A Guiding Light For Wintery Nights: What’s Your Lighthouse?

At this time of year, as the nights draw in and the cold gets – well, colder – even the cheeriest amongst us can fall prey to the winter blues. Niggling worries, pesky negative thoughts, or just a general sense of “bluishness” can be trickier to shake off than in the lazy hazy days of summer, and occasionally we can find ourselves floundering in the (metaphorical) murky waters of a wintery night…

On one such recent night, somewhat out of sorts myself, I had a bit of a “beacon of light” epiphany. No parting of the heavens, no musical crescendos (disappointingly), but it got me out of a temporary mental rut and back on track in a “cos this is who I am and why I’m here” sort of way – always a favourable road to be on. The precise nature of my illuminating moment isn’t of the greatest significance, dear reader, but if for no other reason than to satisfy curiosity… it took the form of a well known actor’s inspirational insight into his (and my) profession. Suddenly I was back in the zone and back on course, mood lifted and game face on. A mini-moment: simple yet effective.

But this got me to thinking. If one little incident could “save the day” in such a way, what did this say about greater guiding lights in our lives? People in the darkest of times often report a particular focus, motivation or cause which saw them through, as famously testified in Victor Frankl’s book ‘Man’s Search For Meaning’ (in essence: those who endured longest and strongest in Nazi concentration camps tended to be those with strongly driven reasons to get out and live on). In the wake of a bereavement a family may fight for legal change or set up a charity in commemoration of their loved one, or an individual may find the strength to conquer illness by harnessing the inspiration of goals yet unfulfilled.

Admittedly, the day-to-day rock pools of the general winter doldrums may not be of the same magnitude as these perilous waters, but the fact remains that a guiding light of hope and inspiration can only strengthen our long-term resilience to the general ebbs and flows of life.

So my question to you is this:

What guides you away from the rocks, and back into your path of light? What is, for want of a better analogy, your lighthouse?

To get your brains a-whirring, here are some ideas to get you started:

– Family and friends: from mothers to lovers, “sistas” to “bruvvas”, relationships with our nearest and dearest radiate a warm sustaining glow throughout our lives.

– Passions and pastimes: whether it’s tinkering with the motor or training for the marathon, our favourite activities keep us shining and happy, whatever the weather.

– Career “plus”: I call this career “plus” because it’s got that extra bit of sparkle that makes our vocation more than “just a job” and causes us to leap out of bed of a morning. (Ok, perhaps not every morning, but at least more often than not.)

– Community: easy to overlook in the age of technology, but getting out and engaging with others is pretty darn important for our mental and emotional health and well-being – we’re human after all, not robots, and finding some kind of personal connection can really brighten up our day.

– Health: some people find huge motivation and satisfaction in staying fit and healthy. It doesn’t mean they can’t have a cookie (or three) now and again, but feeling good and doing a reasonable job of looking after number one doesn’t half make things seem sunnier.

– Helping out: doing things for others not only lights up our own life with meaning, but it helps illuminate the way for others too.

– Pets and pooches: looking after an animal can really help you stay on track – dogs in particular are great for love, fun and silliness – plus having anything that depends on you for the next meal is a pretty surefire way to ensure you stay on the lighted path!

So, over to you: what’s your shining light?

You might have one; you may have several. And they need not be fixed: new beacons may materialise and others could disappear entirely or re-emerge in new and exciting forms.

But one thing’s for sure…

There’ll always be at least one steadfast lantern calling you home.

Happy navigating.

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How to Live a Valuable Life – Finding Reasons not Resolutions…

What does “value” mean to you?

At this time of new year’s resolutions, it can be hard to see the wood from the trees when it comes to setting goals and making promises to, finally, start living the way we feel we should.

But perhaps that’s exactly where we’re going wrong.

Rather than struggling (and often as not failing) to live up to some notion of how we feel we ought to be, what if there were a more satisfying and effective way to enjoy a fulfilling life?

In our modern-day, success-oriented world, it can be all too easy to get caught up in the mindset of more success for success’s sake, more money for money’s sake, more achievement for achievement’s sake… and somewhere along the way to lose sight of what the point of it all is.

Family and friends suffer in the cause of overtime and last-minute meetings, and the enjoyment of a quiet Sunday is abandoned as we grapple with our Fear Of Missing Out (a phenomenon so rife it now goes by the twitter-shortened FOMO) on the excitement contained in our social media newsfeeds.

Value living is about going back to basics. About being truly honest with ourselves, and only ourselves, about what makes us tick.

To remind me of the importance of living a valuable life, I often find myself coming back to this quote:

These words of wisdom from Howard Thurman cut straight to the heart of this issue.

Value might well be re-defined in terms of “aliveness”. Taking action in areas that mean something to you, and making a commitment each day to live accordingly, has the power to transform your life from the inside-out, far more powerfully than any list of resolutions, however well-intended.
Nevertheless, a new year is a great time for reflection and for checking in with where we are on the value living scale.

Try this three-step process:

1)   Identify those values! You might already have a pretty good idea, but all of us at one point or another have suffered from feeling “disconnected”, so if you’re struggling, ask yourself the following questions:

What makes me feel alive?
What makes life worthwhile for me?
What do I want to be known for?
If this were my last day on earth, what activities would go to the top of my list?

Health, family, the great outdoors, learning, socializing, connecting with the community, personal hobbies, passions and interests; some, none or all of these might figure on your list – the point is, your values and your subsequent value activities will be entirely unique to you, so be honest with yourself, and be authentic.

2)   Write them down and put them somewhere for easy reference, somewhere you’ll see them regularly and often. Repetition and reinforcement is the name of the game!

3)   If you want to take things further and are keen for the challenge, you might try this strategy:

Make a commitment, every day, to pursue one enjoyable value activity, and one not-so-enjoyable one…

I’ll leave it up to you what those activities may be, but for reference some of my recent enjoyable/less-enjoyable examples include:

Getting in touch with an old friend… and then updating my website.
Going for a relaxing walk… and then writing those thank you notes (I am nothing if not a diligent granddaughter).
Donating to a friend’s charity campaign…and then spring cleaning my room.
Writing this blog… and then editing it…

In this way, the idea is you’ll be able to look back on each day and see something of value.

And as you focus more on what you value, and less on what’s “wrong” with your situation, you’ll find yourself automatically moving towards a truly Valuable Life.

For the record, I’m not advocating a lifestyle makeover here (although by all means go ahead if inspiration strikes). Living a more valuable life can be as simple as committing to spending more time with a loved one, or resolving to spend a little less time on facebook and a little more on the “real” world around you.

(Having said that, facebook might be the way you connect to your nearest and dearest, in which case you might choose to timetable that habit as a valuable component of your social calendar.)

As you begin to get the hang of value living, you might find yourself applying it in all sorts of ways as it expands to influence more and more of your life.

As an actor, I live in the precarious position of never knowing when or if the next job is coming. When I first started out in this game I made a commitment to myself that, whatever the gig, I’d make sure that I embraced it as if it were my last. Whether it was a guest cameo in ‘Doctors’ or a West End contract, I realised that if I was to go down this route I wanted to be living each moment to the fullest, rather than always looking over my shoulder in fear for my financial security. It would be best for me, and it would be best for the work, as well as for those watching; if an audience has shown up to see you, they deserve nothing but your most focussed, present and very best effort.

