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The New Age of Horror, and its affect on the cinematic landscape

7/21/2016

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​Horror, more than any other film genre has been susceptible to pop culture, with each trend reflecting the current state of world affairs. From the Universal monster pictures of the 1930s to the Blumhouse found footage films of the 2000s, horror films are ever evolving.
 
Therefore, it's not surprising that recently a new wave of horror is permeating the film landscape. Films that are not considered as out and out horror films, filled with gory scenes, and quiet-quiet-BAM jump scares, but films more interested in exploring the complex psychological dynamics of the human experience. Films such as the Australian stunner The Babadook, or the slow paced chiller, It Follows amongst many others.
 
Made on a relatively low budget, mostly with independent financing, these film aren't necessarily interested in the actual scares, though some of them are pretty terrifying to say the least, but rather use horror elements as kind of landscape in order to focus on a deeper character dilemma. For example, The Babadook, which in no way hides the fact that the film is actually a statement on parental exhaustion, with the monster clearly acting as a blatant metaphor for motherhood. Or that It Follows with its supernatural stalker is actually a film about sexual shame. Keeping these factors in mind, we can somewhat justifiably make an inference then that these films bring the subtext closer to the surface, making the films more intellectual and complex, as compared to the run-of-the-mill horror fare from the studios.
 
That isn't to say these art-house films aren't scary. Possessing a distinct tone and feel, with an utterly bleak world view films like Goodnight Mommy or The Witch rely on an insurmountable sense of dread, paranoia and perpetual unease, making the films extremely uncomfortable for audiences to watch. I remember one friend, who's a huge horror aficionado, say that he just couldn't sit still during the screening of It follows, not because he was bored, or three steps ahead of the story, but because he was extremely scared. The way he explained it, just the inherent knowledge that the stalker may be anyone and may come from anywhere was enough for him to keep his eyes semi-shielded, through most of the film.
 
But, to be fair, not everyone shares the same enthusiasm and experience as my friend. Take for example, the celebrated author and self-described cinefile, Bret Easton Ellis who declared his disdain on social media for what he calls "Indie Arthouse Horror". He explained this statement in detail in his podcasts with producer Jason Blum, and director Eli Roth, where he cited films such as The Babadook, You’re Next and Goodnight Mommy as major culprits for this new breed of cinema which provides unnecessary metaphors, backstory and logic, which may presumably elevate the story to give it extra heft, but actually undermines the scares present in the narrative. Ellis went so far as stating ‘Explanations ruin horror’, that films with random scares, where the monsters or ghosts don’t have a conclusive backstory are generally more effective in their ability to frighten us, than films which divulge in their third act that the monster never existed in the first place.
 
I’m sure Ellis isn’t the only one who shares these views. Many people, some of my friends included, consider these films more taut, tension-filled thrillers instead of actual horror films. I’m talking about real horror fans; people who tend to gravitate and seek out films that have actual scares, and find themselves cheated when they watch these indie art-house horror flicks, which according to them are nothing more than complex character studies, with some underlying tension.

However, whatever your preference may be, in the end, you cannot disregard the impact many of these films have had on the cinematic circuit. Sure, they may not be that scary to some, and that’s perfectly understandable, but for many these films have acted as conduits to a genre that may have been otherwise avoided. In any case, I’m optimistic about the future, and will hope to catch many of these films soon. Films that aim not only to frighten audiences, but also stimulate their minds. Now, that’s what I call a perfect cinematic experience!
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On Set Etiquette for Actors

7/13/2016

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Being on set can be a lot of fun. It can also quite grueling. Heads can lock; tempers can fly, especially when lots of people from different backgrounds come together for a shared goal of creating art. Compound that with the added pressure of time, and we can understand why filmmaking is considered a very high stakes endeavor. That's why it's essential for all creative professionals, be it actors or crew members, to know basic film set etiquette. 

Considering this blog is mainly centered towards actors, these tips and best practices are primarily geared towards them, but should work for other departments as well. 

1. Arrive on time - Or even better, arrive early. As I pointed above, time is money on a set and you, as actors want to make sure you never delay the start of a production. Unless, of course it's an emergency. But barring that, there should be no excuse. 

2. Know your lines - This one is self-explanatory. As actors it's your job to be adequately prepared before you arrive on set. Now things may change. Nothing is set in stone, especially with certain directors who prefer a more improvisational approach. But in the end, it's my opinion that you'll be better prepared, even if you have to be more flexible on set, if you've already done your homework.

3. Remember your marks - You can't imagine how much time you save the camera department if you just remember your marks. It's a simple task, but often overlooked. 

4. Be courteous and respectful - It doesn't cost you anything to say please and thank you. Crews work long hours. They're often the first to arrive and last to leave the set. Therefore, a kind and appreciative gesture goes a long way. 

5. Do not shout cut - That's the director's job. Even if you think the shot is over and the camera is unnecessarily rolling, don't shout cut. Just be in the moment. You'll be surprised how many times directors seek those specific moments after a shot is over, just so that they have something extra to play around with in the editing suite. 

