Self Tape 501 - “The ‘F**k It, F**k It’ Take”

This month, we’re going to build on your rarenesses that we learned about in the 401. Remember our car analogy from the 401? This month, I want you proudly showcasing all of your colors. If your car colors are silver with fuchsia polka dots, I want that silver so shiny that it makes my eyes squint, and I want those fuchsia polka dots so vibrant that I’m thinking “Ohhhhh…so that’s what fuchsia is supposed to look like.”

But let’s first define the “Fuck it” take. A lot of acting techniques refer to a “Fuck it” take. Essentially, you spend a lot of time prepping a scene (left-brain), and then when it’s time to work, you say “Fuck It!” and you play. We talk about that in the 201: you let your right-brain take over, and you go on the ride, so you are a living breathing human being. When you go on the ride, you take us with you. LA acting coach Stacey L. Swift wrote about this in a 2018 blog about adding a sense of play.

Stacy L. Swift: “Acting on Impulse”

Backstage built on this idea in a 2022 article listing acting advice from established actors. (Pay special attention to advice #1, #3, and #6.)

Backstage: “Acting Advice From Established Professionals”

So what the heck is the “Fuck-it, Fuck-it” take? I think it’s the “Fuck-It” take on steroids. It’s a state-of-mind where you don’t really care if you book the role because you are so excited about showing someone your unique version of this role, that your reward is just getting to do it. The Takeda Technique recently traveled to Chicago to be part of an actor’s empowerment summit, and actor/coach Glenn Morshower spoke about his auditioning philosophy. He started out saying that “rejection” does not exist, so you can never be rejected in an audition. He used the analogy of going to a restaurant that you’ve never been to. You look at the menu and you pick the salmon. Did you reject the lasagna? No! It’s just that the salmon fit your mood. And next time you go to the restaurant, you might choose the lasagna. So the lasagna shouldn’t feel rejected. It’s not personal. It’s just you making a choice. Same with auditions. Directors and producers are not rejecting actors; they are selecting a person who brings out certain rarenesses that fit the story they are telling.

Glenn recommends you get rid of the idea of “rejection” and “competition.” Instead compete against your own potentiality. Be a better (or truer) version of you than you used to be. In 401 terms, be a more shiny silver and a more vibrant fuchsia than you used to be. An audition is your chance to share your essence. It’s your opportunity to showcase your artistry. Your interpretation. Your rareness. Your you-ness.

Glenn works all the time. His secret is because he’s excited to share himself. In the split second before he performs, he gleefully mutters under his breath, “Watch this shit.” He is excited about sharing his essence. He also says there there is no recorded history of someone sucking after saying “Watch this shit.” That’s the “Fuck-it, Fuck-it” take.

Here’s a clip from feature film director Peter Chelsom talking to a recent All-Alumni 301 class. He’s passionate about actors sharing truth and honesty in their work. He was working with Dodie Montgomery on a side and he wanted to see more of her — Dodie’s artistry, Dodie’s rareness. Dodie’s essence. To get there, he had her try an exercise he called “speed run” which helped to strip away the “acting” and get to Dodie’s essence. After, he talked about working with actor Simon Pegg and giving him direction.