MEMBERS ONLY Article - What Works?

What Works?

or, How to be a working actor without banging your head against a wall.

The New Year is always full of dramatic statements to friends, family, and Facebook about how this year, everything is going to be different. Actors promise themselves that this year will be the year that they finally get their package in order, take more classes, or become more diligent with the actions they know they should’ve been taking all along.

Inevitably, almost universally, they fail OR are overwhelmed by the actions it took to reach their goals. So I want to challenge the traditional goal-setting rituals of the New Year and help you create your own customized plan for a successful acting career...

To read the rest of the article, take advantage of our FREE MONTH offer of TLTaccess Membership! Simply click this link to enjoy!

ARTICLE: Take The Do Over

When I was a kid, I had this clown that I could punch as hard as I wanted and it would go down and pop back up just as fast as it went down. That clown actually became a great metaphor for me in my life. When you get hit and go down... it's not the hit that counts... it's how long you stay down there. I truly believe that your character is defined by how you deal with the hits in life. How strong are you? Are you strong enough to do what it takes to make it in what you believe is your life's purpose? Can you take a hit and not take it personally, but instead get up, brush yourself off and spend some time figuring out why you were hit to begin with? So many people wallow in their pain for months; years and sometimes their whole lives. You do not want to be a shoulda, coulda, woulda person! Figure out a way to deal with all the information, get up, seek it out and do it. There is help out there for you to find the answers.

Take The Do Over

Take the "do over." That's what I love about New Years.  New Years to me was never about the party or the food or getting drunk - I could do that any time. What I love about New Years is that it gives you a chance to take a "do over." If you feel that you are in the same place - doing the same thing - feeling the same way - take the "do over." You can wait another year to take it, but why wait. Take it now. You'll be glad you did. 

Happy New Year!

XOXO

Amy Lyndon

CEO - The Lyndon Technique

http://thelyndontechnique.com

http://tltaccess.com

http://www.imdb.me/amylyndon

ARTICLE: Booking Tips For Actors

Understand The Principles Of Hard Work

The most important thing to remember when auditioning for any role is that only one person will get it. That one person could be you.  If you are lazy and don't understand the principles of competition and hard work, don't expect miracles. You can never wing an audition. If you do you will most certainly end up in the 99% of actors who don't book. The Actor must approach acting like an Olympic Athlete, the more you practice the necessary skills the more you will book. When a high level of discipline and concentration on the work is achieved, you will see incredible results.

Research All Projects

It's important to research the credits of the creator, producer and director. If you understand the genre, tone and style of the show or film, your chances of booking will greatly increase.

        

Know The Location Of The Audition 

Know exactly where you are going. Map it out the night before. You can also drive to it and scope out the parking situation. I'm sure you know that Los Angeles traffic and parking is a bear. Start out at least an hour earlier than you think is necessary.

Do Not Judge The Material

If you negatively judge your script, cancel the audition. You're never going to get inside or understand the material because you're too busy in your head making comments on it. You will never book that way.  You need to accept that you are simply a clean vessel of pure emotion lending yourself to the material to channel the character from the writer's intent. If you want to be more than that, think about directing or writing.  I would rather you look at the material from the writer's perspective rather than a directors.  At least then, you'll understand why the writer wrote the character the way they did.

Respect The Writing (Guideline #1 "What Is The Scene About?")   
Read the material at least 10 times as if it were a novel. Understand the points of view of each character in the scene. You'll never understand the story or be in the scene if you make-up choices that are not suggested in the script about where the characters are coming from. The writer's intention always comes first.  Read it exactly as written. What you read is the truth.  If the character says that they hate the other person, then they hate the other person in that moment. Unless there's a parenthetical suggesting otherwise, don't make anything up just to impress them or to make it comfortable for you.  Believe me, making "choices" is the biggest mistake an actor can make. The writer makes the choices for you. You want the writer in the room to say: "That actor read it exactly as I wrote it. That's the character!" 

Know Your Role (Guideline #14 "Why Are You In The Script?")  

Understand why your part is in the script then you'll know who you are and your place in the story. A lot of actors want so much to be remembered that they overshoot the audition by making their part too important.  Unless you are the series lead or a major film star, you're simply there to move the story along. Don't try to be more important than the material in an attempt to impress. If you're serving drinks in the scene, then you're just a cocktail waitress. That's it.

Waiting To Audition

In the office before going into the audition is when the actors "psych out" usually happens. Protect your audition by knowing how to handle yourself in the waiting area.

Stay focused and don't look at anyone in the outer office.  The moment that you catch someone's eye, they will talk to you. Once you engage with another actor you lose focus on what you need to be doing for your own audition. Stay off the phone. Find out who is signed up to audition before you. Once that person goes into the casting office, wait outside the door.

Never compare yourself to the other actors auditioning for the same role. If you're the one that looks out of place, that could be a great sign.  You might be the one who is "the other way to go." Casting directors wouldn't be doing their job if they brought in all the same types of people. They need to bring a range of actors to present to their producers, directors, writers and sometimes the stars. 

 

Don't look around the outer office and cast someone else in your part. Don't give them the part because you think they're dressed or look better than you for the role. This is a massive psyche out. They could have called in hundreds of other actors for your role. You have been asked to audition for a reason. The casting director must have seen something in your picture and resume that was right for that part.   Know that you have just as great a shot at booking it as anyone. Do a little cheer for yourself, psyche yourself up and go in there and get the job.

Go For It

Commit to your homework and go for it! If you don't, someone else will. Which would you prefer, hitting a 10+ read in the room or knocking it out of the ballpark in your car on the way home? 

After The Audition

If you're thinking about the audition for days afterwards and asking for feedback from your representatives, then you didn't do enough preparation. You know when you've hit it. You know when you've given it your best. You don't need approval or feedback from anyone else about how you did. You know. Be honest with yourself. If you realize you didn't hit it this time, make sure you do the work and preparation to hit it the next time and every time.


