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Saturday, April 19, 2014

How Persuasive Speech differs from Informative Speech

Persuasive speaking differs from informative speaking
                                                
i.     Informative reveals and clarifies options
                                             
 ii.     Persuasive speakers advocate choices among options.
                                            
 iii.     Informative speakers provide information to enlighten
                                            
 iv.     Persuasive speaking provide evidence to justify conclusions or recommendations
                                              
 v.     Informative speaking involves offering education
                                             
vi.     Persuasive speaking requires audience committeemen and belief
                                           
 vii.     Leadership is an important issue in persuasion
                                          
viii.     Appears to feeling (Pathos) are more appropriate in persuasion
                                             
ix.     Persuasive speakers assume greater ethical responsibilities than informative
                                              
x.     Both informative and persuasive can change thoughts and lives.

12 Major Faux Pas to Avoid on Set


12 Major Faux Pas to Avoid on Set
Photo Source: Levy Moroshan
Early in my career, I was invited to the set of a film I had cast. The producer seated me near the monitors and gave me a headset, so I could see and hear the action. Imagine my horror when my cell phone went off in the middle of a take, ruining the shot. I’ll never forget the crew’s faces as I panicked to turn the thing off.
The good news is that it has never happened to me again. 
In hopes of sparing you from similar faux pas, I asked around for the best examples of actors’ worst on-set nightmares. Kudos to ye who submitted these fantastic tips, all based on actual occurrences. Read and take heed…or prepare to bleed!
1. Working with cameras and mics. “One of my most embarrassing acting memories was forgetting I was miked.” Between takes, the crew can hear your every word. Never make fun of, hit on, gossip, or gripe about your colleagues. This is one of the most common on-set blunders.
See also: looking into the camera; not being off book.
2. Handling food and drink. “During the lunch break, I dipped my tie into the BBQ sauce and soiled my white shirt.” Protect your wardrobe from spills and stains. Also avoid overeating—or eating the wrong foods—on a shoot day, otherwise, as one actress put it, “your stomach may improvise its own lines.”
See also: pocketing craft service items for later; chewing gum on camera. 
3. Blocking and moving around. “Once I walked into the lead actor’s line of sight during a take, and let me tell you, he was furious.” Similarly, if you fail to watch your back-to-one, you just might kick your “unconscious” co-star in the head, not realizing how close they are to your feet. There’s a lot happening on set, so be hyper-aware of your surroundings.
See also: missing your mark, tripping on cables; bumping into lighting instruments and set dec.
4. Interacting with the set and props. “I peed into a toilet that was actually part of the set.”Know what you’re allowed to use and not use on a set. If unsure, ask!
See also: taking a bite out of waxed fruit they were going to use later as a prop.
5. Negotiating hair, make-up, and wardrobe. “I thought I blew my audition for a guest role, so I cut my hair very short the next day. When I booked it, they freaked.” Ask before changing your look whenever you’re up for—or have booked—a role.
See also: shaving your beard after your character has been established; forgetting sunscreen and getting sunburned on set; not bringing everything Wardrobe has requested or not wearing exactly what they asked you to wear.
6. Making people wait. “I had to pee for at least an hour, and when I finally did jump off set, I failed to tell the AD. When I returned, I got the ‘Where the hell were you?’ vibe and they never hired me again.” Relieve yourself before being called to set. Always inform the first or second AD if you need to leave for any reason, and pay attention in case your name is called. Everyone’s tired; they don’t want to wait for you.
See also: wandering to craft service for a latte without telling anyone; heading to base camp when everyone else is returning to set.