6. Do not give your opinion, suggestions or friendly advice to a fellow actor - Sometimes you may see an actor deliver a line, or perform a scene in a certain way which you think doesn't exactly work for the film. It's best to keep silent and not speak up in such instances, as you don't want to unnecessarily interfere in the director's vision. Remember, it's the director job to have a holistic understanding of the film and how it'll all come together, so if an actor is performing in a particular way, it's quite possible the director has specifically asked for that. If you feel it is something that is affecting your performance in a negative way, then by all means speak up, but to the right person i.e. the director. 

7. Be quiet on set and wait patiently - A set is a professional work zone that costs a lot of money to operate. By engaging in an unrelated conversation, you don't want to distract the director, the department heads or the fellow actors as they prepare for the next shot. Staying quiet and focusing on your next scene is always the best option. 

There are many, many more tips of course, but for now, this should give you a basic idea. Remember, a production runs smoothly when all the people involved perform their roles in an effective and efficient manner. This can only be ensured when the actors and the crew members embrace all these key principles. 
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Different Character Archetypes - Which one are you?

7/6/2016

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Character Archetypes, to put it simply are common qualities that certain types of characters possess. These qualities can be expressed in infinite ways and are based on core personality traits that are found in literature, mythology, and the world around us. From the wise old mentor to the wide-eyed young hero, character archetypes have become part of our narrative lexicon.
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Now, as an actor how would you know that you fit one of these archetypes? That if a role based on a particular character type was available out there; you would stand a fair chance? Well, before we answer that question, let’s look at some common character archetypes used in films and TV. Courtesy of the website psychcentral.com

The Everyman/Everywoman - Often the central protagonist. A person who more or less acts as the voice of reason. Sometimes these characters only play by the rules, and sometimes they don't. It's ever evolving, as per the needs of the story. The character of 'Jim Halbert' from the 'The Office' would be a perfect example of an everyman.
The Ruler - A character motivated by the need to control and power over others. They assume responsibilities and show leadership. They can be benevolent, just, righteous, as well as authoritative and intimidating. Example - ‘Daenerys Targaryen’ from ‘Game of Thrones’.
The Explorer - These characters are motivated by a desire for discovery and a fear of conformity. They are often seen on a quest, in search for something. They act on intuition and try to maintain their original self while trying to change the world. They often run a risk of not settling down or not having a normal life as they’re constantly on the move. A classic example would be the character of ‘Indiana Jones’ from “Raiders of the Lost Ark’. 
The Caregiver - A character who by nature is nurturing and caring. These characters are happiest when they are making a difference in someone else’s life. Possessing a high amount of compassion and generosity, these characters often look after others who can’t protect themselves. Example - Sandra Bullock as ‘Leigh Anne Tuohy’ in ‘The Blind Side’
The Rebel - These characters rely on outrageous and radical methods to achieve their goals. They are essentially non-conformists. People with countercultural ideas who want to push the envelope ahead, mainly with an intention of creating a better world. They are generally respectful of other people’s opinions but can sometimes be reckless in their approach, concerning themselves only with the bigger picture at hand. Example - ‘Maverick’ in ‘Top Gun’

Coming back to our main question - How would you as an actor know that you fit in one of these archetypes? Well, the simple answer is - knowing yourself. That's basically what it is. Having a composite and honest understanding of your personality, your looks, your temperament, essentially everything that makes you who you are. 

You can also dig further and focus on how other people perceive you. Your friends, your family, your co-workers. Studying their behavior towards you can you give you a key insight as to who you really are.
And if that’s not enough, do some healthy introspection. Have a reflective look back at your life. Do some detective work. Browse through all the scenes you're getting in acting classes. The kind of roles your friends are offering you in their short films. Once you see a specific pattern, well that answers your question.
You can then build on that knowledge. Even create a certain persona as you go out for those roles. Knowing fairly well that if your personality fits the character type a certain show is looking for, you stand a really good chance.

Now you may turn around and say that I look like a Warrior type character, say for example - a soldier or a police officer, but inside I'm an everyman. That's the kind of character I want to play. Fair point. As actors, you'll all have an innate desire to play different characters. To play people who're completely different from your actual personality. In the end, that's what acting's all about, isn't it? Experimenting and constantly reimagining yourself. Well, that's definitely possible too, to an extent of course. The only caveat being, that you have to convince whoever is responsible for casting that you have what it takes. That even though, you don't naturally exhibit any of those characteristics, you can deliver when the performance calls for it.
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Well, again, harking back to the previous point, it all revolves around understanding the particular character type. And once you fully understand it, molding yourself to fit that character type. Making sure that once you walk into that room, the casting agents don't see you, but that specific character. That way, whoever you might be inside, it’s what you project outside, is what will finally determine whether you book that specific role.

In the end remember, the first impression is the lasting impression. What’s true in real life tends to be true when it comes to auditioning. You have to make it count!

​At Award Winning Reels, we will work with you to develop a professional reel that emphasizes the different archetypes and qualities you can play in your own unique way. Our boutique Demo Reel Production Service provides top industry level writers, editors, and production team that will ensure that you have a reel you can feel proud of, and that represents your unique talents and personality. 



 
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    Authors

    Anastasia Roussel is the head of Development at Award Winning Reels and White Swan Films. 

    Nicolas Pinzon is a filmmaker and storyteller currently enrolled in UCLA’s Professional Screenwriting Program. He has a B.A in Arts and Humanities with a concentration in both Music, and Gender and Sexuality.  

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