Artistic resistance is something all artists face from time to time. Understanding what it is and learning to recognize when it is happening to you will help you cope with it and become productive again. Call it a blockage, frustration, lethargy, a sense of failure - it is all similar. Having worked alongside artists for a long time, I believe that resistance often manifests itself in various forms of self-sabotage. There are things that we do, or don’t do, that result in a self-perpetuating cycle of disappointment. Here are some common manifestations of resistance and some suggested counter-attacks.
Equating a lack of success today as overall failure. These are not the same things. First, consider how you are measuring success. Fame, for example, is a poor measure of success, because it is an unlikely outcome of most artistic work, is out of your control, and is guaranteed to recede the more you chase it. Try reframing success as being more along the lines of “I am developing in my craft and having fun.” These things are more in your control. Next, realize that all artists must go through phases where they are stalled and frustrated. This is when you are laying the groundwork for your next breakthrough. Take a class, read, or go and spend time around other forms of art. Seek inspiration by returning to the sources that inspire and uplift you.
Making big announcements and not following through. There’s a real rush that comes from announcing a new project, or a lofty goal. Your brain floods with well-being, and your networks come alive with support and encouragement. The problem is that you are getting most of the happy brain chemistry that usually comes from hard work and achievement, only you are getting it up-front before you actually do the hard work. This results in a real crash afterwards once the "likes” and words of support fade. There’s nothing left but the drudgery of the work, and frankly, a lot of these projects never get completed. Consider planning and working in relative secrecy, and only making public announcements as you hit major milestones.
Finding excuses not to train and study. Too busy at work, don’t need more training, timing of a course is not good, don’t have the money, just booked some work - the list goes on. If you don’t feel up to taking a class for whatever reason, then own that and get your training elsewhere though other means. Classes are great for getting structured skills development, but they aren’t the only way to learn. Read your way through the local library about craft, techniques, artists, biographies and other related subjects. Watch artist documentaries, surf YouTube for how-to videos, do some self-study by setting an artistic challenge for yourself and meeting it. Check out free courses online at places like FutureLearn and study on your own time.
Grabbing for work compulsively. For actors this shows up as going out for every piece of work they are remotely qualified for. Sometimes this is a result of the “Damn, I just gotta book something!” feeling, which is very human. It’s easy, though, to end up overloaded with auditions, and end up doing none of them very well, because you are short of both time and inspiration. As your resume builds up, you no longer have to go out for every mom, dad or party-goer role. Be more selective and leave stuff for less-experienced actors to go after. Remember that your favorite actors don’t work every month or even every year. Focus on the parts where you can really make an impact or that will stretch you in your development. Better yet, start developing your own material and writing those roles that you dream of playing.
Adopting negative ideas and language. You’ll hear it everywhere - how tough the business is, how slow things are, how the untalented are stealing all the work, how the writing sucks and so forth. Just smile and walk away. You are better off alone working on your craft than getting into a negative mindset. Refocus yourself on your own work, on getting better at your craft, and recommitting to your own measures of success. Yes, the art world is full of setbacks and difficulties, but those who are steadily making progress in their own development, and those who focus on being prepared, relaxed and ready to work always do best. Remember, it’s supposed to be fun!
There are many other forms of resistance - and each of us has their own unique ones - but whatever yours happens to be, the most important thing is to not beat yourself up about it, but to recognize it for what it is, and find a steady, positive way to get back to the inspired self you deserve to be.
Cinemaisseur chats with award-winning Director and Fat Punk Productions Founder
PHOTO CREDIT: DIRECTOR ROBERT DAVID DUNCAN
Director Robert David Duncan is an actor, director, writer and producer who has made over 30 films, receiving over 100 official selections in festivals around the world and winning several awards. He is also an acting, filmmaking teacher, coach and has written books on acting and filmmaking. He recently completed the feature “It’s About Love” which is now heading into its festival run.
HOW LONG HAVE YOU BEEN IN ENTERTAINMENT AND DIRECTING?
I began acting over ten years ago when I first went to the Stella Adler Studio in New York to study. That was a great experience, as was studying with other great NY-based instructors like Roger H. Simon. My first break was getting cast in an indie feature right after getting back to Vancouver. After enjoying acting for many years, I made the move into directing and filmmaking a few years ago, and have since made many films, ranging from micro-shorts to feature length. I now also teach and coach people on acting, directing and filmmaking.
HOW DO YOU DEFINE THE ROLE OF A DIRECTOR?
