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Wednesday, November 20, 2013

Believing What You're Told - Now & Then

As part of the cast of the Specter of Treason - An Oswald Trial performance, I've been asked to talk about the show on Vocolo.org 89.5 FM this Friday.  To add to the honor of just speaking about this show, I inevitably will get asked about the John F. Kennedy (JFK) assassination itself and how it relates to this show.  So, I've begun doing research on the JFK assassination and along the way came to an interesting observation.

The JFK assassination, which happened 50 years ago, has been controversial since that horrible day November 22nd, 1963.  I was born in 1976 and didn't get interested in studying the JFK assassination until 1991.  Until '91, I believed it was Lee Harvey Oswald (LHO) who acted alone in committing this crime as that's what all of my textbooks at the time read.  After seeing Oliver Stone's film JFK, I began to question the validity of what I had been taught.  I ended reading a ton of books at the time that explored different aspects of the crime - the botched autopsy, mafia connections, Cuban reprisal from the Bay of Pigs debacle, CIA's interest in Vietnam and Cuba, the FBIs involvement in in ballistic testing of the Warren Commission's "magic bullet theory", etc.  It was fascinating web of theories that stimulated my mind into trying to figure out all by myself as a high school sophomore :)  I was much more apprehensive to believe to government whenever they told me anything as the "truth".



Fast forward to 2001. 9/11 happened.  After seeing those two buildings falls, I truly believe what I was told from that day - two planes full of jet fuel were hijacked by terrorists and slammed into the tallest WTC buildings which in turned caused them to collapse.  Everything that contradicts this explanation in my opinion only strengthen what I believe I saw happen that terrible day.  Here's an example of one of the mos popular "truther" documentaries on 9/11:


I am not naive enough to believe everything the Government tells me but at the same time, when it comes to proving something contradictory, there has to be some more proof of the alternate theory presented .  For some reason, for the JFK assassination does that for me.  There's enough evidence there for me to say "What I was told was not the truth."  However, for 9/11, there isn't.  Why?  Could it be because I experienced 9/11 myself and have not had the distance away from what happened to consider evidence outside my recollections?  Am I just holding onto what I was told because it's more convenient for me to believe such a simple explanation vs. more sinister complicated plots?  Am I too tied to my experience vs. the facts?  I don't know.

As I learn more about the JFK assassination, I will continue reviewing my own attachment to my own biases.

Friday, August 2, 2013

An American Weiner Roast


Watching Anthony Weiner (AW) continuing to be sucked down (no pun intended) the blackhole of double entendre drenched comedy got me thinking.  Why is this such a big deal?  I'll tell you.

If you're ever a player in the public arena, you must play by our American social rules.

Image Is Everything
You're probably wondering how my assertion above has anything to do with a politician showing his frankfurter on the Internet and getting caught twice.  I believe that we as Americans LOVE to build an image up for people in the public eye and want to retain ownership over that image ad infinitum.  We make them out to be good people, bad parents, cheaters, humanitarians, drug addicts, or entrepreneurs.  We spend a lot of time on this image and it's a collective art and skill.  As long as they keep playing along with whatever society tells them to do, act, say, or think, everyone's happy.

After being caught the first time, homeboy decided to take a leave of absence from Congress (then eventually resigned) and attend counseling for his problem.  He accepted the image of "Something is wrong with you. We're telling you to go away for a while and work on this problem.  Once you've 'repented' enough (or we've forgetten about you), come back and we'll see what we can do."  At that point, he became a broken man with immoral thoughts and mild psychological problems to us and he was banished to Neverland only to return once he grew up.

Deviancy Both Online and Off-Line

When AW decided to run for New York's mayor roughly only 2 years after his fall from grace, he caught the public off-guard.  Did he come back too early?  Did he truly change in the time he went away?  Was he a "better man"?  Would he fit the unspoken, undefined, arbitrary metric we'd set for him?  We were poised to find out.

He had raised a lot of money to run for mayor and had actually ran once in 2005 (but dropped out) so he had some legitimacy in showing NYC he wanted the job even before his scandal broke.  Poll after poll showed that many people felt he shouldn't even run considering what had happened to him in Congress.  Apparently two years wasn't enough time for us to forget.  However, he was able to become a real contender by acknowledging his faults in a very direct manner and sharing some real ideas for changing things in NYC [Editor's note: I don't live in NYC so I don't know if his ideas are good or bad.  I just know he's coming up with actual plans and describing their implementations versus giving us a lot of rhetoric and nebulous ideas regarding change.].  American's love a comeback story.  He was giving it to us by defying the odds and winning people, and by doing so, playing to our social rules.

