And now for Mr Darcy...

"Acting, on film as on stage, is a mixture of guesswork, experience, and just jumping in and hoping it works. There's surprisingly little difference between the mediums; in some ways I'd say there's the same kind of difference between acting on film and acting on the stage as there is between being on stage at the Globe or the Olivier, and being on at the Finborough [ground-breaking and tiny theatre in Earl's Court, London]. You do have to bear the medium in mind - you've got to remember with film, for example, that you're going to be on 40-foot-high cinema screens. But if I walk across a stage I'm not going to walk in a different way to the way I walk on screen.

I've got no set pattern in the way I approach a part; I try to keep a fairly loose approach to it. I start with the script; I use my imagination and try to be as open as possible. Some actors get very dogmatic about their research, or are much more methodical: they go to Oslo if they're going to play someone Norwegian. But that's not really the way I do it. Perhaps it's laziness, but I do what I fancy; sometimes I work really hard in preparation for a part, and sometimes I just go with it.

I always think that a lot of stuff is going on when I'm not actually thinking about it - when I'm making tea or going into town. I like the idea of leaving some of it up to my subconscious, although obviously there are moments that don't quite work - when you've got to drive a tank, say, or play the saxophone.

When it comes to getting hold of the emotions of the character, I think of what Declan Donellan, a director who has been a great influence on me, used to say, that there was no use trying to wear yourself out creating emotions because what people in real life do is react to other people around them; they don't walk around summoning up states of anger or fear. There's a thing that happens in soap operas, where someone is getting bad news on the phone and they burst into tears. But that never happens in real life. In real life you don't know how you feel, you're trying to make sense of what you've just heard, trying to work out how to react. As an actor you have to make sure you are active, and reacting; you have to be doing something to somebody else all the time. It's not about you, it's about something outside you. It's terribly releasing; you stop being conscious of what you're doing. But it's very difficult to get to that point sometimes.

I suppose that is one advantage film has over theatre: on film the audience is looking in through a smaller window and you can do a bit less to allow them in. When you're in a theatre you've got a huge window and you have to work a bit harder to let them in. But when a camera is focused on just your eyes and face, you don't have to do anything, you can just let it happen somehow.

It can be a little unpredictable. I've been moved to tears by close-ups where, quite possibly, the actor has been thinking about their shopping list. Sometimes you watch scenes you thought you were good in, and they're rubbish. Other times you watch something where you were actually briefly distracted, and it looks perfect. The thing about film is that it's out of your control: you do your bit and then months later you see it all cut together and it can be utterly different to what you expected.

Shakespeare is a little bit different to everything else: it's so front-foot, so active. You can't hang around with Shakespeare, it's so rich, and you've got to be quite brave. You've got to go for it, you can't just dip a toe in. But once you've jumped in, it's terribly rewarding. There's nothing quite like it.

I don't have a plan really. I never know what's coming my way. I love doing all mediums, and the funny thing is that whatever medium I'm working in at the time is usually the one I love most."

- Matthew Macfadyen, taken from the Guardian's Guide to Performing: Acting. Published May 9, 2009.

God bless ya, Imelda

Taken from THE GUARDIAN newspaper's series "Guide to Performing: Acting" published May 9, 2009.

Imelda Staunton: A quiet word

Imelda Staunton didn't find her acting voice until she learned to whisper. Here, she shares her techniques for stage, screen and musicals.

"We all did voice classes at RADA. Then I went into repertory theatre, and I spent two or three years doing rep, and then I was cast in Electra. And the director said, "Look, I'm going to send you back to RADA for a couple of weeks for more voice training."

At that time my voice was very high, but I had this wonderful teacher who hadn't been there when I was training, called Robert Palmer. I had three sessions with him and he made me whisper all the time, and I was thinking what on earth is this for? But in fact it stops you listening to your own voice and thinking: that sounds marvellous - God I'm good. All you can think of is the breath that you need to take, and the sense of the words. Those sessions changed my voice forever: they centred it and lowered it - I still don't know how.

How do you come up with the voice for a part? I've just finished doing Entertaining Mr Sloane, and I'm aware that by the end the way I spoke was not the way I did at the read-through; the voice developed and changed. It comes from the text, it comes from her past, it comes from the backstory that I've built up. I have created this story, and the voice that comes out of that may have anguish, it may have pain; you have to put in all the layers and come up with the voice. It can be affected by how you're feeling on the day; it may vary slightly during the run of a play. And in the last weeks of rehearsal for theatre work, your voice is always quite tired and croaky. It's a muscle and you are really stretching it. But once the play starts, it all settles in; you get used to it.

