Author Archives: Jill Adler

Powell Bound; The Lake Garners “First Roadtrip of the Season” Award

NO service. The heat of the sun is forcing its way through the passenger window to press against my cheek. As much as I hate the heat trying to burn a hole in my skin, I’m feeling a settled calm. Part of that comes from being done with the rush around- getting ready, stocking the car with essentials, packing for two and prepping the house for friends who will stop in to check on the kitty.

Roadtrips are never as simple as you think. I know I’m forgetting stuff. I should have been packing two days ago. Oh wait. I didn’t even know about this trip two days ago. Come to think of it, roadtripping can be that simple if I can get everything arranged for three people and be out the door in a day and half.

Passengering to Lake Powell for the first weekend in May. It’s our first roadtrip of the season. Last year was a different story with day after day of epic powder at Snowbird I had no desire to leave. This year, it’s the opposite. I have no desire to ski. Instead, it’s off to the water we go to learn to houseboat, to relish the 80 degree temps, to morph jagged snowcapped mountains into raw redrock desert.

The call came two days ago. Slots had opened up for the houseboat course and did I want to rally? Hmmm. We had yard sales, tickets to Derby Day at High West, a Cinco de Mayo party and plans to ski with friends. Did I want to bag all that for a 5 hour roadtrip, a free stay at Defiance Lodge, driving a houseboat and powerboat around the Lake and a welcome invitation to bring my five year old. Yes.

1p.m. and now it’s nearly 6p.m. and we’re not there. 40 more miles. Never make specific plans with people at your final destination. You’re bound to be late. Like that old saying- Half the fun of your trip is your journey. We stopped in Salt Lake for gas and lunch. In Price for the bathroom and in Hanksville for Milk and birthday cake mix. Yep it’s my bday this weekend- Cinco de Mayo actually and I can’t think of better way to celebrate than out of town away from that dreaded question- how old are you? Wtf does it matter, is what I say in my head. J

So we make a cake, clink some Provo Girl and call it good from the bow of the 54-foot Escape.

Hello, Lake Powell!

Auditions Techniques Class 2

 

We’re reading a handout to kick off the class as people wander in. We are asked to read a graph from the handout and make it sound as if it’s “me” speaking to everyone. Bummer. I’m five minutes late and don’t get to read out loud. I love reading aloud. Ah well.

Again, it’s time to discuss what is Talent. It’s someone who does something better than most. But there’s competency and there’s virtuosity (where you put your individual stamp on it; doing something with your particular style).

But you can’t call yourself talented. It’s got to come from an external source. Someone else has to make that assessment or you’ll sound like an ass.

 

BUILDING CHARACTER- YOURS

Treat everyone with respect. Jerod Hess (Napoleon Dynamite) was a 2nd Ad on Baptist at a BBQ. He made friends with everyone.

 

Skills are techniques that allow you to rise and get better and be in the places where you can be seen. You can’t just play in your backyard. Just like tennis, acting is not a singles’ sport. You need to know what your skills are so audiences can perceive them. Otherwise they don’t exist.

 

Doing community theater? That’s you just being happy to put on a uniform and show up. Know how to do what the job requires. Actors are the biggest dumbasses on the planet. They think they can jump right to the top without developing their craft. Find out what the industry standard is and how to get there. Don’t ignore it because there aren’t that many roles made just for you.

 

 

The zenith of acting is a feature film. Length? 70pp or longer. Size matters. Are you right for the part? Who knows? Let the casting crew make that decision. You just might walk in and change their mind. Maybe you are the ‘wrong’ age or race. But still go for it.

It’s not even the acting that gets you the job. It’s everything else. It’s ‘you’ the human being. Acting is frosting before the cake. Don’t think it’s your acting. Remember the 15 second rule.

 

 

There’s a 90 percent unemployment rate for actors. Yet there are not enough qualified and excellent actors to fill the few jobs out there. Watch television and see. There’s a lot of bad acting going on.

