Please Care What Others Think
In 2016
I was about to open a play at the Sydney Opera House
I was playing one of my favourite characters (Valentine Coverly)
In one of my favourite plays (Arcadia)
By one of my favourite writers (Stoppard)
I hadn’t been on stage in almost eighteen months
And I was scared
The last experience I had in that theatre had been a painful one
And I didn’t quite know how I was going to handle being in front of an audience again
After working with an incredible coach
I had experienced one of the most enjoyable rehearsal periods of my life
I was playing freely in the room
And was finally feeling like I was giving work I wanted to
But the time came for previews
(That first taste of giving the work to the public)
Yup
Same old stuff
The same self doubt
The same negative self talk
The same beating the shit out of myself
It all came out of the wood work once more
I remember clenching the handlebars and swearing the entire ride home on my motorbike
Just when I thought I was turning pro
Just when I thought I could give work I was actually proud of
Just when I thought I was finally free from caring about what others think
Nope
Felt like quick sand was sucking me down again
And I spent the whole show standing on stage like a deer in the headlights
I remember thinking
“It’s like my doubts and fears took steroids as soon as I stood in front of the audience”
I was beating the crap out of myself
Why?
Because I believed it was bad to care what others thought about me
I’m gonna say that again
I believed it was bad for me to care what others thought about me
But let’s look at this from an evolutionary perspective
All of my biology is designed to help keep me alive
And in order to keep me alive
It has to keep me caring about what the group thinks
Why?
Well, who dies first?
The group who can work together to fend off predators?
Or the person rejected by the group standing alone against the bear?
We need the group
My body needs the group in order to survive
It needs to be surrounded by people I care about and who care about me
More people means more resources, more productivity, more security
Group equals life
Alone equals death
So damn sure my biology is going to do everything possible
To keep me caring about what others are thinking
That sounds pretty reasonable
If I care what others think, there’s a better chance I’m going to have a longer life
And therefore, be able to help the species survive another day
What’s my point?
I could not think of a bigger waste of time & energy
Than trying to not care about what others think
Our bodies are literally designed to do it
It’s what helped us get here
So please don’t disrespect the last two hundred thousand years of evolution
It is more than okay to care what others think
In fact
Its bloody wonderful to care what others think!
It says you’re a human!
And we need more human actors
Not more cool cats who hide their humanity by trying to pretend they don’t care
But… What about the solution you ask?
How does one allow themselves to care what others think but still move forward?
By being clear and honest about what is worth caring about most
Awareness equals choice
If you’re aware of what’s truly worth caring about
Then the next time you become paralysed by caring what others think
You’ll be able to choose where to place your attention
You’ll be able to bring your focus back to what is clearly and honestly most important to you
Like…
The work
Contributing meaningful work
Sharing meaningful stories
To the group
So the group can all care about something together
And thus survive another day on this Earth
Aren’t humans great?
Hope this helps
X
Finding Your Own Way
Who broke the world of acting?
Who really changed the game?
Advanced the craft by leaps and bounds within a lifetime?
Who did something no one else was even dreaming of?
Who’s shoulders are we standing on?
And why would the hell would I care?
Mmm
(For the love of god, this is not a boring history lesson - Just trust me with this one)
I grew up loving artists like Philip Seymour Hoffman & Daniel Day-Lewis
Those actor’s grew up watching Streep, De Niro, Pacino & Cazale
They in turn were inspired by the magic of Brando, Monroe & Dean (the first man to actually cry on screen)
And those incredible artists were trained durig the great shift in American acting
Stella Adler and Lee Strasburg were beginning their ground breaking teaching careers (as well as their famous rivalry) in NYC
And of course, Adler & Strasberg (and many other great teachers) were influenced by the godfather
Russian director, Konstantin Stanislavsky.
In drama schools across the world
Stanislavsky’s “system” is still used as the basic building block of acting today
(For now, I won’t get into Stanislavsky’s drastic & crucial reversal of his opinions on acting in his later years which everyone seems to conveniently forget about)
So
There we have it
We have a bunch of teachers who changed the game.
But…
Who were they influenced by?
In 1873
During a time of bombastic shmacting
Where physical poses and facial gestures were the extent of the craft
A fourteen year old Italian girl said “hold my beer”
Eleonora Duse
Began doing something no one had ever considered
She dug beneath the lines of her character to portray what she called “the invisible side of life” (ref. Sheehy).
She gave herself permission to feel things on stage
She even famously blushed
Like, actually blushed in a scene - which audiences went freaking bananas at - as this was unheard of.
Now, to do something different during this day and age
Of course
Brought its challenges
And to quote the film Moneyball
“The first person through the wall always gets bloody”
And damn sure Duse got her fair share of trolls
An actor-manager, infuriated by her refusal to take line readings, shouted
“What makes you think you’re an artist?”
On top of this
She never wore makeup and failed to strike the expected poses
One reviewer simply wrote
“She doesn’t look beautiful, but she does look real”
Anyway
You get the point
This actress changed the game
Strasberg even went so far as telling his students at the prestigious NYC Actors Studio
“The theatre will require the next hundred years to deal with what Duse represented,”
And Stanislavsky’s famous “system” was, in fact, inspired by Duse’s artistry.
Now…
Why does this all matter?
When I had just finished drama school
I was desperately wanting someone to tell me what to do
To tell me how to act
How to dress
How to behave
Just tell me what to do so I could have the career I dreamed of
Then
Someone handed me a book called “Duse’s Blush”
And one single quote from that book smacked me across the face
“There can be no generalisations as far as the art of acting is concerned.
There can be no overall “method”.
Above all, no short cuts.
Each actor must find his own way for himself.”
Hold up
The godmother of modern day acting
The giant whose shoulders we all stand on
Is telling me I have to find my own way for myself!?
This was the moment I realised
Nobody was coming to save me
No-one was going to tell me exactly what to do
I had to go the long way
The slow way
The honest way
I had to start on my own path
I had to build my own way
In a way which works for me
It’s why I started going back to class
It’s why I started reaching out to great coaches for guidance
Great coaches who didn’t tell me what to do, but instead, helped me figure it out for myself
And it’s why I started The Actor’s Blueprint
To help actor’s build it their own unique way
Why the word “blueprint”?
I believe each individual artist has an inherent guidance system
A set of unique values, boundaries and curiosities
Which, when listened to and led by
Allows for the building of a craft and career which works for them, and only them
A blueprint for their unique way of contributing great work to this great craft
So
Thank you
To Eleonora Duse
The woman who broke acting
For encouraging us to go our own way
And to go first
Hope this helps
x
California Dreams
I spent a fair amount of time in LA before the spicy cough arrived
Nine trips over ten years to be exact
Anywhere from three months to ten days at a time
(For some reason they kept getting shorter & shorter - funny that)
But when I think about all of my time spent in California
There is one night which stands out in particular
It involves the most famous actress in the western world
Here we go…
Once upon time
It was 2013
And I had recently been selected as runner-up for the Heath Ledger Scholarship
I was living the LA life
Renting an apartment under the Hollywood sign (Beachwood Canyon represent)
My manager had two clients (John Travolta & myself)
Canyon runs in the mornings
Many hours driving bumper to bumper every day
Constantly prepping for auditions and meetings
Yoga and green smoothies in Los Feliz
Horse riding or surfing in Malibu or San Diego on the weekends
And of course
Partying long into the night
Rinse and repeat
Yeah
Living them sweet Cali dreams
Something which was just part of the routine at that time
Was the Australian actor Saturday night parties
Same people
Same places
Same naughtiness
Every
Single
Week
This one Saturday night
It was theme night
Everyone was to wear white
(Probably something about us being pure in the city of sin)
I remember standing in a white jacket
On the rooftop of a very old famous hotel
Looking up at the big Hollywood sign
Everyone arm in arm
And clicking glasses of champagne
With the usual shouting of
“Wooo!”
“We’re in LA!”
And “We’ve made it!”
A pretty standard Saturday night for this group of Aussies in LA
But something was off about tonight
I had been there for about two months at this point
And it felt strange to be, once again, making the same celebratory noises at a glowing sign
Maybe I was tired
Maybe I was just having an off day
But something interrupted the pattern
And I remember thinking
“Hang on - what are we actually celebrating?”
I was suddenly distracted by my friend who shouted across the rooftop
“Sheasby! Come meet my friend!”
An actress had just walked in
I had heard rumours of this actress
She had just finished filming with Scorsese and DiCaprio
And was well on her way to becoming the the next big thing
For privacy sake let’s call her Margaret Bobbie
Margaret walked in
Was courteous and kind
And left after about 5 minutes
Huh
Yep
She walked in
Said hello
Took a look around
Then left
Now, there is absolutely the probability I’m simply projecting here
But for me that was a little yellow light
The dissonance in my body was pounding
Time to slow down
What was going on?
Why is someone who’s doing great work with great people and getting weekly coaching on her craft
Not interested in hanging with a bunch of actors who spend more time doing substances on the weekend than working on their script for their next audition?
I remember walking to a quiet corner and looking at that grey LA night sky which hardly ever has any stars due to the light pollution
I remember turning around
And I remember seeing everyone smiling and holding their glasses up hollering into the air
And it was the first time on that trip
Where I saw the room differently
Yes, I saw a bunch of actors
But…
Not a single actor was working
Not a single actor was going to class
They enjoyed the lifestyle of being an actor, yes
But I didn’t see the joy of the actual work
I felt really strange
I think, deep down, I knew
There was some teeny tiny part of me that was quite possibly being reflected in who I was surrounding myself with
Kind of like a strange, real life mirror
And sometimes
I don’t always like what I see in the mirror
I remember playing back my time spent in the city up to that point
Mmm
Maybe there was a reason I hadn’t actually landed a single roll yet
I sat down in a beach chair which was conveniently next to me
It had taken two months but I was finally reflecting on what the hell I was doing in LA
Why was I there?
What was I wanting out of the experience?
What did I want to do with the time I had left there?
My thoughts were interrupted
This time a different actor
Alicia
Came and sat down next to me
She asked how I was going
I explained I was feeling pretty strange
About what I had just seen
She responded
“Mike
What the hell
I just saw the same thing”
And a huge sense of relief washed over me
“You saw that too!”