Then he decided to change the cot damn story - without consulting with us!

Weinergate Teil Zwei
AW recently admitted to continuing his sexting ways publicly after more Weiner pictures surfaced for up to a year after he left Congress. He gave the comedy world a second "gift that kept on giving" by adding the new dimension of his online alter ego of "Carlos Danger".  He stepped up his efforts to be smacked down mightily by the general public and succeeded.  The adage of "Fool me once, shame you. Fool me twice, shame on me" comes into play ESPECIALLY after he was doing so well to win us back.  Everyone's asking him to again step down from his ambitions and go away.  There's no way he's going to survive this damage to his reputation and campaign.

Or will he...?

AW has refused to drop out of the mayoral race with a defiance that is magical.

Get Your Game Up!

For all intents and purposes, AW knows how he messed up twice and that there's a good chance this campaign was an overall personal and political disaster; however, he presses on in the mere hopes that people will realize sexting ability doesn't directly equate to legislating ability inversely (but if in contrast it equated proportionally, COT DAMN that would be awesome!).  He's not taking his eyes off his prize of a position of power no matter who or what tries to thwart him even if it's himself.

What I think people find most offensive about this situation is that AW basically has shown twice that  he has no real "game" to speak of.  By "game", I'm saying that AW should've never been caught in the first place let alone twice.  What subconsciously offends us is that he got caught twice and so easily.  It was relatively known that John F. Kennedy was a womanizer but yet he's still considered one of the best Presidents ever.  Why?  Because he had game both personally and with the press to keep his extra-marital activities on the hush.  In today's media landscape, it's almost impossible to have the relationship with the press in order to keep things quiet.  When AW outed himself so easily the first time, we lost respect for him.  He was just starting to get it back with us until *bam* he showed that he STILL had no game!

The pressing debate is not whether or not sexually-motivated activity would make him unfit to legislate but rather does his inability to keep his behavior under wraps enough to not shatter the images we make for him moving forward?  Does he have enough game to live up to a "clean" image while satisfying his needs?  If so, Americans can respect that, thus, would be willing to suspend their disbelief and go along with the determining if he's good enough to be mayor.  But if he can't, there's no reason for him to continue.

I'd like to see AW win this and defy everything.  If he wins, I'll send him a picture of myself:




Saturday, July 13, 2013

Goin' Blue - Part I

This week I got to experience something that very few ever get the chance to experience - I auditioned for the famous Blue Man Group! It was a life changing event in many ways for me and I want to share the story because I think we can all walk away with a few things from the trial.

Tuesday Afternoon Blues
I was casually perusing my Facebook timeline as I normally do to see what everybody was up to (and secretly plan the next GREAT thing I was going to do to rise above the noise and raise my "like" count on my posts:)). I joined several Facebook groups dealing with casting for various opportunities such as film, TV, stage, and other formats. Initially I was going to promote all of my existing endeavors on these groups but quickly realized that most of them were not receptive to shameless plugging (at least I hadn't been around long enough for others to tolerate it). I ended up just following the posts and every once in a while something cool would pop up of interest.

DOOOOOOOOO EEEEEEEEEEET!
Someone casually posted up the open audition notice for the Blue Man Group and that definitely caught my eye. I looked at the date and realized, "Man, that's tomorrow. Damn, probably can't get away to go do that. Well, I'll just pay it forward and maybe one of my peeps will go for it." I shared the post with the comment "I'm tempted to do this just to see what the process if like." The true intent of the post was to communicate, "Ha ha...this would be a cool thing to do some day in my life...not right now...maybe one of you should do it." Apparently, hardly anyone read it that way. Within 30 minutes I had 15 different replies saying something to the effect of "DOOOOOOOOO EEEEEEEEEEET!!" and cheering me on. I was floored by the response. I just had to ask myself, "Should I go do it? Do all of these people REALLY think I can? What if it goes well? " So, after some thought (lasting roughly 2 minutes), I decided to gingerly left a voicemail asking my loving Wifey if I could escape from the family to go pursue this audition. As I waited for her answer, the likes and comments kept growing on my post (I guess I got that "like" count to go up like I had originally wanted :)) I was REALLY hoping my Wifey would be done for it. She her response via text was, "Blue Man Group? Go for it!"