Sincerely, 
Amy Lyndon
Founder & CEO
The Lyndon Technique
http://www.TheLyndonTechnique.com
http://www.TLTaccess.com - Members Only

ARTICLE: The Actor's Black Belt

I once worked as a Marketing Consultant for a large company in Ohio and the CEO once sat down with me and told me a story that really resonated with me, and I’d like to share it with you. He was a black belt martial artist in karate and he said that after years of training and hard work, when he finally earned his black belt, his sensei pulled him aside and said, “Now you can begin to become a master.” The CEO was confused. “Didn’t I just earn my black belt? Doesn’t that make me, on some level, a master?” His sensei replied, “You’ve only mastered the first step. A black belt is only a student who has thoroughly prepared to begin the journey.”

I think many actors live with the expectation that what they have or who they are ought to be enough to be a working actor in Hollywood. Our unions require no apprenticeship, casting directors tell us to “be ourselves” and we see people with no training and no experience being plucked out of nowhere for stardom. The truth is that our perception is different from reality. The star “plucked out of obscurity” has been training and auditioning for years, has their package together and has been ready for opportunity when it comes. To be a working actor, you have to view it as a black belt would: you must become a master at all the basics, then you will be able to successfully navigate the path to becoming a working actor.

What are some of the basics? Here’s a partial list in no particular order of importance:

• A properly formatted resume
• Headshots representative of your type and specific to the genres that type would work in
• Demo reel also representative of your types
• Voice over reel
• Agent and/or manager
• A proper marketing and follow-up plan
• Acting training
• Booking training – it’s completely separate from acting training
• Improv and comedy training
• Commercial training
• The ability to network
• Social Media presence
• Healthy, facile body able to endure 16 hours on a night shoot
• Audition outfits
• Membership to all the self-submission sites
• Camera to self-tape auditions or access to a taping service
• Website
• Day job with lots of cash and flexibility

I could go on and on. Being an actor is NOT easy, and neither is becoming a black belt. But once you have all the basics in line, then it becomes simpler to build a successful career as a working actor. In fact, this is the very purpose of The Lyndon Technique and TLTaccess.com – we exist to give actors practical tools and advice to become acting black belts.

So begin today to prepare for your journey. One day, people will point to you as an example of mastery at being a working actor. Until then, start training!

Justin Giddings + Amy Lyndon

The Lyndon Technique

http://www.TheLyndonTechnique.com

http://www.TLTaccess.com - Visit to download your FREE 4-Week Booking Kit!

ARTICLE: Keep The Funnel Full

Keep The Funnel Full

Justin Turner, Marketing Director

A lot of actors complain to us that their careers are not where they want them to be. We understand the frustration, but we also know that most actors don’t know how much they are in control of their own career. The problem is, actors usually put forth some (or a lot) of effort for a short period of time, get a tiny amount of results (if at all), then get frustrated by the fact that they have no momentum. The answer is simple: they don’t keep the funnel full.

Amy Lyndon uses this metaphor consistently when explaining a career. She says, “Keep filling up and funnel and don’t look back because before you know it will start spilling over with golden opportunities. That is how the energy and momentum in your career works. When you take the time off, you literally have to fill up the funnel and it won’t spill out for at least 10 days to 2 weeks afterwards. Sometimes an opportunity will come from something random just because of your energy set forth.”

Guys, you have to keep the funnel full by constantly and consistently putting in the effort and increasing your exposure so that there is a constant stream of opportunities and results in your career. What is the essential key to keeping the funnel full? Daily action. So we’ve come up with a proven list of daily activities that will help you keep your funnel full.

• Submit yourself on all the self-submission sites 3-4 times throughout the day. These sites include; Actors Access, LA Casting, Now Casting, Casting Frontier, SAG’s iActor and Backstage.com.

• Download sides and use Amy’s book (The Lyndon Technique) to practice your skills at breaking down a scene every day.

• Continually clean up your package. That means websites, resumes on all the casting sites and headshots.

• Network on social media, primarily Twitter and Facebook. Twitter is a great place to make new connections with people in the industry who are oftentimes hard to network with, and Facebook is a great way to strengthen the current connections you already have.

• Audition. Practice on the people practicing on you - i.e. college films, web series, independent films that you can book on your own.

• Weekly Update for your team. Every week, compile a daily summary of your activity and send it to your team. This way, when your agent or manager sits down with a new batch of breakdowns, you’re at the top of their list.

We at The Lyndon Technique are issuing a challenge: Do the preceding six actions daily for two weeks, and then let us know how it went by posting on our Facebook Page, http://www.Facebook.com/TheLyndonTechnique. We guarantee that your career will experience a major shift in the right direction!

Justin Turner + Amy Lyndon
The Lyndon Technique
http://TheLyndonTechnique.com
http://www.TLTaccess.com - Download your FREE 4-Week Booking Kit! 

ARTICLE: Are You Working Hard Enough? Really?

Not easy to build.

Last month, I wrote an exclusive article for our TLTaccess.com Members about burnout - the inevitable result of too much stress and working at a level-ten frenzy. This month, I want to swing to the other side of the pendulum and ask you, “Are you really working hard enough?”

I think we actors can easily point to the trials and tribulations of trying to make it in show-business and come up with a myriad of reasons (excuses) why our careers aren’t moving forward. “It’s tough.” “I don’t have the money for classes/headshots/coaching.” “If I only knew the right people.” “If only my agent sent me in more, or I had a better agent.” And so on…

Guys, it is very tough to be an actor. A lot of gurus say that if you can do any other job – do it. Well, I say bull**** to that. Rather than bail on your dreams because you can, you should tighten your belt, roll up your sleeves, and get ready to beat the hell out of any challenges that dare to take you on.

Whether it’s money, time, agent issues or whatever, there is a solution that someone has discovered. You are not the first actor to wish they had better contacts or better reps. Your challenges are not unique to you, so, what makes YOU different from the thousands of working actors?

You’re not working hard enough, or you’re not working smart enough.