I love directing. For me, a director is a chief encourager, vision communicator and safe-space creator. Because I was an actor first, I know that actors all come from different traditions and ways of working, and that generally, the more you let them work without interference, the better the product will be. I normally do my own casting, and have been fortunate to work with the same actors over and over, so I know what to expect. One thing I like to do is to work with the actors as extensively as possible before the shoot, beginning with the casting meetings, the table readings and other exchanges so that we have a clear vision of who the character is, and what the story needs. In this sense, a lot of the directing can be done before the shoot. On set, it is more like conducting an orchestra, where everyone is expert at their own instrument, and my role is to make sure everything is mixing together well to best serve the story. Everyone knows I try for a 3-take maximum, so we all focus in and make our days comfortably. I also work closely with the cinematographer in order to create a zone of safety and calm on set, so people aren’t being distracted, and they can feel safe to play and enjoy the work.
OF THE PROJECTS YOU’VE WORKED ON TO DATE, COULD YOU PLEASE TELL US WHICH PROJECTS WERE HIGHLIGHTS FOR YOU?
This has been a particularly great year, because our feature “It’s About Love” that I wrote and directed was completed and has begun its journey out into festivals. Also this year, Ross Munro‘s feature “A Legacy of Whining,” which I co-starred in, premiered and has gone into distribution. I also was one of the directors on the feature film “Breathe Easy” which was a record-setting global collaborative film effort, which was an amazing process to be a part of. It was a year of features for me, both as a director and an actor!
IF YOU COULD HAVE DIRECTED ONE MOVIE FROM ANY MOVIE IN CINEMA HISTORY, WHAT FILM WOULD YOU LOVE TO TACKLE?
Definitely “The Godfather: Part II.”; It’s a beautiful movie on so many levels.
COULD YOU NAME SOME OF YOUR FAVOURITE ACTORS AND ACTRESSES OF ALL TIME, AND WHY THEY INSPIRE YOU?
Al Pacino, Marlon Brando, Marisa Tomei and Sally Hawkins come to mind. They all seem to have something magically compelling going on inside them that makes their work very watchable.
WHAT ARE SOME OF YOUR FAVOURITE FILMS OF ALL TIME AND WHY?
The Godfather: Part II” for the story, the acting and the cinematography, “Apocalypse Now” for the amazing vision, “Moonstruck” for the rich cinematography and performances and “When Harry Met Sally” for its very human-scale comedy and drama.
IF SOMEONE WAS GOING TO MAKE YOUR LIFE INTO A MOVIE, WHO WOULD PLAY YOU?
How about Mickey Rourke? I would pay to see that!
IN THIS INDUSTRY, POPULARITY CAN BE IMPORTANT, BUT ALSO FICKLE – SO FAR WHAT ARE YOU EXPERIENCES SO FAR WITH THIS?
I think I am very lucky in that I don’t crave fame. I like having fun and making art. If the art moves someone, inspires them, makes them smile, then I’m happy. But honestly, I’d make my art anyway because I enjoy the process and the exploration. I’m not motivated to be famous, maybe because I’ve already done plenty of cool things in my life, and I feel very fortunate, lucky in love and in life.
WHAT WOULD YOU LIKE TO ACHIEVE IN CINEMA GOING FORWARD IN YOUR CAREER?
Someday, I would love to make a very richly-coloured film that beautifully tells an uplifting, inspiring story. Something like a “Moonstruck” or an “Amelie.” I also have a big weakness for rom-coms like “When Harry Met Sally.” Classic, human-scale stories.
DO YOU ENJOY INTERNATIONAL FILMS, AND DO YOU HAVE ANY FAVOURITES?
I love international films, and try to see them whenever I can. I really like films by Mike Leigh and Aki Kaurismaki for example. “Hunt for the Wilderpeople” by Taika Waititi from New Zealand was another film I really enjoyed. We are lucky in Vancouver because we have a number of festivals that focus on Asian films, South African films, Turkish films, you name it. It is a great city for world cinema. I also run my own festival for one-minute films called the Miniature Film Festival, and we regularly get submissions from over 40 different countries! l also enjoy the fact that many of the official selections in festivals I have received for my films have been all over the world, not just in North America. I think cinema is a wonderful global bridge-builder and community-creator.
WHO IS THE DREAM DIRECTOR YOU’D LIKE TO WORK WITH ONE DAY?