 

TIME TO SHINE

Don’t feel so protective of what you prepare. You are here for them, show it off. fyi- it will never go the way you want it to but casting peeps expect you to not be perfect.

Just make sure that you are communicating the idea behind the words/your choices. Slow down; don’t go too fast.

 

Walk into the room and say to yourself, “I love it here.” This is where I get to do what I love to do. Relish the opportunity to finally get to audition. Don’t think about how you just want to get it over with.

 

When they ask you to talk about yourself, don’t state the obvious- I’m an actor and want to be in your movie. Or I’m really nervous. Or I live in Utah.

They do want you to talk about something commercial. Don’t talk about your kids or your dog (unless of course it’s an audition for a Purina or Toys R Us spot). Talk about your acting work- I just got done with project x, just got back from y. Talk about a movie you’ve seen and that you’re excited about.

 

Don’t try to second guess the director. You can’t answer the question what do they want? Sometimes even they can’t. Maybe you can ask your agent but there are dumb questions in an audition so be careful. If you don’t know what they want going into that room, you’re not supposed to. Or they will tell you.

 

Be prepared for the freak sitch. You walk in and weird stuff can happen- the director might think- you look like my ex-wife so you’ll never get that job.

If they ask you something just answer it. Don’t get into your head and try to analyze why they want to know something. Any conversation the casting director or director tries to have with you is a good thing. Don’t second guess. You can do that after you leave. They don’t waste time. They wouldn’t ask if they didn’t want to talk with you.

 

Don’t lie to get yourself the job! Can you ride a horse? Can you take a punch? Frank got asked that once and he answered, “no, but I fall down really well.” Personally, I’d say I’m willing to learn if I thought it was something I could learn to do well between the audition and the actual gig. I seriously doubt that JLo knew Krav Maga before “Enough” or Ralph Macchio could do that stork thing before “The Karate Kid.” But know your limits. I can learn to ballroom, to sing, to skydive but I ain’t ever going to ride motorcycles.

 

NEVER COME IN AS THE CHARACTER.

 

He CD has a job to do and they have deadlines you don’t have. Actors are usually the last piece of the puzzle. They are not looking for brilliance. Just to do what’s necessary, understand the script, be pleasant and then leave. Walk in thinking “I’m the best actor you’re going to see today” (but don’t say this out loud. Duh. You’ll be an asshole.)

 

Frank is happy most actors screw this up. Makes him look good.

 

3 rules:

Never state the obvious, “My first piece is Hamlet” not “My first piece is scene x from play y and it’s about…” If it’s obvious to you, don’t share it- I’m sorry I haven’t showered. Never offer unsolicited info- like you didn’t shower. Don’t bring in clippings in a book. Don’t make excuses. I’m sorry I have a cold. Speak above the cold.

This is not the time to go down memory lane with the director unless they want to. Don’t talk money (how much is this going to pay, is there a per diem?)

 

WHEN CAN YOU WORK?

Keep your options open. You can do anything, at any time. Say yes until you have to say no. Try not to use words like definitely. Shit happens. Use your agent if something comes up. Let them handle the difficult conversations.

 

WHAT SCREWS WITH YOUR MOJO?

Anxiety review- your greatest source of anxiety?

a-The competition. They’re something, I’m nothing.

b-Did I make the right choice? Fyi- There are no right or wrong choices. Just make one.

c-The slate can cause anxiety. This is the chance to shake hands and say I’m not psycho and I’m well-adjusted. Everything’s fine; hire me. The professional you.

Make sure you rehearse how to breathe and leave a room. Rehearse your slate. Rehearse saying thank you and leave.

 

Journaling outside of class is a way to talk and listen to each other. Sharing. Even if it’s just a few sentences. It helps Frank gauge what you’re getting from the class – his diagnostic.

 

MEMORIZING REVIEW

Read the first line. Read it over and over in monotone until it becomes just sounds. Repeating sounds – fast- till you can’t screw up. Divorce yourself of all choices.

Hold script then head up and deliver to focus.