You do have to work differently for film. Film is in a different, quieter register, so in some ways you have more scope. You can be very quiet and they'll get it. It's the difference between Vera Drake and Dolores Umbridge in Harry Potter: Dolores has a high voice; she's always speaking, announcing, delivering her words. Vera, on the other hand, is almost speaking her thoughts: "I'm sorry, I'm sorry, I'm sorry" - the words are hardly audible, but she can still be heard.

The problem with films is continuity; you can be doing a big emotional scene and suddenly they're saying: let's wrap it and continue tomorrow. And by that time your voice can be completely different. I warm it up by whispering a little, then speaking a little, and getting the muscles moving round the vocal chords.

As for musicals, I always tell young actors to treat a song as if you're continuing to speak. In 1982 I was in The Beggar's Opera at the National Theatre and the musical director adjusted every key to our individual speaking voices, which was wonderful; it stopped you having that sudden jolt as the actor goes from speaking in a nice alto voice and then vaults off in a soprano.

You do need to be aware of your posture, be aware that if you stick your face forward, you're cutting off your neck, you're breaking the line. I'm very aware of supporting my voice from my bum and my stomach and my chest. The bottom line is that you don't want to mess your voice up. I remember when I was doing Guys and Dolls, there's a really shouty song, and I did think: God I can't do that, I'm going to kill my voice. But you learn how to do it. It was during the same production that I lost my voice once (nothing to do with the shouty song). It was the day before Christmas evening, and I started speaking, and it was OK, and then I started to sing and hardly anything was coming out. I could see the guys on the sound desk wacking everything up. It turned out I had Chinese flu. I had to take 10 days off.

I still think a lot about my voice when I'm performing. I'm always aware that there are five lines coming up that I need to get in a good breath for, or that there's a song coming up so I need to breathe for that. You have to be able to modulate those things all the time and just keep your character going on the surface. I think the best way to prepare your voice for a performance is actually to sleep - if you're lying down and reading, you're still using your muscles. I'm really naughty about exercises, I have to admit. I usually just do a bit of singing, give a couple of shouts and then get on with it."

Music I want to get on my ipod!

God Give Me Strength - Kristen Vigard/GRACE OF MY HEART soundtrack



Jum Bah Day - House of Gypsies
Silence - Jorane/UNFAITHFUL soundtrack
Self-Preservation Society - THE ITALIAN JOB soundtrack (the original)
So Beautiful - Jarvis Church
Say Hey - Michael Franti

New Quote

As is a tale, so is life: not how long it is, but how good it is, is what matters. - Seneca

Don't stress about how much you eat during the holidays!

Advice from Bob Greene:

Although the scale may inch up during or after a holiday, keep in mind that weight fluctuations are perfectly normal. To gain an actual pound of body fat, you'd have to consume a lot of calories: 3,500 to be exact—and this is on top of what you normally eat in a given day. And even if the number on the scale does climb, that doesn't always mean that you've gained actual body fat. When you step on a scale, you're weighing muscle, bone, body fat, water (one gallon weighs eight pounds), undigested food, and waste that your body hasn't eliminated yet.

And don't forget that some foods weigh more, even when they don't provide more calories. For example, one half cup of black beans weighs about three ounces, but one tablespoon of olive oil only weighs about one-half ounce, even though they have the same number of calories. If you eat foods that are "heavier" due to their water or fiber weight, you may weigh more on the scale until all of the food has been digested and the waste has been eliminated.

So don't stress about what or how much you ate. Instead, focus on getting back on track with your workouts and healthy-eating plan.

You always have choices

Conditions cannot completely condition us. Everything can be taken from us, but the last of human freedoms, to choose one's attitude, can never be taken away. - Victor Frankl

The Stages of Mourning

Taken from this webpage: http://www.greaterswiss.com/mourning.htm

The stages of mourning are universal and are experienced by people from all walks of life. Mourning occurs in response to an individual's own terminal illness or to the death of a valued being, human or animal. There are five stages of normal grief.

In our bereavement, we spend different lengths of time working through each step and express each stage more or less intensely. The five stages do not necessarily occur in order. We often move between stages before achieving a more peaceful acceptance of death. Many of us are not afforded the luxury of time required to achieve this final stage of grief. The death of your pet might inspire you to evaluate your own feelings of mortality. Throughout each stage, a common thread of hope emerges. As long as there is life, there is hope. As long as there is hope, there is life.

