| Having been in the industry now for over 20 | | | | if I don't believe it, than neither will anyone else. In |
| years, I have come to understand that there are | | | | fact, the first step is getting you to believe what |
| at least two types of actors. | | | | you are doing, and then so will the audience. |
| There is the actor who is all about the high | | | | I believe a lot of drama schools and acting |
| drama, it's all about them and they are the | | | | teachers don't give enough of this kind of critique. |
| quintessential 'luvvie darlings' of the industry. | | | | Sometimes too many concessions are given to |
| The other type is the down to earth, hard | | | | the fact that it's acting, and we should 'suspend |
| working actor whose work is based in realism and | | | | our disbelief'. |
| naturalism. | | | | This is absolute nonsense. |
| The latter are the types who thrive particularly | | | | Why should we suspend our disbelief. I want it as |
| well in TV and Film. | | | | real as possible please. I want to believe every |
| The type of acting that is required for film is | | | | syllable. Why? Because it's possible. It can be |
| acting that is so real that we forget it's acting. | | | | achieved with some hard work and honest |
| That is how great acting is achieved on film. | | | | feedback. |
| There is no place for over the top, hammed-up | | | | But the other thing is that many acting coaches, |
| theatrical acting. You would be laughed out the | | | | believe it or not, don't have an eye for this. I |
| door! In fact, many actors that go through a | | | | have met some and employed some over the |
| typical drama school training in the UK really have | | | | years that do have a great eye for truthful |
| to readjust as they enter the TV and Film arena, | | | | acting, but the vast majority whose work I have |
| because so much of their training was based | | | | seen and experienced, sadly, just don't have an |
| around theatre. | | | | eye for it. |
| Now, I don't have anything against theatre. In | | | | My advice, when considering your acting training, is |
| fact, I love theatre and film... when it's done well. | | | | to work with the best. A great training is worth |
| The thing is, a great actor will bring that sense of | | | | its weight in gold. We are talking about your talent |
| realism and believability to both mediums. | | | | here, and you want to hold that precious, and |
| My acting courses and classes are focused on | | | | nurture it by working with the best. |
| achieving this sort of acting. My yard stick is that | | | | |