What Social Media Marketers Don't Want You To Know

While I was on my run today, with the Nine Inch Nails song The Becoming blasting my ears - it occurred to me that the convenience of social media has taken away the thrill of obsession.  Back in the day - if you wanted to stalk someone you would have to be inventive, track down their university lecture timetable and bump into them at the library, or compose anonymous haikus slipped into their locker at the gym.  It was hard work, damnit - and our minds were rewarded with increased imagination and lots of time to reflect on the AVO we just got served.

Nowadays, a click of the button and we can see who, what, when and whether the object of desire is "in a relationship" or if (fingers crossed) "it's complicated".  Stalkbook has taken away the danger, the passion, the romance of lurking in the bushes at 6AM in the rain in the hope they might have to run outside in their silky pajamas to take the garbage out... it's just not the same anymore.

Imagine the original love crazed stalker: Romeo creeping outside Juliet's balcony - it wouldn't happen like that today.  More likely we'd see live tweets @montague: "where U at babe?"   There's no mystery - the immediacy of tweets & status updates is powerful and alluring - hence the popularity, but it concerns me that this has an invisible effect of removing the state of wonder that comes with not-knowing. 

The state of imagining, of learning is a natural place for the human mind, but in order to most effectively manifest this way of being we must also free ourself from the junk of what we know.  To put it another way - if we walk into a conversation with a conclusion already in mind, we are closed to the possibility of a new idea. I have a feeling that the tsunami of news, opinion and messages makes this process much more difficult than usual.

When you look at the majority of blogging, tweeting & social media discussion - the primary impetus for engagement is Validation.  People like their opinions being counted.  When you comment on a post - do you check how it looks on the screen right away?  Do you smile to yourself when someone acknowledges your status update?  Of course, everyone does.  That's why social media is so addictive - we all want to be validated.  Case in point - President Obama - engaged with people directly, gave them a place to express themselves, they feel validated and he gets elected to the most powerful office in the world.  Validation is a powerful tool.

My point is that this key motivating factor to engage in social media is contrary to the learning process.  If we are seeking validation, we are unable to see past our own viewpoint and discover something new. If you're reading this, there is a voice in your head which is seeking to rationalise this idea, agree? disagree? Everyone does it - it's the condition of being human. You're already framing your responses before the listening is even complete - and this, friends is the critical point of social media engagement - it's hampering the possibility of imagining something new - the natural human tendency to apply their opinions to circumstance is actually preventing true learning.

Consider this next time you go to 'live tweet' during a conference or tv show or presidential address.  Are you actually present and open to whatever is being explained? Or are you seeking validation by putting a loudspeaker to that inner voice which has some comment to make abou what's in front of you?  

Yes. It feels good that everyone can immediately read how clever you are, but you probably just missed something crucial because you stopped to say it.

Just Who Are You Trying To Impress?

Auditions Are Tough

It's a harrowing process that's left many an aspiring actor scarred and shivering. But it's not meant to be that way at all. Before your next audition, arm yourself with insider thinking that casting agents and directors all use to make their selections. 

This simple five-step process is one that invariably forms the template for casting theatre, film or television the world over.  Much of it is common sense, but in the rush of performance it’s easy to throw the rules out the window and blow it – so it’s worth considering the process from the other side of the table, and remind yourself that you’re actually there in the room to solve all their problems in one hit. But first- some qualifications – this is not foolproof.

 

The industry is notoriously competitive, nepotistic and lets face it, you aren’t going to get put up for Othello unless you’re black (or Sir Anthony Hopkins, but that’s an issue for another day).  So think of this as a way to level the playing field and cut down on nerves, because nine times out of ten that can be the biggest stumbling block to casting you in that lead.

1 - Preparation, Preparation, Preparation! (preparation)

This can work both ways, but the general rule is the more you know about the part the better.  Get a copy of the script in advance, beg, borrow or steal if you have to, but get one.  Then, and this is crucial – read it!  Then read it again.  That second reading will open up insights for the text that will become an integral part of your ammunition on the day.  Don’t just read the bits that your character is in, either – look closely at how different characters talk about the character you’re playing.  Make notes. Have a dictionary or Encyclopedia nearby to look up stuff you don’t understand.  Find out how to pronounce any strange or foreign words.  Do whatever you can to give yourself an edge.

 

Sometimes I like to pretend I already have the role and I’m actually preparing for the first rehearsal – which, in a way the audition really is.  So, learn the lines, practice them, get comfortable with material and be ready to work.  There will be things you don’t understand.  That’s good, write them down and make an interesting question out of it on the day – it shows you’re paying attention.  I would even go so far as to think about wardrobe and style my wardrobe toward what they might wear – it’s all about creating the right impression from the moment you walk in the door. 