I would love to work with Mike Leigh, just to see his process of working with the actors and shaping the final product.
ARE YOU CURRENTLY WORKING ON ANY PROJECTS?
For sure. I have another film, “Fat Punk,” in post-production now and am developing a few new projects also. I like trying to have a balanced pipeline of projects at various stages of development so that there is always something on the horizon.
CAN YOU IDENTIFY WHAT YOU FEEL ARE YOUR STRENGTHS AND WEAKNESSES?
I have been told that I am a good team-builder and collaborator who creates a positive environment on set. Also I know from myself that I have a strong bias for getting things done as opposed to waiting and that can be both a strength and a potential weakness. I like to work fast and finish things, even if they are not perfect. Finished beats perfect in my book, and that could be both a strength or a weakness!
DO YOU FEEL THAT ANYTHING IS MISSING FROM THE FILM AND TV INDUSTRY TODAY?
Maybe this exists somewhere, but I would really like to see a kind of open TV channel where independent filmmakers could get their stuff slotted for programming for free, non-exclusively, similar to a public-access TV model. It would be great to reach some kind of audience with our products, even if it was just, say, one-time at 3am. Kind of a “broadcaster of last resort.” You could make it challenging to apply so that the channel wouldn’t get totally overwhelmed. Knowing there was some sort of guaranteed viewership would allow new filmmakers to work backward from that to build a more compelling business case for their films, and attract more funders. There would still be a ton of upside distribution potential to aim for, but having a floor there would help too.
COULD YOU TELL US A BIT MORE ABOUT YOUR JOURNEY SO FAR?
I see myself as a creative explorer. Filmmaking is the latest in a series of adventures and careers I have enjoyed. I could see doing other forms of art and other adventures someday. I may always make films and act because they are things that I enjoy doing and know how to do, but I am also being drawn to other modes of expression and mixed, experimental forms of art. Onward!
You can visit Director Robert David Duncan's Website here .
(Interview courtesy of Cinemaisseur)
Turn tedious drama into playful drama to gain a new appreciation of your workplace
Ask anyone what they dislike about work, and the answer will often be “drama” in one form or another. This generally refers to the subtle but tiresome forms of drama that infect workplaces and negatively impact our feelings about work. Things like gossip, attention-seeking, secret alliances, untruthfulness, manufactured stress, manipulation and other behaviours can leave people wondering why they bother to work at all, and why people just don’t do the work at-hand without all this extra drama. Clearly, dangerous and destructive behaviours like bullying and creating hostile work environments can and should be dealt with swiftly through policy, but what about the more subtle, under-the-radar, everyday actions of people? They can be tedious, and the result is often boredom, dissatisfaction, despair, a feeling of being trapped and “checking out” in all but body. Needless to say, productivity and morale often plummet.
What if we brought an actor’s approach to the everyday drama in our work lives? Actors practice drama as a craft, as something that can be learned and improved, and to some extent as a game or a sport. As I show in my book “Acting: A guided learning journey,” actors work on several levels to understand and create characters. These characters have overarching needs that remain fairly constant throughout the entire story arc of a piece of drama. These might include a need for power, a need for recognition, a need for safety and so forth. Characters also have other more specific objectives that cover individual “scenes” and interactions with other characters. The basic actor’s character calculus goes like this:
In short, the actor wants the character to “win the scene” and get what they want or need. The tools the actor uses to achieve this on behalf of the character are called “actions.” Actions can be thought of as “verbs” that support a psychological or emotional intention. To beg, to command, to flatter, to frighten, to cajole are all examples of actions. Actions are the stock-in-trade of the actor. The exact same lines can be delivered with different actions behind them, and the response they provoke will be different as well. This is why we can watch our favourite dramas played by different actors again and again, because each actor’s portrayal of a character will be unique, despite the constraints of speaking the same lines each performance. The famous acting instructor Stella Adler said: “In your choices lies your talent.” In other words, the actions an actor chooses for their character to play is the secret sauce of great drama.
What if we choose to approach our workplaces consciously as places of drama or theatre, and use the tools and crafts of the actor to play each scene in a way that supports not only our own objectives, but also the overarching needs of the organization and ultimately the customer? What if we take control of workplace drama and make it fun, make it a craft or a sport? Let’s explore some ways in which we can use the tools and craft of the professional actor to approach everyday workplace drama, and turn it in our favour, having productive fun in the process.