I explained
“Yeah - I feel really weird about it”
Alicia and I sat on those beach chairs
On a roof top
In LA
And discussed what we wanted
We wanted to go to work
We wanted to work with great people
On great material
And contribute the best work we could
To be clear
We were very happy to have a celebration
But there were things higher on the values ladder that we realised were not being taken care of
The conversation ended with Alicia saying
“I think I’m going to go home”
I remember smiling and saying
“Me too”
And with that
Alicia stood up, went home and went to work on an audition she was preparing that week
Which catapulted her into the lead role of a massively successful AMC show which lasted many years
(I actually saw her yesterday plastered on the side of a bus in Sydney for a new show coming out soon - Go Leesh!!!)
As for me
That night in LA
All dressed up in white
I put down the cheap champagne
I walked up to my friend who was in the bathroom
He said “you’re up”
I placed my hands on his shoulders
Told him I loved him
And that it was time for me to go home
I will never forget the look in his eyes
It was like he knew exactly what I actually meant
“I get it”
He responded
We didn't say anything else
We hugged
I walked home
And we never spoke again
That night
I had a long walk in the streets of LA
Listening to the eerie calls of coyotes hunting down their next vulnerable meal
I went back to my couch
Pulled out a Shakespeare audition I had for an upcoming show at the Sydney Opera House
Henry V
And I went back to work
What’s my point?
Sometimes
All I need to do to understand what I’m valuing most
Is to look at my actions
What am I spending my time and energy actually doing?
Drinking champagne in Sin Cty?
Or finding joy in the slow process of contributing meaningful work?
No good, bad, right or wrong
But there is choice
I do have a choice
Hope this helps
X
Advice on Handling the Industry
Imagine
You are standing on a beach
And alongside you is a bunch of other actors
You’re all facing the water (the industry)
And you’re all holding your surfboards (your skillsets)
Some of you have long boards
Some of you have short boards
Some of you have pro boards
Some of you have something resembling a plank of wood
In front of you is the ever changing swell
Sometimes it looks easy
Other days it looks impossible
But on this day
(It might be the first day after graduating from drama school
Or maybe the day you finally get an agent)
The decision is made to give it a crack
So you grab your board
And dive in
You begin paddling out
Bit wobbly
But at least you’re in it
You’re in the industry!
You look up
To see a big wave (audition) bearing down on you
You breathe
You focus
And you get smashed
That first rejection feels like nature just dumped on you
You come back to the surface
You feel like a drowned rat
You think about turning around and going back to shore
You breathe
You decide to keep going
You realise you have to learn to duck dive
You have to learn to manage rejection
Each rejection begins to feel slightly more manageable
You notice your peers around you
Some of them got smashed by one or two waves and decided to return to shore
You keep going
Until
You make it passed the break
Things are easier out their
In the wide open air
You simply sit on your board and wait for a wave (a job)
You see one
You scramble for it
Desperately
Your first wave!
You paddle
You put in all your effort
You try force it to work
“This is my wave!” You shout
And…
You face plant
You realise trying to force things to work in your favour doesn’t quite work in the real world
You realise not all waves are meant for you
So you keep floating out there
You begin to build patience
Because realise the importance of being able to wait well in an uncertain industry
Sometimes you sit and watch your colleagues pop up with glee as they ride a wave passed you
You shout out to them as they flow by
“YEEEEWWW!”
They look at you and see that you’re genuinely thrilled for them
They smile back
They will remember this
You’ve been in the surf for a while now
You notice all your peers are not all in the same place at the same time
Some are sitting on the beach after getting smashed by one too many waves and are just needing some rest
Others are paddling out continuing to try make it passed the rejections
Some are sitting next to you waiting for their wave to come
Others are panting furiously as they try to control every wave and make it the one for them
Some are simply bobbing around whilst lying on their board soaking in the sun and smiling
Others are riding the barrel of a life time
Some have given up and gone home
And that’s okay
You breathe easy
You’re in the arena
You’re doing it
Then
You look up
An opportunity is coming
There is something about this one
It feels right
Feels like home
You take a breath
You slow down
You calmly get yourself in permission
You remember what your mentors told you
You remember to focus on what you can control
And you go for it
You paddle
You try
It’s a bit wobbly at first but this time you notice the wobbles and bringing it back to doing it your way
You don’t try surf the way you think you should
You do it the way you really want to
You’re just at the point of no return
And despite your fears
You commit
You pop up
You can’t believe it
You’re up!
You got the gig!
You’re doing it
You’re doing the thing you’ve thought about, trained for, practiced over an over again
It’s exhilarating
You notice yourself overthinking
Thats fine
Its your first gig!
Then there are moments where the mind goes quiet and you simply are where you are
It feels beautiful
You’re in flow
You surrender to wherever the gig takes you
You ride the wave the whole way back to shore
You notice the experience is coming to an end
You lean back
And just flop into the water
You just had that first ride in the industry!
You feel proud
You feel grateful
You breathe easier
Then
After a few moments to get your bearings again
And when everything has gone quiet
You ask yourself
“What now?”
You look up
You turn around
And you realise
You have to do the entire thing all over again
You have to paddle out and get smashed by those rejections
All. Over. Again.
This plays with your mind
To enjoy another wave
You have to go through the struggle
The discomfort
The pain
Again
And after doing all that work
And getting another gig
This cycle will keep repeating itself
You zoom out
You begin to understand what this career path entails
Doubt creeps in
Is it worth it?
Is it worth getting rejected five, ten, fifty times just so you can enjoy another wave?
You look around
It’s been a while out their in the industry
You notice there are less of your peers out there
Is this what you want to be doing?
You think about how sustainable this life is
Things are getting complicated
Your mind fills with noise
Ugh
The requirements
You have to take care of things in order to keep doing this
You have to take care of your health so you can keep paddling
You have to take care of your wealth so you can afford necessities
You have to take care of your skills so you can keep riding those bigger waves which are sitting just outside your comfort zone
You have to take care of the people you love so you can enjoy the water with them
You have to take care of your vehicle so you can simply keep driving to the beach
The level of work required just to ride a bloody wave!
Noise noise noise
STOP
You tell your mind
You’ve had enough of the overwhelming thoughts
You breathe
You know
Something is worth it
Your body knows
It knows the feeling of play
The feeling of contributing generously when you step into that place of flow
You know what home feels like for you
So you accept
You decide to keep going
You surrender to all that you can’t control
And thus
The rhythm begins to build
Your duck-diving has improved
So you’re handling the rejections better than when you first entered the industry
They still hurt - But you now have ways to make it through
You make it passed the break
You enjoy waiting patiently out there
You trust that next wave is coming with your name on it
You ride it your way
Then
You turn around
You start again
You’re just in it now
You’re in the arena
This is your normal now
You’re home.
Occasionally
You see the new little grommets line up on the beach with their boards looking excitedly (or trepidatiously) at the water
You tell them to just start paddling out
That they will learn more by getting uncomfortable than they ever could by sitting on the beach & overthinking things
You know how important it is for them to start understanding the tides, rhythms and swells of the industry
As well as how important it is to just get smashed by those first few waves
Because you know how capable they are.
Every once and a while
You see a new actor on the beach
Get approached by some folks on a jet ski
“Don’t worry about getting smashed by those waves!
We’ll take you the easy way around all those rejections
We’ll get you some barrels without having to feel uncomfortable in the water”
You see the actors’ eyes light up at the suggestion of a short cut
You see them hop on and get a ride straight passed the difficult break
You watch them get towed onto that barrel of a life time without even having to paddle
You see the sheer delight in their face
A part of you feels strange
Like you’re watching someone have everything handed to them
A feeling of jealousy pops up
“Why can’t I get my free ride passed the break?
Why can’t I just get the barrel of a life time?
Why can’t I be given a wave that gets me on the cover of every magazine in the world”?
You feel bitter
Resentful
You know that resentment is like drinking poison and waiting for the other person to die
But you just can’t to stop the darkness
“What’s going on - this isn’t me!?”
You realise what being in the industry is doing to your mind
“I hate this!”
You scream
You feel defeated
You feel like you’re being told to paddle in
You sit down on the sand
You can’t fight it anymore
So you just give up
Your body breathes
Heaves
You give it permission to just feel what its feeling
Release what it wants to release
It feels surprisingly good
After a while you feel open
Like you’ve let something go
Like you’ve surrendered
You accepted where you actually are
Hunched over on the ground
You look up
You notice something
That grommet
Who got the free ride
They are standing at the waters edge
They’re struggling now
They haven’t had to do this before
They haven’t had to struggle through the chaos in order to catch a wave
After getting the most amazing opportunity
They have still found themselves in the same place as everyone else
Something clicks
You realise
No artist avoids the cycles of nature
No matter what happens
At some point
Every actor has to face the struggle of rejections
Every actor has to deal with the chaos of the industry
But every actor is simply moving through the cycles of the industry at different times
This makes you stop
You begin to think about what’s truly most important
What are the things that are actually worth caring about?
Actually worth giving your attention to?
Things like
Finding joy in the effort
Working on growing your skills
Being out there with people you love
And simply giving yourself permission to enjoy riding the wave itself when one comes along with your name on it
And sometimes, knowing when to put the board down and go get an ice cream
Hope this helps
X
Big Bad Agents
People say they want an agent
But often
Their desire for an agent is overpowered by the fear of rejection
And why the hell wouldn’t it be?
We are social creatures
To get rejected by an agent might feel like the tribe saying
“We don’t think you’re capable enough
You’re unwanted”
Ouch
So lets just get this out of the way right now
And acknowledge how terrifying trying to get an agent can be
And then let’s get clear about how we can get one that we love
Story time
When I was at drama school (2008-2010)
There was one day which was feared above all others
It was the day where you received “the list”
After three years of intense training
You would go back into NIDA one week after graduating
Line up outside a small room
And enter alone
In this room there would be a member of staff sitting behind a desk
With a piece of paper
They would slide the piece of paper across the table
And on the piece of paper
Were contact details of the agencies who were interested in representing you
…The list
It was then your job to organise the meetings and hopefully find a match
Yep
Three years of technical training at Australia’s most prestigious institute for performing artists
Boiled down to a day where people became associated with a number
There might be zero names on your list
There might be twenty names on your list
And no matter how enlightened you were
Regardless of how much you pretended not to care about external results
The question on everyones mind was
How wanted were you?
“I got 9”
“Lilly got 3”
“Dave got 14!”