1. Denial and Isolation: The first reaction to learning of terminal illness or death of a cherished pet is to deny the reality of the situation. It is a normal reaction to rationalize overwhelming emotions. It is a defense mechanism that buffers the immediate shock. We block out the words and hide from the facts. This is a temporary response that carries us through the first wave of pain.
2. Anger: As the masking effects of denial and isolation begin to wear, reality and its pain re-emerge. We are not ready. The intense emotion is deflected from our vulnerable core, redirected and expressed instead as anger. The anger may be aimed at inanimate objects, complete strangers, friends or family. Anger may be directed at our dying or deceased pet. Rationally, we know the animal is not to be blamed. Emotionally, however, we may resent it for causing us pain or for leaving us. We feel guilty for being angry, and this makes us more angry. The veterinarian who diagnosed the illness and was unable to cure the disease, or who performed euthanasia of the pet, might become a convenient target. Health professionals deal with death and dying every day. That does not make them immune to the suffering of their patients or to those who grieve for them. Do not hesitate to ask your veterinarian to give you extra time or to explain just once more the details of your pet's illness. Arrange a special appointment or ask that he telephone you at the end of his day. Ask for clear answers to your questions regarding medical diagnosis and treatment. Discuss the cost of treatment. Discuss burial arrangements. Understand the options available to you. Take your time. Both you and your veterinarian will find that honest and open communication now are an invaluable long-term investment.
3. Bargaining: The normal reaction to feelings of helplessness and vulnerability is often a need to regain control. If only we had sought medical attention sooner. If we got a second opinion from another doctor. If we changed our pet's diet, maybe it will get well. Secretly, we may make a deal with God or our higher power in an attempt to postpone the inevitable. This is a weaker line of defense to protect us from the painful reality.
4. Depression: Two types of depression are associated with mourning. The first one is a reaction to practical implications relating to the loss. Sadness and regret predominate. We worry about the cost of treatment and burial. We worry that, in our grief, we have spent less time with others that depend on us. This phase may be eased by simple clarification and reassurance. We may need a bit of helpful cooperation and a few kind words. The second type of depression is more subtle and, in a sense, perhaps more private. It is our quiet preparation to separate and to bid our pet farewell. Sometimes all we really need is a hug.
5. Acceptance: Reaching this stage of mourning is a gift not afforded to everyone. Death may be sudden and unexpected or we may never see beyond our anger or denial. It is not necessarily a mark of bravery to resist the inevitable and to deny ourselves the opportunity to make our peace. This phase is marked by withdrawal and calm. This is not a period of happiness and must be distinguished from depression.

Pets that are terminally ill or aging appear to go through a final period of withdrawal. This is by no means a suggestion that they are aware of their own mortality, only that physical decline may be sufficient to produce a similar response. Their behavior implies that it is natural to reach a stage at which social interaction is limited. The dignity and grace shown by our dying pets may well be their last gift to us.

Another analysis on the subject, from allsands.com:

Understand the stages of mourning. Grief and bereavement are important in mourning for the dead. Learn how to recover and live again.Victims of grief need care and consideration until they can get through the grieving process.
Immediately after the news that someone we loved has died, the reaction would be to feel shock and disbelief. This is a common experience with deaths from unnatural causes. However, even for deathbed patients, the family and close friends will also be shocked at the death. This is also called the state of emotional numbness. It is like a temporary armor which shields us from further emotions and helps us to carry on our lives, making the necessary arrangements for the funeral.

For some people who are deeply disturbed, their feelings of numbness and inability to accept the death becomes a persistant problem. They prefer to think that their loved one is sleeping and everything would return to as of old. We can overcome this stage of grief by attending the funeral or memorial service. The reality of death will sink in and help us to accept the facts. This is also a way of saying farewell to the deceased.

The next stage of grief is experiencing agitation, missing the dead and wanting to contact them. Continually thinking of the dead causes loss of concentration, stress and insomnia. It is usual to dream of the dead as the mind is preoccupied with thoughts of reuniting with the deceased.

There may be feelings of anger at the loss. Guilt is also felt as memories are replayed and people regret not having the chance of correcting something in their past with the deceased.

The next stage of bereavement is depression. There is silent and private mourning for the deceased. Reminders of the deceased spark the memories and fresh waves of mourning start. Thinking about the past and accepting that it is all over is a way of coping with grief.

Depression alleviates as the mourning lessens. We start to think about ourselves again. The show must go on. We will still feel that some part of ourselves is missing but we will carry on. This signals the last stage of bereavement. We let go of the person. We will feel better in health, energy and wellness. Our recovery becomes complete. It is no surprise that this coping with grief may endure for about one year.

Other people that are less affected by grief can help the person who is deeply affected by the death. Spend time accompanying them during their mourning. Your presence is support enough. The bereaved need to talk and cry to express their emotions.This lets off steam and helps in the recovery process. Reminders of the dead like festive occasions, anniversaries, birthdays and weddings can bring on memories and pain. It is best to arrange for friends or relatives to be around to cushion the impact of sorrow.