YES!

What Can Blue Do For You?
The open casting time was from 10:30 AM - 3:30 PM the next day so I took my time. I finished up a bunch of work in the morning and wasn't able to escape until noon When I arrived at 1:30 PM, I expected to see a huge line outside the door full of highly qualified drummers, actors, dancers, and wanna-be's psyching themselves up for the audition and talking about all the ultra-important projects they were doing/working on ad naseum to pump up their egos. That totally wasn't the case.

When I showed, up there were roughly 10 people sitting around the lobby of the Briar Street Theatre waiting and a small, unimposing woman checking people in. She smiled, asked if I was auditioning, and handed my some paperwork to fill out. I went to a corner to fill it out and in the corner of the sheet it read "57". That caught me off guard. You mean to tell me that I would be the 57 person so far auditioning for this?! I really expected it to be like 250th at the point I showed up. However, I reminded myself of the very strict requirements auditionees were to adhere to:

  • Must be between 5' 10" and 6' 1" in height
  • Must have an athletic build
  • Must be willing to relocate
  • Must have excellent drumming skills

After a little bit more thought, I was like, "Yep, that knocks out a ton of people from even trying out." Everyone of those requirements fit me to a tee . So, being 57th was pretty good.

The wait in the lobby before I got called up felt like an eternity but was probably 45-50 minutes long. I struck up conversations with people waiting in the lobby to not only give myself something to do but also size myself up to the rest of the competition. I decided to get to know them versus trying to draw out a resume just to see if there would be a ton of arrogance to wade through as I had envisioned earlier. Luckily, most people were really nice and down to earth. There was no one I spoke to who gave me the "I MUST MAKE BLUE MAN GROUP. IT'S MY LIFE'S DREAM. I WILL STAB YOU IN THE THROAT IF YOU GET A SPOT AND I DON'T" vibe. There was a guy who kinda went down the path of giving me his resume but it seemed like it was a part of his personality versus him intentionally trying to psyche me out.

While waiting, I ran into a fellow actor who had the day before encouraged me to audition. It was great to see him because it gave me a little bit of solace to know that one of my colleagues was here to cheer me on and that he respected me enough to want to work with me in this arena. He informed me that there were three rounds to the day's audition process:

Round 1 - an interview
Round 2 - an acting evaluation
Round 3 - a drumming evaluation

He was already past the first two rounds and ready to do round 3. He seemed so calm and collected when speaking to him that my reaction was, "Dude, this guy has got it in the bag. He's not nervous at all!" He was in all kinds of productions around town for which I never thought I could be a part of due to personal commitments or lack of skill. It totally respect him not only on stage but off as well. To see him so centered and focused it made me feel like "Nelson, you've got a TON of work to do today." My attitude the entire time was more whimsical than anything. Don't read "whimsical" as "I don't care" but more of "Yes, this is important to me but I am not going to slit my wrists if I get cut (no pun intended)." He returned to his holding area as did I and I awaited to be called up.

Round 1 - The Interview
My name got called and I was happy to finally get on my way with the process. The auditor took my information and led me into the theatre space where there were two comfy chairs. The chairs were straight out of 1960s Bond film. They looked very expensive and inviting to sit in. My first thought was, "It's so nice to be in a theatre that actually has money." We sat down and I prepared myself for a lengthy interview.

The woman looked over my resume intently while nodding consistently and said, "Oh yeah. You can do this. You're good."

That was my interview.

She then came with "Well, I guess I should ask you something right. Uhm, you're currently working right?"

"Yes," I replied.

"Ok, well, we're going to move you onto the next round. It might be a little while before we have enough people to take you in a group for the acting audition, " she said politely. I was lead into the holding area for round two and saw most of the people I chatted up a storm with from the lobby in there.

Do Ask, Won't Tell
I don't want to divulge too many "secrets" here as to what the entire audition was like so I will speak about what we had to do in generalities without giving away any of the BMG methods. Needless to say, even if I was to share this information, it wouldn't really help. The BMG requirements far exceed what I'd be able to explain with my limited exposure and vocabulary. Everyone's internalization of the audition is truly unique. You'll need to just experience it yourself. So, for the rest of the blog(s), I'll be giving high-level descriptions of what they asked us to show them.

Round 2 - The Acting Audition
They took a group of 11 of us to another office just up the block from the theatre. Our auditors were Blue Men (both men and women) and welcomed us in. We sat around and got an overview of what the rest of the audition process would be like (I'll go into it later).