Now
I had some friends in the years above who I thought were really cool
And I wanted to be cool like them
They told me that if I didn’t get offers from two particular agencies
Who were the big boys back in my day
Then I was basically screwed
These were the same cool cats that said “six packs will get you more work then voice work ever will”
So when I entered my third year
I created what I thought was a plan
(Really it was just focussing on a result without any actionable steps)
I wrote the names of those two agencies on pieces of papers which I stuck on my wall, above my bed, in front of the toilet
Everywhere
I thought if I kept focussing on the result of getting offers from those two agencies
Then their names would magically be there on the list at the end of the year
To my absolute horror
When the list was handed to me
Those two names were nowhere to be found
I kept trying to figure out where the spelling mistakes were
“They obviously must be here somewhere!?”
My heart began pounding
This couldn’t be
Three years of work
Down the drain
All for nothing
What’s worse was that I had seven friends who all signed with those two big agencies within a short time frame
The comparing sapped any last joy I had
“I will never work now
I will never get the opportunities
I will never be a professional actor”
Yeah
I really believed that in order to work
I had to get an offer from specifically those two agencies
A pretty strong belief system I was holding tightly on to
A story I was rigidly telling myself
(And obviously ignoring the fact that a huge number of amazing working actors are represented by other agencies in this country)
A few days passed
I eventually got out from underneath my bed
And despite feeling like I was screwed
I started to reach out to the people on my list
The meetings commenced
Meetings to find a match
Oh boy
I can remember one where I was sitting at a glass table
And a well groomed man with perfect eye brows asked me
“Are you a star?
We only take stars!”
And me faking the most lack lustre confidence in return
“Uh... Yeah… I’m a star!”
Ew
I felt a tremendous urge to push
To step into someone else’s skin
Someone who was super confident
Charming
Cool
When really I felt the opposite
I felt scared
Confused
I felt unwanted
Yes, I was getting opportunities to have meetings with agencies
But they weren’t with the two big shots
So the confused, young and inexperienced graduate version of me was feeling mighty woeful
But there was one name on the list I wasn’t looking at seriously
Why?
Because they didn’t have an office address where all the others did
And I thought
“If they aren’t in Redfern or Darlinghurst, how can they be a serious agent?”
But I was running out of options
So I got in my car
And drove to a suburb far away from the city
Located in a beautiful ocean bay
I walked up a long driveway
Entered a house
Sat down on a couch
And was greeted by two little dogs who came and played with my shoes
And for the next 90 minutes
I drank a cup of tea
Overlooking a calm and tranquil rainforest
And had an honest chat with an extremely kind woman
She did more listening than talking
And asked questions which genuinely got me curious
It didn’t feel like an agent meeting at all
It didn’t look like the ones I had seen on TV
There were no power games or pretending
My body wasted no energy trying to show or push
Just… an honest conversation
Eventually we had a hug and said our goodbye’s
And I remember thinking as I left
“Surely that can’t be a legit agent”
“That felt too… easy”
I spent two days thinking about my decision
Do what I should do & go with suits and fancy glass tables?
Or go with my body & hang out with people I like?
Thirteen years later
Yesterday, in fact
That remarkable woman
Who is still my agent today
Swung by my house to drop off gifts for my newborn daughter (who now shares the same birthday as her)
I actually can’t go into describing my agent without my eyes getting glassy
It has been one of the most significant relationships in my life
We have spoken at least every week for thirteen years straight
This in an industry where the vast majority of actors I know feel uncomfortable about calling their representation for a simple chat
She has been there to console me during my biggest losses
And by my side to celebrate the highs
She has consistently reminded me to bring it back to an enjoyable process
Especially when my mind has raced ahead and started to push for results
Or when I get scared & start comparing myself to others
She does things her way
And she supports & encourages her artists to do it theirs
Side note
The seven friends I knew who went with those two big shot agencies at the time?
Every. Single. One.
Has left them for other agencies due to unsatisfactory professional relationships.
At the end of the day
They thought it was more valuable to have someone they could speak with honestly and openly
The fancy bells and whistles just ain’t sustainable
And people eventually get tired of having to put on a “winning smile” all the time
Back to my agent…
It’s a fairytale story, right?
Hold your horses
18 months after signing with my Australian agent
I was the runner-up in the Heath Ledger Scholarship
Which got me free tickets to go get set up in LA
Ooo
The shoulds began again
“I HAVE to get one of the big 5 agents in the USA
Otherwise I will never work!”
Now
If I thought I had some interesting meeting experiences in Australia
America said “hold my beer”…
“There’s no one like you Sheasby!”
“Nobody could pull off double denim like you bro!”
“There’s some great strip clubs in your area, we should hit them up brother!”
The glass tables were longer
Instead of two or three people sitting opposite me
There were now eleven
The pushing to impress was on steroids
And I swallowed it hook, line and sinker
I laughed at the jokes that weren’t funny
I smiled like I had seen guys smile in toothpaste adverts rather than smiling like myself
And I nodded my head at whatever was presented in front of me
All despite my gut screaming
“This doesn’t feel good!”
There was one lady though
Whom my Australian agent insisted I meet
Let’s call her Jenny
She repped actors I really admired including Viggo & Malkovich
Jenny said she had full books but was open to having a chat
What could I lose?
So after 10 days of exhausting schmoozing in LA
I walked into her office and flopped on her couch
She straight away took her shoes off
And flopped on the other couch across the room
We both gave up
And
Like my Australian agent
She listened more than spoke
Asked wonderfully curious questions
And gave me the space to explore my answers
In fact, within half an hour I had tears rolling down my cheeks whilst discussing a personal relationship that was giving me grief at the time
Point being
Just some easy, honest chats
No facades
No games
No bells & whistles
That night
As I strolled along the path to a fancy dinner
Where the chandelier was worth more than the house I grew up in
My phone rang
“Jenny would love to represent you”
Oh!
I was really surprised
But I knew I was about to have a meeting with possibly the coolest agent in LA
Who repped even cooler actors
So I said “Let me call you back tomorrow”
That evening
I was wined and dined like never before
Told crazy stories about partying with some of the biggest actors in Hollywood
Promised the keys to the city
And was given a lift home in a sports car
God
I felt cool
It felt like such a lie
I knew where the real value in this industry was - What someone contributes in between action and cut
But still
I felt cool.
When I got back to Australia and sat down with my wonderful agent
She listened to me describe all the meetings and people
And in her extraordinary and wise way she said
“Pretty clear to me who you would work best with, Mike
I think you have to go with your gut on this”
I knew it too
But this time
I didn’t listen
I chose cool
And it is still to this day, one of the only things I regret in my 20 years of acting
I have never in my life regretted going with my gut
But I have absolutely regretted not listening to my body
The funny thing is
I believe that in the long run
Truth will always find a way to reveal itself
No matter how much I have tried to should my way into be cool, charming, confident, etc
At some point
I end up tripping on the red carpet and laughing like a kid
Saying an awkward joke which no-one but me understands
Or having my insecurities or nerves shine through brightly
And what I have found
Is when I give myself permission to stumble, cry, feel what I feeling
That’s when I find people I match with really well
If I could boil networking down to one principle?
Hang out with people you like
People who you resonate with
So
How to get an agent…
Time to slow down and be kind :)
(Also time to get a pen and pad)
One
How do you want the relationship to feel (kind, honest, collaborative, professional, etc)
Two
Find artists in the industry you resonate with & look at who represents them
Three
Create a short, honest list of agents you wish to share a cup of tea with (2-3 great options)
Four
Have everything ready to go (Honest & concise cover letter, 2/3 bits of footage you’re actually proud of, headshot, etc)
Five
Find a genuine approach in line with your values - This is a big one
To do the same thing as everyone else and expect a unique result…
Might be a little delusional
So the last thing I would do is send a cold email to an address designed for spam
Agents have firewalls set up to prevent the onslaught of “can you rep me?”
Someone’s nephew is sitting at a desk right now copying and pasting the same response to those 20 emails per day without actually looking at them
“Thank you, but our books are full”
So find a way which works for you
Do you know someone you resonate with who has an agent they resonate with who can give you a number to call for a cuppa?
Or is it time to pull up your socks and go do the terrifying but courageous act of walking up to people and introducing yourself in public?
Is it time to write a handwritten note and attach it to flowers or a pizza?
Would you prefer to knit a scarf and send it in a box with a headshot that says “I promise I can act better than I knit”?
Permission to do things your way!
My 2 week old daughter just pooped on my shirt as I type this in bed
So time for me to go
But one last thing
If you put all your focus and energy into improving your skills
Skills which allow you to give incredibly generous work in between “action” and “cut”
Everything will take care of itself
Eventually
Your tapes will find their way to the surface
Your auditions will make their way through the fire walls
Your behaviour on set will be spoken about behind closed doors
And those agents will chase you
Because they see you are are focussed on what’s most important
Contributing good work
So
Always
Bring it back to the work
The craft of acting
Just get so good they can’t ignore you
(But still hang out with people you like)
Hope this helps
X
Fish Skeletons
Let’s pretend
I am a teacher
And you are a student
In a class full of artists
I’m going to hand each one of you
A piece of paper
Not just any piece of paper
A piece of paper with a skeleton of a fish on it
Great
So everyone has a skeleton of a fish
Next
I dump hundreds of crayons & coloured pencils in the middle of the room
Every colour you could possibly imagine
And I ask you to colour in that fish
Anyway you like
Have a blast
Do whatever you want!
Twenty minutes later
We have a show-and-tell
Little Billy has made a blue fish with spiky fins and big red eyes
Jumping Jack has created a happy looking rainbow fish with huge goofy teeth
Winnie has drawn a very calm looking purple fish which almost looks eerie
Levi has made a fish with all kinds of spindly looking extensions
Scarlett’s fish is upside down and signing a song
Mackenzie’s fish is striped like a zebra
The list goes on
So
Everyone got the same skeleton
The same structure
But everyone had the freedom to flesh it out in their own way
And what we got was a bunch of unique fish
One-of-a-kind
But they were all still fish
Mmm
Acting
Everyone is given the same structure
But everyone is given the freedom to flesh it out in their own way
Structure equals freedom
Am I adhering to the structure that this project requires?
Or am I just doing something which doesn’t actually serve the story?
And
Am I able to flesh it out in my own way?
Or am I just creating the fish I think I should in order to please everyone else?