As time goes by, this philosophy has expanded to embrace my attitude to auditions. I’m only responsible for the performance I bring to the audition room – the ins and outs of casting are part of a machine that is far bigger than me – so I aim to put my best interpretation of the part on the table and then let it go, let it go, let it go…

This desire to perform each role as if it were my last was never more important than for my next screen outing, in the final ever episode of ‘Foyle’s War’ on Sunday 18th January.

In Episode 3: “Elise”, I play the guest lead of the title, a fictional character representing the real-life victims of the most incredibly tragic story of espionage and bureaucratic cover-up. Without revealing too many details, the events depicted involve “a scandal that has only recently come to light… which resulted in a great number of unnecessary deaths” (Anthony Horowitz in ‘Radio Times’, p. 20, 3-9 January edition).

(Image from Radio Times.)

Being a part of a production as loved and respected as ‘Foyle’ (from the pen of a writer and creator of the calibre of Mr Horowitz) would have been job satisfaction enough; but playing a key part in such a shocking tale struck right to the very heart of why I do this job.

Acting is, for me, telling stories that need to be told, whether fictionalised or true. Maybe that’s how I justify a career in which the aim is to stir souls rather than save lives, but it’s the best way I know to truly “come alive” and to give of my very best.

Every day on this job I made it my mission to show up and deliver as never before – and there were some relatively harrowing days – to serve the true story, to serve Elise and to honour the real lives lost.

Both my values and my conscience would permit nothing less, and I can only hope my practice of value living make this role worthy of being my last.

I just hope it’s worthy of Elise too.

Have fun, remember what matters and live valuably.

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Be a Kid, Find the Fun: How to Get More Out of Life

Christmas is a time for kids. Kids in the literal, vertically-challenged sense and kids in the metaphorical, inner child sense – for us Big Kids.

However you feel about the autumn onset of Chrimbo commercialism, this year’s John Lewis ad or (perhaps ironically) the Nativity story itself, at some point in the seasonal build-up the heady anticipation of baubles, crackers and Claus is enough to tip all but the most Scrooged amongst us into a state of childlike glee.

And the fact is, a state of childlike glee is a rather enjoyable place from which to approach life.

Setting aside the tantrums and the tears, connecting with our inner child can work wonders when it comes to the quality of our lives.

Why?

Two reasons.

Firstly, for kids, every day is an adventure and each moment holds special significance.

Secondly, there is no sense of rush. There’s just way too much going on now to be thinking about next. The “hurry, hurry” mentality with which western culture tends to imbue us has no bearing on the life of a five-year-old.

My favourite illustration of the differing experiences of child and adult is this tale of a father taking his young son on a walk to the park:

…Progress has not been swift. For the life of Dad, he can’t stop Son getting waylaid by every other tree or twig. Such everyday artifacts hold inordinate levels of fascination for this particular tot.

Dad is getting edgy. They only have a certain time allocation for this walk, before hastening off to see Granny for tea. This is serious stuff.

A squirrel makes an appearance. Dad is close to despair.

But then, suddenly, inexplicably, light dawns. Dad sees that, for Son, it’s not about “getting to the park” at all. It’s about soaking up each moment along the way. For want of a better cliche, “it’s all about the journey”.

In this moment, Dad understands that whether or not they reach their final destination doesn’t matter all that much; if they’re enjoying every twig they’ll have a whale of a time anyway…

I like that. A moment of epiphany, all thanks to a couple of twigs.

“It’s behind you…” The fun’s right there – you just need to notice.

Like Dad, we too can let go and chill out a bit about end goals. We can re-learn to relish each moment.

That doesn’t mean every moment of life has to be viewed as super awesome and totally swell. Sometimes it may contain tricksy episodes, but if we can live those just as vividly they’ll enhance the richness of the ride.

The fact is, life is fuller, fun-ner and more fantastic when viewed through childlike eyes.

Not to mention longer.

Think back to the yawning stretches of bliss that were school summer holidays. Weeks felt like years to our smaller, shorter selves, and by the end of the break we felt we’d lived through lifetimes.

At each point in time, nothing was more important than that ice cream we were currently clutching, nothing more delightful than that puddle in which we were currently jumping (English summer), nothing more enticing than the seagull we were supposed not to be chasing. (Childhood hols for me meant rainy Cornish villages – we didn’t make it to Majorca til I reached double figures.)

Kids, as a rule, don’t race through each day of their holiday just to tick it off the list and get on to the next one. Except for the odd occasion when the next day holds dizzying levels of excitement (think Christmas Eve or pre-birthday hysteria), they’re pretty good at living each moment as it comes.

And summer, like life in general, seems a lot longer when you’re not fast-forwarding your way through it.

After all, if we see the “hurry” philosophy through to its logical progression, what exactly is that ultimate end point of life towards which we are hurrying?

Hmm.

Perhaps worth bearing in mind when we find ourselves hooked by that “go faster” high…

But no need to get morbid. Life is long and it’s for living.

As an actor, I spend a fair bit of my life engaging in make-believe, and I can vouch with relative confidence that getting to connect with the child within is one of the main attractions for most in my profession. But my interest in the inner child is furthered by what I’ve observed in the performances of those actors who captivate me most.

In the raw emotion of Amy Adams, the gamine charm of Audrey Hepburn, the heart-felt honesty of Olivia Coleman or Judi Dench’s “speaking” eyes, we are gifted a window into the purest inner depths of an adult person who can communicate to us their most vulnerable, truly authentic child-selves.

Actors.

If you don’t pretend to be other people for a living (or even if you do, who am I kidding?), it might be fun to actively check in with your inner youngster on a regular basis. This could involve revisiting cartoon classics, or settling in with a kids’ movie of choice. It might mean cracking out a cartwheel on the walk home from work, or breaking out into spontaneous disco in your living room. Or you could come over all creative. Apparently colouring in is a hot new trend in France, with adult individuals reporting reduced stress levels and a greater sense of well-being, simply from breaking out the crayons.

And as for the here and now, just taking time each day to appreciate the sheer marvel of all that is around us, from the winter elements to the craziness and chaos of Christmas, might just be the best lesson we can learn this festive season.

So, raise your gaze, soak up the spectacle, and give thanks for the twigs.

Oh, and (with apologies):

Being a kid is for life, not just for Christmas…

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Character & Commitment: How to Keep Going & Why We Should

I am a self-acknowledged, self-confessed, self-help junkie. No two ways about it.

And like any self-help junkie worth her salt, I love a good quote.

This week I came across one I reckoned you really ought to know about. It’s just that good.

“Character is the ability to follow through on a commitment after the initial enthusiasm has passed.”

Nice, huh?

This pearl of wisdom is applicable to, let’s face it, pretty much any scenario in life, from getting in shape to writing that (*ahem*) next blog post. And we can equally well apply it to that job which we call acting [or directing, or producing, or writing, indeed any creative endeavour – feel free to apply your tagline of choice to the following article.]

Let me explain.

