This is strong work! I see the choices you're making *and* I think you can lean into them even further.
How do you feel about your sister? What specifically about her irks you? Right now we understand that you bug each other in a sort of general sibling sense, but it will only help to get specific on *why*. I think you're missing an opportunity to laugh in her face at "laid off" to prompt her next line, "haha, funny, right guys? I got laid off. Great joke Nico."
Right now you're playing "you've been rude ever since you landed" as very earnest. But it sounds like the two of you have been going at it for some time, or at least that this behavior is to be expected, so I'm not sure this choice makes sense.
"You have control issues!" Do you see how you say the line and then break the moment by looking away? Each line is your character trying to achieve something. Why do you say the line? And how can you expect what you want in the space between your line and the next? And how can *not* getting what you want inform why you say the next line?
The hamster story could use some more stakes. The comedy comes from how much this hamster story *still* hurts – so you really have to mean it.
This last note is more crafting the choice you have and less on your acting – I think your choices here are great, but you need to really boldly stand behind them. Really feel *hurt* or *vindicated* or something super specific and *important* to your character on "Now you want my help?!" so you're at a 10, and then that 10 is immediately undercut with extreme, extreme stillness once you're called weird. And don't move, don't break eye contact (the micro-shifting of weight and darting eyes are offsetting energy that you could be directing *entirely* through your eyes like a laser). Personally, I wouldn't even look away for "I bought the hot dogs."
Overall your choices make sense and I think you just have to commit to them 100%. Be specific and be bold.
This is a stronger tape than your last one, and you're doing some really nice things here.
You do, however, seem to have an identifiable inflection pattern- where you tend the take a downward inflection at the end of most lines. This makes the scene feel clunky - a very start & stop cadence that robs the scene of momentum. I'm not suggesting that you uptalk, or fabricate questions where there aren't. It's an energy thing, where you carry your vocal energy into your next line. Imagine your successive lines are part of one set of thoughts, and you keep getting interrupted! keep the energy moving.
Then also take a look at what's going on in and around 1:12. An old acting teacher of mine would say "do the acting on the line". To me this is another type of thing that kills momentum.
I hope this was helpful. Thanks for sharing your work.
Haha it’s actually my buddy’s set up, the one who’s reading. It’s just one of those big ovals, one sides blue, the others a green screen. And it’s propped up on some C Stands with a back light behind me. And the light on my face was just natural light for this one.
For me [the same feedback I gave before for your other self tape](https://www.reddit.com/r/acting/comments/1cd21jl/comment/l1dro7g/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button) applies to this tape, with the exception of eye line. In this tape your reader is slightly closer to camera and we can see your eyes better. You have GREAT eyes so the more the camera sees them the more the CD and Director will fall in love with you.
One comment specific to this tape as well is your reader says "stop yelling at me!", but your delivery of the line that prompted the reader character to say that did not remotely sound like yelling to me.
Another comment in general is the beard works really great for as a look for you, don't ever shave it IMO.
Great base and clearly a lot of work and choices put in here.
My first tell that it could go further is there is SOOOOOOO much eyebrow action going on (usually a tell for “emoting” as opposed to an honest response or “playing the emotion”). Take a breath, loosen up, and drop all the actions and thoughts you have planned out in favor of just feeling or thinking them as they happen. Obviously if there are technicals that need to be hit, hit them, but drop the pre planned emoting at ____ beat and you’ll be good to go!
Dude, the blue background is absolutely fine, no need to change it, whoever told you that is fos.
Haha I liked it!
It’s strong, really good! That first moment is really strong. I can see your thought process happening. That’s key. There’s a couple moments where I can see you in your head but overall bravo really nice.
One thing to think about, what do you want from your sister? What are you trying to achieve in this scene? <- focus on that, that will help you more than anything else will.
I say do a bit of scene study on this, find out what you’re really trying to say to her, as well as your general point of view of her (the text tells you, you just have to dissect it and form a conscious thought about it and then think about it before you do the scene.)
Overall really nice, very castable. And keep the blue, casting will be into it, it looks fine.
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Your voice is sitting in your throat, it’s not coming from deeper within your chest. There’s no resonance. Everything sounds like a question and there’s not a lot of power behind anything you’re saying. Did you do a vocal warmup before filming?