Each of us then individually performed a set of two exercises. They basically forced us to demonstrate our ability to be able to tell story with just our eyes and minimal body movement. It honestly was one of the most uncomfortable activities I've ever had to do. Take a way an actors usual tools to communicate and then ask them to perform in front of completely strangers. It is nerve-racking!

Overcoming the Teen Wolf Syndrome
Not to sound too crass but I don't get nervous at many of my auditions. Sometimes it's a good thing and sometimes it's bad. I went into round 2 not nervous at all, but half way through the first exercise I had never been so nervous in my life! At that precise moment the Teen Wolf Syndrome kicked in.

If you haven't seen Teen Wolf with Michael J. Fox (MJF) in the starring role, go do so! During 90% of the movie, MJF's character Scott goes through growing pains in his social life after discovering he's inherited werewolf-ism from his father's side of the family. Scott uses his new found powers to excel at all kinds of tasks such as playing killer basketball, acting in school plays, moonlighting with the hottest girl in school, and performing awesome acrobatics on top of moving vans. With all of this new found power, Scott eventually learns that he's got to us his powers at appropriate times and to focus on the people who really care about him. He decides to play the championship basketball game in human form and forgo the "guarantee" his werewolf form would give the school. It's an unpopular decision but Scott sticks to his decision which forces the other players to work at a team. They get to final seconds of the game and are basically tied when Scott gets fouled. He goes to the free throw line and gets two free throws to take. He needs to make one to win the title. He shoots the first free throw and misses. The crowd is in a frenzy and Scott lines himself up for the second shot. Now this is where the syndrome occurs. As Scott begins bouncing the ball, the entire world goes into slow motion...and Scott magically also goes deaf. All of the crowd noise dissipates and the only thing Scott can hear is the bouncing of the ball and his heart beat. That is EXACTLY what happened to me in the middle of my audition!

As I was telling the first story with my eyes, all of the noise in the room went away. All I could hear was my heartbeat and my thoughts. At that point I had made the realization, "HOLY SH*T! I'M FREAKING THE F*CK OUT! WHAT DO I DO? WHAT DO I DO?! OH MY GAWD! THIS IS AWFUL! " I can feel myself getting hot and starting to break a sweat. Because of the eye expressions and my nervousness, I went partially blind as my contact were drying out. The world went blurry on me. The whole experience was starting to crash in on me. The only thing I could do was think, "CALM DOWN. BREATHE! JUST BREATHE!" So I began breathing heavily and patiently and completed the piece as calmly as possible.

When I sat down to watch my peers go up, my mind was blown. This isn't a bragging point (or maybe it is....I don't know) but I hardly get nervous at auditions. It's not because I am the best actor or that I feel i've got the job on lock but rather I want to have fun at my auditions as much as possible. By having fun, the pressure is reduced. I still take my auditions very seriously but getting nervous doesn't really help anyone. The judges want you to do well in an audition and are really cheering for you. Why not join your own team by having fun? Having been so nervous in this audition at that point was incredibly foreign and alien. Just minutes before I was cracking jokes and chatting up a storm with my peers without a care in the world. At this point, I'm torn to pieces and incredibly insecure about what I just did for the judges. Apparently I wanted this thing more than I ever realized.

We finished our sets and the judges went back to confer with each other. It felt like we just made the first round after the golden-ticket phase of American Idol where they put all of the kids into different rooms and everyone waits with baited breath for the results. We sat there for probably 7 minutes but it felt like an hour. At that point, they came back and thanked everyone for their audition. Only three of us moved onto round 3. Fawk. That's hardcore! And I made the cut!

Round 3 - The Drumming Audition
We left the building and were told to return to the holding area in the theatre. After paying my parking meter, I walked into the theatre while one of my peers was performing with a Blue Man drum instructor on the Brair Street Theatre stage. Shortly I was called up to head up on stage.

The drum instructor asked me about my drumming experience and I told him that basically I had been involved in various bands, had been in marching bands, had drummed in musicals, and marched in a drum corps. I had to remind him that I wouldn't actually consider myself a drummer but have some basic skills.