Now, before you go crazy on me, please note that the keyword there is enough. You may be working very hard and very smart, but it may not be enough. Enough is a relative term, and so you have to decide what’s enough for you. A 19-year-old gorgeous blond model who is the niece of a famous director is going to have a different value for the term “enough” than you might have. But the principle remains the same: If you’re going to be a successful actor, you have to figure out what it’s going to take, and then do ENOUGH OF IT!

Honestly guys, this is a big subject, because every actor’s journey is different, so I can’t point to a checklist of actions and wash my hands of you. If you’re struggling, stop trying to figure it out on your own. Get connected to a trusted group of actors or industry professionals who aren’t afraid to tell you you’re slacking off. Even better, schedule a Career Consultation with Amy locally or via Skype. Whatever you do, do it NOW. Like, right now, today, in the moment, because this is your dream we’re talking about! It’s you vs. the world, and only one of you gets to walk away victorious.

Time to roll up your sleeves.

Justin Turner + Amy Lyndon 

The Lyndon Technique

Marketing Director

http://www.TheLyndonTechnique.com

http://www.TLTaccess.com - Download your FREE 4-Week Booking Kit

818-760-8501 - Call to schedule your Career Consultation

ARTICLE: Can You Be Found?

Waldo wants to know where the heck are YOU?

Did you know that we live in a time where technology has almost rendered us unreachable? How do I know this? Well, try filling in for the people that work at The Lyndon Technique! Every time I take over the jobs of my associates - Michelle, Valerie and Justin - and call clients or potential clients back, it becomes an utter frustrating event.  And I thought calling the DMV was bad!

Are you reachable? Can you be found? Do you really think that an industry professional will stay interested if they have to track you down? How many job opportunities have you lost because you're hard to reach? The problem with that question is that you have no idea. It's hard enough to get opportunities in this business. Imagine if it was your agent, manager, producer, director or someone calling to book you.

I thought I'd compile a list of my eye opening experience when trying to call:

Mailbox full, sitting on hold listening to rap music, difficult to understand outgoing message, a wacky or 'too cool for school' outgoing message, a return call that's garbled because of a bad connection, no message service, answering the call like you just got out of bed or are hung over, a child or someone in the house answering your phone and you're nowhere to be found, a disconnected number with no forwarding number and a phone that picks up and then goes dead. I'm sure I've missed a couple, but you get the picture.

Your business begins at the front desk. Your phone and the way you answer the phone is the front desk. Whoever is at the "front desk" sets the first impression of your company. Make it easy on the people who need to get a hold of you. Run your business like a true business. Make people feel like they want to do business with you because you make their lives easier.

Here to help you guys. WHY? Because, I am YOU!



Cheers!
Amy Lyndon
CEO - The Lyndon Technique
http://thelyndontechnique.com
http://tltaccess.com - Download your FREE 4-Week Booking Kit!
http://www.imdb.me/amylyndon
818 760 8501

ARTICLE: Get Your Juicy On!

You know what else is juicy? Oranges.

JUST DO IT! GET YOUR JUICY ON PEOPLE AND BOOK BIG!!!

Common, you know you love it. Why not commit to it? Why not go all the way with your feelings? Why not get dressed for the occasion and show up on time and go for it? You know they want you. You know you have the gift and the talent to make them say... Yes! Yes! So, why not do it? Why not put time and love into what you do? Why not just go there and take it? It's waiting there for you to take it. It's calling your name. Sound enticing?

I'm talking about your career. I'm talking about your dreams. You want it, right? Then go about it the correct way and be prepared. Get your juicy on. Have a plan of action. Show them what you're made of. Don't let some other person take what you want. Attack your opportunities. Don't let them pass you by. Taste it and go after it. Hit every thought. Set up every action, Know what you're doing. Know who you're talking to or about. Create your environment. Feel every moment and tell the absolute best story there is to tell. Expand your imagination and breathe in all the possibilities.

You sell it baby, and we will buy it! Give it all you got and walk away knowing that you were successful, interesting and juicy. You made it happen. You're the one to facilitate your dreams into reality. You're the captain of your ship. Just put up the sails and go.

Always here for YOU!

Amy Lyndon
CEO - The Lyndon Technique
818.760.8501
http://thelyndontechnique.com
http://www.imdb.me/amylyndon

Join us on Facebook:
http://www.facebook.com/TheLyndonTechnique

Follow us on Twitter:
http://twitter.com/amylyndon

ARTICLE: Tell Me About Yourself

Done right, you can be charming too. Like this guy.

Actors take meetings; it’s just a part of what we do. Whether it’s meeting an agent or manager, auditioning for producers, or just networking at a bar, you’re out there connecting with people and talking about your career. And, of course, the infamous question always arises:  “Tell me a little bit about yourself?”

Actors - Here’s the answer to that question, in the order of importance:

Interesting Fact or Story – Actors are storytellers, and the people we’re meeting are usually people who hire those that tell the best story possible. Imagine your interviewer as a 5-yr-old who needs to be entertained and the goal is to tell an interesting and funny story that also relates to your castability to let the buyer know how much money they can make on you. For example, I play a gentle nerd a lot, and so one story I use is how as a kid I would ask my parents to buy me Star Wars toys, but you see, I would never take them out of the box. So even at 8 I thought of myself as a collector! What a cute little successful nerd! Get it? Or you might tell them an interesting story about your parents and that they’re missionaries who work for the Red Cross. You’ve got to have a hook so that they remember you distinctly.

Education – A brief recap of your education helps your interviewer get a feel for what they can expect. If a prestigious university or school puts their stamp of approval on you, you’re golden. Always express your enthusiasm and relevance to the industry: “I just started private coaching with Amy Lyndon and I can see why so many of her clients book because she’s been doing wonders for me. I seem to be booking every audition I go out on.” If you’re looking to move into sit-com work, make sure you mention that you do stand-up or you’re in a comedy troupe or improvisational group. Let them know where and when they can come to see your work.

