The right to write.

I have just sold my first script. It is a short film made by a dept of the BBC  that will go into production end of June (fingers crossed).
Of course my involvement in the project is over. I was brought on board as the writer and have fulfilled my duties...or so I thought.
The director was very happy with the final draft. She passed it amongst friends, and the criticism started to flow in. I say flow but it was more of a trickle, as no one had big problems with the story, only minor ones.
My first reaction to these comments was one of a defensive position. I felt these were opinions of people that had yet to write a cohesive script of their own.
However on reflection, I saw these as the views of a "test audience" and recognised the value of such.
The director has now shown the script to a few people in the profession, and I await that feedback.
All this feedback will no doubt result in a re-write.
I realise this is all part of the process, however, for a writer it is slightly frustrating. It feels like story by committee. As a writer, you create a story: beginning, middle, end. You create pace. You navigate through a journey with your characters. So, it is alarming when someone else grabs the steering wheel.
I remember the actor Pierce Brosnan, in an interview, told this story.
He had just finished a film, where he played a North American Indian. The film's closing reel depicted the indian's death.
The film was screened before a test audience and the feedback was thus: The audience liked the film, but did not like the ending.
Why? They were asked.
The reply : Because he can't die... he's James Bond.

I feel for the writer on that one.

Best of times. Worst of times.

Had a great audition for a commercial. The premise was that I was to be a man who had just knocked down a motorcyclist. I had to react accordingly.
By the end of the audition, the casting director said she had a lump in her throat.
I took this to mean I had a shot (though this is no guarantee).
My agent emailed me to confirm I had the part.
On the day of filming the commercial was shot from the motorcyclists perspective. This meant no one else would be seen. However the director had a change of heart. And so I found myself centre stage. I was directed through my scene and we filmed about six variation.
It was great to be on set with a crew of 30+ watching on as my scene was shot. Extras were used in the background and the public were kept at the ends of the street. The responsibility to deliver was both frightening and exhilarating.
I went home, feeling I had achieved something.
However a week later, my agent got a letter saying I had done a great job, but didn't make the final edit.
I feel disappointed and frustrated.
I have gone over it in my mind. But the bottom line is, if I let it get to me then Im in the wrong profession.
Take a breath. Stay calm. Move on.

3c Information Gathering.

In any profession, information is a valuable commodity and necessary to the survival of a business.

As an Actor/Writer, I am gathering new information all the time.

The Internet

The internet is my main source of information for a few reasons : It's fast access, a wealth of information at your finger tips, and from a writing point of view much of my research is done in isolation.
For Acting, the internet connects me to websites such as Spotlight and Casting Call Pro. These sites directly supply me with the opportunity to audition or find out about the latest productions.
Also as a historical database,
It aids me in character research.
You tube has a series of actor interviews "In the Actors Studio" which seek to understand the individual performers and their craft.

Books and Magazines

These are another source of information. Books such as "Contacts" and the weekly newspaper "The Stage", give you correspondence info for Agents and Casting Directors.
"The Stage" does this albeit in a smaller capacity. However it does keep you abreast of new productions, new directors on the scene, forthcoming workshops, and news of government legislation that directly affects the arts.

Personal Interaction.

I remember our Principal at Drama School saying " start getting use to pubs and coffee shops, because that is where most business is conducted."

Meetings in person are always the best source of information. You can discuss in real-time. And just as importantly you can see the person, see their body language .Just by getting a visual sense of someone, is a form of information gathering.
Production meetings are at there most fruitful when done face to face. It makes the meeting more relaxed, ,more conversational.

Writing.

Be it a notebook, a computer-come- word processor, or at a push my phone: All are used to store information.
For writing I always  carry a pocket notebook. I use my phone as a notepad and, if Im away from a computer I use it to write this blog. Even If I continue work on another platform later, I use what is available at the time.
I also keep a folder full of handouts from classes and workshops. These are can then reference, as need be.

I think my system of gathering information is affective.  I believe I pretty much have the same system as my peers/collegues. Indeed it was on another actors recommendation that I set up a Twitter account.
I have recently discovered that another actor keeps in contact with the theatres she has toured, as these often have their own companies.
I would like to be more organised in my approach to information gathering. My physical paper trail needs to be more efficient. I also think there are still elements of internet research that I am wary of. Begin selective in what information is relevant to my needs, and verifying said informations authenticity, are areas Id like to improve.

3b continued.

As actors are we not "playing detective" searching for the meaning, that resides within the text? We discuss, we explore. But  the meaning is out there just waiting for us to identify with it?
I'd like to think so. However, as we discuss the text, I am surely drawing on my own experience of reality, imagining, and reforming my understanding of that reality. I then present this to the group, who go through a process of accepting, discounting or embelishing on it.The work is internalised. As an actor I search within to find meaning for the external world. Is this not Constructivism ?

Connectivism

Connectivism, from what I can make out is state of learning, where the foundations of knowledge are constantly evolving. This knowledge is not just drawn from the individuals in a network, but also from external data ie The Internet. The rate at which the knowledge is acquired, is speedy. The desire to have the latest knowledge, high.
This definitely ties in with my professional network.
There are always new opinions on acting, that need to be acknowledge. Opinions can turn into trends. Trends can turn into established practice (for a period of time, anyway).
These acting theories are discussed in the network. It is an even playing field. Any one view can affect the shaping of the knowledge, influence the learning.

All three theories draw on experience to facilitate learning. Constructivism and Objectivism seek internal and external truth. Definitive meaning.
Whilst Connectivism recognises that knowledge as a foundation is constantly reshaping. Meaning is constantly redefined.

So, where do I stand with these theories in my networking practice. Somewhere between all three, if truth be told.
I believe knowledge resides inside the individual. It is shaped by our experiences and interaction with the world around us.
I also believe that the average knowledge we need to function within our chosen profession is vast and ever updating. I cannot contain it all, so I defer some of that responsibility to the Internet and to my friends. Both are recpeticals of knowledge that can be accessed at a later time.
Lastly I like to believe that certain working practices are exercises in investigation, and that learning can be achieved by just asking the right questions.