Go back down and read the next line. Now go back and speak it in first person, honoring the punctuation. Now the sounds become words. There are no Oscars for memorization. Don’t worry about how fast or how you do it.

Once you have the lines down, figure out the given circumstances so you give it substance.

Monologues are one person plays.

Next thing is to say your monologue as you.

Have a relationship and an objective. I.e. want to know where he’s going; telling him he has to marry me, making him feel guilty for empty promises.

Monotone, then speak like you, then have relationship and objective. But you have to know those words so well that you can do anyway. It’s liberating when you don’t have to worry about the words.

You can add a line of subtext just to help yourself (i.e. think about what you really want to say but then say the actual line in place of what you want to say. I.e. instead of saying ‘you’re a piece of shit,’ you say you were leading me on all this time? But you’re THINKING- you’re a piece of shit.

 

We don’t talk about emotions; we deal in ‘subtext’. The ‘e’ thing just happens.

 

Btw, you should be able to memorize five pages of straight dialog in one day. Learn some then walk away and come back.

 

Figure out ‘colors’- how you get from being mad, to on the ground begging and sobbing.

 

11 BEATS TO AN AUDITION

The first 3 beats are usually the most terrifying. You’re outside the door. You know you’re next because you’ve studied who’s ahead of you. You have your resume and headshot in hand. Outside of the door, Boys, check your fly and palms. We don’t want slimy palms in case you’re shaking hands.

Accept that there will be that ‘oh shit’ moment. Breathe and move.

Walk in. Speak to whoever speaks to you. Don’t rush up and hug or shake someone’s hand.

Plan an aesthetic distance for your monologue. Enter the room like a well-adjusted human, make eye contact, and say hi.

Wait for permission to say my name. Stand still.

I’m Jill Adler. I’ll be reading Rosemary from Picnic by William Inge

Or my first piece is … x from y by z, then ‘step out’ (do not start acting where you introduced yourself and your piece)

Move somewhere on the sundial. Lose your focus, breathe, see, and speak. Take your time. As soon as you move, you are the character.

Play diagonal across the eye line of the director. NEVER play to the director or the person that’s auditioning you (unless for some reason they ask you to). Head up and parallel to the floor (eye line). Pick something real to look at.

Think something BEFORE YOU SPEAK- have a thought in your head. Imagine that the person you’re about to talk to just said something to you so you’re responding. Or your partner just got up to leave and you’re wondering why.

Move your body when you’re one third of the way through your monologue.

 

Rehearse your entrance all the time!!

Hi I’m Jill Adler. My piece is…. Lose your focus, step out of the initial space, breathe, look up find focus, think, and then speak.

 

NEXT WEEK

Be off book for the monologue.

 

Type a reflection for the yahoo groups.

You’ve Got An Audition! Now What?

Top 5 Questions to Ask Before You Get There

It’s just like you learned in school. No matter what paper you write you must first answer the “Five Ws”. Who, what, when, where, why. You can modify these to apply to a film or commercial audition as well.

Basically, when your agent calls get ready to ask these five questions according to Acting Coach Frank Gerrish.

Who? –

Who’s Doing the Audition?

You’re reading for a particular casting director at first but who else might be in that room? No sense in getting thrown off your game because you thought you were reading with just one person and there turns out to be five in the room. In addition, are those others the writer, director, producer and co-star? It would really suck for you if you made a crack about the script. BTW, who is the director? Get to know his other work.

Make sure you write the names down and research them. You may not book that particular gig but you might be in the same room with these people again and again. Get to know IMDB intimately if you don’t already.

Who are you reading for?

Ask your agent to read the description of the character (the breakdown) as well as whether you can read the script. Under SAG guidelines, a script must be made available to every actor. This rule is difficult to enforce (and unenforceable in non-union states like Utah) but that doesn’t mean you shouldn’t ask. Most agents do have a copy of the script. Go to the office and read it. You will have a better grasp of the character, the relationships and the project.