The flipside of this of course is to be over-prepared, but in truth this is not really a problem to worry about.  It will only impact your audition if you get stuck in a particular way of reading it, or a particular interpretation of the character. So remember to keep an open mind, but everything you can learn about the text in advance will make an impression on the director.

2 - The Walk In

This is a funny little section, you walk in, yes, you’re nervous, there are important people you don’t know, they’ve made you wait outside and now you’re alone with them.  They know it, you know it.  News Flash:  they don’t care.  They want to know who you are.  Be comfortable, this is your space – remember they have made time for you. In fact, nerves are a part of the package. If I don’t get a bit nervous walking in – then I start to get really scared!  So most directors will be sympathetic, but only to a point.  You want to get over it pretty quick after the introductions and small talk. 

And there’s another thing – the small talk - it’s no small thing, they want to know who you are. They’re considering joining you at the hip with a bunch of strangers for several weeks in a very demanding, pressurised and intimate environment.  Be yourself, if you’re softly spoken, be softly spoken.  If you compensate with false bravado – do that (if you must) – but be real.  It seems like such a forced situation having to be polite with people you don’t know – but this isn’t a barbeque after your sister-in-law’s hockey final – this is something you want to be doing for the rest of your life! So don’t pretend – be authentic.  

There’s a slim chance they won’t like you for who you are, but this business is full of all kinds of weird, crazy egomaniacs who are perfectly loveable.  If you can’t even give a tiny glimpse of who you are, you simply won’t stand out from the crowd – and how can anyone expect an authentic performance?   Take a moment, get past the nerves and enjoy the simple pleasure of meeting these people.  They could be your new best friend...

3 - The Reading

Ok, so now it’s down to business, after all the preparation, the nerves are jangling again and it’s time to show them what you’ve got.  So let them have it.  Trust yourself, your instincts, and your interpretation.  There isn’t a lot I can say on this matter in the way of advice, because every actor works differently.  From the casting perspective – it’s simple. They have a problem – this part needs filling.  You’re there to solve it. So go hard. 

Before you start, it’s worth doing any final checks on the pronunciation of certain words or phrases, or ask any basic questions you might have going in.  Save some of your more complex questions about character for a bit later on – there’s a time for that – right now it’s just you and the script. 

It’s important to remember that nobody nails the first reading.  No-one. Ever. It’s just impossible.  There are too many factors at play.  So the people in front of you simply do not expect perfection.  Remember this – because it means you’re off the hook! Sort of… It won’t be perfect, but they do want to see what you’ve got.  

Whatever your decisions are – commit to them.  Unless it’s panto you're going for – avoid the histrionics – fist pumping, shouting, wild gesticulations and sudden movements aren’t going to help much here.  Just simple, pure, commitment to the lines.  It’s even ok if you drop a couple here or there.  Improvise if you have to, but stay in character and give it your best. Have fun!

4 - The Rehearsal

Once you’ve got that out of your system – you’ve thrown off the nervous shackles – it’s time for the most critical phase of your audition.  Everything thus far has been leading to this point, because what happens next will make or break your success in the industry.  So no pressure... 

They have seen what you can do, but the real test is how you work. So they’ll give you some feedback, some directions, they’ll talk about the scene and maybe offer a completely new interpretation.  Listen.  Ask that interesting question you saved up.  Show them you can bring something to the table.  Surprise them with your insights.  Be there to work the text.  That’s what they really want to find out.  They know they like you, they know you can act – now, how do you work?  

After a short discussion about trying the scene again, listen to their directions carefully.  Make sure you understand what they’re asking you. Repeat back what they’ve told you so they know you understand.  Think about it for a moment and make a decision about how you’re going to change your performance. Make all of this a conscious process.  Take what time you need to figure it out.  Whatever happens after you walk out of the room – if you get this right – they will remember you as someone who has what it takes. Then, when you’re ready – have another crack.  Have some fun with it.  Take a risk or two.  That’s the work they need from you.  

Again, nobody expects you to get it exactly right – they do expect you to change your performance to adjust to their directions.  There’s no point in having all that preparation and discussion if you can’t change it all around in rehearsal. And that’s really what they want to see – how will you cope in the rehearsal room?  Have you got what it takes?