The myth of the “overnight success” aka “a star is born” is, 98 times out of 99, just that. A myth. Often as not, when a new starlet suddenly bursts onto the scene, a quick IMDB scan will reveal that they have in fact been plugging away in tv commercials or as ill-fated patients in medical dramas since the age of three. Then there are stories aplenty of leading men and women who spent years scraping by in bedsit city before securing the career-defining role for which they would forever-after be known. And even the charmed few who land that fabulous gig straight out of drama school still have plenty of work ahead if they are to keep their eye on the ball and ensure they don’t just turn into a one-hit wonder.

Acting is a long game. It takes persistence. And that isn’t always easy. That “initial enthusiasm” with which we began rehearsals, commenced a new project, or originally launched ourselves onto the professional acting scene, may not be so in evidence at 3.27pm on a Wednesday afternoon in front of a matinee audience of two. Or when you’ve been waiting in your trailer since precisely 6.18am and it is now 2.54pm and you have still not had lunch/been anywhere near set/done anything that could in any way be called “acting”. (You get the picture.)

But for some reason we keep at it. We keep at it because when it’s at its best it makes us feel alive and like nothing else, and because we want to be doing it when we are 70, 80, 90, and, hell, even as we’re launched into the grave itself. We do it because we can’t imagine any other way. We don’t (hopefully) do it for the money (although I am fully aware there are exceptions to this rule) and we certainly don’t do it for the lifestyle security.

It’s not for the faint-hearted, nor for the faintly interested. You have to really want it, or you’d be a loon to keep at it. If you’re reading this as a member of the acting community, I applaud you for your tenacity and commiserate with your shared insanity: we follow this path not because we want to (although that helps), but because we have to.

And this is where the above quote comes into play. If we merely wanted to act, if we simply fancied bopping up to a theatre every now and again, or chancing our luck at an audition as and when the mood struck, I don’t expect we’d get very far. Because we can’t feel brimming with enthusiasm every step of the way. It’s just not realistic.

That’s not to say the mood doesn’t strike at all. On the contrary, we’ve all enjoyed those auditions when we’ve felt on top of the world, when we’re convinced we’re so right for the part nothing and no-one could take it from us, and everything goes just swell, from “hello” to exit handshake. We’ve all had rehearsals where we’ve unlocked a crucial character block and everything begins to fall into place. And we’ve all had performances when we’ve tingled with emotion from start to finish and felt the sheer elation of our vocation radiating from every pore.

On these occasions, the above-quoted “enthusiasm” is alive and kicking, and we rejoice in our actorly abundance.

But at other times, said enthusiasm is distinctly lacking, might even, as one might say, have “left the building”. We’ve all dragged ourselves out of bed in dread of a casting for which we feel ill-suited and under-prepared, and endured ensuing hours when not even the best-intentioned friends can shake us from the conviction that our casting-room performance was “just AWFUL”. We’ve all had rehearsals where we all we’re truly able to focus on is whether we’ve time to nip to Subway on our next break. And we’ve all done shows which were less stellar, more so-so.

There are two things to remember here.

Firstly, those occasions where we feel at our worst can, perversely, turn out to be our best. For whatever reason (fate, coincidence, or a kind of reverse sod’s law), we can sometimes pull off our best performances when we’re most convinced of our own awfulness. Strange but true.

Secondly, since we’re doing it because we have to – at a deep and meaningful level and not just because it’s paying for our next meal – it’s actually neither here nor there whether it feels all that great or not.

There will be days when we wonder “why…?”, and when we feel we have no rational answer to this question. But these lows are in fact just as much part of the ride as the the highs, and actually only serve to intensify our experience. It’s all part of the process. Part of the background research. Especially since, by our very nature we tend, after all, to embrace a bit of drama.

I like to compare this to my daily mindfulness practice (told you – uber-junkie). Some days I zone out into a zen-like meditative state and awake refreshed and revitalised; on these days I manage to stay alert to every wandering thought and dismiss it as easy as pie. That feels pretty good. But on others my worry brain simply won’t stop nattering away, I feel alternately frustrated then downright bored, and I can’t stop wondering how much longer before my timer pings and I can get on with something more interesting. But the point is, it’s just as valuable a practice whether it feels awesome or awful. I’m in it for the long haul, and I’m doing it for a greater purpose – in this case so that I gain greater control over that busy brain and can actually turn it to what I choose, rather than being at the mercy of its dizziness and distraction. Just as, during my ballet training, our daily warm-up class got us in gear for the day ahead, putting in the time so we could, onstage, move freely and in the moment. Again, sometimes class felt fantastic, other times it was a struggle simply to stand up straight.

And it’s the same for acting. We’re actors – so we do it on the good days and on the bad days, because it’s who we are and because we know it’s worth it in the long run. And because we know that if it doesn’t feel all that great today that it’ll get better, just as it has so many times before. We’ll reconnect with our inspiration, with that enthusiasm, with that overwhelming drive to get out there and just LIVE the way we were born to.

We value it, we love it, and so, like a beloved yet bloomin’ annoying family member, we put up with its oddities and quirks, and its shortcomings and frustrations.

So here I am saying –

Chin up.

Follow through on that commitment; be full of character.

We know it’s worth it, however we might be feeling today. And when we know that, the enthusiasm can come and go as it pleases. We’ll just crack on anyway.

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For Your Convenience – Easy Links For Browsing Actors

I’ve compiled a user-friendly list of the juiciest Actor In Search Of posts to date.

Feel free to browse at your leisure – I do hope you find what you are looking for, and do let me know if I can be of any further assistance…

Introduction to THE BLOG

How to get into radio drama – interview with a director

The Actor-Actor – is it healthy to be a “full-time actor”?

Headshot photography – and how to build your Other Thing business

Motivation and inspiration – via Alan Sugar

Staying positive between jobs

Handling the (zzz) day job

Becoming an Actor-Presenter

Inspiration from an award-winning Writer-Director-Photographer

The Actor-Filmmaker

The Actor-Director

Starting a theatre company

The Actor-Comedian

The Actor-Musician

Acquiring additional skills

Staying creative through arts and crafts

How to make the most of your Other Thing – The Findings So Far

The Actor-Novelist

The trouble with training to be an Actor-Teacher

A-lister aspirations

 

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THE SPACE BETWEEN (JOBS): Part Two – Turning the Tables on the Day Job

Let’s talk about jobs.

The non-acting ones.

The ones we do to fill our coffers, keep us up with the Joneses, and otherwise keep the wolf from the proverbial door.

The ones that, frankly, if pushed (with only the smallest of prods), we’d rather avoid.

From the outset, this blog has been dedicated to the Other Things actors do to stay motivated, stay creative and stay sane; the Other part of our creative “taglines”, if you will. Directing, writing, music-making…these creative endeavours complete our Actor-??? equations, and with time and four-leaf clovers they can also come to make us a tidy profit margin.

But even the most illustrious of our profession have at one time or another resorted to “filler” engagements (typing, temping, selling carpets…) to get that bread on the table and those beans in the cupboard [insert “sandwich filler” jokes here]. Love ’em, hate ’em – or simply acknowledge the inevitability of them – such gigs needn’t be the drains they might first appear. Rather than sap our creative resources, these Filler jobs can actually complement and enhance our acting endeavours, not only by providing a vital connection to the wider world, but by providing significant dollops of creative inspiration.