They set up two practice pads where we could face each other and play. We started off playing straight eighth notes on the pad together and he asked that we make our drumming sound the same. Mind you the other drumming auditions I had eavesdropped on ran anywhere from 7-10 minutes so I was already prepared to have to pull unknown skills out of my arse as I figured they would run me through my paces for that amount of time. After roughly 7 seconds of drumming he began nodding and saying ,"Yeah...good...alright, you've got it." He stopped and then softly said, "Let's get into the more complex stuff." I was like "Wow. Ok!"

He then began doing various syncopated accents that he wanted me to follow. I picked those up really quickly. Once we got into a groove, he and I would mirror each other instinctively. It harkened back heavily to what I felt like doing during my drum corps days of "gacking" with the drum line during down time to learn their cadences and get a sense of what it was like to be in the line during a show. I could tell he really responded well to my actions and we ended up riffing off each other a little bit and getting into poly-rhythm work. I was especially proud of the moment when we both decided end the jam together with a unified rim-shot at the end just like most drum lines do. That to me was the sign I nailed that part of the audition.

And Now We Wait
I was then finish for the day. I has no idea if I was going to get a callback. I went to my favorite restaurant Uncle Julio's Hacienda for a celebratory meal and then started heading back home. My mind was on auto-pilot the entire time as I needed time to decompress from the experience. As I'm on the road chatting up with one of my theatre members, I receive a text message. I think I got a callback for the next day. I basically ignored what my buddy was talking about for about 10 seconds while I carefully double checked what it said. Yep. I definitely got a callback! I then exclaimed into the phone, "Dude, I think I just got a Blue Man callback!" followed by a ton of apologies for completely ignoring him and the conversation.

Day 1 was a crazy experience. It only got crazier when I got home. I'll detail it in Part II.

Sunday, May 5, 2013

[REPOST] When You Need to Know Who's Who In What

Originally posted at http://nvgraphicdesign.blogspot.com/2013/05/when-you-need-to-know-whos-who-in-what.html
Civilians (non-producers) tend to like to give me their thoughts on what they think improv is all about: 
  • It's stand-up comedy. 
  • That Drew Carrie show thing, right? Whose Line? I watch it all of the time on TV. 
  • Where you make EVERYTHING up! 
Contrary to popular belief, there's a lot of structure around improv shows.  We spend an inordinate amount of time learning how to create different pre-determined forms and structures in which we improvise the content.  As part of these forms we have to also think about the production of the show itself.

To have a successful show, we need to be able to execute the forms in a show within the timeframes we're allotted.  We also need to consider who else is playing on the same bill as they could have a form similar to the one we wish to present.  We also need to consider what kind of crowd we're playing to.  Are we playing for a "bar" crowd?  Does the audience want more "refined" humor?  Factor in all of these items, the percentage of improv that's being executed in the overall production is actually in the minority compared to all of the preparation just to set up the conditions to improvise on stage.

Most of the time, I know the answer to most of the important details going into a show:
  • Who's producing the show?
  • What time is the official call for the teams?
  • What's the location of the show?
  • Who's on the bill?
  • What's the after-show activities?
  •  What promotion will be done by the host and what needs to be done by the participants?
When I don't know this information, I find performing a little bit nerve-racking.  i'm typically the point man going into shows so my actors come to me asking me all of these questions.  If I don't have a ready answer, they tend to get in their heads which in turn puts me in my head because I'm now worried if I'm going to get a good performance out of my actors and worried as well if I'm going to be out of my head enough to perform well.  ARGH!

I tell the civies about these thoughts and they come back with "Well, it's improv right?  Just improvise!"  Perhaps that's a valid point.  It should be about improvising but producing is much more about planning for the expected and unexpected.  In these scenarios, the more planning and communication performed, the better.

What are some of the details you need to know going into a performance to make you feel comfortable to give your best?  Share you ideas int he comments below or hit me up on Twitter at @nvgdesign.

P.S.  In a future blog, I'm going to explore how improvising can be an important tool to keep in the back pocket of aspiring producers.

Tuesday, April 30, 2013

[REPOST] Everything Is A Networking Opportunity

Originally posted at http://nvgraphicdesign.blogspot.com
Ever heard that "it's a small world in theatre"?  It's true.  You can be in a major metropolitan city or small town and eventually, you will know just about everybody "in the scene".  It's important that you maximize every interaction you have with people so that you can take advantage of your relationships to make something happen when the time is right.  It'll make your personal journey to success a lot easier if you learn to do so.


