We’re excited to announce the launch of our newly designed website: http://houghtontalent.com
We will continue to post all new blogs on the new website blog page.
|As the founder and president of Grace Hill Media, I can count on one hand the number of times I’ve chosen to write a personal letter to our entire database on behalf of a film. And while many of the movies we work on are great entertainment, rarely does a film fall into the category of “life-changing.” THE WAY is one of those films.
Starring Martin Sheen and directed by his son, Emilio Estevez, THE WAY tells the story of Tom, an irascible American doctor who comes to France to collect the remains of his adult son (played by Emilio), killed in the Pyrenees in a storm while walking The Camino.
Rather than return home, Tom decides embark on the historical pilgrimage to honor his son’s desire to finish the journey. What Tom doesn’t plan on, is the profound impact the journey will have on him and his entitled California life. Through this journey, Tom discovers the difference between “the life we live and the life we choose.”
Emilio was inspired to write this screenplay after a life-changing walk of his own across the north of Spain on the Camino de Santiago, also known as the Way of St. James. Martin and Emilio, along with the producer David Alexanian, have put extraordinary heart into this film, and their hard work is paying off. Already THE WAY is one of the top ten downloads on iTunes, which speaks to the quality of this transformational film. These men are great filmmakers, and they’re great friends too.
On February 21, THE WAY will be available on DVD in stores nationwide. I can’t encourage you enough to pick up this film and share it with others. But in the meantime, click here to watch the trailer to see for yourself why I’ve taken the time to point you to THE WAY.
Wherever the road takes you, it’s my prayer that God will share your journey.
|12211 Huston Street Valley Village, CA 91607
Phone 818.762.0000 Fax 818.743.7619
‘Level UP!: How to take your career to the next level Industry Panel at the next Get Connected is from 7:30-8:30 pm in the screening room we have folks from Turner,Gospel Music Channel,Liquid Soul Media, People Store,Wealth Management company and Bennett Thrasher, Folks will be speaking about Business & Entertainment from the background of Music Clearance & Licensing,Marketing Indie film projects,GA Tax Credits,Wealth Management,Hiring Film Agents and Hiring in the Entertainment world get ready to learn and be educated by the industry best. P.S SEEKING VENDORS & SPONSORS FOR NEXT MONTH CASINO THEME MIXER MARCH 29TH EMAIL US!!
Autumn Bailey Entertainment • FILMAtlanta • Blank Stage Productions Presents
Back To Business
Where the Industry Meets Business
Execute your vision for 2012 and there is no better place to do this then at Get Connected.
Hosted by the Cinema Dolls
WEDNESDAY February 22, 2012
6 pm – 11pm
The Foundry at Puritan Mill
916 Joseph E. Lowery Boulevard, Atlanta, Georgia 30318.
The Foundry does not have ATM or accept credit cards – CASH ONLY
$5.00 Valet Parking
Free Food & Desserts
ATTN Actors please bring your head shots for agencies casting for independent shorts & features
In the spirit of back to business we are hosting a powerhouse panel with local industry people from the field of Marketing, Music licensing, Financial that will focus on business in the industry. Panel starts at 7:30-8:30 in the screening room at the foundry., also we can’t forget about the $1500 production plan contest, great short films, industry specific vendor tables, Free food and amazing desserts,light music and the most important aspect to all this… you!
Maverick Entertainment Group, now in its 13th year, has secured its place as a leader in the acquisition and distribution of independent fare to the domestic and global markets. Our mission is to be a vertically integrated entertainment company that creates, distributes, licenses, and markets all forms of entertainment and their related business platforms.
How are new clients finding you?
ProductionHUB connects the film, television, video, live event and digital media production industry with those seeking production products, equipment, services and professionals. Attracting more than 4 million searches last year alone, ProductionHUB is one of the fastest growing B2B sites of its kind. Your profile is the first step in getting found by new clients.
Joy105.com is your #1 source for gospel and inspirational news! This community has been designed for the Kingdom! We are your one stop .com for the latest in gospel news and happenings! Promote your CD’s, release parties,ministry and concerts!
For filmmakers: Please enter into the $1500 production plan contest.
Sneak Peak of last month video
We are Seeking Vendors & Short Films and sponsor for March 29, 2012
Please Visit firstname.lastname@example.org For More Information
Sponsors Are Always Welcomed!