If there is no script for you, ask them if the CD mentioned any character specifics. Ie- they want an ethnic look, the character may get written out but they’re not sure, you’re from the south. You never know until you ask.

What? –

What kind of project is this? Film, TV, Industrial? Comedy? Drama?

What should I wear? Do you need to dress a certain way for the role? The rule of thumb is to go dressed the way your character would dress for a job interview. However, sometimes your agent will tell you to go in something more specific- workout attire or coat and tie. Do it but pack a few options in your car just in case you get there and find you were given the wrong info. This also helps if you’ve got more than one audition in a day (a rarity in Utah). You may not be dressing in character but you can still have something on you that helps you get into character. For example, you are auditioning for a part as a hooker; you don’t want to dress like a slut but you can wear a naughty thong under your skirt.

When? –

When is the audition? Be on time…or early. Sometimes, castings run late but don’t make it your fault. Most casting directors will apologize for long waits. So should you, if you are late. But don’t if you’re sure there’s absolutely NO WAY they’ll know you are late. No need to draw attention to yourself and most CDs don’t want to hear your drama.

If you can’t make it, ask if there’s another time and/or if the CD is seeing people. Ask if you can record the audition and send it in if there just is no other option.

Where? –

Where Do I Go?

Get the address; get the directions. If you have time, scope it out beforehand. Google Maps is not infallible. Get the phone number of the audition location in case you get lost and can’t reach your agent. Give yourself extra time to allot for traffic or misdirection. My agent sent out the wrong street number for my last audition. I spent 20 minutes driving around in circles before calling the place. Good thing I was shooting for ‘early’. I got there just in time.

If you get a callback don’t assume you are going to the same place as your original audition. The location often changes so ask your agent to confirm.

Why?

Why is this character important? This is more a question to ask yourself first. Read the breakdown, sides and script to find the answer. If you have trouble answering then ask the CD. Don’t wait until you have worked on the piece for three days only to be told-at audition-that character is completely different from what you thought. Call your agent and have them call the casting office.

Now, go out there and rock it!

Shoulder Season in Park City

Tis’ the season for off season.

The deals abound in every ski town come April…if you can get them before the doors close. Park City is not immune. Already all three ski areas are shuttered. Most of the retail stores have been picked over but you can still find that needle in the proverbial haystack. Including deals on next year’s season passes. Buying now nets the best savings.

But what about that lawsuit between PCMR and Talisker? you question. PCMR is making assurances: “in the unlikely event the pending lawsuit against Talisker Land Holdings results in the Resort closing for the season, the Resort will refund the full season pass price paid by holders of 2012-2013 season passes” to assuage potential fears. In addition, if the Resort is required in the lawsuit to close for a portion of the 2012-2013 season, the Resort will prorate the refund based on the period the Resort is closed. So shop away.

Buy before May 15 and your PCMR pass is 10 percent off the current season’s rates. $650 is a pretty awesome deal.

Youth (ages 7-12) passes start at just $125. You can purchase additional options like underground parking and ‘Fast Pass’ at a discount too.

New this year – a summer activities season pass. For $210, spend the whole summer enjoying unlimited rides on the Alpine Coaster, Alpine Slide, chairlift rides and all other activities in the base area. The ZipRider is $8 additional per ride and the Flying Eagle Zip Line is $5 additional per ride. Those shorter than 54” pay $105 for their summer pass.

All you have to do to lock in your pass price at Canyons is put down $100 before June 1. The full pass price this year was $1449 but take 6 college credits somewhere and bring the cost down to $699.

Deer Valley hasn’t announced anything yet but their summer ops start June 15.

Don’t forget to pick up a Park Record when you’re in town. Those two-for-one coupons are on every page. Now’s your chance to dine at a five-star restaurant like Wahso or Prime Steakhouse for a third of the price. Just make sure the spot you plan to visit is open. Many Park City restaurants take a break in May.