7. Losing focus. “Don't listen to the lead who tells you funny anecdotes and keeps at it until you break. SHE gets away with it because she is a mega star. You are not going to get out of it unscathed.” We all like to have a good time on set, but remember that production is on the clock, and every minute costs money. Be friendly, but don’t allow others—including the names—to distract you too far from the task at hand.
See also: freaking out, swearing, or having a meltdown after blowing a line.
8. Knowing your place. “I sat in the star’s chair for 10 minutes before the director approached and sent me to base camp. I recall a group staring at me, including the lead actor, who was very tired.” Set regulars may seethe when actors or background usurp their assigned chairs. Don’t do it, unless you’ve been expressly invited.
See also: announcing impatiently to the director after a take, "We got the shot, we're moving on!"
9. Behaving awkwardly or unprofessionally. “I once stared straight at the lead actor when I was an extra. Like, intensely staring. I thought we were having a moment. We were told the next day that we were not allowed to make eye contact with the actors.” Everyone gets a little star-struck at times, but try not to unnerve co-workers by gawking, blurting out how much you love their work, or otherwise acting weird.
See also: cracking insensitive jokes; blatantly hitting on someone; being intoxicated on set.
10. Knowing whom you are working with. “I asked the lead where the coffee cups were, because I thought she was Craft Service.” Another actor nearly scolded a famous director for calling “Cut!” not knowing that the director was playing a small cameo opposite him. Read the call sheet, and if necessary, research the VIPs you’ll be working with prior to arrival, so that you recognize them.
See also: initiating small talk with a crew member about a celebrity who committed suicide, only to find out it was his father; raving about a famous actor to his ex-flame, then discovering Make-Up has been instructed to make you “look ugly.”
11. Being upfront about your abilities. “I was asked to force the lead actor to the ground, handcuff him, pick him up, and slam him on the police car hood. Instead of admitting this was incredibly intimidating, I tried to pick the handcuffed star off the ground, and accidentally dropped him.” Speak up if you’re nervous about doing something, and don’t pretend to know a skill that you don’t. Otherwise, you’re inviting disaster.
See also: volunteering to jump over a stair rail in a chase scene and then eating it; not mentioning you’ve lost your voice until you’re on set and have to be replaced.
12. Maintaining confidentiality. “I posted a photo of myself in the make-up chair of a TV series. I was then told that was a career-ender.” Networks and studios are paranoid about plot points and casting choices being disclosed prematurely, so photos on set are a no-no. The same goes for commercial shoots: products and marketing strategies are confidential prior to release. Do yourself a favor and put the smartphone away.
See also: spoiling the season finale of a TV series on Twitter, invoking not only the rage of fans, but a public lambasting by the executive producer. 
Casting Director Lana Veenker began her career in London and, upon returning to her Northwest roots, founded one of the top location casting companies in the country.
Recent projects include “Wild,” starring Reese Witherspoon, NBC’s “Grimm,” now in its third season, and 64 episodes of TNT’s “Leverage.” Gus Van Sant, Robert Benton, Guillermo Arriaga, Catherine Hardwicke and Tim Robbins figure among past film clients. Commercial accounts include Nike, Apple and Nintendo, and international campaigns from Shanghai to Santiago.
Lana is a member of the Casting Society of America and the International Casting Directors Network. She frequently lectures across the U.S. and abroad, most recently at the Finnish Actors’ Union in Helsinki, Amsterdam School of the Arts, The Actors Platform in London, The Acting Studio in Berlin, Studio Bleu in Paris and Prague Film School.
Complete her survey to be entered into a contest for a free career consultation here.
She has been featured in The Hollywood Reporter, USA Today, MSNBC.com, MTV.com, AccessHollywood.com, and Wired, among others. Follow her on Twitter @lanaveenker.