If we use the tools of an actor to approach the workplace, we can turn a psychologically and emotionally draining situation into a more fun one, one that we have more control over and that is less damaging to the core of our being. By being able to factor in drama as an essentially human part of work, we can learn to master it better as a craft and have it be more of a piece of theatre. Clearly, we should get out of situations that are damaging to us, and overtly harmful behaviours in a workplace need to be dealt with and removed, but for the everyday grind of people just being people - irritating as people tend to be - a little conscious theatricality may just give us a new lease on working and bring some fun back to our work. Try it out!
Robert David Duncan is an actor, director, coach, trainer and business thinker. He holds an MBA, a doctorate in business leadership and is a graduate of the prestigious Stella Adler Studio of Acting in New York. He has made over 30 films and has won several awards. He is also the author of several books on both business and creative topics, and teaches and coaches business leadership, acting , directing and filmmaking.
Sometimes the best path to success lies in what you stop doing, not what you start doing
When your gut tells you it's time to pursue a different, more artistic future, listen - early and often. The more lead time you give yourself practically and emotionally, the faster you can spring into the actions necessary to enter your next chapter.
In a film that I wrote, one of the main characters is struggling upstream against a society that wants him to return to being “normal.” That’s just not going to work for him, though, because he has decided in midlife that he no longer wants to be a “corporate tool” and has chucked his MBA and his career aside to be a screenwriter. It isn’t an easy path, because the guarantees that came with conformity are gone, and the future is uncertain, both socially and financially. He may not know precisely where he is heading, but he does know what he doesn't want to do and be anymore, and that is his secret strength. It can be yours, too.
So how to get to a more artistic future for yourself? How about stopping doing the things that are leading you away from what you want? As the great management thinker Peter F. Drucker observed, a successful strategy can lie as much in what you STOP doing as what you start doing. If you aspire to being an artist or other kind of freer person, you can often be left without a road map for how to get to a future that may only appear as a hazy image in the distance. In making the leap, we are often left without the security we once had or the guidance of a mentor who understands what we are trying to do. Start by deciding who you don't want to be and what you don't want to do, and make baby steps in those areas.
I hope you can take some comfort in the idea that you don’t have to have a clear destination in mind to get where you are going. Often it is enough at first to understand what it is you no longer want to do. Doing a fearless inventory about what you no longer like about your current vocation can be a great first step. This doesn’t mean you need to start hating on your current job, but just remember that what was once a great job for you may now need to be a great job for someone else. That is totally cool, and is to be expected as we evolve and grow.
At the same time, consider what it is that you do like about your current work, because those things can point to important transferable skills that will smooth your transition to a new working life. For example, if you liked training new staff, but hated organizational politics and meetings, perhaps you will end up teaching people your art as a freelancer someday, while doing that art for your own satisfaction the rest of the time.
At some point, you probably will need to burn some bridges, close some doors, and eliminate some easy fall-backs and retreats. But this can be done politely and professionally. Understand, though, that when you have easy outs or a safe place to go back to, you probably will go back there, deferring your dream in the process. Try to be fearless, and make a leap. A friend of mine likes to invoke the Viking saying: “Burn the boats on the shore!” Having no retreat will force you to make it work. I’ve never met anyone who failed abjectly.
So here are some thought-provokers, questions and ideas for you to explore as you chart your course into the unknown:
Wishing you all the best in your journey! If you would like to work with me as a coach who deeply understands the transition to a more artistic life, please feel free to visit my coaching page and be in touch anytime. Burn the boats!
Helping others and investing in networks really does pay off
My research topic for my doctorate in business leadership was about collaboration through online social networks and how it leads to increased innovation and improved problem solving. Before gathering my primary research data, I had to absorb all I could from the canon of scholarly literature about leadership, collaboration, social networks and a dozen or so other broad topics. This was a wonderful refresher on many great ideas about leadership, the strength of weak ties, information sharing and the power of helping others.
My primary research involved an extensive survey of individuals who used online social networks, as well as in-depth interviews with senior managers who had attempted to embrace the use of online social networks in their organizations. My research was able to show that people and organizations that used social networks to collaborate and share information were able to solve problems more effectively and were more innovative as a result.
Many of the lessons from my thesis research are universal in nature, and now that I am a filmmaker, I see how the truths of my research really play out in film directing and the business of film production. Let me share some of my insights:
I got to have a first-hand experience of many of these truths over the course of making many films in recent years. One that stands out for me is the feature film “Breathe Easy” which was a global collaboration of filmmakers from around the world who connected up via social media, and produced individual segments of the film in their home countries that all rolled up into an amazing final product, setting some new records for collaboration in film. For me personally, that was such a huge payoff for all the years I put into my doctorate, because I got to see my findings come to life in the filmmaking world that I love!