Numbers – Agents and managers love numbers – that’s what they make money on.  For example: “In just under 2 years, I Booked a hit TV show, a Series Lead with Paramount Distributing, and I have a Feature Comedy in Post Production with a 2012 Release. And my Web Series was just picked up for 13 more episodes!” They are not interested in the details! It tells them that you are a booker and in the game to make them money. No credits? Then list other accomplishments like great reviews from Theatre Productions and tell them what type of roles you play and how excited you are to move into television.

These 3 elements are the foundation to a successful Tell Me About Yourself. Keep in mind, there is a Casting Director (30 seconds) version and even a one-line meet-a-Producer-in-a-bar version. Make sure you take advantage of this in your career consultation at www.TheLyndonTechnique.com - Amy Lyndon is an expert at getting you ready for every meeting and audition!

This article is meant to take out some of the mystery behind this very important question. A great interview can make a huge difference and we at The Lyndon Technique are thrilled to give you the “Cheat Sheet” to your success.

Always remember, stay positive and know that you are awesome!

Let us help YOU succeed!!!


Cheers!
Justin Turner, Marketing Director of The Lyndon Technique
Amy Lyndon, CEO + Founder of The Lyndon Technique
www.TLTaccess.com - Get your FREE 4-Week Booking Kit!
www.TheLyndonTechnique.com

ARTICLE: Consistency Cures Anxiety | TLTaccess Members Only

Dude. Chill.

I don’t know about you, but choosing acting as a career choice has proven to be a bit stressful at times. I’ve spent tens of thousands of dollars on training and materials, and the industry-wide success-to-rejection ratio just plain sucks. So for me, it’s easy to get stressed and anxious about my career. However, I’d like to share with you the cure.

Consistency is the cure for anxiety.

When we take action everyday, it breeds a sense of purpose and momentum, and alleviates those feelings of helplessness and anxiety about our careers – or lack thereof. This article will help you nip those feelings in the bud forever.

CLICK to visit www.TLTaccess.com, join, and click on the Articles page to download & read the rest of the article!

Ok, guys, get on the ball and create the Plan! I promise you this: all the feelings of anxiety, doubt, stress, helplessness and confusion will disappear if you do exactly what this article tells you. You can apply it to every part of your life, and I challenge you to mark your calendar for the day you started working the Plan, because a year later, you will be in a completely different place in your career.

What have you got to lose? Nothing, and you have everything to gain.



Cheers!
Justin Turner - Marketing Director
The Lyndon Technique
www.TheLyndonTechnique.com 
www.TLTaccess.com - Download your FREE 4-Week Booking Kit

Branding: The New Actor Buzzword

Figure it out.

The new buzzword in the acting community is “branding.” Going beyond type, the term “brand” is meant to put your type in the context of show business rather than just casting. If you understand your brand, your marketing package will always be in line.

The American Marketing Association (AMA) defines a brand as a "name, term, sign, symbol or design, or a combination of them intended to identify the goods and services of one seller or group of sellers and to differentiate them from those of other sellers.” In acting terms, it’s the stuff that makes you unique and different from other actors – even those within your type.

Therefore it makes sense to understand that branding is not about getting casting directors to choose you over the competition, but it is about getting casting directors and producers to see you as the unique solution to their casting needs. 

Your actor-brand does the following:

Delivers your “essence” clearly – At the very core of you is a set of qualities that make up who you are as a person. This is deeper than type – this is what you’ve been told your whole life. For example, I have often been described as hilarious, innocent/gentle, and smart, but with a mischievous side to me that runs through it all. From that, I developed my main types: the funny best friend, the slacker/stoner, and the cool geek. My website, postcards, and even resume are whimsical, brightly-colored, and a little sassy. You know exactly what you’re going to get when I walk into the room.

Reinforces your professionalism and credibility – Amy talks a lot about one’s work being “crispy,” which means beings so specific that it pops. Your brand, when it’s crispy, shows that you are on top of your game. No sloppiness, no doubt – your brand says, “I’m a pro, and you can trust me to be on a set that costs $2000/minute to run.”

Emotionally connects to the casting director & producers – Remember, you are in sales, and the product your selling is YOU. Think of a product like Apple: they’re not selling phones, they’re selling the experience of the phone, and you connect on an emotional level. “That’s so awesome!” or “I could do so many cool things with that.” Etc. The point is, you want to be their go-to actor, the face that pops up in their mind when they’re casting your type(s). When they get your postcard, or see your website, you want them to be emotionally affected so that they get excited and start imagining all the ways they could use you as an actor.

There are thousands and thousands of actors that look like you. There are thousands and thousands of actors that are as trained as you, have MFAs, etc. Your type is not unique. Other actors work just as hard as you. Your competition is fierce, and it’s easy to psych yourself out when you walk into an audition room because you’re going to see 20 people who “deserve” this part as much as you. The ONLY special thing about you is that there is only one of YOU – the special qualities and experiences that make up who you are. Figure out who that is, and you’ll have your brand.

Guys, casting directors and producers have a hard job. If you create a clear brand of the kind of actor that you are, you make their job easy – and that means more WORK!


Cheers!
Justin Turner - Marketing Director
The Lyndon Technique
www.TheLyndonTechnique.com 
www.TLTaccess.com - Download your FREE 4-Week Booking Kit

Booking Is A Separate Beast!

Acting vs. Booking. Totally different, both formidable.

In all the years that I have been working as an actor, I cannot recall ever completely duplicating my audition during a shoot. Inevitably something gets changed. So much so sometimes I think to myself, "This is so different from my audition, why did they even pick me?" The answer is simple. Booking is a separate beast! When you understand that booking a job is not necessarily how you're going to shoot the job, then you will start separating out the two and see booking as it's own art form. Trust me on this guys, I have booked over 40 films and 30 television shows in addition to helping actors book when I was a personal manager for 9 years and personally coaching 1000's of actors over the years and witness them booking big jobs!