It’s a hell of balancing act
And one which will keep us busy right up until the end
Serve the structure
Flesh it out in your own way
Hope this helps
X
Punching Walls
Many years ago
I was cast as a main role in a TV show
I was elated
Rolling onto my third job in a row
Which meant I was finally feeling like a professional working actor
Flying around the world
Jobs overlapping
Wonderful writing
Intense characters
Cool accomodation
I just felt like I was in the arena
I felt like I was home
Details about the next job started to come in
Days required
Costume & hair
Top secret scripts sent to my house
The fun stuff
The cast was magnificent
We even had a big international actor coming in from overseas
Who I quickly realised, most of my scenes in the show were going to be filmed with
I felt giddy
But immediately began to feel a creeping sense of pressure
I felt it necessary to make an effort early on
We were going to have a lot of big and uncomfortable scenes together
So I thought it paramount to build a strong sense of trust from the get go
We had a superb first day
We checked in before stepping into a very difficult scene
And then found a wonderful sense of flow during a big conversation in front of the lens
We ended the day with a hug
We expressed a healthy dose of gratitude and excitement at the work to come
And then went on our ways
They were going to step into a heavy two weeks of solo scenes
And I was heading to NZ to shoot another series
The sun settled with a sense harmony
When I returned to Australia a few weeks later
We jumped right into a solid 5 weeks straight of filming
Having a lot of time off during a job is sometimes a tricky thing
Like with any group of people over time
Routines, rituals and connections tend to grow and find their own rhythm
And stepping into that can feel a bit confusing and clumsy sometimes
Like trying to figure out where you fit in the pack
It became immediately apparent
This international actor had a way they liked to do things
And that this way had been allowed to normalise on set
Alright
Fair enough
They are the protagonist after all
And there was certainly a larger weight on their shoulders than there was on mine
And despite my body feeling a sense of dissonance
I remained stoic and told myself
“I can work with anyone”
And then…
Time started to play its part
Like a little drop of water on the forehead
Over and over again
The repetitiveness started to worm itself into my temper
Not only mine
Many of the creatives were struggling
At one point I remember even the director stating to this actor
“Well whatever you want to do with this scene let’s just do that,
Because we are going to have to reshoot it any way if you don’t like it”
Ouch
Things were getting tough of set
If I could boil it down to one feeling
Control
People were feeling controlled
By one individual
Like they had to do things in a particular way otherwise that one person would take issue
Producers were getting their daily emails each night from this individual
Actors were being told what choices to make
Directors were being told how to direct scenes
Tensions were rising
And I swallowed it all
I grit my teeth
I smiled politely
And a deep frustration started to boil under my skin
Basic one-oh-ones were not being respected
If there was one thing thing I had not experienced on set up to that point
It was one actor telling another how to do their job
I found this really hard to manage
I felt confused
Lost
Angry
If I’m not telling others how to do their job
Why am I being told how to do mine?
Quiet, Mike
Smile
Now…
If all the notes had actually improved everyones work then maybe my thoughts would have been different
Maybe I would have felt like there was a genius on set who was drastically improving the show
But at this point I had over a decade of experience
I had been on set with several Oscar winners
And I felt like I had somewhat of an idea of things
So to me
When I heard the constant controlling notes each day
None of them really made sense
Truth be told
I didn’t think the calibre of their skill set warranted telling other actors, producers and directors what they should do
But there I was
Trying to manage giving my own work
But feeling like I should please the other actor I was working with
Quiet, Mike
Smile
Enter a helpful quote…
“Resentment is like drinking poison and waiting for the other person to die”
I kept drinking the poison
To the point where it was painful to go to set
Quiet, Mike
Smile
Smile
Then one day
(Which happened to be the second last day of filming)
I just had enough
Ironically
We were shooting a fiery scene
Where my character was having enough of this other actors character
The notes began reigning in
“I think you should do it like this”
“I don’t think your character would do that”
Yikes
One too many times of feeling like I was being controlled
Feeling like I was suffocating
Feeling like I was compromising my work in order to avoid conflict
I felt hot
Dark
I looked at the director and asked
“Could we please have another rehearsal?”
They said
“Of course. And action”
I waited
I waited for my moment
And then I put my fist through a wall
Please take note - this was a location shoot
Not a pre-made set
So I just punched a hole in someone else’s wall in their kitchen
Yep
Everything went quiet
The actor fumbled their lines
They seemed rattled
But we made it through the scene
And then after…
I immediately brought my hand to my chin and said
“Mmm, I’m not sure that works”
The director agreed
“Yes that might be a bit too much, but I loved the offer,
Let’s go take care of hair & make up and come back in to shoot”
The other actor was quiet
For the first time in weeks
They had nothing to say
I walked out
One of the crew looked at me with a big smile and whispered
“you’re so explosive, I love watching your work”
I gently thanked him
But I felt heavy
Very heavy
I knew the truth
There is zero excuse for 3 things on set
Hurting people
Damaging property
And wasting time
None
Absolutely none
And I violated that
I damaged the set
And I hid it under the guise of artistic exploration
But I knew deep down what really happened
The problem is almost never the problem
If you trace the problem back
You can usually find the small turning point
Add time
And that small bit of dissonance grows into a monster
Where was the turning point for me?
Several weeks before
My body knew something wasn’t okay for me
That was my opportunity
To let my body lead
Take a breath
And say
“Hey… I’m just struggling a bit”
But I chose to swallow it
To please
To avoid small conflict
And thus, let it grow into an unhealthy monster
It was an interesting last two days on set
I reached out to my coach who guided me through the moment kindly & slowly
But to this day I still feel remorseful about
Something very important did come from that day
I had a realisation…
Like any professional environment
I don’t have to be liked by everyone at work
It’s okay
I can rock up to set
Try give good work
Honestly & respectfully
And go home to my family and friends
What's my point...
Permission to let things be professional
Especially if that means saying
“Hey, I’m struggling a bit”
Early
And vulnerably
Hope this helps
X
Moment Before
Guiding the new crop of NIDA grads over the last two months has been… glorious
I have watched them develop & gain more screen craft specifically in the last three weeks
Than my NIDA year group did over their full three years (back in 2010)
The secret?
They have been practicing being on set
Without actually being on set
Replicating the on-set processes
And taking the time to slow down, make mistakes and debrief afterwards
They have been thrown in the deep end
And have quickly realised that what is most valuable in a self tape format
Doesn’t necessarily translate to what’s most valued on set
I have adored watching their growth
One of my favourite moments
Has been our weekly Monday debriefs
We sit down
We analyse the footage
We identify the strengths (what’s working well)
And we identify the most important areas for improvement.
At the end of one class
A student asked me
“What are you seeing that’s working well for us?”
My answer?
“Three key things
One
When I see you focussing on breathing as yourselves, I see better work
Two
When I see you using the questions in the text to simply ask the person standing in front of you that question, I see better work
And three
When I see you taking responsibility for the moment before, I absolutely am seeing better work
Let’s discuss
Breath
You are the most valuable currency you have in this industry
Not who you think or feel you should be
And the key to getting good at giving yourself to the lens
Is to practice
Literally practice breathing in front of the lens
So much of generic acting training is about stretching young artists to their full light (love) or full darkness (fear)
Which results in plenty of pushed shouts and cries
And tension in the artist = tension in the audience
It’s icky
And more importantly
When you watch any performance that you love
Those extremes usually only make up a tiny fraction (lets call it 2-5%) of the protagonists journey
The majority of the work which is required in order to get to those scenes where you release those extremes
Is made up of simply breathing, listening and having honest conversations
So why is the majority of generic acting training focussed on the tiny 2-5% of screen craft?
Well
It’s damn more interesting to stand a kid up in class and make them cry in front of everyone than it is to practice breathing.
But my focus is to make actors actually get better, so they can give the most generous work they can when it counts most.
A pivotal moment in my own growth
Was when I realised I was trying to do incredibly complex things
And trying to achieve gigantic results
At a time when I couldn’t even breathe as myself in front of the lens under pressure
It took a lot of effort to flip the equation around
To understand that pros do less, better
Let’s clarify
As a professional working artist
You won’t get employed consistently to release those extremes of light and darkness
Until you are technically able to consistently breathe as yourself in front of the lens under pressure
So focus your training on getting great at what is actually most valuable
Breathing as you.
Next.
Questions.
Almost every scene you do will have a question in it as some point.
Some text with a question-mark after it
I can hear the great Kevin Jackson in my head right now
“THE WRITER IS GOD”
Over and over again
I see young artists treat question-marks as if they are full-stops, commas or ellipses.
They are not
They are question-marks
And they are their for a reason
It means one human being is standing in front of another
Asking them for some information
Which they don’t know the answer to
Information which carries repercussions
Information which can change their life
I know this is something very simple
But it’s almost like a cheat code in acting
A technical way of jumping back into the present
And a present actor is bloody delicious to watch
Simply ask the person standing in front of you that question
That one action will take care of the majority of the work required in that moment
So
When there is a question-mark
Ask the question.
Next.
Moment Before.
At some point
Hundreds of extras and crew will stop what they are doing
Everyone will look at you
And there will be silence
You will hear the words:
“Final checks”
The hair and costume department will scurry around you and start trying to make your hair and clothes look identical to the take before
When the checks are completed
The first AD will say:
“Quiet on set”
The camera and sound department will then confirm they are ready to go
“Camera’s rolling”
“Speed”
Someone with a clapping board will then go between you and the lens
And say a few words which will help the editor in several days, weeks or months time with the organisation of this take
And then
The director will say
“Action”
Yikes
What a time
The moment before you are to give your best work
Is FILLED with chaos
So much possibility for distraction, head noise, fear
This moment in time
In between “final checks” & “action”
Roughly speaking
This is usually between 10-60 seconds
This is your moment to focus
You have done all of that preparation
Spent hours working on this scene
Spent hours warmup up
Spent hours travelling to set
Spent hours In hair and makeup
Spent hours waiting in the trailer
It would be a shame
To do all of that work
To then throw it all away because of the chaos that comes just before your take
Everyone else is getting paid take ownership of their work
So take ownership of yours
In those 10-60 seconds
What do you need to do
To get where you need to get
So you can give what you need to give
So can contribute the work you want to to the tribe
Clarify the one or two most important things for you to do in that moment before
Clarify what you need to take care of in that time
So you can simply release your work on cue
Remember
It’s more valuable and sustainable for the camera to simply catch you living
Than it is for you to manufacture effort or boil up fake energy on the word “action”
Make it easy for yourself :)
The goal is not pushed/controlled effort
The goal is free flowing self expression
Hope this helps
X
Career Architecture
A systematic approach to building your career, your way…
One: Secret Sauce
Get clear about what is the most generous thing you can contribute to the audience, separating you from the rest.
