightmare. Say the words New York and try not to have in your mind, very swiftly, the New York skyline. Its most powerful moment is
I thought what Crichton did was to deal with a sexual harassment issue very effectively, rather than dealing with it head-on. He turned the whole thing upside down and really saw the problems, the dangers, and I think that was interesting. It makes it more provocative, when you begin to think about the issue. Otherwise you could say sexual harassment, and some people are going to have certain opinions that are already formed and locked in place. But if you turn everything around on itself, your mind has got to start to think a little bit more.
I discovered that I had entered a system that was churning out product. Within that system, you could express yourself, but you always had that opening date in the back of your mind. The advantages of that are that you know that the film is going to find an audience. Even if they don't want it, they're going to be exposed to the movie by the Hollywood marketing machine all around the world. The disadvantage is that there is the pressure of that judgment day awaiting you, and all that money that's been invested not just in making the film, but sometimes an equal amount in marketing the movie. That tends to make filmmakers more conservative than they otherwise might be, and you're going to play for the tried-and-true. You're going to tend not to be as inventive as you would like to be, simply because you want to make sure that you connect. Of course, some of the best films in cinema history have been within that system as well as some of the worst.
Did an image pop into your mind A feeling A reaction Okay, that's your impression. Now, when I think of Jay Leno, what images and feelings does he conjure up for me Well, let's see Short guy, big chin, nasally voice, kind of feisty, The Tonight Show mystique, his cool set, Hollywood, politically cutting jokes, my sense of humor, Kevin Eubanks, jazzy theme song, my late-night habit, and so on.There's something else going on, too. Watching Jay Leno makes me feel, well, comfortable. Yeah, there's something comfortable about sitting in bed watching Leno. It's a good feeling.You probably have different images and feelings that the name Jay Leno conjures up for you.You may even have a negative image about Jay Leno, but the bottom line is that no matter what these impressions are, they constitute a brand. Jay Leno is a brand. If I say David Letterman, a whole different emotional picture forms for you and me (goofy laugh, gap-toothed grin, off-the-wall humor, New York attitude, etc.)....
This home bedroom will mean different things to different people it may be a place in the present, or it may be one of the past. It doesn't matter which one it is. The first room that comes into view in your mind's eye is the right one to use now. Whatever you come up with, you might get flooded by the other senses. Memories or scenarios might appear that charge the concentration with data. Don't worry about these things now, and don't get sidetracked by them. Stay within the chosen task by asking questions. Acknowledge whatever goes on in your mind, and move forward with the concentration on the sense that you are working on.
After you've done most of your legwork, give yourself a breather. Let the materials drift around your mind a bit without any conscious sifting on your part. This helps clear away the debris and allows you to see what is really important. Often, the research reveals alternative paths and strategies to you. New and unsuspected material may come up. New characters may emerge, and it is very possible that your original thesis may have to be re-questioned, as in the case of my Eichmann film. In short, this is a good time for a total reexamination. Before, you merely suspected what the film could be about. Now you know, and can, if necessary, refocus your central questions and inquiry before you plunge into the film itself.
While in the back of your mind, there may still be questions, the sponsor or commissioning editor may want something very concrete. If you have been thinking about the topic for years, you should have no trouble at this point, as you have probably already thought of a way to do the film. The difficulty occurs when the subject is new and you know nothing about it.
Bring a spiral notebook to the studio. After each exercise, designate three to five minutes for journaling. Dedicate a minimum of one page per mask. You will find that committing your discoveries to paper solidifies the experience in your mind's eye. This provides a means of accurately reconnecting with that mask notations act as triggers. For example, let's assume you've lost the Hu-Mask's walk. You refer to your notes. Bow-legged, feet splayed, quick tempo, slight lift. Presto the walk remembered.
In this time of advanced technology, the temptation to bring a camera into the audition process is strong, particularly in casting for film. After all, it is an opportunity to record in detail and not have to rely solely on one's memory. It is an option and up to individual choice. However, my preference, even in casting for a film, is to wait until a later stage of the process when one is down to the last few candidates for a role. The presence of a camera can be very distracting, both for the actor and for the auditioner. In addition, more time must be spent in the viewing of tapes of a large number of actors who, in your mind, you might already have rejected as a result of the reading. Also, the stationary camera might miss some of the more subtle, behavioral moves the actor might make, thus eliminating valuable information, particularly in casting for theatre.
I may be John Carpenter at night but I'm Ward Cleaver during the day, jokes Les. The last film I did, I Know What You Did in English Class, is a film that took me the longest to make. Before that I'd shoot something, edit nonstop, twenty-four hours a day for a couple months. You can ask my lovely wife about the many dates we did not go on because of that. Once the kids came, a lightening bolt hit me and I encourage any filmmaker to get caught up in that spark. I almost missed my daughter's second birthday party because we were shooting a film and my wife said, 'Honey, I love you, but are you out of your mind Think about what you're doing.' I listened to her and thought about it and said, 'You know, you're absolutely right.' So I left shoot early. From that point on I've been the same ever since.
While preparing for the actual audition, you will now have a subject word to refer to right on your page. While you're working on the scene, you can actually just glance down at your subject word to help remind yourself of the actual subject matter that you are dealing with while you are getting comfortable with the dialogue. The more times you practice, the more comfortable you will become with using the word, and the more comfortable you will become dealing with the subject that your character is dealing with. The hope is that the repetition breeds familiarity. The word allows your mind to associate it with the topic of the beat then you can let the dialogue assist you in the communication of the subject. Hopefully, the subject word is a safety net, and a signpost that will keep you focused on the dialogue. After practicing with this word for a significant period of time, if you find it does not create the familiarity and speed you desire, then change the word and try again.
Positive Habit Attraction Models
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