5 - Dont Call Us, We'll Call You

So that’s that.  It probably only took about fifteen minutes (although auditions can last for over an hour – it’s rare) but it could change the course of your life!  Eat your heart out Andy Warhol.  But it’s important to get out of there with a bit of dignity, so be thankful, don’t rush off, but respect the time they have given you to strut your stuff. 

It’s similar to the introduction process, but a lot more relaxed because the hard part is out of the way.  At the very least you have made a new industry connection. And that’s no bad thing.  Just stay professional - stay cool.  I have heard directors talking about actors who offer profuse apologies when for whatever reason, they have a bad reading. 

The jury’s still out here, it’s a dangerous path to insist on having another crack if you’ve just been excruciating – but I think it may be worthwhile if you’re willing to admit a failure and move forward – just be aware of the playing field. Heath Ledger did a similar thing when auditioning for The Patriot – still breaking into Hollywood, the story goes: he’d knocked back a lot of scripts and went in for this, gave a complete shocker for a read – half way through the audition said ‘Listen, that was awful, can I come back and try again another day?’ - and got the part opposite Mel Gibson - it broke his career wide open…  

It all comes down to context in the end – if you have the rapport with a director (whether you just met them or not) you might feel comfortable with that approach.  Just be professional - and prepared for them to say ‘No’.  Oh, and one last thing - when you do walk out – be free from the process.  Move on, don’t wait around for the call, just pretend like it never happened.  If you do get the part, bonus! But don’t fret about it - that way you can stay positive in the industry, nothing wears down an actor like carrying the baggage of a 90% rejection rate into the room.  That stuff shows up like spinach between your teeth.

Creative Fragmentation

It's very easy to get overwhelmed when you're taking on complex tasks.  For instance, I have a script project which ambitiously threads ten or so storylines through one house, whilst entertaining pretensions to an arching metaphoric structure and allusions across three thousand years of literacy.  It's a comedy.

So far, it's been in development for around four years. Four Years! And to think I started this thing way back when the War in Iraq was actually popular!  Fortunately the subject matter hasn't dated but the constant battle has been with trying to do it all at once.

Now I have divided the structure into tiny fragments, drafting each in turn, just a little bit - completely separate from each other.  I'll tie them all in together later, but for now, each fragment has its own page to work from, and they may not peek at each other until they are all approaching readiness.

And it's working!  suddenly the creativity feels unburdened by the scale of the task ahead!  I have tricked my mind into thinking it is doing something simple.  And of course, it's much easier to do a thousand simple tasks extremely well than it is to take on one massive and complex beast and do a mediocre job...

watch this space for progress reports...

Underbelly Has Soft Centre

Great Story: Bad Script. 

"Both of them had killed to protect their empire. And they would kill again" 

So predicts the solemn, nameless narrator of Underbelly: A Tale of Two Cities at the end of episode 1. (see, clever - they pinched the title from Dickens, right?)... great, so is this ominous prediction there to create tension or just state the glaring obvious? 

I felt like screaming out "He's behind you!!" and cueing in some organ music... it amounts to televisual pantomime. 

Just one example of seamless corner-cutting in a series which should by all rights be intriguing, terrifying and thought provoking television. It should shock us with the violence and moments later have us laughing along or agreeing with the main protagonist. Instead, they say 'fuck' a lot and there are boobs. 

Not a single laugh in the whole opening two-hours. Sure, characters might say something that's meant to be funny, or possibly even clever. But this isn't a stand-up routine. Successful Comedy comes from action describing the irony of a character's world-view, not clever witticisms by people who are unlikeable thugs. Almost every character is clueless as to their faults - so there should be ample opportunity for poking fun at them as they go about their gruesome business. But it's taken so seriously at every turn we're left with no relent from the stylised-true-crime-melodrama and all-too-hip editing. 

Any serious drama needs moments of relief, of lightness to give the audience a bit of breathing space. This also creates a certain moral ambiguity about our protagonist - as when laughter comes into play, we know not whether to hate them, pity them, like them or love them. Witness Deadwood, Six Feet Under or The Wire as fine exhibits of bleakness superbly counterpointed by character driven comedy. The funniest thing I saw here was a lurid plastic couch being hauled off in the background of a scene... (it's set in the 70's after all). 

As a result there's no reason for us to like these people - I don't know what they are trying to achieve, other than self-aggrandisement and unfathomable riches - therefore there is no tension - no reason for me to want them to succeed in their schemes, no real danger other than they may or may not die, and if so, I have no real reason to care. In other words, there's nothing at stake. Which is a shame because the actors are working their collective tails to the bone, but it's like trying to create empathy with a teflon frying pan.  Fine product, but it doesn't stick.