Role to rehearse? Audition to prep? How about sourcing a character tic from the regular at Table 5, or taking an accent tutorial from the colleague to your left? After all, acting challenges us to explore every aspect of this game called life, and such Filler experiences might hold the key to your next role. Which makes the daily grind rather less, well, grinding, and which contributes to our grand scheme to harness the power of THE SPACE BETWEEN. (See the previous post if you haven’t a clue what I’m on about.)

In this spirit of adventure and dogged positivity, I’ve dedicated this post to a selection of the most popular FILLERS (of the non wall cavity variety): Why we might choose them, How we might use them, and What they can actually do for us.

Because as Don Draper and Mad Men et al would tell you, it’s all in the marketing…

“Shop till you drop” for character ideas in retail. From the quaking to the confident, the self-assured to the shifty, shops play host to the full range of human character. Feel free to browse at your leisure…
There before us: Non-conformist as ever, Bill Murray sold chestnuts not  behind the counter but outside his local grocery store.

Remember that good old acting 101: what does your character WANT? In the case of telesales, to close that deal. Test your powers of persuasion as you pursue multiple strategies to secure that sale. From gentle encouragement to the hard sell, each call is different and boy will they make you work for it. Before you know it, this persuasive practice will make you the most compelling actor onstage.
There before us: Before ‘Pirates’ there were pens – Johnny Depp sold ballpoints before heading to the Caribbean.

If it’s a hothouse of gossip and intrigue you’re after, look no further than office temping. Division, deception and conspiracy; love triangles and stapler warfare: all in a day’s work at the office. Temping offers the chance to get up close and personal with the protagonists yet retain an outsider’s perspective. But beware of long-term engagements – the longer you stay, the deeper the plot thickens….
There before us: Lady Edith of Downtonia (aka Laura Carmichael) perfected her p’s and q’s whilst working as a receptionist in a doctor’s surgery. All good research for the regular turnover of fatal accidents and diseases at the Abbey.

Pent up performance energy in need of direction? Take up teaching, the tried and tested way to let off creative steam in front of your very own private audience. Age-appropriate material is a requirement, but areas of special expertise and interest are greatly encouraged. Whether you have a desire to spread the Shakespeare gospel or a closet love for calculus, this is your forum.
There before us: Hugh ‘Wolverine’ Jackman geared up for his ‘X’-rated stunts by teaching PE.

Get into events work and ogle human specimens from theatre-goers to tycoons, footballers to fashionistas. Granted, the majority of gigs revolve around the considerably to ludicrously wealthy, but these exhibits alone will provide considerable fodder for your actorly ideas bank. Gaze on as cultures clash and egos intermingle: will feathers be preened or ruffled? See individuals pushed to the very limits of social etiquette, and watch decorum decrease as the liquor flows…
There before us: Kristen Wiig plotted her funny girl takeover whilst tending to the great and the good at Hollywood events.

In promotions the name of the game is to enthuse and entice, and versatility is the key to success. Tailoring your performance to your product and to your audience will keep your acting muscles in tip-top shape, ready and waiting for that next role. And if in doubt, revert to showbiz SOS and smile…
There before us: A pre-Dame Mirren promoted an amusement park in Southend-on-Sea, whilst Brad Pitt donned a chicken suit in the name of fried fowl.

Keeping your days free and your imagination freer: Front of House work promises minimal day-time commitment alongside the perks of peeking at excited audiences. Observe the subtle power plays of family politics, dream up the backstories for the unlikeliest of companions, and test your persuasive powers as you flirt for tips. Spy on them as they absorb the onstage action, practise your projection as you promote those programmes – and enjoy the added bonus of having songs and speeches drummed into you every night, ready for your audition portfolio.
There before us: Pretty much every usher currently working in the West End is an actor/performer on sabbatical – we’ll be in good company.

And what about waiting/waitressing, the age-old way to earn your “poor impoverished actor” stripes? Far from a tragic cliche of the industry, the prevalence of actor-waiters might in fact be the biggest insider secret of all time. In need of character ideas? Role to prep? Actors and actresses from the Golden era to present day have exploited their clients for character research, filching anything from oddball accents to costume quirks – all part of the cunning plan to score that Big Break.
There before us: Daniel Craig went undercover as a waiter before graduating top of his spy class.

So there you have it – the perks and the plus points, and the stars who’ve been there before us. From Filler to fulfilment. I hope my sales pitches have inspired you to look again at your Fillers and see them for the goldmines of inspiration they truly are.

As a lady called Betty Smith once said, “Look at everything as though you were seeing it either for the first or the last time…”

…Because if we can make the most of every moment, not just the ones onstage, we’ll be all the more qualified, and all the more inspired, to present the full dizzying spectrum of people, their plights and and their passions.

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THE SPACE BETWEEN (JOBS): Part One – Myths of the “resting” actor…

I just finished a job. It happens a lot in this game. Part and parcel of the job description.  Par for the course.

The emotional upset of such occasions tends to increase in direct proportion to the level of fun enjoyed. Occasionally we exit with a sense of relief rather than regret, but on the whole we mourn such partings of the ways, and after the peachiest of gigs even the most seasoned pros have been known to get a little dewy-eyed.

This particular job had been one of those lovely ones, featuring the friendliest of Liverpudlian crews, some superb 1940s hats, and the honourable Michael Kitchen. (No prizes for guessing the show. Although I might run to party bags for the first five callers.)

Michael Kitchen’s not giving clues either.

As I zoomed into the dark following the final installment of night shoots, my sleep-addled brain turned not to gleeful anticipation of carefree summer days and the satisfaction of a job well/adequately done [delete as appropriate pending transmission date], but to contemplation of the ludicrous peaks and troughs of a “jobbing” actor’s life:

Living on the edge [of our overdrafts]… dodging concrete social commitments (Facebook RSVPs set to “Maybe” as default)… that lurch of the heart accompanying Mr/Ms Agent’s caller ID… never being quite convinced that the job we’re on might not turn out to be our last… Or that the last one was actually the last and we might have really let loose at the wrap party had we known…

The actor’s volatile existence can be anchored somewhat by the securing of a long-running TV series (see M. Kitchen) or West End residency. I know an actor who provided two years’ worth of daytime toddlercare and completed his mortgage repayments whilst shakin’ it in ‘The Lion King’. But there’s only so many “Hakuna Matatas” one can take, and even the grooviest of telly shows has to come to an end. And so we move on again.

Uncertainty is ensconced in the very foundations of our profession – actors make a career out of exploring the unknown, the unfamiliar – and it’s hard to imagine any actor truly mourning the loss of a 9 till 5 (although the built-in pension plan may be a different story.) Adrenalin junkie thesps crave no bungee-drop when there’s an empty stage or camera crew around, and just as leaping into an expanse of nothingness requires a certain amount of faith, hutzpah and just plain looniness, the very same traits are poured into the mix at every performance.

Take a bungee; or just step onstage.