Everything You Need to Take Your Career to the Next Level in One Place
|Let the City of Roswell know how important the arts are to you!|
The Mayor & City Council of Roswell are considering a new bond referendum and want your input. Whether you live in Roswell or not, you travel to Roswell to visit Georgia Ensemble Theatre, and your opinion matters!
There are a series of public open house meetings scheduled where you will learn about the list of possible projects. You will have the opportunity to express your opinion about priorities.
One of the possible projects would be funding for performing arts enhancements at a cost ranging from $2M-$9M.
This project will enhance the cultural choices for Roswell residents and visitors to our community. The City may expand the current Cultural Arts Center facility or expand into a commercial center in Roswell. The new facility will allow for more live performances and a variety of entertainment choices.
Project Details Could Include:
There are two more public open houses listed below that you can attend to voice your opinion, or you can rank your projects here.
Please give the City of Roswell your input regarding this bond referendum.
Georgia Ensemble Theatre
|A lot of folks ask us where to begin. We tell them what the veterans already know; begin with study. The Craft is a discipline that evolves over the entire life of an Actor, and the more you know about every angle of it the better an Actor (or more informed Filmmaker) you’ll be.With all of that in mind, here are our picks for the ten best books about Acting, ever.|
|Sanford Meisner has been called “the theater’s best-kept secret,” and Sanford Meisner on Acting by Dennis Longwell gives some insight into what techniques the hugely influential drama teacher used in his 50-plus years of work. One of the founding members of the Actors Studio (with Lee Strasberg, Stella Adler, and Harold Clurman), Meisner developed his own special lessons based upon his understandings of the great Russian teacher Stanislavsky. Turning away from the sense-memory exercises common among his colleagues, his training focused instead on a realistic approach to imagination and creativity. Unlike many other educators associated with “the Method,” Meisner had little tolerance for self-absorption or striving after strong emotional effect, instead preaching that clarity of purpose and efficient use of the psyche are the actor’s greatest tools. Longwell’s book follows a class of eight men and eight women through one of Meisner’s 15-month courses at New York’s Neighborhood Playhouse, with extensive transcripts taken directly from Meisner’s notes to the students on the basis of their exercises. With an introduction by director Sydney Pollack, one of the many influential artists who studied with Meisner (the book includes accolades from Maureen Stapleton, Arthur Miller, Gregory Peck, and Eli Wallach), this is an excellent introduction that helps to demystify the work of a great theatrical teacher.|
|To Adler acting is a labor of intelligence and will and love, a “profession that is over 2000 years old” and one that requires boundless energy and a sort of selfish (but not narcissistic) ambition first, and then “critical seeing, self-awareness, discipline, and self-control” – for starters. She talks about the importance to an actor of the use of one’s imagination, the disciplined willingness to actually do the research -in order to care deeply and conscientiously about the play. She asserts, “A great disservice was done to American actors when they were persuaded that they had to experience *themselves* on the stage instead of experiencing the play. Your experience is not the same as Hamlet’s – unless you too are a royal prince of Denmark. The truth of the character isn’t found in you but in the circumstances of the royal position… [to play the role] your past indecision on who to take to the prom won’t suffice.”|
|In her introduction to Respect for Acting, actress and teacher Uta Hagen talks about a time when she herself had no respect for the art of acting. “I used to accept opinions such as: ‘You’re just born to be an actor’; ‘Actors don’t really know what they’re doing on stage’; ‘Acting is just instinct–it can’t be taught.'” But this attitude of “you got it or you don’t” is fundamentally one that denigrates the craft, as she points out. Great actors do not perform effortlessly, or merely through learning the appropriate tricks and cheats to manipulate an audience. Great acting is about the difficult fusion of intellect and action–about sincerely and truthfully connecting to the moment, your fellow actors, and the audience–and Hagen’s thoughtful and profound book contains a series of observations and exercises to help an actor do just that. Her prose style is admirably clear and filled with examples from her own lengthy career both as a performer and in the classroom. While her exercises in sense memory and basic objects skirt close to the sort of self-absorption that followers of “the Method” are routinely accused of, they are presented clearly and with a focus on practical results. And in such places as her chapter “Practical Problems,” which includes discussions of stage nerves and how to stay fresh in a long run, her straightforward advice is invaluable.|