So what constitutes a booking? Well, it would take an entire "War and Peace" gigantic book to describe that one to you, but what I will tell you is that you have to be dynamic. Actors are so afraid of "going over the top" that they actually put a cap on their own performance. Did you know that 'going over the top' is simply not being in truth? If you are in EXACT TRUTH according to the writer's intent and you are in the tone and style of the show or film, then why are you hitting it at a comfortable 7 when you should be hitting it at a 10+ to take the job? Why get all dressed up and inconvenience yourself to get to an audition and not go there to book it?

Instead of running your scene with anyone that will help you and flattening the hell out of it, why not section out your script and work your transitions and see if you actually know where this is for you and if you understand exactly what you are saying and feeling? Look for the transitions and keep switching them effortlessly like a precision driver. If you run the lines, then they will sound like lines run.

Another thing that constitutes a booking is knowing what you are doing. Why would anyone hire you if you don't know what you doing? Trust me, the last thing a casting director wants to hear from their boss is that they messed up by bringing you into their producer session and onto a set when you didn't know what you are doing.

Also, are you prepared to shoot the scene right there in the office? If not, then don't go to that audition. This is an add water and stir business people. I'm sorry, but no one cares about your process. Are you there to deliver the goods or not? Stop thinking that you're going to get a second take or an adjustment to help you hit it exactly where they want you to be. If 6 actors are brought in for one job and 5 actors get it on the first take, why would they bring back the 6th actor who needed an adjustment? Be logical. Look at this business as a business. If the tables were turned, would you do business with you? Are you conducting yourself as a business? Are you really ready to work? This isn't a joke. This is the real deal. Information is power!

Here's to booking big!
xoxo
Amy Lyndon
CEO - The Lyndon Technique
http://thelyndontechnique.com
818.760.8501

ARTICLE - Grease Some Palms!! + NOVEMBER BOOKINGS

Dear Fabulous Actors,

As a fellow Actor who has also been on the other side of the desk as a former Personal Manager for 9 years and CD and Director, I can honestly say that you need to take care of the people on your way up or you will see them on your way down! Nurture your relationships in this business folks. It is a fact that your reps work for free until you book. This season, make sure you take care of them! Make them feel appreciated for all of their hard work. If they are getting you out and you're not booking, well, that's not their fault.

I just recently worked on a set opposite one of my former clients and I've got to say, now that he's a star, I don't think he really remembered all those months that I kicked his ass in class to contribute to being that star. He is not the first one that I've experienced that with in our little community called Hollywood. When I put in a good word for an actor with an agent or manager, do you really think that they call me right away to tell me that they signed? Just last night in class I asked one of my students about this Manager that I had been putting in a good word to give her another chance, and she said, "Oh, I thought I told you. Yeah, I signed with her." How about those CD's that go to bat for you to meet the Producers? What about them? Are you nurturing that relationship or are you sending them Post Cards for them to call you in again? As we say in New York, "Grease some palms!" This is not a negative connotation. If my father wanted a good table in a popular New York Restaurant he would go over to the Maître 'd and put money in his palm and we would walk right through. Everyone was happy. That's how the Maître 'd make their money, that's how we got great tables and life moves on. Don't keep taking - there is an exchange. Look I don't expect my private students to call me after their coaching session to see if they booked the job - but I actually do care and I want to know. A lot say that they'll call, but they never do - that's not hurtful because we already did do an exchange. But, when I do give out my time and advise for free and don't get a return, I don't forget. Don't think for a second that casting or your reps forget how you might treat them as well. Take care of your people in the service industry. Don't forget to "Grease some palms!"


XOXO
Amy Lyndon
http://thelyndontechnique.com
818.760.8501

P.S. There WILL BE CLASS all of December and I am offering 20% off all Career Consultations only for the month of December - COUPON CODE: PALMS!

P.P.S. Get in early for the launch of http://tltaccess.com and be one of the first 50 to get a free gift!

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NOVEMBER BOOKINGS

Spencer Daniels Booked Top Of The Show Guest Lead in CSI MIAMI!

Gerald Webb is now Recurring on LAW AND ORDER: LOS ANGELES!

Ted Monte Booked a Co-Star in UNDERCOVERS!

Connor Weil Booked a Co-Star in VICTORIOUS!

Barnaby Barrilla Booked a Co-Star in CRIMINAL MINDS!

Alexandra Finkel Booked a Co-Star in I DIDN'T KNOW I WAS PREGNANT and Co-Star in SOUTHLAND!

Anne Apra Booked a GLUE STICK Commercial!

Roe Moore Booked a POLARA Commercial!

Kali Kirk Booked a CHEBANCA! Commercial!

Joey Skeris Booked a VITAMEN Commercial!

Justin Tinucci Booked the Series Lead in the Web Series FIGURE IT OUT!

Anthony Cutolo Booked an NBC Promo Commercial and a Lead in the Film RILEY SANDS!

Annette Lorant Booked a Lead in the Film LUCID!

Kris Paredes Booked a Guest Star in the Web Series CALLBACK!

Justin Giddings Booked a Co-Star in PRETTY LITTLE LIARS!

Debbie Kagy Booked a Serious Regular in the MARK CHRISTOPHER MUSIC PROJECT Pilot!

Sara Castro Booked a Guest Star Role in the Web Series AFTER HOURS and a JOBTIPS.COM Commercial!

Wynnie Martin Booked the Starring Role in the Feature Film NO PAIN LIKE IT!

Shakira Paye Booked a Series Regular in the Web Series DOGS ARE WOMAN'S BEST FRIEND!

Deena Holland Booked a National VERIZON Commercial!

Christina Gabrielle Booked the Starring Role in the Film THE LESSON!

Devin Fox Booked Supporting Roles in the Films ALLIGIENCE AND IVREY!

Kevin Scarlett Booked a Series Regular Role in the Web Series SONS OF LEGEND!

Dan Wiley Booked a Supporting Role in the Film XXX MEANS I LOVE YOU!

Melissa Tan Booked a MCDONALDS Commercial!

Shirley Burns Booked a Recurring Role in the Web Series ASSASSIN!