The Park City Restaurant Association just issued this list of temporary closures in case you’re wondering:

350 Main:              April 15 – June 19

Buona Vita:           April 22 – May 20

Easy Street:           April 16 – June 10

Grub Steak:           April 22 – April 27

High West:            April 30 – May 2

Mustang:               April 29 – May 17

Silver:                    April 28 – May 3

Silver Star Café:  April 16 – May 7

Wahso:                   April 15 – June 7

Wasatch Pub:      April 30 – May 3


Snowbird Gets a Lift ..Or Two


Little Cloud Bowl Photo courtesy Mark Kowalski.

World-Renowned Snowbird Resort in Utah is getting in the game. Starting this summer, The Bird will yank out the Little Cloud chair and replace it with a high-speed quad. The Gad 2 lift will suffer the same fate in 2013. The public has spoken and resort ops finally listened so expect some major uphill changes over the next few seasons. “These improvements focus on improving the guest experience,” said Bob Bonar in a recent press release. “The number one complaint that comes up year after year is the lifts,” explained one resort employee. “They’re slow. People like skiing here but they say they won’t come back because they don’t want to stand in a tram line or ride a slow chair. They want high-speed lifts.”



The Bird has sat on the sidelines for years watching Utah’s other major resorts meet the expectations of today’s riders. The last major on-hill improvement and- boy was it ever- occurred in summer 2005 when they blasted a tunnel from Peruvian Express into Mineral Basin and instantly relieved the pressure on the Tram. But since then every other ski area has added extensive snowmaking, better food services, six-pack and quad lifts, RFID ticket scanning, and enhanced grooming, while Snowbird watched and waited.

Photo by Ryan Freitas

But now, in the wake of a dismissal ski season that not only left season passholders scratching their heads but resort accountants scratching the bottom of the barrel, probably no other resort felt the strain more than Snowbird. They had a base that barely surpassed 100″ and a total snowfall that was about half of the historical average. With scant intermediate terrain, relatively little grooming and snowmaking, and nothing much to do when you weren’t skiing, they suffered. That will all change when the resort adds a snowmaking pump in Peruvian Gulch to blanket Peruvian, Mineral and Gad Valley, and begins to expand its intermediate offerings primarily located on the western side – i.e. Little Cloud and Gad 2.

Park City Mountain Resort’s snowmaking rivals Deer Valley’s

Not Everyone is Psyched

Powderhounds, however, are groaning a tad. Locals jam over to Gad 2 while the congestion at the tram stymies traffic on a white room day. The slow, cold progress was enough to keep most everyone else away. Now with two high speed lifts on that side, the crowds can spread out and become more manageable. Not to mention with quads come “singles lines” and more instant access to the goods. “Snowbird already gets tracked out insanely quickly after a storm, so doubling the capacity up Gad2 and LC makes me think that the Upper Gad Valley area will soon be like Mineral Basin,” said one web commentator. “That place looks like it was attacked by powder locusts like eight minutes after the rope drops.”


Could the Tram line possibly look like this on a powder weekend?

The resort promises not to run the new Gad 2 quad at full speed to “minimize overcrowding on the terrain accessed on the west side of the resort.” They will also modify runs in the area while work is being done in the summer 2013; meaning more friendly terrain for lower-level riders. Doppelmayr, a European company with its North American headquarters in Salt Lake City, will manufacture both quads. It wasn’t a two-for-one deal but definitely a better bargain than buying one lift at a time.

Look to this summer to collect a piece of history (Little Cloud was installed in 1980). Snowbird plans to sell off the original double chairs with proceeds benefiting Wasatch Adaptive Sports (WAS). The non-profit hosts recreational programs for people of all ages with special needs.

Side NoteIt will be interesting to see what Alta does with their resort over the next few years. The Little Cottonwood neighbor replaced the Collins double with a high-speed lift in 2004/2005 (one year before the Peruvian Tunnel) and instantly drew skiing fans away from the Tram line. Some argued that Snowbird opened the Peruvian Tunnel to compete with Alta. Looks like it’s Alta’s move next.

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