Lazy, colour-by-numbers, oversimplified telling of what is a vicious, complex and above all important chapter in Australian history.   (5/10)

Obamanation!

it's on!   Like many others, I'm well stoked to see someone with a bit of vision in the hot seat. 

Not before time. It's pretty freakin' dire out there.  But hope will out, as they say.  I like that he's already making steps toward sustainable industry.  I like that he's none too fussed about the awkward formalities of being President.  I like that he's already breaking racial sterotypes down by proving at his inauguration, once and for everyone that not all black guys are awesome dancers.

But most importantly, I like that he's getting his elbows into it already.  So many people have been lobbying change for so many years and being ignored.  And maybe things got so bad that finally people started to catch on...  Who knows?  The important thing is that he's there now, doing whatever he has to so the job gets done.

Good on you USA for taking a chance on the politics of transformation.  

Meanwhile in Davos...  

Elizabethan. Expressionist. Epic Theatre at its Finest

The War of The Roses
Sydney Theatre Company, January 2009.

This monster-length, four-part portrayal of three hundred odd years of bloody English rule leaves no quarter with its audience - and nor should it. The story is simple enough, and well documented - but the delivery incorporates a bevy of abstract imagery, confronting expressionism and some truly dazzling visual effects. Frankly, it's a stunner.

Far from traditional, this piece of theatre takes us across the disintegrating, degenerating Kingdom of Richard II, Henrys IV, V & VI right up to the ill-fated reign of Richard III. With eight(!) of Shakespeare's history plays as its cue - we get far more than a tale of bloodthirsty ambition and civil war. Director Benedict Andrews uses the text as a lever with which to pry open and peer into the darker depths of power, civilisation and war.

The legitimacy of rule gets stripped back until it is impossible to ignore the fact that ambition is fuelled by force on an horrific scale. The irony is irrefutable - when we see Henry take up a conquest of France to distract his citizens from the troubles at home - yet his cold-blooded pride knows know bounds until he starts to count the dead - but by then it's too late.

Of course, our modern democratic leaders would never show such blithe hubris, would they? And yet the shambolic, absurd rituals we see before us echo so easily into our world, one of neverending war propped up by nonsensical terms such as 'honour' - as Falstaff laments toward the end of Part 1 'Honour hath no skill in surgery' - and yet brings so much bloodshed to those who claim it as their cause.

The staging is ambitious, difficult and on a massive scale. Across the ensemble - the actors should be applauded purely for their powers of concentration and memory, as this is performance at its most demanding. From Cate Blanchett's sneering, callow Richard II and his fall from grace - the repercussions of which do not stop until the final act, some three centuries hence as Richard III viciously plots his rise - and although we think we have seen the limits of murderous ambition by then, somehow the mad, paranoid portrayal by Pamela Rabe outdoes it all. Perhaps it is in the childlike naivety of the killings - all the other Kings at least had shown some cause for their bloodlust - but this final King seems obsessed with power if only to find that he knows not what to do with it, just another pretty object to wield.

This final horror leaves the audience with a very simple end note, which should not be described, because, like the many visual and aural effects throughout the play need to be in context for full impact - regardless of your familiarity with Shakespeare, this needs to be seen to be believed - the war play to end all war plays.

Disregard Instruction Manual: step 1

I cannot abide conformism. It stings me to see mediocrity for sale at all levels, but just because the market bell curve treats us like lemmings, should we accept this?

I'm interested in debate, dialogue, counterculture, scepticism and no bullshit.

How to read this blog:

The following topics will be up for discussion and debate:
art
politics
film
theatre
writing
creative process
marketing
religion
social media
advertising
international law
democracy
autocracy
philanthropy
government funding
the environment
the food chain
toxicity
drug policy
drug use
pharmaceutical companies
hypocrisy
ancient cultures
literature
history
war
counterculture
social change
globalisation
modernity
ethics
dating & relationships
sexual politics
modern dancefloor etiquette
fashion

I'm asking questions, not providing answers.

It might seem like I'm putting forward the answers you crave, but that just because I know what I am talking about, not because I'm better than anyone, but because i have a knowledge base built by sheer virtue of constant research and analysis into my chosen field.

feel free to agree or disagree as you wish. Scepticism makes for a healthy dialogue. But be prepared to back up your statements regardless...I am not kindly disposed to misinformation.

I will not tolerate racism, gender bashing or other forms of hybridised intolerance. If you're into that you can just fuck right off.

that's it. the only rule. now disregard. enjoy.