Michael Beardsley Booked the Feature Film SHE WANTS ME with Charlie Sheen and Hillary Duff and a Series Regular in the Pilot RUMBLE AND HUMBLE PIE!

China Brooks Booked a National TIME WARNER Commercial and a National At & T Commercial and Regional RACE TRACK CONVENIENCE STORES Commercial!

ARTICLE - Brilliance Is In The Specifics

BRILLIANCE IS IN THE SPECIFICS

By Amy Lyndon

Just so you to understand when I talk about brilliance, here's the definition of brilliance: striking, distinctive, glittering and bright. If you want to get into the one percent, you need to be distinctive, striking and bright every time! The reason I have you guys go over each line is because I want you to be extremely detail specific because the brilliance is in the specifics. How does your character speak? Are you adhering to the punctuation? If you throw it out, then you're not sounding exactly as the writer intended the character to sound. How are you going to pop and glitter with excitement if you're running lines and wrapping them around each other over and over again? We will see the character if you pop those transitions and punctuate how the character speaks. That's why I want you guys to write notes on every single one of your lines. What are you saying? What are you REALLY saying? The more you get into the habit of doing great homework, the more you'll get specific and have incredible booking results.

 

Most actors don't know what the homework is. They run their scenes and lines to death and then they think they're ready. Take the time and marinate on what you are really saying according to how you heard what the other person said to you. Stretch yourself and take it one step further. Break down each syllable, break down each line and break down each thought as a separate thought. Casual reality is just that, casual reality. Not really interesting for a competition. Every time that there's a comma there's a new thought. Every time that there's a period there's a new thought. Always ask why. Why is there an exclamation point?  Why is there a question mark? Why is there a dot dot dot? Punctuation is always a clue to how your character feels. Give yourself up to the writers. You've got to keep asking yourself questions.  And the more questions you ask yourself and the more answers you have the more specific you are and the more brilliant your performance is going to be. It's okay to be brilliant!

The brilliance is also in the letting go. It's easier to do when you know what you are doing. If you read and circle the actions, then you will know what you are doing. If you know what you are doing, so will everyone else watching you. Also understand exactly what's going on in the specifics of the relationship and in the specifics of EXACTLY how you speak to that person based on who they are. Trust me, someone will come in and they'll make the line sound just as good as you will, but in order to get into the one percent, how much further can you understand that line? How much further can you make it your own by understanding the relationship and how do you truly feel about that person in reaction to exactly what you just heard? 

How are you ever going to pop in the room if everything you see, hear or feel is just casual reality to sound good? Seriously, what is the real truth? The character's truth? There are a lot of really great actors out there, but not a lot of brilliant ones. The only thing that will separate you out is in the specifics. 

Seriously, my forte is being a booking coach and this is just a tidbit of solid proven advice to help you get into that 1% Booking Ratio. What you do once you're on set is up to you because frankly, at that point, my work is done. Just remember to use my name when you get your award!

xoxo
 

Amy Lyndon
http://www.imdb.me/amylyndon
http://thelyndontechnique.com
818.760.8501

ARTICLE - Don't Be Stupid: Things You Need To Know

DON'T BE STUPID
aka Things You Need To Know

Excerpt from upcoming book: TAKE BACK YOUR CAREER


It has always amazed me how much actors don't know what is on television. Do you really think an agent or manager cares about booking you on a $100 a day film? They care about booking you on television. Why? Because that is where they make the most commission. I know most of you would love to be a film actor, but let's be realistic folks, most of the film actors today started on television.

Also, know the television show you're auditioning for. What is the format and tone? A lot of times you'll be reading great, but no one will know how brilliant you are because you're in a different show. Which is why you have to watch every show. If you want to be on television, you have to watch television. How are you going to have any points of reference if you don't know what's going on? Pick up TV Guide, subscribe to it and see who's working. What are they wearing? What are the popular hairstyles? If you don't look like you're on the show and act like you're on the show, then why should they cast you on their show? Try not to extend the imagination of the people who are hiring you. Figure out how you can fit into the requirements of the given medium. It's sad, but you can be the greatest actor in the world, but if they don't see it with what they are casting, then you're not going to get the part. It's really that simple.

Do the research. Look up on IMDBpro the other shows the producers have worked on. If it's an Aaron Sorkin show, then it's a particular style that the network buys from him. Know what the casting director has worked on. What type of actors do they usually go for? The more information you have going in, the more powerful you are and the more able you are to get to the one percent booking.

When you get the audition, make sure that you're prepared. Do you know exactly where you're going?Map it out the night before. Lay out your clothes. Stay off the phone. If you're still going over your script in your car on the way over and in the office, then you didn't do enough homework. Don't look at anyone in the outer office. The moment that you catch someone's eye, they will talk to you.Bring music or put your head down and close your ears to all the noise and concentrate on what you're going to do. Find out who is signed up before you and if you can, wait outside the room and go straight in as soon as they walk out. Do not engage.

Another thing, if you're thinking about the audition for days after wards and asking for feedback from your representatives, then you didn't do your homework. You know when you've hit it hard. You know when you've given it your best. You don't need approval or feedback from anyone else about how you did. You know. Be honest with yourself.


Cheers.
Amy Lyndon
818.760.8501
http://thelyndontechnique.com
TheLyndonTechnique@gmail.com

Are Great Actors Born Or Made?

I’m sure not too many people share my views on this, but I do believe that anyone with a great emotional facility, imagination and fortitude can become a great actor.

The actor is “made” by his or her own willingness to be great. There are actors that were “born” to be actors, however if they don’t understand the work that it takes to be great, then it’s just another person out there who never capitalized on their God-given gift.

Just because an actor has a television series or stars in major motion pictures, does not make them great. They most certainly can fall into the category of “made.” That is in the sense that they had the right look and were placed into a project at the right time. There are many brilliant actors out there that work hard and are ready, but were never “made.” That is, “made” in the sense of the business making them a household name.

There are others like Philip Seymour Hoffman that are brilliant because they worked on anything and everything to be seen, heard and exercised to the extent where they built their career whereby the public came to them. Cream really does rise to the top.

