<p>NJTheatreMom,
Awww thanks. I donât have time for much of this anymore, but I donât mind sticking my head in once in awhile if I have a spare moment and see something I think I can help with.</p>
<p>early_college,
That depends on what kind of actor you want to be. Shannon Elizabeth or Cate Blanchett? Pick your poison! Those are extremes, of course, and many would die to be in Shannonâs shoes, but I think you get my drift ⊠Actually, the better non-scholastic studios meet several times a week and the best they usually come up with are people who are very good at playing themselves which is usually enough for TV and Film if you have a camera-friendly look. The question then becomes whether or not youâd be satisfied with that as an artist. Wanna just play to type your whole life? I wouldnât, but who am I to judge? The fact is that there are entire universes of creativity that you couldnât even begin to explore without the total immersion offered by a quality BFA or MFA unless youâre some kind of true genius prodigy like Ben Kingsley and yes indeed it can apply to film. Is it completely necessary to work? No. Is it useful? You bet it is. </p>
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WRONG. Most of the better BFAs train you in many techniques and help you to build your own way of working. Youâd be traipsing all over NY or LA for many years to get the equivalent of the first year at most of them. Iâm sure as hell no devotee of any dead guru ⊠You seem to be primarily fixated on an âacting technique,â too, and donât seem to understand the value of all the voice, movement, and text training offered. That stuff takes A LOT of time and it definitely does make you a better actor. Thatâs not even including the fact that the people youâll be working with in a good BFA are actually talented and the pace will naturally be faster than at some place that is entirely for profit and they let in just about anyone who can afford to attend. Individual attention is a big factor, too. At a lot of the ânameâ studios, theyâve gotten greedy and there will be so many students in your class that you wonât actually get to do much scene work in front of the teacher ⊠if you even get to see the ânameâ teacher before youâve already been going there a year or more.</p>
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Extra work might be worth doing once or twice to get a lay of the land, but you canât even use it on your resume. Itâs considered VERY unprofessional and getting vouchers isnât a good way to go for SAG membership anymore. These days you need to either get in via Taft-Hartley or from doing AFTRA work because the union extras usually do show up due to the state of the economy leaving no vouchers to give out. </p>
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Some of my classmates who have experience playing supporting roles in big budget films and guest roles on TV shows like âLaw and Orderâ (mad residuals) could tell you all about it. Pretty boring for the most part until you get to the part where you get to act ⊠My own experience is in student film right now, but Iâll be able to tell you a lot more by midsummer. B.o.o.k.e.d :)</p>
<p>Soozievt,
Weâre talking thousands versus HUNDREDS OF THOUSANDS if you want to play percentages âŠ</p>
<p>And AMTC? Isnât that the Millie Lewis thing? Nuff said ⊠LOL</p>