But it’s the in between times, those spaces between the jobs, that can provide the most damaging source of uncertainty. A recurring bugbear, these periods can overwhelm and undermine, but if acknowledged and accepted, they can also be harnessed to our advantage.

Thus after further (daylight) contemplation, I came up with the following reflections on THE SPACE BETWEEN:

a) Simply knowing we’re not alone can reduce levels of despondency, despair and generalised suffering. Studies show* that knowing someone else is going through the same torments and/or crises makes us feel better. It doesn’t seem rational or indeed charitable, but whilst every performer strives for originality in our art we can all take comfort in the fact that the gloomy times are all too normal.

*Following committed research I can report that even the blondest, shiniest and most short-skirted of American High School (movie) cheerleaders feel like unpopular, unattractive losers on the inside. And whilst knowing this may not ward off extreme throes of teenage angst, when symptoms subsided 100% of subjects felt reassured enough to land that date with the football jock hottie.

b) The tagline “jobbing” actor (admittedly used by me at least once in this article) is redundant. EVERY actor is a jobbing actor, because we all move from job to job. It’s like saying a plumber is a “jobbing plumber”. Adding “jobbing” seems to indicate something less than a properly-employed, properly-committed, “permanent” actor – so I personally vote we take “jobbing” out of the equation.

c) On a similar note, the label “resting” seems equally inappropriate (and arguably a tad insensitive). The stereotype of the lazy unemployed actor lounging around on the sofa all day does not (to my humble experience) have much basis in reality. Every actor I know has far too much auditioning, networking, creating, collaborating and generally keeping their eye on the ball to do, not to mention looking after the kids and finding a way to make up the rent. Besides, I’ve never heard an actor refer to him or herself as “resting” – it tends to be the “witty” neighbour, the jovial relative or the bemused co-worker who misses this point as they quiz you about what it is you actually do.

Less “resting”; more the occasional lean as we plan our next move.

d) The myth of the actor who hops from dream job to dream job, each one flowing seamlessly into the next, is, I propose, just that. A MYTH. Having YouTubed the most recent installment of Hollywood Reporter Roundtables (you MUST check ’em out if you don’t know what I’m talking about), I can confirm that even the dazzliest of LA stars have gone for long stretches without work, or at least without good work – even (and sometimes especially) when their last performance met with rave reviews and award glory. (See, for evidence, Clare Danes pre-‘Homeland’.) Thus, I personally refuse to believe that a certain Judi Dench has, as has frequently been reported, “never been out of work”. I suspect she just calls them holidays. And put it this way, if she hasn’t had a holiday in six decades of a career – Jude, you really must check out Center Parcs.

e) Since even hot shot movie stars go through dry spells, being in THE SPACE BETWEEN is no indication of talent, potential or forthcoming work opportunities.

f) With all the above in mind, I propose that there is absolutely no shame whatsoever in THE SPACE BETWEEN. It’s part of the job description, part of showbusiness, and by viewing it as such we are freed to seek out other creative endeavours to fill the gap, something which this blog has been set up to enable and encourage. Admittedly, such a change of attitude is easier said than done, particularly given the western “do; do more; do better” culture, but just as writers and musicians embrace the reflective time so that the gems of ideas can present themselves, perhaps actors too can benefit from a little re-charging.

g) And finally, as my agent always reminds me (for which I am madly and desperately in agent-client love),

“All it takes is one phone call to turn everything around”…

“I got the gig?!”

One of my favourite pearls of wisdom, garnered from my obsession with all things self-help, is “you’re only one thought away from feeling better”. Adapted into thesping doctrine, this philosophy should soothe the minds and feed the hearts of (non-“jobbing”) actors everywhere.

Because a job may come along today, or tomorrow, or next week. But the point is, we never know it’s on its way until it’s already here. And so until it happens, our job is just to keep positive, keep playful, and know that when it comes down to it, we wouldn’t change what we do for anything.

Join me next time for THE SPACE BETWEEN: Part Two, as I investigate those “normal” jobs we do to fill the gap, and the household names who’ve been there before us…

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Restoration of Service: In which I provide explanation for leave of absence and interview a true master of the multi-tagline.

Greetings, friends, readers, and fellow Actors In Search Of!

1) I realise it’s been a (long) while.

2) I also realise this absence has been in direct violation of all blogging etiquette known to man (serve your readers by delivering REGULARLY and OFTEN – “because they’re worth it”…). But –

3) I do hope you will forgive me, because…

4) My disappearance into the blogosphere void has been due to a no-holds-barred exploration of my own personal tagline aspirations. Results will be fully reported in due course, but in summary they comprise: several audiobook recordings by yours truly (a disproportionate number featuring plucky, young, West Country-accented heroines); various semi-successful attempts at useful, normal activities including admin and volunteering; and the grassroots stirrings of an interest in complementary therapy training (inspired by visions of a recovery sanctuary for burnt out actors…). But before I enlighten you on my voyage of discovery, I want to assure you that –

5) I return to your service as committed to your tagline fulfilment as ever.

Thus, it only seems right and fair to break my blogging fast (and the knees must be decidedly wobbly after such an extended one) with a nice juicy interview featuring my latest Actor In Search Of Inspiration, the multi-taglined and all-round talented dude,

James Phillips, Writer-Director-Photographer…

“But wait!” I hear you cry, “Where’s the Actor in that tagline?! False advertising! Outrageous!”

“Well,” I reply, calmly and good-naturedly (for this Actor In Search Of is nothing if not devoted to customer service), “firstly, James started out as an aspirant actor at university, and worked professionally as both actor and director before launching into his writing-directing career. Secondly, I think if you’ll just permit this wee divergence from our standard formula, you might find some seriously groovy nuggets of wisdom from a seriously inspiring chap.”

[Pause for digestion.]

“Are you with me…?”

Let’s crack on.

[Reset to First Positions. Roll camera… TAKE 2.]

Introducing…

James Phillips, Writer-Director-Photographer:

Mr Phillips, of Great Portland Street(ish), London is perhaps best known for his debut play, ‘The Rubenstein Kiss’, which premiered in 2005 at the Hampstead Theatre, featuring a cast including Samantha Bond, Will Keen and Gary Kemp, and which garnered Phillips the John Whiting Award and the TMA Award for Best New Play. ‘Rubenstein’ has since been translated into three languages and performed around the world. All of which must have been terribly exciting for a first-time playwright.

Hence:

Katherine Press (That’s Me): So James, I think it’s fair to say that this reception must have been terribly exciting for a first-time playwright. How did the project come about?

James Phillips (Cool Dude): Well Katherine, I was an actor and director at university [Oxford – he’s modest as well as a cool dude], and had no interest in writing whatsoever! Once I was out in the big wide world, directing seemed to be going quite well [an understatement – James nabbed gigs working with Michael Grandage and John Caird], and ended up taking over from the acting. ‘Rubenstein’ was the result of an idea I’d had for a play [based on the story of Julius and Ethel Rosenberg, an American-Jewish couple found guilty of attempting to pass US nuclear secrets to the Soviet Union], but I couldn’t find anyone to write it. So I wrote it myself.

KP: Practical and ultimately rather fortuitous! Did the writing come naturally?