For more about the ideas in my thesis, you can read the whole thing via the link here, or get a PDF copy of the book I wrote afterwards, “Collaborative Intelligence,” here. Happy collaborating to you!
Make art because it matters to you and because it might make the world a more beautiful place
Filmmakers get a lot of advice shoved down their throats about marketability, knowing the audience, targeting, distribution and making money from their films. As an MBA who had a career in business and market research before becoming an actor and filmmaker, I’m here to tell you that none of that matters. You should make a film because you feel like it, because it’s important to you and because your movie may reach someone somewhere, and leave them uplifted or affected somehow.
People spend more on a restaurant meal than you need to spend to make a small film. What would you rather have: a meal that is down the toilet a day later or a film that lives on? It’s an individual choice, and you should feel free to make that choice in favor of making a film. With careful design, planning, and a bunch of good friends, you can even make a feature film for less than people spend on a used car or a cruise vacation. Again, are you willing to forgo the car or the vacation in favor of leaving behind a real achievement like a feature film? If so, go for it!
Notice that nobody says “How will I make my money back from this cruise vacation, or this meal?” Yet people feel free to heap economic expectations on artistic projects like films. Why is that? I suspect it is part of a societal bias that sees art as being a frivolous activity, unlike, say, making and buying plastic junk that the world doesn’t need. The fact is, the world needs more art, more beauty and more thought. So let’s take the economics out of the equation, first by looking at some likely truths:
If you can muster up $5,000 or even $10,000, and want to make a feature film, then go for it! Set a tight budget and control it mercilessly. Write for simplicity and filmability: a small number of cast and locations, no fancy stuff. Constraint breeds ingenuity, and you will find a low-cost way of getting your most important story elements across. Can’t afford to film a car crash that is pivotal to your story? Have an actor react to a heard but unseen car crash and be describing it to someone on their cell phone; insert a free sound effect for the crash later. See where I’m going? You will find a way.
We need to make art because it matters, because it is beautiful, because it can reach people, uplift them and make them think. Your film need only make you and the few people who see it happy. Maybe you will reach more people than you planned, and maybe your message will change society. But the motivation needn’t be and shouldn’t be making money. If you want to make money, do market research, define your target market, figure out what that market wants and is willing to pay for, and make that, then spend tons more money making the market aware of your product. But then you are an order-taker, not an artist, and that isn’t likely what moves you and makes your heart sing. Make your films because they matter, and share them with a world hungry for art and beauty. Forget making money, make art instead!
On the occasion of the 2016 Miniature Film Festival in Vancouver, we decided to issue a manifesto, inspired by the 100th anniversary of the Dada Manifesto, issued by Hugo Ball, and read aloud in Zurich on the occasion of the first public Dada soirée. Having seen hundreds of miniature films, we were prepared to share some thoughts on our beliefs about this art form. The Miniature Film Manifesto was read aloud by Robert David Duncan at the 2016 Miniature Film Festival. The points in our Miniature Film Manifesto are intended to provoke thought, agreement, disagreement and discourse. Above all, they are intended to include and to encourage all miniature film art and artists!
MINIATURE FILM MANIFESTO
1. Every being is an artist.
2. Art is anything that has been created, acted upon, thought about, arranged, curated or combined.
3. All imagery, including static, moving, auditory and imaginary are forms of motion picture art.
4. Rules and conventions of motion picture art are to be understood, respected, then rejected and replaced as desired.
5. Miniature in the context of motion picture art refers to a basic unit that conveys a story, thought, message, idea or feeling, rather than a specific length of time. It can range from zero seconds upward.
We hope you will feel free to react to these ideas, share them, discuss them, supplement them and even reject them. Above all, keep being an artist and keep making miniature films!
Work with others because you love to, not because you need to
I recently solo shot a film called “Ronnie’s Wake” and it was a really fun experience. If you have read my book “Micro Short Filmmaking: A guided learning journey” or taken a class with me, then you are getting comfortable doing things yourself and making your own short films.
Perhaps you have picked up bits of editing skills, camera skills and other talents on your own, through watching others or through self-study. Now I’d say you are ready to solo shoot a film!