Two: Harbour
Clarify what you honestly want to begin working towards.
Three: Choices
Get clear about the behaviour, sacrifices, actions, habits, rituals, hard conversations & decisions you will have to make in order to allow what you honestly want to come to you. Choose which are most important.
Four: Relationships
Agents, managers, coaches & colleagues. Who are the people you are building your career with? How do you create & take care of those connections so you end up with energising, fulfilling and sustainable relationships?
Five: Pressure
Confidence will come from developing physical skills under pressure. Create a process for finding comfort in the chaos.
Six: Waiting
Can you wait well in an uncertain industry? The majority of acting is waiting (for the next audition, job, scene, take, etc). Are you living the way you want regardless of external factors taking time?
Seven: Practice
Are you practicing in a way which allows you to actually get better at the skillset you need in order to move you forward? Clarify, plan, execute, debrief.
Eight: Opportunities
Are you getting access to the opportunities you actually want? What do you need to change in order to increase those opportunities?
Nine: Game Plan
You go the job. Great! Now what? Are you doing what you need to do, in order to get where you need to get, so you can give what you need to give? Prepare in a way which allows you to give your best, on command, from the first day to the last.
Ten: Game Day
Are you leaving work and placing your head on the pillow feeling filled, knowing you gave what you wanted to give? Create a clear & honest plan which allows you to give your all when it counts most.
Done.
Hope this helps
X
Rejection
I’m driving home
It’s evening
The sky is orange and quiet
I pass over the lagoon
The coots are snickering amongst themselves
It’s cold
I want to get in the water
Chase them like I did as a kid
My father once told me
If I pour salt on a Guineafowls’ tail
It will become immobilised
Then I can pick it up and pat it
Thus
Many family holidays were spent with a salt shaker in hand
Running after confused birds in the Drakensberg mountains of KwaZulu-Natal
KwaZulu
Zulu
Meaning “Sky / heaven”
I ran in heaven
With a salt shaker…
My phone rings
Breaking me out of one of my many day dreams
I see the caller
“Nixxx”
My agent
My heart flutters
I know what this is about
I take a breath
Press the button and say
“Hi Nixxxie”
(Her name has recently changed from “Nixxx” to “Nixxxie” since becoming a grandmother)
I hear her voice for the first time this week
“Hello”
Oh god
There it is
Her tone
I know
My body knows immediately
It hasn’t gone my way
I take another breath
Remind my body to give up any tension
Let go buddy
We begin talking about everything other than what is actually happening
The weather
How my fiancé’s bun in the oven is cooking
Do we have everything ready in the nursery
Etc
Then it comes
Nixie takes a breath
“Mike, I really thought it was going to be a yes on this one, I’m so sorry, it didn’t go your way”
“I know Nix, I know…”
I reply
She can hear my disappointment
It’s been a while since I really wanted an acting gig
She tries to cheer me up
“I cannot, for the life of me, find fault in your tape
The work is all there, the team loves you
There’s just obviously other factors”
I smile
I appreciate her warm tone and the care she is giving me in this moment
“Thanks Nix”
Then there is silence
We sit in it
She’s good at letting me take my time
I feel the urge to put on a happy tone
No
Give up buddy
“This one hurts Nixxxie”
She leans in with me
There’s no false happy pep talk
There’s no trying to pretend it doesn’t suck
We let it hurt
Ten minutes later
I say “thank you for listening”
We give our love
And say our goodbyes
And I keep driving
I go quiet
Breathe
Breathe
A year of great screen work just vanished in front of me
Breathe
I feel stupid
I let myself get excited about this one
Damnit!
I shouldn’t have done that!
The shoulds begin
What’s my partner going to think?
Is she going to be upset? Sad for me?
I don’t want to bring her down
What are my parents going to think?
Other people’s voices are coming in hot
The head noise is swirling now
Bring it back to the body
Breathe
Breathe
This is where I am at
Accept it mike
Mmm
I don’t want to accept it
Now I’m getting angry
Fuck them
Their loss
Yep
Really protecting myself now
God my body is good at trying to take care of me
But I’m noticing it
I know this place
I entered the professional industry at 16
I have 18 years of experience here
It’s okay buddy
Slow and kind
You know the way
Go be honest
I feel the urge to drive faster
So I deliberately take my foot off the accelerator
I slow down
But its hard
I don’t want to surrender
It’s scary to surrender
I pull up in front of the house
“Always” by Blink182 finishes playing
God
Life is grey (the opposite of black and white)
I sit in the car
Not sure what to do
I get a text
“Look out the window”
My fiancé is pressed up against the glass of our big lounge room window
Smiling
I can see my first son or daughter cocooned in her belly
Ugh
She is so happy to have me home
I want to hide
I don’t want to tell her
I know how she’ll respond
She’ll go slow
She’ll be kind
She’ll hold me
I don’t want her to have to do that
Not again
Not again
I just want to come home with a win
Honey
I got it
I got the job
I’m taking you and JT out to dinner tonight
$100 steaks are on me!
JT is code name for Jelly Tot
The nickname of our unborn child
I look at her smiling in the window
She begins wagging
Almost like a husky when it’s beyond excited
Mike
Just go be honest
I smile back
Go surrender
I tell myself
She greets me at the door
I wrap her up
“Can we do shnugs?”
I ask
There is no hesitation
Straight to bed we go
We wrap ourselves up together in a big puffy doona
Like two cosie eskimos
All goes still
The house is quiet after a long day
She whispers
“Jt has been kicking sooo much today”
“Has he really”
I say, as I place my hand on him
Or her
(But we are 90% sure it’s a boy)
I feel him
It’s like he has moments where we does somersaults non stop
I’m reminded of the chaos coming
I smile
I breathe in my family
I open my eyes
I look at her
She knows something is up
With trepidation
I say
“I just got the call”
She looks confused for a second
Then immediately realises what I’m referring to
No hesitation
She swallows me up
And holds me
We lie together
In silence
While I breathe
Deep and slow
Eventually
She asks
“What do you need right now?”
I look at her
And I suddenly feel clear
I use to fight these moments
Hard
Try show the world that I’m okay
Try show the industry that I’m not upset
That I’m a good actor who keeps going
But after almost 2 decades of practice
I know what’s best for me right now
I smile at her
And step off the ledge
“I just need to let myself be upset
To let it hurt
To know that that’s okay”
...
Hope this helps
X
Cheap Effective Practice
In 2016
I started the year off with a bang
I was onstage at the Sydney Opera House
Working for Australia’s premier theatre company
Working on a play I adored (Arcadia)
By one of my favourite writers (Stoppard)
And playing a character I loved (Valentine)
The cast was insanely talented
The director was one of those directors that theatre actors both feared and dreamed of working with
And I had an incredible coach supporting me the whole time
It was a gorgeous period of my life
I needed it
My previous theatre experience had been marred
And I deeply wanted to turn the ship around on this one
So when opening night came
And I gave the work I wanted to
Plus was kind to myself when I slipped up
Plus had fun with great actors
Man
I put my head on the pillow and fell asleep pretty damn easily
But as wonderful as it all was…
I had an itch
It was small at first
But after about 45 shows
I remember really wanting to scratch it
The itch was screen acting
At that time
I had spent over a decade working on theatre
And there was a seed underneath my skin desperate to grow
So when the next theatre audition came through
I decided to listen to my body and say “no” in order to create space for a “yes”
First things first
I was pretty clear about the direction I wanted to head
I simply looked at all the scenes, actors, films that inspired me
What was the most important common denominator?
They all gave honest conversations on screen
That’s what I wanted to give
But how?
I felt there was a massive valley in between my current skill level and where I wanted to be
So the time came
Where I realised
The most important thing I could do
In order to increase my skill level on screen
Was reps
Reps reps reps
Cold hard time in front of the lens
Okay
How can I get reps?
A huge reason why acting is still important to this day
Is because we represent one of the key ingredients that allowed us to survive the last 200 000 years
Connection
Human connection
Therefore
We need others to practice
We need to sit opposite someone else and have a human connection with them in front of the lens
Now, at that time
I allocated a little bit of my piggy bank for training each month
But that was one night a week
And based off the books I was reading at the time
I knew that for actual skill development
I would benefit exponentially from 2-3 shorter sessions per week
Rather than one intense weekend workshop
Okay
2-3 shorter practice sessions per week
So, find somebody and practice
But who?
And where?
And for how long?
And do what, specifically?
This created a jam for me
The years after graduating NIDA
I can remember practicing or filming self tapes was a miserable affair
Often spending long hours doing take after take
Just slogging it out trying to make each line perfect
Repeating takes because I made one duff up
Or the practice time would be continually interrupted by phones
Or the other person would spend hours complaining about things outside of their control (the industry)
Or the lighting setup was terrible
Or my technical computer skills would mean everything electronic I touched instantaneously fell apart
Exhausting and frustrating
Simply de-energising
My experience practicing had been tainted
I wanted to be a bit smarter this time
So I tried something different
Energising Practice (30/45/45)
One
Find someone you feel energised around
Someone who’s curious, kind, honest, dedicated, respectful, open etc
Whatever floats your boat
Someone you resonate with
Someone your body says “hell yes” to.
Someone you feel excited about showing up to play with.
(If they ain’t energising, it ain’t gonna be sustainable)
Two
Book the time, place & setup
Wednesday at 14:00-16:00 at mine
A clear time
A clear place (where you can do deep work for 2 hours without getting distracted)
A clear step - good lighting/camera
Three
Show up
Phones on aeroplane mode
Put the timer on
30 minutes
Then check in
Include coffee and shnacks :)
Have a chat about what you both want out of your 45
How would you like to feel after practice?
What will you focus on to help you get three?
What’s the most important thing you would like to work on in the next 45?
And what the process that will help you improve it?
Four
Deep work
Each actor then gets 45 minutes
And which ever actor goes first
The other actor is there to wholeheartedly support and serve the actor on screen
Five
The debrief
In the last few minutes of your 45
Identify two things
Best Thing: What was the best thing about your practice? What did you feel good about, what worked? What do you think you did well?
(I don’t care how much you want to say “it all sucked and I’m terrible at acting”… try be objective and find something worth celebrating)
Ready For: What are you ready to work on next?
Where is the 1% improvement you are ready to work on next?
That’s it.
Doneskies!
