Impressing

The people you are trying to impress…why exactly are you trying to impress them again? And what would it feel like to not care about impressing anyone, ever again?

Awareness is the key.

Carry on.

Desperately Wanting and Pursuing

For the actor…

Deep down, everyone desperately wants something.

Few have clarity over what that is.

And, setting opportunity aside, even fewer have the courage and discipline to go after it.

But on stage (or screen), we want to watch people–heroes and villains alike–who know what they want and pursue it at all costs.

(Even Hamlet desperately wants something. He just keeps changing his mind about what exactly that is.)

Besides knowing your lines forwards and backwards/exactly as written, you must know what you desperately want in each beat, each scene, the whole play. An early acting teacher framed it this way: “What do you want to badly that you will die if you don’t get it?”

Use your private time at home to figure out what that want might be.

Use your rehearsal time, along with input from your director, to try out all kinds of different wants. Figure out what’s the strongest want and the one that leaves you the most vulnerable to the other person.

When it’s performance time, step out on that stage desperately wanting and pursuing something. As a result, you will be fully alive and riveting to watch.

Defy Circumstance

Speaking of Marie Curie, Billy Oppenheimer wrote this about her in his excellent weekly newsletter

When she was a teenager, Marie Curie began thinking about pursuing a career as a scientist. But from a poor family in Russia-controlled Poland, the necessary education was beyond her parents’ financial means. So she got up and looked for ways to make the circumstances she wanted. After considering her limited options, Marie struck a deal with her older sister Bronya: Marie would get a job as a governess, using her wages to help Bronya pay for medical school in Paris, on the condition that once Bronya became a doctor, she would in turn help pay for Marie’s education. Beginning in January 1886, Marie worked for a wealthy family in the rural countryside, sixty miles north of her home in Warsaw. She looked after and tutored the family’s children during the day, and in the evenings, she prepared for entrance exams to the Sorbonne, the prestigious university she dreamed of attending. At a time when women were largely excluded from higher education and faced systemic barriers to gaining admission to institutions like the Sorbonne, the challenge was getting to a place where her application was undeniable. “It was indeed an all-powerful instinct,” Marie’s daughter Eve Curie writes in Madame Curie: A Biography, “that made her sit every night at her desk, reading volumes of sociology and physics borrowed from the library, or perfecting her knowledge of mathematics by correspondence with her father…All alone in that country house, she was without direction or advice. She felt her way, almost by sheer chance, through the mazes of the knowledge she wanted to acquire.” After five long, lonely years working as a governess, true to their pact, Bronya became a doctor in Paris and was at last able to fund Marie’s travel, exams, and the next steps toward the circumstances she wanted. “By small imperceptible stages,” Eve writes, “the tragic immobility of the young girl’s existence was beginning to stir.” Despite studying independently without formal instruction, in 1891, Marie received a letter from the admissions offices: “Faculty of Sciences—First Quarter Courses will begin at the Sorbonne on November 3, 1891.” “From that moment,” Eve writes, “Marie’s fortune, starting from zero, began to increase.” She would be one of a small number of women to earn a degree from the Sorbonne, graduating at the top of her class in physics and mathematics, before becoming the first woman in France to earn a PhD in physics—and later, the first woman to win a Nobel Prize.

Don’t be defined by circumstance.

Rather, defy circumstance at every turn.

P.S. – We recently did a Vs. Tuesday Night Zoom Reading of the play Pierre And Marie by Ron Clark. It’s a fun and intelligent comedy about the personal and professional lives of Pierre and Marie Curie. You can order the script here.

The Friendly Follow Up

One discipline to incorporate as a producer is what I call “the friendly follow up.” It will save you a ton of time and unnecessary heartache throughout your passion project.

A real world example…

You have an important delivery coming to the theatre tomorrow at 3p.  It’s all set.  You booked it last week.

Today, CALL the company and just confirm. 

It takes less than 5 minutes and gives you peace of mind that the company will be there as expected. Thus saving you enormous heartache and aggravation if they didn’t show up. Additionally it’s a generous reminder to the company. It gives them an opportunity to relay any instructions they may have forgotten to pass on during the initial booking. (Especially if this was booked online.)

This discipline can be employed in a multitude of ways with all the people and organizations you encounter. The art of it, which you learn over time, is how to do it in a friendly, not annoying, manner.

Take Time

Everything that’s worth it takes time. Including finding inner peace.

If it’s worth it, you’ll put in the time. Or rather, especially when it comes to inner peace, you’ll take the time.

Read this phenomenal Poetic Outlaws post from Erik Rittenberry. And take some time for yourself this weekend.

EXCEPTIONal

If you do enough digging and really learn their origin story, you will find that most, if not all of the people you admire, were willing to take the road less traveled. They didn’t follow “the wisdom of the crowd.” They didn’t try to fit in. They fit out. They took risks. They sacrificed. They believed and bet on themselves. They moved forward even when there was no light in the distance. They were willing to be the exception.

If you want to be or do anything exceptional, then you have to first be willing to be the exception.

Never Better

(This post is particularly apropos as I’m sending this at 11:55p. 5 minutes prior to my daily Midnight deadline)

For most things, especially those that you have to complete on someone else’s deadline (school, work, etc.) “better late than never” is good advice.

However, when it comes to your art it should be “better live up to my own standard of excellence or never.”

This is not a defense of perfectionism, which is just another way of hiding.

It’s about having your own sense of taste, tenacity and standards that you live by. As well as knowing who your art is far and why you want to make it for them.

If you don’t have or know these things yet, then never is better.

Jedi: Cavalry

First level understanding: The cavalry isn’t coming.

Second level understanding: There is no cavalry. There never was a cavalry.

Jedi level understanding: YOU are the cavalry.

Go make your art.

P.S. – I try to watch Mark Duplass’ “The Cavalry Isn’t Coming” 2015 SWSW Keynote speech once a year. It’s even more relevant now as it was then. Everything you need to know about why you must produce your own work is in this speech.

So What If They Ignore You?

Great advice from Steve Matin above. Become a master at your craft.

However, I’d amend it to this:

“Be so good they can’t ignore you. All the while produce your own work so you don’t care if they ignore you. Because you’re too busy making things happen for yourself, your fellow artists and the audience you seek to serve.”