One of the keys to solo shooting is to plan for it from the beginning. You need to be aware of the many roles you will be called on to play in creating a solo shot film. Here are a few:
I have recently been experimenting more with blending the roles of cinematographer and actor. As I wrote in an earlier piece, I like small cinema cameras because of the sensitivity and mobility they can bring to filming a scene, floating around like a butterfly unobtrusively bringing the viewer right into the essence of the action. But what happens when the cinematographer is also a main character in the piece? Do the preparation and impulses that an actor brings to a scene then bleed over into the cinematography if that same actor is also doing the filming?
In recent work, I have been using first-person point of view (POV) for micro short segments that get embedded in larger narrative pieces. The person telling the story is also filming the story. Of necessity, the acting is going to inform the filming, and to some extent vice-versa. It’s interesting to me to see how, by freeing up the camera from the need to be semi-static or obtrusive, there is a lot more room to play with framing and other cinematic impulses in ways that might normally not be the domain of the actor.
In the 1947 film “The Lady in the Lake” director Robert Montgomery experimented with also being a lead actor in the film, using first-person POV for the unseen character Philip Marlowe, who is only glimpsed briefly in a mirror throughout the entire film. It’s a very interesting device to me, but I can well imagine it would have been a lot more feasible and perhaps more fun if Montgomery had been able to hold the camera himself, as in the case of a smartphone with a lightweight rig, allowing for more nimble and reactive playing with acting impulses while filming.
Experimenting with these techniques has been quite freeing, by unfreezing some precepts around camera placement, blocking, framing and other cinematic elements, and giving more play to impulses that might have been thought to be the more proper domain of actors. In this way, the actor-director-cinematographer has a much more nimble, emotively-driven set of impulses to steer the work of making the filmic shot work. This opens up very cool potential for moving masters and other dynamic camera work.
If you’d like to play around with these ideas in your own work, here are some tips for you:
Stop telling yourself you don't know them
Over the past year I have been mulling over the roadblocks that prevent actors from having an easier time learning lines. What got me thinking about this was realizing that we can often remember entire song lyrics from ages ago without ever having set out to memorize them. So why does learning lines present such a challenge to many actors? I have come to the conclusion that the greatest roadblock comes from the tendency to tell ourselves we don’t know the lines. We do this both consciously and subconsciously, at the beginning of the learning task, throughout the learning process, and before we step out on stage or in front of the camera.
Our instructors at the Stella Adler Studio in New York used to tell us that if we’ve done the work, then we need to trust that the lines will be there when we need them. For most of us, that would be like falling backwards and hoping the universe will catch us. Um, I don’t think so. I’d rather some more certainty than that. So most of us will study, fret, use all kinds of gimmicks, apps and techniques to keep cramming the lines into our heads, bodies and wherever else we think they might fit.
And then it hit me. The thing that is common to all of these activities is that we believe we don’t know the lines. When a script lands on our desk, our first thought is often along the lines of “Oh, crap. I don’t know this stuff, and I need to.” Not knowing the material becomes the dominant narrative of how we approach the task. Every time we make a mistake, we chide ourselves with “Crap, I don’t know this!” This makes us more nervous, more self-doubting and more likely to make mistakes.
I decided to experiment with doing the opposite. Rather than decide I didn’t know the material, I decided to assume that the material was going in just fine, was finding a home inside me, and would be there when I needed it. When a complicated new script arrived, I audio recorded it as I usually do, and just lived with the material for a while. I had it playing in the background as I was falling asleep, as I surfed Facebook, as I went about doing other things. The script that had seemed so complicated eventually became familiar, and even predictable.
What I didn’t do was do a ton of detailed line learning, cursing every time I got something wrong or telling myself I didn’t know the material. I chose to believe I knew it. Though it was terrifying, I went to the first rehearsal and left my script in my bag, going totally crutch-free. To my surprise and amazement, the lines actually were there! I mean to a 75% or 80% level, without having caused myself undue stress and self-doubt in the learning process. I found it a lot easier from that point onward to focus my attention on the softer parts, tightening up the ones that needed tightening.
So my experiment was a success, and will form the basis for how I approach learning lines in the future. If you are looking for some different ideas around learning your lines here are some ideas to experiment with:
Robert David Duncan, award-winning director, actor, writer and producer with a passionate interest in art, storytelling and the whole amazing journey called life. Founder of Fat Punk Productions Ltd. and Festival Director of the Miniature Film Festival.