Tyler Thorne's Lounge Discussions

Don't get caught up in what is okay and not okay to use in your script/film. Think of a montage as just one weapon in your arsenal of weapons to help you tell your story. This is what you should ask yourself: Does it help me tell my story in the best possible way? If the answer is NO, then you should not use it. If YES? Then montage away!

I agree with David. Is this going to be the best/most efficient/most interesting way to convey the information you need to get to the audience? If there is a simpler/more effective way, go with that. Then there's always Team America: http://www.youtube.com/watch?v=pFrMLRQIT_k

Well, that was hilarious. Montage, flash cards, bingo cards, Dixie cups and string, free coupons, flossing lessons, whatever keeps 'em nailed to their seats.

Visually, flashbacks show backstory, while montages show time progression.

Montages and flashbacks are tried and true, but that's not necessarily a good thing. They are too common and can be considered a lazy, quick fix by readers, producers and agents. Try to figure out a more clever way to reveal a back story element. Something more intriguing. If a montage is truly the best way to move your story along, then go for it.

Terrific points, Todd. There are many very good actors just starting out who will work for free just to have material for their reel. Show them you're the real deal, that your intentions are more than just a hobby, and they'll come running.

See if Michigan has an indie film group - like Film Independent or Filmmaker's Alliance out here in LA. Check with your film commission. I'm sure there are outlets where people bind together to help one another with their projects - kind of quid pro quo - you help me on mine, I'll help you on yours. GOOD LUCK! ;-)

Ah, the ever knowledgeable and selfless, Ms. Hale :)

If the idea is interesting to me I would generally work for free and or food and a floor to sleep on as Heather said you help me I help you, Also for reference if I like the look of bigger projects in some case's I would waver at least 60% of the fees so that the project would have a bigger budget to work with. As a good friend of mine once said to me "you need experience to gain work and work to gain experience, but to truly be a successful storyteller you need to think audience first money much much later" and I stand by those principals even if it goes against everything the "Hollywood system of film making" goes by but that is just me

You have to give them something of value. Pay is not that important when it comes to getting experience as an actor. Here's some things you can give them ... 1. IMDB (Internet Movie Data Base) credits 2. Follow the SAG New Media Contract (Google this), so you can give them speaking parts and waivers. Once they get 3 waivers, they are SAG-eligible, which means they get paid 2x - 4x the pay that non-union actors are paid. 3. Food 4. Lodging 5. Experience (looks great on resume) 6. Tell them you will personally recommend them and they can use you as a reference on their resume, that their next employer can call, text, or email you. 7. A metro card (to pay for subway rides and bus rides) 8. A train ticket (to pay for train ride, if they need to take the train) 9. Money for gas and tolls if they are driving. Ask them to provide receipts. With these expenses, save the receipts and make copies of them, so you can get a credit when you pay taxes at the end of the year, as these are considered expenses.

I don't think its something you need to get rid of necessarily, especially if it adds to your overall "likability." Don't change who you are. I do, however, think it might be useful if you had some variety in your stable, and were not solely dependent on that one accent for work.

Guys, she won't "lose" her accent but have the ability to turn it on or off. That opens up roles. I've played Italian, Southern, Armenian, Russian and Spanish. It takes work but it can be done.

I think in Hollywood you should, but as a person I think you should not. However, with an accent you do get type cast. I know with Dutch (I am one) you will get German roles. Only when you are really good in hiding your accent (Ruther Hauer, Carice van Houten and Famke Jansen) you get the bigger parts. It really depends on what your wishes are, I think.

Aren't you working in France?

Hi Jac,

When it comes to casting in North America there is a growing need for diverse performers with different backgrounds. Definitely don't lose what makes you unique. It's not as though you have to lie about who you are or head into a Zoom meeting with a Casting Director or Director putting on an accent that isn't natural to you. And if you see a breakdown looking for actors who can speak French, or speak with a convincing French accent then obviously that role was made for you.

I took a class with a reputable Casting Director about and a half year ago and she noticed that a number of her students were Latinx. She recommended that although their language and accent can be a HUGE plus when it comes to casting certain roles, they should work on learning how to speak with a convincing transatlantic accent as well. This would open up more casting opportunities for them.

When you're interacting with fellow professionals and slating before your audition, always be you and be natural. Once you're auditioning/performing you may take on the dialect that is natural to the character (which may be a straightforward transatlantic accent, may be US Georgian accent, may be a thick Boston accent).

Have fun with it! There are a number of great accent tutorials on YouTube that can be very helpful. Bien amicalement à vous!