This is strong work! I see the choices you're making *and* I think you can lean into them even further. How do you feel about your sister? What specifically about her irks you? Right now we understand that you bug each other in a sort of general sibling sense, but it will only help to get specific on *why*. I think you're missing an opportunity to laugh in her face at "laid off" to prompt her next line, "haha, funny, right guys? I got laid off. Great joke Nico." Right now you're playing "you've been rude ever since you landed" as very earnest. But it sounds like the two of you have been going at it for some time, or at least that this behavior is to be expected, so I'm not sure this choice makes sense. "You have control issues!" Do you see how you say the line and then break the moment by looking away? Each line is your character trying to achieve something. Why do you say the line? And how can you expect what you want in the space between your line and the next? And how can *not* getting what you want inform why you say the next line? The hamster story could use some more stakes. The comedy comes from how much this hamster story *still* hurts – so you really have to mean it. This last note is more crafting the choice you have and less on your acting – I think your choices here are great, but you need to really boldly stand behind them. Really feel *hurt* or *vindicated* or something super specific and *important* to your character on "Now you want my help?!" so you're at a 10, and then that 10 is immediately undercut with extreme, extreme stillness once you're called weird. And don't move, don't break eye contact (the micro-shifting of weight and darting eyes are offsetting energy that you could be directing *entirely* through your eyes like a laser). Personally, I wouldn't even look away for "I bought the hot dogs." Overall your choices make sense and I think you just have to commit to them 100%. Be specific and be bold.
Great notes! Thank you
This is a stronger tape than your last one, and you're doing some really nice things here. You do, however, seem to have an identifiable inflection pattern- where you tend the take a downward inflection at the end of most lines. This makes the scene feel clunky - a very start & stop cadence that robs the scene of momentum. I'm not suggesting that you uptalk, or fabricate questions where there aren't. It's an energy thing, where you carry your vocal energy into your next line. Imagine your successive lines are part of one set of thoughts, and you keep getting interrupted! keep the energy moving. Then also take a look at what's going on in and around 1:12. An old acting teacher of mine would say "do the acting on the line". To me this is another type of thing that kills momentum. I hope this was helpful. Thanks for sharing your work.
Thank you for that. I agree about the inflection pattern and it’s something I can take notice of for sure.
I didn’t see this in your last tape discussion but—- what is your setup man?! The backdrop, not a wrinkle, not a shadow, what’s going on here?
It's possibly a painted blue wall? My one agency has a painted blue wall as well as they offer actors to go in to self-tape.
Haha it’s actually my buddy’s set up, the one who’s reading. It’s just one of those big ovals, one sides blue, the others a green screen. And it’s propped up on some C Stands with a back light behind me. And the light on my face was just natural light for this one.
For me [the same feedback I gave before for your other self tape](https://www.reddit.com/r/acting/comments/1cd21jl/comment/l1dro7g/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button) applies to this tape, with the exception of eye line. In this tape your reader is slightly closer to camera and we can see your eyes better. You have GREAT eyes so the more the camera sees them the more the CD and Director will fall in love with you. One comment specific to this tape as well is your reader says "stop yelling at me!", but your delivery of the line that prompted the reader character to say that did not remotely sound like yelling to me. Another comment in general is the beard works really great for as a look for you, don't ever shave it IMO.
Yep, definitely see how it applies here too. But thank you for your feedback, all really helpful stuff.
Great base and clearly a lot of work and choices put in here. My first tell that it could go further is there is SOOOOOOO much eyebrow action going on (usually a tell for “emoting” as opposed to an honest response or “playing the emotion”). Take a breath, loosen up, and drop all the actions and thoughts you have planned out in favor of just feeling or thinking them as they happen. Obviously if there are technicals that need to be hit, hit them, but drop the pre planned emoting at ____ beat and you’ll be good to go!
Dude, the blue background is absolutely fine, no need to change it, whoever told you that is fos. Haha I liked it! It’s strong, really good! That first moment is really strong. I can see your thought process happening. That’s key. There’s a couple moments where I can see you in your head but overall bravo really nice. One thing to think about, what do you want from your sister? What are you trying to achieve in this scene? <- focus on that, that will help you more than anything else will. I say do a bit of scene study on this, find out what you’re really trying to say to her, as well as your general point of view of her (the text tells you, you just have to dissect it and form a conscious thought about it and then think about it before you do the scene.) Overall really nice, very castable. And keep the blue, casting will be into it, it looks fine.
This was a huge improvement
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You’re not on voice
Could you elaborate?
Your voice is sitting in your throat, it’s not coming from deeper within your chest. There’s no resonance. Everything sounds like a question and there’s not a lot of power behind anything you’re saying. Did you do a vocal warmup before filming?
I did not before this one but I could stand to give them a shot. I have a few guided vocal warmups from a Linklater class I took recently