All of us have had the experience of listening to a teachers critique and then afterwards not being able to remember a thing they said. So..... After each of our on-camera audition style acting classes you'll get notes from Patrick that will review the whole class as well as your performance and help you focus your thoughts on your work. They provide a chance for you to quietly and privately work on your talent outside of the pressure of class. You'll find these notes insightful and thought provoking. They also provide a reference for working on future projects that have similar challenges.

Some thoughts 3/11/18

Four of us.  Grace doing a working audit as the pregnant daughter of a long disappeared father.  Marco as the UFO ambassador wanting to welcome the ET’s.  Katie working on an audition as the gypsy witch trying to stop a killer clown invasion.

Here’s the link  and the the password is the date 1/9/18.  I posted Katie’s takes to her last night.  Marco and Grace I posted your second round takes and threw in your first take,Grace so you could see the difference.
Grace… Welcome.  Working in an audition format is indeed a skill set.  And again…being able to create a set-ready audition is the industry’s professional standard.  “If you can do it in an audition… then you can do it on a set.”  Our workouts engage a skill set that demands/encourages exploration and makes you a better artist.  Fortunately…The process of preping a scene for an audition workout is the same process that you will engage for a day on the set.  TV and Film work rely on the actor’s ability to get a script, analyze it, learn it, develop character by yourself and then perform without rehearsal in a room with strangers in 24 hours or less… that’s the full skill set.  So… Somehow skill set doesn’t do justice to this as a preparation process.  This is after all the individual actor’s creative time.  What you bring to the audition is what you will be hired to bring to the set.  If your audition is not set-ready you won’t be hired.  Casting director’s don’t have the time or the inclination to look at an actor and say, “She’s great we just need to work with her and help her develop the character a bit more.”  Nor does the director on a set have the time to work with actors to help them develop a deeper understanding of the the material and the arc of the writing.  No, you the actor must do all that development and growth in your preparation(skill set) before you walk into a CD’s office.  In improv we do that work instantly.  In theater we rehearse for weeks with fellow actors and directors.  In the Biz we do all that creative work in a 24 hour period, by ourselves.  That skill set, that process is what we’re engaging here in our workouts.  And that’s all designed to help you develop as an actor and an artist.  Oh… and your last takes the walking entrance and joy in seeing Nick was perfect.  It’s an example of the value of movement.  Remember… you’ll learn a vocabulary of story telling behavior and actions in our workouts.  You’ll try stuff out and you’ll watch other actors and find out what works for you. 
Katie… This is a been there done that woman.  She’s an immortal gypsy whore… WOW that would surely produce a “Who gives a fuck” attitude.  She sees and has seen human folly for ages.. and the groundhog day element would be a constant pain in the ass.  She tries to warn mortals and they never listen.  Especially politicians with fake boobs and most likely guys on the make(likely to be seen in future shows).  However nothing captured her character better than those screen grabs we saw.  That image encompassed everything about her.  And for me as an actor… a physical posture produced by an attitude was the a solid basis for a character.  Grounding yourself in a character’s posture, physicality, costume, physical condition(like pregnancy) acts as a key.  It provides a specific physical action that allows actors to step inside a character’s thought process and world.  For Marco it was that obsessive thing that we all have.  For Grace it was pregnant.  For you it was that physical and emotional reaction to the foolishness that you saw around you.  That’s why I sent you the takes early.  If you can find the physicalization… the attitude that was so obvious in the screen shot you’ll have a key to that character.  And of course you have to be ready in an audition to be flexible and adjust to anything they ask of you. And you gotta be ready to improvise as you did last night.
Marco… Yes ! last nights final takes were rocking it.  You were developing and allowing us to see this character.  One that was different from you/Marco.  One based on your own nerdy obsessive side… which we all have.  So he was different from you but based specifically on who you are at the same time.  You just emphasized a more private part of your persona that we don’t normally see. You created character.  We found nice arc from friendly stranger to a UFO obsessed strange man.  When you find a phrase like Ambassadors which doesn’t make sense you have to research/Goggle or just make a strong choice… but research first.  Phrases like this… I call potholes.  You’re whizzing along through dialogue and than suddenly you hit a bump of something you don’t understand.  I’ve always found that if you dig into those moments you’ll find gold and usually its revelation about the character.  Potholes… don’t ignore them… research them.  In your last takes you were getting beyond just the words.  You were beginning to speak thoughts… his thoughts.  That can only be accomplished by working with another actor as you did with multiple takes throughout the night.  In rehearsals actors learn how to listen and most often listening is thought.  If you really hear another character then you are thiniking and that allows you to respond with your own thoughts.  If you haven’t rehearsed you don’t know what you’re thinking… and you can only respond with the words.  And words are easily forgotten… thoughts occur in the moment and we can use the words/dialogue to express the thoughts.  That’s the next step in your preparation process.  Your work has focused on the words/dialogue and now you’re including character and thought.  That’s growth.
Good workout guys.  You were all insightful and supportive in commentary.  There’s much to be learned from our fellow actors when we workout like this.  I think of each scene as a puzzle and we are collaborating to solve the puzzle.