Amy Lyndon is multi-award winning filmmaker, actress, director, writer and producer. Having grown up in New Rochelle, New York, formal training was as easy as jumping on a train. During her senior year, Lyndon studied at the Neighborhood Playhouse (NYC) and went on to England to tackle the prestigious London Academy of Performing Arts. After earning her BFA from Syracuse University, Lyndon flew out to LA to debut opposite Andy Garcia in the Feature Film “A Night In Heaven.” Shortly after, Lyndon brushed up her chops with Stella Adler and Harry Mastrogeorge.

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SEE THE ORIGINAL ARTICLE ON ACTORGURU.COM: http://actorguru.com/2010/09/01/are-great-actors-born-or-made/

ARTICLE - How To Actively Stay Positive!

What do you think is the #1 factor to your success as an actor? Connections? Training? Marketing package? I'll give you a hint: I've mentioned it before.... yes, that's right.... ATTITUDE!! A lot of people refer to that as your "mindset" and it's so impor- wait what? You've heard this all before? Really?

Then why do you still have stinkin' thinkin'?

Don't deny it, I AM YOU, remember? I know what it's like to let my mind get the best of me when I'm intimidated at an audition or an agent meeting. I know what it feels like to think that you're too fat or too thin or too pretty or too ugly for XYZ Role. Not enough credits, too many of a certain kind of credits, etc. I call these "ceiling thoughts" because they put a ceiling on our potential as actors and as human beings. We give ourselves reasons why we CAN'T do things! And as time goes on, these ceiling thoughts get stronger and stronger as we give them more and more weight in our lives. Finally, they become an impenetrable fortress of negativity that surrounds us and imprisons us and the worst part is, WE'RE OK WITH THAT! Out of fear of trying and failing, or out of fear of believing and having our faith turn sour, we just don't try and don't believe and get comfortable with our choice.

So how do we build the muscles that we need to bust through our Ceiling Thoughts? Well, we train all the other aspects of our business and craft, and so why not train our mind? The simplest way: Daily Affirmations.

 Affirmations are self-directed positive thoughts or statements that relate to specific outcomes you want to achieve, such as wealth, success, or health. Instead of negative self-talk, you can use positive daily affirmations to direct what your focus will be. You can overcome the obstacles of your past, enjoy your present and create your future by utilizing daily affirmation. Affirmations redirect your values, help formulate goals, or prepare you for life's challenges that always come.

Here's how they work: Utilizing positive statements in the present tense, you look at yourself in a mirror and claim for yourself the person you strive to be. For example:

-         I am a highly talented actor and I would be an asset to any production

With daily affirmations, you exercise the part of your subconscious that is always providing you with feedback about yourself. It's always on, and it is simply a mirror of the input it receives. When something seems to contradict that feedback, the subconscious rejects it in order to maintain self-preservation of the ego. When the person who uses the above statement has a bad audition or doesn't get a part, they're already trained to say, "Well, that's ok, it wasn't meant to be for me because I'm a highly-trained actor and I would be an asset to any production, so clearly this role wasn't for me and now leaves me room for something better to come along." This is in contrast to the actor that always worries if they're talented enough and if they could only get enough auditions...: "Great, I feel like I suck, I blew it, and I'm not good enough to make it. I should go back to [insert hometown here]."

So how's your subconscious? Does it feed you the positive energy necessary to be in an industry laced with rejection, or does it just tell you over and over about all the rejection you will continue to receive? Your body (actions) will do what your mind (thoughts) tells it to do, so if you are seeking success, train your mind to take the action needed to be successful. Your best tools are you and a mirror.


Cheers!
Justin Giddings
www.TheLyndonTechnique.com - Visit our website so you can sign up for our NEWSLETTER and receive even more articles like these!

Ceiling Thoughts and Daily Affirmations

What do you think is the #1 factor to your success as an actor? Connections? Training? Package? I'll give you a hint: I've mentioned it before.... yes, that's right.... ATTITUDE!! A lot of people refer to that as your "mindset" and it's so impor- wait what? You've heard this all before? Really?

Then why do you still have stinkin' thinkin'?

Don't deny it, I AM YOU, remember? I know what it's like to let my mind get the best of me when I'm intimidated at an audition or an agent meeting. I know what it feels like to think that you're too fat or too thin or too pretty or too ugly for XYZ Role. Not enough credits, too many of a certain kind of credits, etc. I call these "ceiling thoughts" because they put a ceiling on our potential as actors and as human beings. We give ourselves reasons why we CAN'T do things! And as time goes on, these ceiling thoughts get stronger and stronger as we give them more and more weight in our lives. Finally, they become an impenetrable fortress of negativity that surrounds us and imprisons us and the worst part is, WE'RE OK WITH THAT! Out of fear of trying and failing, or out of fear of believing and having our faith turn sour, we just don't try and don't believe and get comfortable with our choice.

So how do we build the muscles that we need to bust through our Ceiling Thoughts? Well, we train all the other aspects of our business and craft, and so why not train our mind? The simplest way: Daily Affirmations.

I'm going to go into more depth about Daily Affirmations in this month's Lyndon Technique Newsletter (check out www.TheLyndonTechnique.com), but for now, let me give the shortest definition I can give: affirmations are convincing yourself of how cool you are. Standing in front of a mirror, you strategically work out your self-love muscle (ok, after re-reading that, I considered deleting, but let's all try to be mature, shall we? :-) ) by giving yourself a pep-talk and pointing out the positive things in your life and about yourself.

Like I said, check out this month's newsletter where I will really go into details about this, but for now, here's a video that might help:

ARTICLE - Formula For Success (excerpt)

All these articles are provided with the intent of providing real and practical advice while whetting your appetite for more. To read the full article, visit www.TheLyndonTechnique.com and sign up for our FREE newsletter!

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I'd like to share with you something called the Success Formula. When I worked as a marketing consultant for an international consulting company, this formula provided a clear visual way to measure both how to achieve success as well as how to measure oneself in one's journey to success.