JP: I wrote ‘Rubenstein’ in Sweden whilst directing a production of ‘Twelfth Night’ in Swedish…! It took about four months, writing around rehearsals, but yes it did come fairly naturally. Once I had a draft up and running, I called in some favours from some [rather well-known] pals called Christopher Eccleston and Rosamund Pike, and held a lunch-time reading at Wyndham’s Theatre. About 18 months later, after a number of false starts – unavoidable in this game – we opened at the Hampstead Theatre.

KP: And, as they (didn’t ever) say, “a writer was born”.

JP: Yes! After that, commissions started coming in and the “Writer” tagline overtook the “Director” one. On the basis of time allocation and, crucially, financial compensation(!), it’s definitely Writer-Director-Photographer, although of course the focus and relative time spent on each shifts around according to current projects. And that actually works rather well, because whilst I’m waiting (and there’s a lot of that!) for a script to come back from a producer, I might be directing something else, or, more recently, working on a photography project.

KP: Aha. Now that’s interesting, so the flexibility of your tagline is such that you have multiple outlets for the creative bug!

JP: Exactly. And they all call on different parts of the brain. Writing is in many ways quite personal, and, despite being about characters separate from yourself, there’s an element of baring the soul involved, whereas I see my photography as more documentary, presenting or questioning things outside myself. And directing uses a more “organising” part of the brain. So they’re all different, intellectually and creatively, and I enjoy that contrast.

KP: Fulfillment through multiple taglines. I like it! So we know that the writing came about somewhat incidentally – was the photography a more considered move?

JP: No! My career has been one of accidents, but accidents which give rise to more accidents! And in fact that’s what I’d say looking back, that you never know where you’ll end up – particularly in the creative fields. So if you just focus on whatever you’re creating or have the desire to create at that moment, then you’ll not only do your best work but you’ll be open to opportunities you’d never have been able to plan out. And then there’s a cross-fertilisation. My photography is a case in point. I was working on a play, ‘Hidden in the Sand’, about a refugee from the Turkish invasion of Cyprus [which ran at the Trafalgar Studios in 2013], as well as a feature film script, both of which had photographers as central characters. So I bought a cheap 1970s camera and started taking pictures in the name of research.

‘Hidden in the Sand’, Trafalgar Studios, October 2013

After some of my portraits were published in Greece [including those of Daphne Alexander, above, who starred in ‘Hidden in the Sand’], I was commissioned to document Nicosia, Cyprus, the last divided capital of the world. As a result of that project, combined with my writing, I was recently asked to address the All Party Parliamentary Group on Cyprus at the House of Parliament. So you never know where these things might take you…

A view over Nicosia – by James Phillips

A woman looking out over the UN abandoned Green Line in Nicosia – by James Phillips

 

 

KP: Fascinating stuff. So how do you manage your time with all these different things on the go?

JP: Well I’m not one of these writers who gets up at 6am and writes for 8 hours – that’s just not me. Of course when things are busier I need more of a schedule, and when I’m directing something obviously there’s the imposed structure of meetings, rehearsals and performance dates. But for me, writing requires a certain amount of relaxation, of letting go and allowing the ideas to germinate and “present themselves”, so it’s a very different way of working. Although  deadlines tend to accelerate things!

KP: It sounds like a great combination of enterprises and opportunities. Variation and versatility.

JP: I’m very lucky to have such different things going on. And that my projects do complement and inform each other, as with the Cyprus connection. As a further example, I’m currently working on the next installment of ‘City Stories’, a series of monologues and music for the St. James’s Theatre. They’re basically a love letter to London, and the idea was partly born out of my London street photography. But ‘City Stories’ is as different as can be from ‘White Whale’, [a site-specific community theatre project for Slung Low up in Leeds, based on the Moby Dick tale], and both are completely different again from the Alexander McQueen play [coming soon].  And I’d love to fit in a second photography book taking a wider look at Cyprus.

‘City Stories’ publicity – by James Phillips

 

London street – by James Phillips

KP: And you have a feature script ready to go too! All very exciting, and wonderfully inspiring for those of us in search of our taglines. Any final words of advice?

JP: Looking back, it’s often the jobs you don’t get that have the biggest impact. Not in terms of things that you’re relieved to have avoided – although that can happen! – but in the sense that those things you don’t end up doing allow space for other, unforeseen opportunities. So just stay open and stay creative, and you never know where you might find yourself…

Well now. What did I tell you? Inspiring, informative and generally awesome.

Interestingly, James’s journey of “creative accidents” is in direct contrast to previous interviewee Michael Wharley’s approach to his transition from actor to photographer. In that post I reported on Michael’s detailed manifesto of creative and business goals, which have enabled him to build a hugely successful career as headshot photographer and advisor.

Both strategies clearly work for their owners – I wonder whether the approaches reflect the different nature of the activities involved, or simply the respective personalities of two different chaps?

Perhaps a little bit of both.

So whether you’re a “roll with the Universal forces” kind of a customer, or a goal-setting go-getter, it’s good to know that there’s room for all, and excitement aplenty, in this crazy game called “Tagline”.

Til next time…

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Ruminations on Radio: Conversations with a (Doctor’s) Companion…

You’ve gotta love a good workshop.

A workshop can be a tremendous motivator, inspiration and general pick-me-up for the audition-weary actor. It might offer a chance to commune with a casting director, discuss do’s and don’ts with a director, or acquire a new skill for the old CV.

If you’ve attended any yourself, no doubt you can call to mind the best of the bunch – sessions which inspired you, offered timely words of wisdom or even led to an audition invitation. Earlier this month I attended a session that ranks amongst my own favourite Top 5 Workshop Wonders.

Once upon an icy January morn, I and a group of fellow thesps were treated to a day of Q&A and discussion about the whats, hows and wherefores of radio drama, hosted by a BBC Radio 4 Producer in conjunction with Theatre Bristol. We listened, questioned and queried. We analysed of a selection of recent drama programmes. And we followed up with plenty of opportunity to get the hands (or microphone..) dirty.

This day of audio action was devoured appreciatively by all in attendance, and despite cautionary words about the difficulties of breaking into the voice acting market, we all left with our audio appetites well and truly wetted.

Getting that microphone dirty…

Accordingly, I got in touch with an actress mightily familiar with this area of the acting industry, a lady who played my pushy Mum in one of my earliest screen outings…

Introducing Lisa Bowerman, Actress-Radio‘Artiste’-Director-Photographer.

Lisa was kind enough to let me pick her brains about the ins and outs of a radio career, a subject on which she is supremely equipped to offer advice…

[The following is to be delivered in the manner of flamboyant ‘This Is Your Life’  voice-over…]

“Following a steady stream of radio gigs from the time of her training at Bristol Old Vic Theatre School, Lisa Bowerman struck radio drama gold when in 1998 she was cast as the titular heroine in Big Finish production company’s ‘Bernice Summerfield’. This series of original dramas (although the character initially appeared in novel form) followed an intrepid female archaeologist, adventurer and sometime companion to Doctor Who, and quickly developed a cult following among those with a love of all things Doctory. Bernice continues to flourish today, with the original series being the springboard for Big Finish to be given to the license for ‘Classic Doctor Who’ series to be produced. With such success behind them, the company has expanded to the production of audios of other much-loved TV series including ‘Dark Shadows’, ‘Blake’s 7’, ‘Stargate’ and ‘Highlander’, as well as classic characters including Sherlock Holmes and Dorian Gray.