When I first started acting, it was a side hobby that was just for fun.  While people in my Intro to Improv classes were talking about how they would be on the Second City Mainstage in less than a year, I made a pact with myself to continue acting as long as it was fun.  It made me relatively cavalier about how I interacted with my peers because I didn't really care about what I said or what I did; the consequences of my actions were irrelevant because I wasn't planning on doing it long-term.  However, things changed after year one. I decided that I really liked this and wanted to continue doing it. I then decided I needed to go onto the next level of classes to get more training.  This is where I found I was now a player in "the game".

The Game
The theatre scene requires two major skills - on-stage & off-stage.  The on-stage skills are the ones most people think about and work to hone. We take a million classes, workshops, and seminars to be the best actors we can be.  We try to incorporate everything we read, hear, and say into our work.  We work hard on keeping our bodies, voices, faces, and minds in shape so that they're available to us at a moment's notice.  These are all important and are the skills other people see 80% of the time.  But you also need the off-stage skills.  These include skills in business management, communication (written and verbal), psychology (understanding people, situations, and how to react to them), and general professionalism (being on time, learning your lines, responding to emails, contributing to the production's promotion, etc.)  These are the ones no one teaches nor emphasize as being just as important to your overall career as the "real acting" skills.

Another (in)famous saying in theatre (or entertainment in general) is, "It's not what you know.  It's who you know."  This cliche sums up the game quite succinctly.  Off-stage skills can be used to further your career.  Since you never know who may be casting what project, you have to assume that everybody you interact with will potentially be on the other side of the long audition table at some point.  This includes all of your directors, teachers, actors, stage crew (set builders, tech people, lighting people), box office concierges, producers, caterers, and even patrons you encounter along the way.  Everyone of these people can influence your next move!  Do your best to interact with EVERYBODY and make a good impression with each of them. You can't make everybody like you but you can at least try to have everyone know you, and once they know you, hopefully you made a good impression on them to keep you in mind for future opportunities.

I recently treated a workshop with a famous director as an audition for future work.  I paid $50 to spend three hours with this person which I wouldn't normally get access to.  I dressed up for the audition and brought all of my skills to the front for those three hours.  I made a great impression and now have a regular correspondence with her.  I've even helped make it possible to have a private session with this director to get even deeper into the line of work I've been dreaming of in June.  Guess what I'm going to do for that. Treat THAT time like an audition as well :) Yes, I may not get the job I'm looking for directly this way; however, I am keeping hope that I'll be remembered when someone is needed for one of their productions in the future.

Playing The Game
Here are some things you can do yourself to distinguish yourself from others when working your off-stage skills:
  • Take advantage of your Facebook/Twitter friends.  If you have a chat feature, chat with the people on the list.  It can be a simple "hello".  There is a reason why you're connected with these folks so use the technology to keep your presence in their minds.
  • Attend other people's shows and make sure they know you were there.  Even if you leave early, at some point, let them know you got to see their show and what you thought of it.  Be honest (but cautious) about your feedback.  If you need help telling someone you didn't enjoy their show, hit me up on twitter (@nvgdesign) and I'll give you tips as to how to say something honest while staying positive.
  • Make it a point to connect to everyone in your classes in some manner (even if you don't necessarily like them).  Keep your ears open for things you can relate with your fellow classmates on (sports, fashion, TV, etc.)  I wish I had followed this in my early days of improv because many of those people have gone onto bigger and better things for which I sometimes wish I were a part of.
  • Promote shows/classes/workshops you believe in that you're not a part of.  Show that you can support others off-stage as well as on-stage.
  • Jump on opportunities to be involved in productions you want to be a part of.  I recently jumped into teaching some workshops by butting my way into a conversation some of my castmates were having with a producer a few weeks ago.  I made no apologies for it because I KNEW it was the right opportunity for my group. 
Brown-Nosing Vs. Schmoozing
I've run into a lot of people who know me merely for my schmoozing techniques.  They also say, "Oh, I didn't even know you're an actor!"  Yes, I'm a professional brown-noser; not in the traditional sense, which is usually the case.  To the contrary - brown-nosing is insincerity used to make personal gain. I only give out compliments to the opportunity gatekeepers that I believe in to parlay into building a relationship that can go two ways.  The person I am engaging gets a qualified person for the job they need to fill and I get to enjoy the opportunities presented to me.  There's no shame in doing so.  Everybody wins.

Go out into the world, my friends, and make your opportunities grow by leaps and bounds!  Let me know what techniques you have found useful in furthering your career off-stage in the comments below.