SUCCESS = A (LTV + D + E/T)

A = Attitude
LTV = Long Term Vision
D = Discipline
E/T = Effort over Time

Let's break down the creamy center, shall we?

Long Term Vision is the mindset that you're committed for the long haul. You're not seeking immediate gratification, you're seeking an established success, something that has intrinsic worth and provides the momentum to do and be more.

Discipline is just that: discipline. You've got to be working on your acting every day.

Effort over Time picks up where Discipline left off. As your work habits build, you can commit more time and energy to your goals, but remember that consistency is much more important than quantity.

Finally, the great multiplier: your ATTITUDE! You can have all the talent, vision, discipline, consistency and connections in the world, but if your attitude sucks, you're never going to make it for two reasons. First, you will constantly sabotage yourself. Bad attitudes breed laziness, apathy, procrastination and the inability to celebrate and gain momentum from the success you do have. Second, nobody will like you and you won't have any friends. Seriously.

I hope this article has proven helpful and motivational to you! Feel free to email me directly with your comments. lyndonmarkdir@gmail.com

Take care!
TLT
Twitter.com/LyndonTechnique
www.TheLyndonTechnique.com

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Remember, this is merely an excerpt of the full article. Go to www.TheLyndonTechnique.com, sign up for the newsletter, and then you can have all that you've ever wanted!! Well, at least when it comes to motivational and educational actor newsletters.

ARTICLE - How Can You Use Improvisation In Preparing For A Role?

Ask An Acting Teacher: How Can You Use Improvisation in Preparing for a Role?

Alexis Brown
Nov 17, 2009



AMY LYNDON
Los Angeles; The Lyndon Technique, www.TheLyndonTechnique.com

Improvisation is a great tool when creating your character's behavior in an environment. You don't always need another person to improvise. Expand your imagination. No matter what character you're playing, sit and daydream of what a typical day would be like for your character. Where would you be? What time of day is it? What are you doing? How are you feeling? Who would you be talking to and how do you feel about that person? What's the weather like? How would you behave in the given situation? Tell yourself the story and re-enact it as if it's happening to your character right now. Having this information will keep you in the story and busy within that environment. You will feel immersed in your character and less distracted by outside elements. Chances are you won't fall out of the scene, because you're deep into the scene you've created.



TOM ARDAVNY
Los Angeles; The Ardavany Approach, www.theapproach.net

Improvisation is the art of finding your freedom within a moment. Acting in film is about creating and shaping moments for the camera. One cannot create and shape moments without freedom. So where do we get some of this freedom stuff? It's right here in the present. The present is what people who have presence command. They have cultivated their moment-to-moment existence into an energy that makes them magnetic. This improvisational condition in an artist opens the magic door to unrestricted, unabashed intercourse with the "now," allowing attention, feelings, and thoughts to naturally progress, eventually giving way to fully expressed actions and words. At that instant, life attains continuity and rhythm, leaving your audience lost in your performance. Film at its best is improvisation with an outline. The words in the script are not the limitation for your action. They serve as a catalyst for your free spirit to fly, giving life to the moment and guaranteeing an experience for you and your audience. Once this improvisational spirit is awakened in the artist, the possibilities become endless and the environment in which one is working becomes a playground.

Here's a simple exercise for the on-camera artist: Observe your breath. Try it. Do it until you become more relaxed and you notice an increased level of perception. You might hear sounds that were there the entire time that you weren't picking up on before. Or you might notice objects, colors, or reflections in your immediate space. Any sensory enhancement is an indication that you're moving into the present. You might also notice something else: You are free of anxiety and apprehension, and you're ready to realize your potential and have fun too.


Ken Lerner
Los Angeles; The Ken Lerner Studio, www.kenlerner.com

You can really flesh out a character by using improvisation in a role. At home, answer questions that the character you are talking to might ask in the situation. You can gain comfort by getting more familiar with the person you're talking to. Make up a scene for yourself that furthers the written scene, and make it more complicated, so you can be ready if the director asks questions pertaining to your character's attitude toward the person you are talking to or about the scene in general. Take the improvisation way out there. It will help make you more involved in the scene. In one scene I had with Tyne Daly on the show "Judging Amy," she approached me to improvise our relationship, and the scene came alive. On "Columbo," Peter Falk had me switch roles with him so he could see how the scene played out. We ad-libbed and, again, it made the scene better. In comedy, there are many great improvisers who are up to snuff with new lines, and keeping up is essential in making the spirit of the scene funnier. The purpose of improvisation is to loosen both you and the scene. So embrace the opportunity. Come up with a funny line during an improvisation and it could make the final show on any number of sitcoms. Size up the situation and improvise.


Glenn Kalison
New York; faculty member, New York Film Academy,
www.nyfa.com www.TheHollywoodReporter.com
www.glennkalison.com

An improvisational exploration can help flesh out the "moments before" the start of a scene or monologue, filling out details of the world created by the actor's imagination. Setting up the circumstances of an unscripted scene and letting the actors play can offer insights into the life of the character, revealing new aspects of relationship and history. Truly "living" a character's experience through an improvisation will stay with the actor and ultimately inform the performance. Beginning actors sometimes ask what's relevant for their character biographies. Anything that will motivate characters and give them drive in pursuit of their goals is relevant. Ideas can be found in these kinds of improvised rehearsals. An improvisation need not be dialogue-driven. A behavioral improvisation can be useful. Choose an appropriate activity for your character and during rehearsal get up and feel what it's like to do it as the character. For example, if you're playing Solness in Ibsen's "The Master Builder," what does it feel like to actually draw up architectural plans or build a model? We tell our actors that you are only a composite of all your life experiences to this moment. What makes you unique are your experiences. Well, the same is true for the characters you play. This way of working is particularly useful to film actors, because you can do it alone in your trailer or in a hotel the night before a shoot. Film actors are also dealing with shooting scenes out of order, so filling out the moments before will help you stay on track in terms of the character's overall journey.