Lisa as intrepid audio adventurer Bernice

As well as continuing as the voice of Bernice, seven years ago Lisa branched out into directing for the company, overseeing Big Finish productions such as ‘Sapphire & Steel’,  ‘The Companion Chronicles’, ‘Graceless’ and ‘Jago and Litefoot’.”

Told you – disgustingly well qualified to offer us some tasty radio titbits.

And here they are:

(I felt it apt to present our discussion in the format of a radio interview…)

Katherine Press: How did you get into voice work?

Lisa Bowerman: I was lucky enough to be selected for the Carleton Hobbs Award whilst studying at Bristol Old Vic Theatre School, (in which, I have to say, I got absolutely nowhere!..) but as well as the experience and contacts this opportunity provided, the then principal of the BOVTS, who also wrote radio drama, recommended me for a play he’d written a couple of years after I’d left the school, and was completely instrumental in my getting my early radio experience. My early work included stints at Independent Radio Drama Productions, as well as work for the BBC at its then radio centres in Manchester and Birmingham. Then came the offer of an audition for Bernice Summerfield…

KP: Ah, which turned out to be a huge hit! From your experience in both acting and directing, what are the main things you have discovered about working in radio drama?

LB: These are the things I always keep top of my mind when directing:

1)      Be clear as to what is happening, and make sure the actor is as clear on this as well. This may sound obvious but it’s so important to know the full context of the scene and what stage the character is at action-wise; also to be aware of any sound effects that will be added in post production that will affect the level at which the actor is playing the scene. This enables you to convey a fully-rounded world to the listener.

2)      Pacing is crucial. Whereas on stage or screen physical action plays a part in the story-telling, in radio drama you have only your voice to create the flow and rhythm of a scene, so the speed and energy of the voice has to be monitored very carefully! This is something the director is perhaps better equipped to oversee than the actor, but it’s certainly something the actor should be aware of. As a director, you really are just the ears of the listener.

3)      Vocal energy. Some radio directors may advocate a “less-is-more” philosophy (not in terms of silences – but of volume and energy) in an effort to restrain overenthusiastic performances, but I worry that this can potentially undermine a key aspect of radio drama. In my mind, radio has more similarities to stage than screen work, given the vocal dexterity it requires; the ability to shift the vocal energy up a gear, or to take it down to an intimate level when required.  You have to use your voice as an instrument to inhabit the audio landscape you’re in, and this is something that is not always exploited in the “heightened naturalism” of some screen work today. It may be a bit of a generalisation but I have found that some younger actors find it difficult to know how to “turn on” their vocal energy; they’re very focussed on giving what you might call a “TV performance”, and are almost frightened to let themselves go in front of the microphone.

4)      My final point is silences. I love a good silence, it can be so powerful! But a silence has to be earned, and this relates back to the pacing issue I mentioned above.

KP: How do you go about casting for Big Finish Productions?

LB: The thing you have to remember is that everyone wants to get the best results in the most enjoyable way possible! So I and the other four directors at Big Finish have a pool of actors who we know and trust, and we often consult each other when casting. I’ve been in the industry for a good few years now, so I’ve a goodly list of contacts. It’s great to make the most of actors you know will do a great job and who are a pleasure to work with – of course part of the joy of radio is that an actor can play roles completely removed from his or her physical casting range! We’ll send out a breakdown if we are looking for something unusually specific, and we also have a group of trusted, favourite agents who we will go to for ideas. That said, I love discovering new voices, and am known for sitting in theatre performances (and sometimes in front of the TV) with my eyes closed, scribbling down the names of interesting sounding actors in my little black book! And at Big Finish we make a point of listening to voicereel submissions, so we’re always on the lookout for exciting new talent!

KP: On that note, do you have any advice when it comes to voicereels?

LB: Yes! We usually consult an actor’s Spotlight CV, so make sure your reel is uploaded there. In terms of content, try to include a range of styles and genres – adverts are all very well but I find it difficult to cast people for drama if I haven’t also heard some narrative on there. Don’t put an accent as the first thing we hear – we want to hear your natural voice first. In fact, don’t include accents or character voices at all unless you are highly skilled at them – because if you’re less than perfect there are plenty of actors out there who aren’t! And keep it short and snappy, so we get a thorough but compact profile of your vocal talents. Voice work seldom comes down to auditions, so your reel is crucial in securing work. The only time we tend to hold auditions is in the case of children’s casting (I’ve learnt from experience on that one!) or if we are searching for a new series lead, when we need to be sure we have the right person!

KP: Do you have any advice regarding agents?

LB: Obviously I can’t advise on specific agencies, but I can say when looking for a voice agent, do your homework. See, or rather hear, which actors keep popping up on radio or indeed in supporting roles on TV, and find out who represents them. Many productions favour the casting of “names” in the lead roles, but the agency who represents a regular support cast actor may well be a favoured go-to agency for production companies and directors.

KP: Bit of a cheeky one, but have you ever had a clash of voice and “regular acting” commitments..?!

LB: Hmm, no comment! At the end of the day, it all comes down to priorities. Sometimes you will have to make a judgement call – is this acting audition/day of telly work worth turning down a voice job? And vice versa. I do most of my pre- and post-production Big Finish directing from home, so that’s relatively flexible. But once I’m in the studio there’s no backing out if that audition does crop up. Luckily I’ve never had to make an especially tough decision – so far the big jobs either side of the net have kept themselves nicely separate! Of course this is one area where my photography (Lisa has worked as a headshot photographer since 1990 under the name LB Photography) wins second string brownie points – I am free to schedule photo sessions and editing time around my acting commitments.

KP: Any final thoughts?

LB: Don’t expect a radio career to be hugely lucrative! Sadly, like most areas of the industry, it doesn’t pay as well as it once did. BUT, it’s great work if you can get it and it’s a marvellous way to keep the acting juices flowing in between “regular acting” jobs. As with any second string option, if you have the facility, go for it, but also work on it. Do your homework, put in the practice and see where it takes you. If my experience is anything to go by, you’ll probably be surprised at where you end up. If I’d expected back when I auditioned for Big Finish in 1998 that we’d still be going strong and I’d be directing – and in sci-fi of all genres – I probably wouldn’t have believed you! So often we just “fall into” things. So be open, be prepared to put in some work, and you never know what’s around the corner…

Inspiring stuff. Hope you found that as fascinating as I did! I shall add nothing more except to thank Lisa for giving such a marvellous insight into the wonderful world of radio…

Thanks for reading, and until next time, may your second strings be fabulous…

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Headshots and Handy Hints: Steps towards Other Thing fulfillment…

Other Thing inspiration is a tricky little blighter. It’s hard to find when you go looking for it, but is notorious for striking when you least expect it. And I’d gamble a hefty wad of cash that I’ve experienced the  sole occurrence of its striking whilst staring into the (red, piercing) eyes of a river crocodile.