30/45/45
Energising practice
Remember
If you can make things like practice, self taping, learning lines, etc
(The boring bits)
If you can make them energising
Addictive
Fun
You’ll want to keep going
And if you keep showing up
And keep making 1% improvement
Week after week
Month after month
Year after year
You’ll be bloody dangerous as an actor
Hope this helps
X
What Actually Works
“Pros do less, better”
In an ocean of techniques
There are a small handful
Which will work for the majority of people
& in the majority of circumstances
So if you only have so much time and energy
Only so much attention to give to your craft
Those few things are really worth focussing on
Of course
We want to maintain interest, follow curiosities and expand our boundaries of what we think is possible
But at the end of the day
The same old basics are what’s going to be left when working under pressure
So in that call back
Or on that big budget set
When nerves start kicking in
We want to have a strong foundation of things we can rely on
Which actually work
So we can keep playing and giving the work we want to
On demand
Over and over again.
So which few things are actually worth focussing on?
Which few things are most worth getting better at?
I was at the whiteboard the other day
With a class of NIDA students
We wrote as many different things on the board as we could think of
In terms of where we could allocate our time and energy in prepping for a scene
We let rip
Threw it all out there
Everything from Michael Chekov’s psychological gesture
To animal work
To Meisner’s repetition
To objectives & obstacles
Slowly we made our way through the hundreds of possibilities
Distilling what is almost always going to be there when we need it under pressure
You know what was left?
Breathing
Moving (getting out of the head & into the body before a take)
Giving the camera access to your eyes
Learning lines
Yup
That was it
Hundreds of options
But only a teeny weeny few that you can almost always rely on when acting on screen
Take a moment to imagine…
If you employed Pareto’s principle
And spent 80% of your practice time on:
Breathing as yourself in front of the lens
Moving out of your head and into your body before every take
Giving the camera access to your eyes
And finding a joyful process for learning lines
And then multiplied that over time
6 weeks… 6 months… A year…
What the results would be?
Yup
Exponential growth
It almost sounds deceptive doesn’t it
Too easy
Too boring
Too weird and out there
But I beg to differ
If you are someone who does what everyone else is doing and expects a different result
Then this might be for you
Over the next few weeks I am going to dive into these fundamentals
(Including a story about Mel Gibson teaching me how not to be a bad actor)
And explain why investing your time & energy into these delicious “boring basics”
Might be the best use of energy you give to your craft this year
Regardless of your skill level
Hope this helps
X
Don’t Count Yourself Out
I know an actress
For privacy’s sake
Let’s call her Grace
Grace works hard
She’s kind to people
And she keeps going
Last week
Grace was cast in one of the biggest shows to be made in recent history
Writing, budget, cast, role, producers, director, etc
Grace just caught a very big fish
A fish that most other actors dream about catching
This was a personal triumph for Grace
She is elated about the upcoming process
But there’s a bit more to this story
Because on the face of it
It would seem that committing to the audition (self tape) several weeks ago
Grace was facing an daunting task
One that others might have deem as delusional
You see
Over the last few years
Grace has given about 60 self tapes
And she hasn’t gotten a single one
So, on the surface
It would seem the industry has it in for Grace
60 auditions
No results to show
This leads us to an important lesson
The results alone never tell the whole story
Roughly speaking
Other artists, the industry, the public
They only remember the results
Who got the role ?
Who do we see on the screen, billboard, gram etc ?
By that logic
Grace didn’t stand a chance
She was 0-60
However
Let’s look a bit closer
Out of those 60 self tapes, Grace had 7 call backs
Out of those 7 call backs, Grace had been put “on hold” for 3
Out of those 3 jobs, Grace adored two of the roles and really hoped to get them
One of those roles was for a job which turned out to be one of the biggest grossing films of 2019
The other was a role opposite one of Grace’s acting heroes
So
Grace had been close to landing great work before
But that’s not all
Two out of the big six casting directors in Australia adored Grace
They believed she consistently gave generous, authentic work
They found her to be passionate, respectable, on time and kind
On top of this
Despite the lack of results
Her agent kept putting her up for auditions
Her agent, who has been in the industry for over 30 years
Believed that if Grace just kept going and kept giving
Something would transpire
Adding to this
Grace caught the attention of two producers who championed her and got her in for multiple auditions
In those cases
There simply wasn’t a great match with the writing and other actresses landed those jobs
Furthermore
Grace heads to class once a week with a teacher who takes care of two other professional actresses whom Grace admires
The teacher and Grace would sit and debrief her tapes privately to find out what she was doing really well
And where (specifically and tangibly) she could make one percent improvement each week
Grace also had a few student short films under her belt which she used to make a little showreel
And when showing it to trusted colleagues in the biz
They replied “this is beautiful work, you must keep giving your work to this world”
Again
The results don’t always tell the whole story
The work ethic, the colleagues, the mentors, the practice, the progression of craft
This tells a very different story as opposed to the 0-60
Curious
Which story are you choosing to give your attention to?
What’s my point...
Don’t count yourself out based on past results alone
Often the truth is more nuanced than a simple “I didn’t get the role”
Try (as hard as it can sometimes feel) to zoom out
And make your assessment on the whole picture
Because
Often times
Despite what others (who are not in the arena) are gobbling on about
You’ll see you’ve got a better chance than many believe
Hope this helps
X
Take Your Time
Sometimes
I get pretty damn scared when I don’t have acting work
Familiar thoughts tend to raise their head again
Will I ever work again?
Does anybody want me?
Am I actually good at this thing I’ve been working so hard at?
Have people worked out that I’m a complete fraud?
Can everybody else see that I don’t have any idea what I’m doing?
Am I going to wake up after dedicating decades of my life to something and realise that it was all a waste of time?
Wow
Give it an inch
And my imagination will take a mile!
Okay
Let’s not give my imagination permission to run away here
Curious
If I zoom out in this moment
And look at those sentences
I notice something
In the decades I’ve spent researching, reading and listening
I know
That I’m not alone
I know
Not only do my friends and colleagues share similar thoughts and feelings
But my heroes do too!
I remember a time
Back in the drama school days
When Al Pacino came to have a chat to us wee graduates
One of my best friends
(Who was an insane Al Pacino fan)
Asked him
“There was a time
After you had done your first few films
When you didn’t work for two years
If you could go back now
What advice would you offer to that young version of yourself during that down time?”
Al Pacino took a long look at my friend
Breathed deep
Smiled
And said
“I would rest my hand on his shoulder and say:
It’s okay,
You will get laid”
I love this
And I think Al is talking about one of the most important fundamentals someone can develop in their work
Let me explain
I have been incredibly lucky to be on set with some extraordinary actors
Dicaprio, Mcguire, Green, Mulligan, Egerton, Gibson, Garfield bla bla bla (name dropsss)
And there is something I have noticed in all of them
They do it slower
What do I mean by slower?
They take their time
They are willing to allow more time for themselves to achieve things they desire deeply
Not only have I noticed this across top actors
But it’s there all across the performance world too
Look at anyone who is at the top of their field
They give better work by going slower
Tennis for example
The difference between good professional players and the stand-out champions of the game?
It's proven that champions take just a little bit more time to fully recover between points
They ask for the towel to rub down, even if not strictly necessary, or take a few seconds extra on ball selection
This energy management or reset allows them to maintain performance in a longer match and leads to a method for deep recovery between points
Point is… the best take longer to do things they deem important
Athletes, CEO’s, Artists…
They slow down their work in order to give more
(Even if just by a small percentage)
As I’m typing this I just noticed the amazon delivery guy in my street
He has thrown something in a mail box, rushed out of the street, only to return two minutes later to another mail box a few houses down
Literally three times!
If he was to slow down
Take 10 seconds to look at the black swan floating in the lagoon
Take 7 seconds to smell the lingering scent of fresh fallen rain
Take 20 seconds to look at his next few deliveries
He could go for a slow walk, make 3 deliveries in 4 minutes and give himself an extra ten to get to his next suburb
But what about time?
Time waits for no one!
Only so many hours in the day right!?
Push push push
Rush rush rush
Must achieve this goal but that time otherwise I’m a failure!
Yup
Fear causes me to rush
To push
To use force
This equals tension
And tension equals shoulding
So I end up doing what I “should” do
Saying what I “should” say
Typing what I “should” type
But what I know
Is that I, Michael
Like every other individual on this earth
Have my very own timezone
A timezone that is completely unique to me
It’s Michael Sheasby’s time zone
My body knows how to breathe, how to walk, how to move at it’s own harmonious pace
A pace that happens when I’m not shoulding out of fear
When I’m not trying to please others
When I’m not trying to achieve things by a certain time or a particular age
Mmm
So
How can I make this more doable?
More practical?
Here’s some ideas
When noticing you’re walking at a pace which is not yours
When rushing in traffic
When rushing across the pedestrian crossing
When ordering coffee
When standing up in acting class to do your scene
When in between takes on set during your close up
When in between takes in the casting room
When giving yourself a deadline to achieve a particular goal by a particular time
When having a difficult conversation...
Stop
Take a breath
Bring it back to your own timezone
Listen to your body
Let it lead
The body knows
Millions of years of evolution, right there, ready to take care of you
What’s my point?
Take your time
Give yourself permission to be in your timezone
Hope this helps
X
The Best Advice
I’m taking care of the NIDA grads over the next 3 months
So my brain is once again shifting from my own work to:
“how can I help these performers progress best?”
It is therefore important for me
Being on the other side of the curtain
To be clear about what’s most worth investing valuable time and resources in
So
Let’s get clear
What is the best advice I can give to an actor right now?
Focus on being the best
And everything else will take care of itself.
What do I mean?
There are many things in combination that can help build a sustainable career
Kindess
Agents
Social media
Networking
Etc
However…
Kindness alone won’t build a sustainable career for you
Agents alone won’t build a sustainable career for you
Social media and networking alone won’t build a sustainable career for you
At the end of the day
At some point
On set or in the casting room
Everything will go quiet
Everyone will stop what they are doing and look at you
A camera will be pointed on your face
And Someone will say
“Action”
If…
In this moment…
You are able to give your best work
Your most generous work
The career will build itself
The work will come
The money will flow
Agents will beat down your door
Lovely relationships with great colleagues will develop
Companies will fight for you to wear there clothes
Social media followers will frantically click buttons
You get the point
Acting skills
Your ability to actually act on cue
Your ability to give your most generous work in between “action” and “cut”
This is the thing worth focussing on most
It’s been said before:
“Be so good they can’t ignore you”
And I really do think we inherently know this
But it’s easy enough to just say “be really great at acting”
Much harder to turn this into an actionable process
There are teachers all around the world
Classes running late into the night
Many decade-old acting books being combed through
All giving their two cents on how to get better
But how the hell do we know what to actually focus on?