http://www.backstage.com/advice-for-actors/backstage-experts/12-major-faux-pas-avoid-set/

"Spotters", a short film by Micheal Toole

Underestimating Others...


Slings and arrows.

Underestimating others.

Making decision without talking to the source.

Jumping to conclusions.

As I stepped up my blogs online and became more active in communities here and online, I see more and more distrust, dislike and negative about people, places and organizations without any effort to understand who they are or where they are coming from.

I have never done things the conventional way.

I always explored on my own, stumbling, and often learning through trial and error.

It has led to adventures in the wilds of Wyoming, theaters from Chicago to Southern California, voice work, acting, producing / directing commercials, teaching college, raising a family and my eighteen year plus dedication the members of the Screen Actors Guild, and now SAG-AFTRA..

I have been successful as an actor, journalist, commercial and industrial producer, marketing consultant, writer and in working with volunteers. I am not rich, or famous, nor do i carry false credentials on my shoulder like so many stars on a generals coat.

If anything I have, as my wife reminds me, been shy, thanked and praised others, encouraged others to do their best work and kept my light under a bushel. Event this is just the easiest way for a person who does not seek fame and is basically shy to vet and explain what they see as a problem with the industry we all enjoy being a part of, or wish to join.

Those who follow tracks do not understand this.

Those who need to raise their own profile fast and keep it out there in the "marketing eye" do not know this.

I taught acting full time for Kim Flowers for a dozen years, with the blue collar and selfless dedication of my family's roots in industrial Chicago.

I spent more than 18 years representing the marketing interest of Canyon Rent To Own and other clients for what those in the industry know were rip off pay or compensation rates. I was the best at what i did, but because I had no hotel casino client, only those closest to me knew how good I am.

I earned awards covering the New West of Wyoming and surround areas in the 1970's and 80's as a radio and wire service journalist. While there i also started and grew two theater companies, one of which toured several states.

This blog, this Facebook, is open ended and broad, for experienced actors with far more experience than my, for future directors and producers, for actors and future actors. It is for professionals, but more so for the student and the community member who needs to express their souls through acting. I have another one for media and communication students.

I present a wide range of views, and invite others. Mine is the minority voice here, as access to links, news and the advice of many is offered at no cost and with no advertising on my blogs and Facebook pages.

The slings and arrows I referred to come from those who seek their own ego over others, who need to justify their own paths and beliefs, who have bought into the celebrity or working actor myth to the point of using it to justify all they do.

They come from other teachers, critics and cynics.

They come from those who have convinced the world that "there are no actors in Nevada."

They come from those who believe that if you are not in Hollywood or on the Great White Way, you are not an actor.

They have a right to their views, and those views are welcome, if polite and honest, on these blogs.

The working class and struggling talent I work with, who believe in the talent of others, of future generations and who, themselves, march to a different drummer and do not buy into the Hollywood and 30 Rock polar image of this country or of our industries, our fields, our talents.

I am a passionate unionist because of the benefits I have seen and experienced from being union. I also am a unionist to the core because my father, grandfather and going back to the formation of unions in the late 1800's were Chicago unionist, who sacrificed for the good of others.

I am a resident of Boulder City, an exburb of Las Vegas but also its own town born from the construction of the Hoover Dam. I am proud to be involved in the Dam Short Film Festival, the Historical Society, announce for the fourth of July parade and take part in local community activities, including coaching kids in acting through the park district.

My girls are grown up with families of their own. One family lives in the far northwest portion of Las Vegas (the other side of town) and the other in the Tornado Alley are of Oklahoma.

My wife and I have deep roots here in Nevada, in Boulder City and in our Faith and Family.

I continue to feel my Chicago unionist roots as a foundation, the foundation of who I am.

Service to others. Working for others. Working with all levels of talent

Slings and arrows are a part of life, more so in this industry.

Underestimating others seems to be what anyone who feels threatened or wants to play it safe falls back on instead of taking chances with those who have potential, diverse experience and dreams.

Making decision without talking to the source. Now that's a good one. I have very solid references, referrals and track record. But there are those who will with me, perhaps with you, and definitely with anyone they perceive as a threat, or competition.

Jumping to conclusions.

I am as guilty as any at jumping to conclusions. Bias, prejudice and stereotype, I share with my students are normal. It's how you use them, how honest you are and how you work to not let them become a part of you but can put them to work in your craft that count.

And get to know, study, befriend those who are different from you, including those who toss stones or shoot arrows.

Nick, Nora (And Asta) Return In 'Thin Man' Novellas


by NPR Staff 
A new film version is in development, to star Johnny Depp.
 
Myrna Loy and William Powell (and a wire-haired terrier) starred as Nick and Nora Charles (and Asta) in the 1934 film adaptation of Dashiell Hammett's The Thin Man.
Enlarge The Kobal Collection Myrna Loy and William Powell (and a wire-haired terrier) starred as Nick and Nora Charles (and Asta) in the 1934 film adaptation of Dashiell Hammett's The Thin Man.

Dashiell Hammett's The Thin Man invented a new kind of crime fiction. It was hard-boiled, but also light-hearted; funny, with a hint of homicide. Nick and Nora Charles — and Asta, their wire-haired terrier — were rich, witty and in love, when America was in the middle of the Depression. They also drank a lot — Nick and Nora, not Asta, though he got an occasional leftover slurp.