|If you like movies, this book is a great read. If you’re interested in acting in movies, it’s an essential read. If you’re interested in moviemaking (behind the camera), it’s still an essential read: buy extra copies to pass around on the set, especially if you’re a struggling filmmaker and you have a cast of friends who’ve never acted before. As a teacher, Caine is as straightforward as he is as an actor. You watch his performances and you’re seeing an actor who understands that less is more. You read this book and you’re listening to an instructor who understands the same thing. Every anecdote he tells about films he’s been in and stars he’s worked with is not just namedropping, it’s ALWAYS relevant to whatever helpful point he’s making about the craft of film acting. And to him it is very much a craft, not an art. The art takes care of itself; it happens mysteriously, but it can only happen if you nail the craft first. No arty-flighty book about acting theory or the Method, this is a working-class, meat-and-potatoes manual that anyone can relate to, much like its author.|
|Michael Chekhov, nephew to the Russian playwright and student of Stanislavski, left Russia and his mentor behind to pursue a career as an actor, director, and teacher in Europe and America. While he was an early advocate of Stanislavski, Chekhov differed from the great teacher in important respects, particularly in his insistence on the use of imagination as opposed to memory in creating a role. (In a famous anecdote, Chekhov once performed a “sense memory” exercise in which he broke down over the tragic death of his aunt. When complimented on the truthfulness of his emotion, he admitted that his “aunt” was entirely imaginary.) One of Chekhov’s innovations of technique is the “psychological gesture,” in which a repeated external action leads to an internal revelation. Due to his insistence on the importance of the physical rather than the simply intellectual, Chekhov’s book is as focused on following its series of exercises as it is in study; acting, he would remind us, is always fundamentally a verb. For actors who feel “hemmed in” by an overinsistence on “feeling” a part or in drawing from their own experiences to feed a role, Chekhov’s focus on the primal and limitless nature of imagination is tremendously liberating.|
|So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a “mock diary” of an actor describing a series of exercises and rehearsals in which he participates. He details his own emotional and intellectual reactions to each effort, and how his superficial tricks and mannerisms begin to disappear as he increasingly gives over his conscious ego to a faith in the creative power of his subconscious. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as “the unbroken line,” “the magic if,” and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century. While much excess and nonsense was to follow in the steps of Stanislavski’s writings, his original texts remain invaluable, and surprisingly accessible, to any actor or student of drama.|
|There is more to the acting business than just the acting. It’s understanding and applying the “business” side of acting that makes it possible for the actor to succeed. Bonnie Gillespie is right on target with her enjoyable nuts and bolts wisdom in “Self-Management for Actors: Getting Down to (Show) Business.” She takes the guess work out of the process of managing your career as an actor with clear guidance and a wonderful sense of humor. Precious time and money will be saved when knowing how to market yourself by doing it right the first time. Owning this book is one of the best investments any actor can make.|
|Actors who want to get inside the script and make it come alive now have a step-by-step guide from a Broadway director and renowned acting teacher. Honed by the author’s 35 years of teaching, this advanced book offers different warm-up exercises concentrating on the actor’s sense of smell, sound, sight, and touch; sensory tools for conveying the climate and environment of the text; tips for suggesting a character’s physical conditions; and much more. Individual exercises will help actors to free the voice and body, create a character, find the action and condition of scenes, and explore the subconscious for effective emotional recall. Readers will also find meticulous guidelines for best using rehearsal time and preparing for in-class scene work. The foreword is written by two-time Academy Award nominee Edward Norton. Those who act, direct, or teach will not want to miss the acting lessons that have made T. Schreiber Studio a premier actor training program.|
|What is good acting? How does one create believable characters? In “The Science of Acting“, Sam Kogan applies his theories and teaching to answering these questions. It represents a comprehensive and complete technique applying neuroscience and psychology to the role of acting. At its heart lies a unique and groundbreaking understanding of the subconscious, as well as an unparalleled insight into, and expansion of, Stanislavskis original Russian teaching.The book includes chapters on Awareness, Purposes, Events, Actions, Imagination, Free Body, Tempo-Rhythm, and Laws of Thinking, culminating in the Ten Steps to Creating a Character. In addition to providing practical exercises to develop skill and definitions to clarify difficult terminology, it is a simple and original step-by-step guide to creating a character and to developing an actors ability. In examining life and its recreation on stage, “The Science of Acting” is a study of human behavior and its application to acting which no actor or student of acting should be without.|
|A Dream of Passion by Lee Strasberg is a necessary read for any actor, teacher, director. It’s fascinating to read about his journey. Some of the stereotypes of his method are crushed in this book. Even if you don’t agree with his ideas or techniques it is an extremely interesting read on the evolution of theater in this country.|