Well
This is where individual choice comes in
Theatre?
Screen?
Improv?
Distinct characters?
Supporting roles?
Superheros?
Simply put…
What floats your boat?
What energises you beyond words?
What do you go to bed dreaming about?
What makes you forget to eat? Not need to sleep?
Who inspires you?
Who makes you insanely jealous?
What’s the kind of work that makes you go “HELL YES!”?
For me?
When helping other actors
I have a heavy bias toward leading roles on screen
So for today
Let’s go down that rabbit hole
Let’s just pretend that you want to get as good as you possibly can at playing leading roles on screen
Well
What skills does one need to get good at in order to give leading role calibre work?
There are three main areas one needs to become proficient at in order to give leading role level work
ONE: Darkness - Ownership of fear, your shadow, all parts of yourself that you judge as “bad” or “wrong”. Can you channel this and allow pure fear to flow out of you on demand?
TWO: Light - Ownership of love, vulnerability, all parts of yourself that requires you to surrender to the human standing opposite you. Can you channel this and allow pure love to flow out of you on demand?
So we have darkness and light
Light and darkness
The “boy and the beast”, so to speak
These are two out of the three main areas
A heavy amount of training steers in the direction of these two skills
Many a class have I sat in until the early hours of the morning (literally)
Watching teachers push and pull actors into the extremities of these two areas
But
Time to ask an important question
When watching lead roles on screen
In any film or show
How often do we see these two parts released?
Exactly
The majority of training focusses on pushing and pulling actors toward releasing darkness and light
Fear and love
Yet
These areas make up a small minority when it comes to professional work on screen
Interesting to note the majority of training is focussing on the minority of skill set actually required in ones career!
This leads us to our third area required for leading on screen
In order for actors to earn the audiences support when releasing darkness and light
They need to spend the majority of the job doing what I believe to be the most under-utilised area in training
THREE: Breathing as one’s self
The vast majority of what you will be asked to do in terms of acting on screen
Will be breathing as yourself in front of the lens
This will make up 95% or more of your professional work
If you can do this well
You will be asked to release the other two main areas
But if you can’t breathe as yourself in front of the lens
Chance are you won’t be consistently asked to release the darkness and the light
So if breathing as yourself is so bloody important
Why do acting classes focus so heavily on the screaming and the crying?
Well
Because it’s more interesting
It makes people feel like they are progressing way more than breathing does
For a teacher to hold a students hand, ask them to close their eyes and drudge up all their childhood woes…
Yeah there’s gonna be some tears and people will applaud and everyone goes home feeling buzzed
But will the teacher be there to help the actor get to that same place tomorrow on set?
Nope
It’s a short term win
And as great as short term wins can feel
I’m most curious about the long term work
The boring stuff which no-one what’s to focus on
Persistence...
To rock up to class or practice
Week after week
And focus on breathing as ones self on screen
That takes discipline
That’s boring as heck
So of course people aren’t going to do that
But back to what’s most valuable
The people who are on set
Getting paid to lead shows and films around the world
They are getting paid more than anyone because they can do the thing that so few can
Breathe as them-self
So back to my initial question
What is the best advice I can give to an actor?
If you are wanting to give leading work on screen
Then focus on getting as good as you can at breathing as yourself in front of the lens
Do this
Invest in this
And everything else will take care of itself
I really hope this helps
X
Time in the Saddle
Once upon a time
I was packing my bag
Ready to travel to India for a film
I was ecstatic
It was the end of my first year out of drama school and I felt a real sense of momentum building
My bag was open on the floor with a few of the essentials already in it
I was simply waiting for that final phone call to confirm the last minute details before finishing packing
I got the opposite kind of call
My agent rang with a gentle, slow and apologetic tone
“It didn’t come together I’m afraid”
I was devastated
One year out into the industry meant I still got very wobbly when it came to rejections
Probably something to do with the fact that I use to spend an enormous amount of time focussing on what decision the producers would make rather than focussing on what I could control - understandably!
Anywho
I was sad
So I packed up my fly fishing gear and some spare clothes and headed to the mountains
Eight hours later I was in a hostel room alone
Apparently no-one wants to go to the ski fields when there isn’t snow?
I got dressed into my waders, put on all the gear that made me look like I knew what I was doing when I actually didn’t
And stood in the snowmelt-temperature river trying to catch a trout
One thing I love about getting back into nature
Is that it doesn’t take much time for me to be coaxed back into the present
I can remember seeing some kind of floating rodent pop up about 10 feet away from me
I grew up in Africa with very different wildlife
So when I saw my first wild Platypus I really didn’t know what to make of it
No fish, but one Platypus, still a big win
I decided to call it a day and head back to my empty hostel to eat alone
On my way home
There was a sign outside an equestrian centre
“Buck Brannaman Horsemanship Clinic - $50 to watch)
Huh?
Obviously I turned into the drive way
And poked my head into the big barn
The next thing I knew
I was sitting on a fence for the next 3 days straight
Watching the world’s leading horse whisperer work with horses
This is the man the author of “The Horse Whisperer” used as inspiration for his novel
And who’s documentary (Buck) won Sundance back in 2010
It was one of the most wonderful few days of my life
And certainly one of the greatest craft experiences I have ever had
Everything Buck was talking about
I thought remarkably related to acting
I felt like I was home
I knew that horses cost a lot of money
And required a tonne of land, time, and effort
But I remember feeling like I had found one of the most meaningful things in my life
Still
To this day
I know
Deep down
Getting good at riding horses
Is one of the most worthwhile things I could do with my time on this earth
(Stick with me here)
A year later
I was cast in my first series
I got the role of the antagonist for the first season of a new network show
Set in the 50’s
And guess what!?
This meant horses!
As each episode was sent to me in the mail
I would snatch it out of the mailman’s poor hands
Dive into bed
And flick through to find when I would be required to showoff some horse skills
That page never came
Turns out I was the only character in the show to NOT ride a horse
I had a beat up old pickup truck instead (ugh… how many times I stalled that thing during takes)
I was frustrated
But not phased
I looked up who the horse wrangler was
The extraordinary Graham Ware Jr.
Four generations of horse wrangling for film & TV
The very man who worked with Viggo on Lord of The Rings
Yes!
I found his number and called him up
Everyone got horse riding lessons with him except me
But I was happy to fork out for my own private lessons
I just wanted to get better at this beautiful craft
Graham listened patiently and invited me to his farm
Off I went
Brand new RM’s ready to get muddy
The lessons began
I had ridden horses every Wednesday afternoon growing up as a kid thanks to my Mother’s patience & generosity
But a decade later…
I had some tuning up to do
I was hungry & determined
Everything Graham mentioned
I soaked it up
More more more
Every instruction I would ask why and dissect it as deeply as I could
Until it felt simple enough in my mind that I could repeat it alone
But then something happened
After about the third session
Graham went quiet
I spent about half an hour riding in circle before I couldn’t hold back anymore and I burst out loud
“Anything I can do? Anything I can work on”
Again, I was desperate to improve at this meaningful craft I was extremely passionate about
Graham smiled
Took a breath
And said
“Mate, at this point, there’s nothing else to talk about
You just need time in the saddle”
I sighed
I knew exactly what he meant
All my passion, drive, determination, excitement… I had wobbled off the path
I was more interested in feeling like I was getting better
Than actually doing the work required to get better
What’s my point?
There comes a time
When thinking and feeling can slip over into replacing actions which result in actual progression
Sometimes
The most important thing I can do
Is just get some time in the saddle
No more talking
No more thinking
Just ride
Get those reps in which can’t be replaced by anything else
Hope this helps
X
Planking Under Pressure
Once upon a time
There was a boy called John
John grew up in a remote town at the edge of the world (in New Zealand)
John was a curious boy
He loved to play pretend
His favourite thing was to dress up with his friends and go on fantastic adventures
The deep jungles of the Congo
The misty mountain tops of the Himalayas
Riding horses across the Mongolian Steppe
John loved the stories, the relationships, the worlds he created with people he loved
John recognised that he wanted more of it
He dreamed of standing on stage and performing in the school play
Getting to play pretend with even more friends, costumes and sets
So much joy!
But when he auditioned for the play
Something happened
John had spent all week practicing his lines
And when his teacher asked him to stand on the stage to give his audition piece
John’s little body began to tremble
His throat went tight
His mouth became dry
His small tummy felt like it was turning inside out
John stepped up onto the big stage
He looked down at the sea of his classmates’ eyes
And he forgot what to do
Everything went silent
He tried to speak but he couldn’t remember a single line
He struggled to breathe
John hated what he was feeling
He wanted it to end
And when his classmates began to laugh and snicker
He turned and ran to the bathroom to hide
John was devastated
He loved playing pretend
But when he got the opportunity to do it for the school play
He felt like he couldn’t anymore
John became quiet at school
He stopped joining in at recess with his friends
And when his best friend asked him to join in
He replied
“Playing is stupid”
And came up with all kinds of excuses as to why he wouldn’t do it anymore
John was clearly hurt and trying to protect himself from feeling hurt again
Then
One day
A stuntman came to his school to put on a show
All the kids gathered to watch
John deliberately sat at the back of the crowd
Curious, but still in his shell
The stuntman began to perform incredible feats
Death defying acts
The daredevil tumbled down stairs unscathed
Threw a boomerang and caught it
He even set his hand on fire without getting burned
Extraordinary!
Then
For the stunt mans’ final act
He placed a plank between two of the schools’ buildings
A staggering 3 meters high!
The stunt man took a big breath
The drumroll on the boombox played
And then he walked across the plank
Not once
Not twice
But three times!
John watched in sheer awe
All the other kids screamed with applause
“Bravo!”
Then
The stuntman came down to where the children were standing with glee
And placed the plank on the ground
He asked all the children to walk across it one at a time
John was confused
He looked at the plank
Looked ahead
Took a few small & simple steps
And crossed the plank with ease
John was confused and looked up at the stuntman
The stuntman smiled
He kneeled down to John and said
“The plank is the same
You walked across it with ease
All I did was put it up higher
So it took your breath away
But the plank didn’t change
Your perception of it did”.
He was right
John recognised immediately
That’s the difference between playing pretend with his friends and being on the stage
There is none!
