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Messages - dee4156

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31
Toronto Film Festival. By far the best job I've ever had. Way too much fun with a well-oiled machine!

32
Employment / Questions for Interviewing SM's
« on: Dec 09, 2008, 06:57 pm »
Hi guys.. I've found myself over the last few years as PSM, being in the position of needing to hire SM's and ASM's. I am quite comfortable doing so and usually get a good feel for people, however I judged poorly recently and am reflecting on just how hard it is to judge how an SM will do from an interview. I'm curious to ask:  If you had to interview an SM or ASM, what would be the most important things you would ask and/or look for. Funny.. the one that didn't work out was a phone interview. I've never gone wrong in judgment from a face to face interview :)
Thanks,
dee

33
The Hardline / Re: Actor Notes - After opening
« on: Nov 14, 2008, 08:00 am »
I found one of the best things to do before a director leaves a show is for you and the director to take a little walk and discuss what areas they want you to keep and eye on, what they are worried about for the run, what areas need to continue to grow, and what areas are perfect the way they are.

I found the best way to maintain a note is set up the dialogue between yourself and actors from the get go - during previews, me and my team go to the actors and ask if they have any notes - so, if there were issues we need to work the next day, we can incorporate their notes into our work list.  Then, as performances go in, a member of SM will say good night/check in with each cast member, if we have notes to give, we will - if it's minor - give it then, if it's major, we will ask them to stop by the SM office.  I find the best way to deal with any sort of actor note is to separate the note from the actor - don't start off with "You did something that was wrong.", but "There was something off" - letting the actor take the initiative in taking ownership of the issue, give their explanation, and present a solution.  (Often, the actor will self correct when called out).  At the end of the conversation, hopefully we will have solved the issue to my satisfaction - or - if we can't agree on a solution - then, at the end of the day, the note that wins is mine.  But so much better if the note is solved by the actor to my satisfaction with doing nothing more then pointing out the issue - and letting the actor know there is a problem.

If I have full cast notes or notes for a large group, I will type them up and have them waiting in an envelope - with the note to see me if they have any questions or concerns.



Thanks Matt: I do exactly the same thing actually.. have a "walk with the director" and also ask the actors during Dress and previews if they have any notes for me. Usually people are pleasantly surprised but it gives them an opportunity to express something that they'd like but didn't think it was big enough to bring up on it's own.
I also do the "casual chat" approach i.e. How was it for you tonight? Funny though.. the actors that need the most notes are the ones who whip out of the building before I come down from the booth. I swear they have their clothes on under their costumes :)
I like the idea from another poster who said they watch one actor per night. I have often done this although I usually don't get to this unless the show has settled and mostly out of changing up the focus for me.
I also whole-heartedly agree with giving praise. Even the tiniest things like complementing someone on their perfect hold for laughs goes a long way and opens them up to not so flattering notes or "suggestions" in the future.
My SM philosophy is bake for them the first day, shower them with compliments and really earn their respect by taking care of them and genuinely showing an interest in their well being and process. Once you have their respect, it's much easier to share in assisting them with their struggles.
Oh, and my SM mantra during rehearsals is: Do what you want and wait for the note. Most often if you give director's a choice, they either can't make up their mind or choose the most difficult option. My way, just do what you want and 9 times out of 10, it's accepted since they can SEE it's the best option :)
Thanks guys.. wow, it truly is an art form what we do huh? I had a veteran TD once who witnessed me dealing with an actor (I had no idea he was watching) and then when I got back to the production table, he said, "You should really go and work for the UN ya know?" and I've never shared it with anyone. It's for those experiences that we do what we do.
Cheers guys.. and thanks

34
The Hardline / Actor Notes - After opening
« on: Nov 10, 2008, 10:13 am »
Hey guys.. just wanted to get some more ideas on this. I've been SMing professionally for 20 years under both AEA and Canadian Equity. I give actors notes right at the half hour (or the "35 min half") and privately, and in person. I feel it's a more effective way to communicate rather than email unless it's a technical thang. What I've heard though over the last few places that I've been at is actors grumbling about stage managers who "never give notes". It is actually rare that I do give acting notes though since if I do notice something, 9 times out of 10, the actor feels it too and self-corrects without me reminding them of the off-night.
I guess I just want to poll people and find out how often you give acting notes. And I'm not talking about the casual, "How'd it go for you" green room banter.  Sensitive topic, I know.
Thanks,
dee

35
Employment / Re: Resume question--current show
« on: Sep 01, 2008, 08:47 am »
I always include it in a cover letter. ie. "Currently I am working on (blank) and will become available for employment as of (blank)."  That way, it's included, attention is drawn to that credit, it shows that you're in demand and it doesn't cross the weirdness of including it in a resume when you haven't completed it.

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