By way of explanation, let me introduce you to an annual tradition in this Actor In Search Of’s household. Every December, the troops and I take a trip to the BBC Wildlife Photography of the Year exhibition at the Bristol Museum & Art Gallery. Perhaps not a manifestly Christmassy excursion, it nevertheless forms a key part of our festive build-up. And in 2012 this jovial occasion gifted me a distinctly blog-oriented moment of clarity.

(Sadly, it wasn’t Actor-Crocodile Handler. Although that is a thought…)

Introducing…

…The Actor-Photographer…

This time I offer a neat twist on our usual actor tagline – Mr Michael Wharley, Actor-turned-Photographer…

The Story:

Once upon a time (about 5 or 6 years ago), successful jobbing actor experienced persistent dissatisfaction with the acting life. Following much soul searching, final swansong performances were delivered in ‘Merrily We Roll Along’ at the Watermill Theatre, Newbury (2008). Further soul searching, accompanied by stints in the “sensible” fields of legal journalism and publishing, delivered the reluctant conclusion that another creative (vis-à-vis “unstable”) role was still the best fit. Comprehensive assessment of talents and interests (à la sixth form Careers sessions) affirmed Photography in pole position. Gauntlet was duly thrown, and oath of Headshot Photography fidelity sworn. Over subsequent years, successful headshot photography business developed, and everyone was very chuffed.

Michael made a clean break from acting, but I came up with several actor friends who pursue sidelines in photography, from portraiture through commercial to fine art. This Other Thing can be embraced as anything from hobby to substantial second string income. As is the beauty of second strings, the degree to which you push it is entirely within your hands, and the pay-off ranges from mere post-audition angst-soothing to paying your rent while you take on that fulfilling-but-low-paid theatre gig.

For those looking to step their Other Thing up a notch in 2013, I offer you my 5 HEADSHOT HEADS-UPS. The choiciest nuggets from my interview with Mr Wharley, these pearls of wisdom are applicable to the full spectrum of second string options.

1)      Get your HEAD in the game.

(Direct translation: “Get Stuck In”.)

Nothing beats practical experience. Often the best Other Thing approach is to get your metaphorical (or literal, depending on the activity) hands dirty. You will very quickly find out where you stand.

Michael’s feels his greatest professional strides have been made via on-the-job, “teach yourself” learning. There is, after all, no substitute for good solid practice. He sees his own professional development as constantly ongoing, and believes it is helped no end by the wonder that is digital technology. As actors we all know that (even if we can seldom bear to do so) watching ourselves back on film is invaluable when it comes to improving performance. Digital cameras provide equivalent instantaneous feedback for photographers; results can swiftly be adjusted or amended accordingly. No more the anxious wait in the dark room or at Jessops before you can view the fruits of your labours…

That said, you need to know what you’re doing if you plan to make money from your exploits. Michael already had considerable experience in portraiture photography from his acting days, and a general interest in the subject extending back even further, so he’d got plenty of practice in before photography became his prime source of income. If you too are photographically inclined, it might be wise to experiment on some willing friends/relatives/pets before you start charging for your services…

2)      Make use of those at the HEAD of their field.

(Translation: “Call In The Experts”.)

You don’t have to do everything on your own. There are a host of experts out there waiting to lend a helping hand. If you are honest about yourself and your abilities, you’ll be able to identify any areas of weakness, and then to take steps to remedy the situation. Find a class, course, workshop, or just a Teach Yourself handbook, and tackle the problem head-on.

Michael regularly attends courses to enhance specific skills, a recent advanced Photoshop skin retouching course being a good example. He is also a qualified member of the British Institute of Professional Photographers (BIPP), which provides structure and focus for ongoing training and professional development.

Remember, the power is in your hands. Your Other Thing is your choice, your labour of love, and your responsibility, so keep growing!

3)      Be clear where you’re HEADED.

(Translation: “Identify Your Aims”.)

 Be clear what you want out of this Other Thing. For Michael, this involved drawing up a detailed manifesto about his business goals and how he wanted to be perceived within the industry. He wanted to be recognised for a high level of expertise within his field and true professionalism of service, delivered with a hearty dose of friendliness and ‘approachability’.

As a recent client, I can attest to his success in all the above. We found each other during an online seminar Michael hosted for the Actors Guild. His knowledge of the market and understanding of the headshot requirements of the contemporary actor convinced me to book in with him for a full-blown overhaul of my portfolio. I subsequently enjoyed a wonderfully relaxed yet productive shoot, in which he listened carefully to my concerns regarding my current headshots and proceeded to deliver exactly what I needed. One satisfied customer.

The lesson? If you know exactly where you’re headed, you’re much more likely to get there. Be specific and be demanding of yourself. This doesn’t necessarily mean starting a business and coming over all Alan Sugar. It might mean “I plan to work my way through my beginners’ ukulele book before the end of the month so I can add ukulele strumming to my CV” (my aim – but you’re more than welcome to borrow it) or perhaps “I shall spend my half hour break in Act Two getting on with my crochet so I can wear that new cardie to the closing night party” (that one’s not exactly inspired but you get the general idea).

Two of my shiny new headshots, courtesy of MW

4) Use your acting HEAD.

 (Translation: “You’re Pretty Awesome”.)

As an actor, you are a powerhouse of creative energy, intelligence and ability. And you can apply it to your Other Thing.

When it comes to headshot photographers, experience as a performer seems to be de rigeur, and an acting background is often advertised as proof of empathy with one’s actor clients. Michael modestly resisted my theory that his acting heritage was responsible for his negotiating the delicate relationship between this actress and her headshot. But I reckon that his ability to direct my ‘performance’ towards different moods and subtleties of expression was proof of some deeply ingrained actorly sensitivities. (By contrast, my Dad’s past contributions to my portfolio have been characterised by a preoccupation with light, shade and camera angle, but a relative indifference to what my face was doing…)

Michael did concede that his acting experience comes in vitally handy when producing posters and stills for film and television (a sideline which is fast becoming a thriving accompaniment to his headshot trade). In this area, the physical aspect of his acting training has proved invaluable, allowing him to direct the actor towards the most dramatic, attractive and/or evocative pose…

5)      HEAD onwards and upwards!

(Translation: “The World Is Your Oyster”.)

Fully established as a successful headshot photographer, Michael is now branching out into writing and consulting. Following a spate of articles which called directly on his expertise in the headshot field (including one on the rise of the colour headshot for The Stage), his growing profile has afforded him opportunities to write on a broader range of topics (most recently ‘The Future of Casting in the 21^st Century’), and to hold seminars for the Actors Guild, The Stage Events and Surviving Actors, amongst others.

Michael in seminar mode

Clearly, what you put in, in terms of time/energy/effort/enthusiasm, really does pay dividends: Michael is reaping the rewards of hard work well spent, and doors are opening wide.

And the same goes for YOU.

You never know where your Other Thing might lead. Wherever it takes you, it will enrich your acting and it will enrich your life. Stay motivated, keep growing, and if in doubt bear in mind the old mantra (and Michael’s raison d’être), “Always happy. Never satisfied.”

Until next time…

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