Only his perceptions
It’s the same thing he did every day
The same fun and simple play
All the other stuff...
The stage, the lights, the set, the crowd, the eyes, the costumes
That’s all an illusion
A distraction
Bingo!
John recognised it was his responsibility to notice when his imagination was running away with him
And to bring it back to what was within his control:
Having a playful and honest conversation with the person standing opposite him
John breathed with ease
He knew what to do next.
At the next recess break
John found his teacher standing in the playground
He walked up to her
Tugged on her dress
Looked up at her with his curious little glassy eyes
And said
“Miss,
I’d like to try again, please”
Hope this helps
X
First Three Reps Don’t Count
I went surfing on the weekend…
Let me start this again
I tried to go surfing on the weekend
I love the word “try”
It’s the opposite of what was jammed down my gullet during school
“Don’t say TRY”
“Trying is weak”
“You WILL do it”
Thank you life-coaching postcard
Any who
I tried to go surfing on the weekend
It’s been 7 years since I last caught a wave (on a stand up paddle board)
So paddling out using my arms to catch some barrels is absolutely not my forte
The waves were nice and small
I had a lovely friend with me who is very experienced
And the sun came out so I could clearly see the ocean floor
But as perfect as the setup was
It took me about 30 seconds to feel completely overwhelmed
Paddling out with a foam board meant I wasn’t able to duck-dive smoothly
So when the waves came through whilst I was trying to make it passed the break
I got bashed around like a cork in a whirlpool
Within just a few moments
I felt like a complete failure
“I can’t even get passed the break”
“Everyone else can do this”
“This is pathetic”
It felt strange to be speaking to myself that way
(It’s been a while since I heard such a critical voice in my head)
But then I remembered
It’s been years since I actually paddled out
And even then… I’ve was never actually able to consistently catch waves and stand up
It felt lovely to admit to myself the truth
That I have no idea what I’m doing
So why am I putting so much pressure on myself like I should know?
I then remembered one of my favourite things I read about an olympic level athlete who I’m a big fan of
“The first 3 reps don’t count”
Yes!
I love that!
The first 3 reps are purely just to get in the arena
To give one’s-self permission to suck
After those first 3 reps?
Permission to start making adjustments
But those first 3…
No correcting
No fixing
No solving
Just get messy
Just play :)
So?
I took a breath
Laughed at how much I was flailing like a drowning monkey
Paddled in the most uncoordinated fashion
And just managed to make it passed the break
(Which was a win in itself)
Did everything magically become amazing then?
Nope
It sucked
I caught one wave in
Stood up and turned to my friend with the biggest smile of the decade
But then became so tired trying to get passed the break again
That I went an sat on the beach to catch my breath
I gave up
Tapped out
Surrendered
And it felt glorious…
Tried to go surfing for the first time in almost a decade
Just managed to stand on one wave
WAHOO
Now time for an Açai bowl and some honest conversations with an old friend
A great first try
Yes
I still suck at surfing
I didn’t end up winning the Rip Curl Bells Beach Comp
But I’m happy
It was my first of 3 attempts
So I’m not even going to give it much thought
I’ll go suck another 2 times (at least)
Then maybe start having a think about trying to improve.
What’s my point?
When it comes to all the different aspect of managing one’s acting career
Self Tapes
Call Backs
Director Meetings
Writing Scripts
Waiting Well
Game Plans
Game Days
First Day’s on set
Handling Pressure
New Accents
New linguistic styles
Practice
Coaches
Acting Classes
Etc
The first three reps don’t count.
Hope this helps
X
When It’s All Too Much
Once upon a time
I was stepping off stage at the Sydney Opera House
Night after night
And I simply wanting to give up.
I was 25 years old
I had worked my bottom off from the age 15
And I was finally leading a major production playing one of Shakespeare’s great roles
I had an expectation that this would be a dream-come-true experience
But here’s what actually happened…
Very early into rehearsals
I was holding tightly onto what my expectations were
Where I thought I should be
Rather than accepting where I actually was
And instead of communicating that I was struggling
I went inwards
I thought I’d solve it by pushing through
Using more force
On the second show
I lost my voice
(Not the funnest situation when you know you have about 112 shows left)
To combat this
I went to the doctor
They gave me steroids for my vocal chords
A side effect from the pills was I lost sleep
I became increasingly tired
My stresses increased
Again, rather than putting my hand up and connecting with others
I went inwards and thought I would solve through pushing
(I hadn’t learned other ways yet)
I pushed some more
And on the 12th show
I hit my hand so hard on the back wall of the stage during my opening speech
I gave myself bursitis in my right shoulder
This meant that if I held my right arm up
It would occasionally give up on me
And just fall without my knowing
I did’t ask for help
I thought I’d solve it myself
I decided to switch all physical stuff to my left arm
And on the 20th show
I gave myself bursitis in my left shoulder
Yup
I now was on steroids for my vocal chords
Was not sleeping because of the pills
And had no use of either of my arms
Which meant I stopped all physical activity
It was all too much
And it didn’t take long
Before I feel into a deep dark hole
Of course I did
I had lost the use of my body
I was pushing emotions aside
And I was letting my brain swirl in whichever direction it wanted
Which of course, under pressure, it did what it’s designed to do in order to protect me
And became very reactive to external stimuli
So looking back
It makes complete sense to me now that 60 shows later
I found lying inside of an MRI machine
Hating everything
And reactive to everything that was outside of my control
It was our wonderful stage manager who eventually said to me
We have all the systems in place to take care of you
But at the end of the day
We can’t do anything unless you tell us what’s going on
It’s you who has the responsibility to say what is so for you
At that point
I fell apart
I admitted where I was
I told them I felt like a failure because I wasn’t able to handle things the way I expected
But that I simply couldn’t sustain what was happening any more
And within 24 hours
I had physio appointments booked in
Doctor meetings scheduled
And was sitting in my hotel room with my understudy helping him with his lines
I dropped from 8 shows a week to 6
And began to slow down
It was the start of a new chapter for me
It ignited a curiosity in sustainable performance
And 8 years later
When I’m not giving my own performance
I’m helping others with theirs
Why the hell am I sharing all this?
Well
As is the norm with all natural systems
Cycles occur
Ebbs and flows
Things come in waves
And I’ve recently been reminded about this idea of when it’s all too much
In the last 3 months
I have moved from Maroubra (Place of Thunder) to Curl Curl (River of Life)
On top of filming a new Disney+ series
Studying university
Teaching
Coaching
Auditioning
Car shopping
And getting a nursery ready for the arrival of my first born in June
Ugh
Of course
There have been moments where it’s been too much
And where I have felt completely overwhelmed
So
This one’s for myself today
For when it’s all to much :)
Here we go
One
Notice it
That’s bloody sure worth celebrating
Why?
Because I’m aware
And if I’m aware
Then I can make a new choice
Two
Slow down
I want to do less than I think I can handle
It takes a shit load of courage to surrender to chaos
And to do less in a moment where my belief systems tell me to push harder and go faster
Three
Bring it back to the basics
Shift my physiology - move & breathe
Acknowledged and accept where I actually am - give up on where I think or feel I should be
Give my Reticular Activating System clear and simple things to focus on
“I am honest, I take my time, I focus on what I can control”, etc
Four
Prioritise what is most important for now
What do I actually need to say yes to?
What do I need to let go of, or say no to?
Again, it takes trust in myself to do less than I think I can handle
Five
Connect with people I love
People who fill my cup
Who float my boat.
And finally
Remember
This is not forever
It’s just for now
What to do next?
Go buy an ice cream
Obviously
So
To clarify
When it’s all too much
Slow down
And go back to basics
There is nothing sexier than the fundamentals
That’s some sustainable stuff right there
Hope this helps
X
Actor’s Self Talk
The world of performance coaching
By that I mean
Coaches who help artists, athletes, CEO’s, etc, perform better
Is filled with plenty of bells and whistles
And who doesn’t love a good bell or whistle!?
The latest gadget that measures heart rate variability
Wearable rings that track sleep and determine how much someone can push themselves in training when they wake
Monitors to indicate when someone is too stressed needs to take a breath
Science is certainly making things interesting in the world of performance
Like a rainbow coloured milkshake
But as much fun as it all can be
There’s something I love more
A clear glass of water
Mmm
Simple
Fundamental
Incredibly valuable
What I’m more curious about than the latest technique or gadget
Is the work that helps the work most
I repeat
The work… that helps the work… most
When I look at the people who I believe are the best in the game at helping performers
The coaches who actually walk the walk
Nope
Not many bells
Not many whistles
No rainbow coloured milkshakes to be seen
Their work tends to be simpler (not necessarily easier)
Pen
Paper
Deep thought
The work
You know what I mean
The work
If you told me
Yo Mike, you can only help one last performer before your times up on this Earth
I’d sigh
And say…
Go into nature
With your pad and your pen
Sit down
Think of an event or experience you have coming up where you’re required to perform under pressure
It could be an audition
A meeting
A game
A first day on set for that new show
Maybe an opening night on stage at the Sydney Opera House
Now
Put your timer on for 7 minutes
And begin writing
How would you like to speak to yourself when you wake up on the morning of that event?
Write it
Seems pretty basic right?
Bit too simple?
Possibly like a glass of water?
Yep
The fundamentals
There is not a single person on this earth who is responsible for the way that you speak to yourself
Other than you
That responsibility lies on your shoulders
And guess what
You do have a choice in the matter
(As bloody hard as that can feel sometimes)
The best coaches in the game know
How you speak to yourself
Moment to moment
Is going to have one of the biggest influences on your life and work
So my advice
Try it
Just once
Just for 7 minutes
Write as if you were solely responsible for how you guide yourself before stepping into a big performance
Imagine the dream case scenario
Imagine if you just said
Screw it! I’m going to take care of myself better than ever before
How would you communicate?
Would it be kind?
Compassionate?
Fun?
Playful?
Focused?
Clear?
Honest?
Supportive?
Loving?
Guiding?
Nurturing?
Inspiring?
What if you were guiding your 5 year old self?
What if your 5 year old self was guiding you?
Write your inner monologue
Your Self Talk
The dialogue you have with yourself
This is one of those exercises that might feel icky for a few seconds or sentences
Just dive in
I’m interested in what you experience
And if what comes out of you is something you’d like to maybe experience more of?
Curious
Self Talk
Practice how you speak to yourself under pressure
Might just be the most delicious glass of water you’ll ever drink
Hope this helps
X