In 1934, The Thin Man was made into a popular motion picture, starring William Powell and Myrna Loy — and a wire-haired terrier — which spawned five sequels, including After the Thin Man and Another Thin Man. And although the screenwriting couple of Albert Hackett and Frances Goodrich usually completed the screenplays, MGM Studio needed the stories and characters that only Hammett could write.

Now, for the first time, the stories of After the Thin Man and Another Thin Man have been published as novellas — The Return of the Thin Man. They have been edited by Richard Layman.

Layman talks with NPR's Scott Simon about Nick and Nora, and how Hammett borrowed from his own heavy drinking to create the beloved characters.

Return of the Thin Man
Return Of The Thin Man
The Original Screen Stories, After The Thin Man, Another Thin Man, "Sequel To The Thin Man"
Hardcover, 320 pages | purchase

Interview Highlights

On how Hammett got a writing contract with MGM
"After The Thin Man was first produced in 1934 by MGM — it was a B-movie, it was done on a $250,000 budget, and MGM expected it to be just another of the, you know, six-week wonders that they routinely produced. In fact, the movie was a big success. It was nominated for four Academy Awards including Best Picture. And it made the studio a lot of money, so they decided immediately that they needed a second story in the series. They didn't have the talent to do it in-house, they didn't believe, so they went to Hammett."

On Hammett's knack for writing dialogue
"Oh, Hammett was a master of dialogue, and that was why he was so important to MGM. You know, when Hammett was first attracted to Hollywood ... he heard the first talkie and he knew that the talents that he had were in demand in Hollywood — and indeed they were. Hollywood had gone from a formula by which action advanced a plot, in the days of the silent movies, to a formula in which dialogue and characters advance the plot. And the two things that Hammett did superbly was develop character and write dialogue."

On the differences between Hammett's stories and the movies that were made from them
"In some respects [Hammett's stories] were darker, but the big difference that you see between the Hammett story and the produced movie has to do with the drinking and the sexuality, but especially the sexuality. It was a time in which the Motion Picture Association had developed the code of decency. A character named Joseph Breen was the appointed censor. When he saw Hammett's scripts, he must have had fits of apoplexy."

On Hammett's heavy drinking, a quality which he invested in Nick Charles
"You know, there was a famous photo session of all of the former writers for Black Mask magazine. Raymond Chandler was also a Black Mask writer. And this photo — which was made in, what, 1935, 1936, one of the only known photos of Chandler and Hammett together — afterwards Chandler wrote to someone saying that Hammett had had at least 12 drinks during the time that they were together, and didn't show the least effect from them. ... Nick Charles is in many respects like Hammett, just as Nora is in many respects like Hammett's girlfriend, Lillian Hellman, to whom The Thin Man, the published book, is dedicated."

Mystery writer Dashiell Hammett was known for his hard-boiled detective fiction. He died in 1966.
Mystery writer Dashiell Hammett was known for his hard-boiled detective fiction. He died in 1966.

On why the studio eventually got tired of Hammett
"The studio got tired of him for two reasons, I think. First of all because of his 'irregular habits' ... [meaning] regular drinking. He also had a reputation for not showing up at the appointed time, often because he was drunk, sometimes because he'd been out partying all night — just didn't feel like getting out of bed. But more important than that, Hammett was at that time becoming politically active, and he was involved in the Screen Writers Guild, a unionization effort of the screenwriters to force the studios to give the writers credit and money for the work that they did."

On Hammett's political involvements
"He was a member of the Communist Party, card-carrying. He apparently joined the party in about 1935, at about the time he was — just before the time he was writing After The Thin Man. And he remained a member of the party, you know, for the next, what, two decades."

On Hammett's attitude toward the characters he'd created
"I think he was fed up with Nick and Nora Charles — not fed up. He was tired of them pretty early on, and he was fed up with the studios for the exploitation of the characters that he saw. Just before he finished the last draft for Another Thin Man, MGM bought all rights to the characters Nick and Nora Charles and asked so that they could develop the series without him. They paid $40,000 for those character rights. And Hammett wrote to Lillian Hellman just after that, 'There may be better writers than I am, but nobody ever created a more insufferably smug set of characters than the Charles, and they can't take that away from me, even for $40,000.' "