We can cope with grief by getting practical help for chores. This gives an excuse for social interaction with company and eases the burden of loneliness. Help is necessary until the grieving process is over.

Grieving and coping with grief are very important. Unresolved grief is harmful to your health. There may be repercussions of strange physical symptoms or depression. Seek treatment before the condition worsens. If your appetite, energy and sleep do not improve, then it is better to get a recommendation from your family physician to see a psychiatrist. We need to overcome bereavement to continue living our lives to the fullest.

Quote time!

Two quotes from two extrordinary women:

"I long, as does every human being, to be at home wherever I find myself."
- MAYA ANGELOU

"Yesterday is history. Tomorrow is a mystery. Today is a gift. That's why it is called the present."
- ELEANOR ROOSEVELT

I will hold my hand up and admit the second one actually got my attention when used in the movie KUNG FU PANDA. Hey, you gotta listen to the message no matter who the messenger is...

Go on- read to me!

My favourite children's author EVER, Mr. Robert Munsch (who yes, happens to be Canadian) will let you listen to him read his own stories FOR FREE on his website! How cool is that?! Click on the following words for the link to the page on his official website:

Robert Munsch rocks!

My favourites were always MORTIMER and JONATHAN CLEANED UP AND THEN HE HEARD A SOUND and the wonderful THE PAPERBAG PRINCESS has a soft spot in my heart as the first book of his I read. But the highlight of his entire collection for me is LOVE YOU FOREVER- and I defy you to listen to/read LOVE YOU FOREVER without getting a little choked up!

I still get teary eyed!

Wild Wild West

Watched a fascinating documentary called THE WILD AND THE WEST comparing the Wild West presented by Hollywood in their western films- in particular RIO BRAVO- to the West that really existed. Learned the following things:

1. Tumbleweeds aren't American in origin. They were brought to the States by European immigrants in the 1870's.
2. Longhorn cattle would have died out if Hollywood hadn't taken a liking to having them in their westerns and started to breed them for use in the movies. The ranchers at the time weren't interested in breeding them so they stopped raising them altogether.
3. Turkeys were almost extinct until Hollywood started using them in their westerns more and needed to start breeding them. There were only 30,000 left before Hollywood started raising their own.
4. Most men that were conscripted into the Calvary had never seen a horse before, let alone ridden on one. And as the Army horses tended to be spoiled, the Calvary boys had a hard time getting on them to ride... so they actually spent A LOT of their time leading their horses around instead of riding them.
5. Most westerns were shot in and around Monument Valley- however the Calvary didn't patrol there. Which also means that most of those boys started and ended their service without ever laying eyes on an Native American Indian.
6. All those tall, impressive cactus seen all over Monument Valley as the Calvary rode by? They didn't grow there. Too dry an area, for that type of cactus.
7. The Calvary boys always look covered in dirt in the movies- but that wouldn't have been the case. The dirt in that area is very dry and falls right off you- which means that the actors had to dirty up before each shot, otherwise they would have looked too clean.

I knew that movies were a bit stretchy with the truth- but not like this!

Paula Begoun rocks!

Not only does she do all this exhaustive testing and research to write books about all the makeup and beauty products available, she also created a website about them. What a wonderful woman!

Here's the home page: http://www.beautypedia.com/default.aspx

Here's the Master List of all the different brands with reviews of some of their products: http://www.beautypedia.com/brandlist.aspx

If you pay a membership fee of $24.95 US per year you have access to all the individual product reviews and her list of "Best Products" as well as the latest reviews as they arrive. Or you could buy one of her books which covers the same ground but obviously goes out of date very quickly...

Great way NOT to waste money on useless beauty products as she does all the work to find out what's best for you to use- fabulous!

RealAge.com

So do you REALLY wanna know how good condition your body is in? I'm not talking about whether you look good in a swimsuit or can do 50 push ups in a minute. I am talking about your overall well-being and whether or not you are living well on a day to day basis. Do you want to know the truth?

Then go to RealAge.com.

These 2 doctors are the ones that came to fame on Oprah (yes, I admit I do watch her show a lot!) but their main aim is not to preach or lecture or dictate health rules. They want to empower you to take good care of yourself and give you a hell of a lot of information here on how to do it. From diet to exercise, illness and preventative medicine, all the way to explanations of how your body works so you can understand exactly what it's doing when it goes wrong.

The best part is when you sign up for FREE they take you through a thorough health questionnaire which can give you an indication of what your "real" age is- not the number of years you've been on this earth, but the youth of your body based on the way you treat it.

There are some technical questions like what your blood pressure level is or what your cholesterol levels are, but on the drop down lists you can choose "I don't know" so you don't need to abandon the test just because you have the numbers on hand. Next time you go to your doctor ask for your numbers and then you can always go back and update the test so it can give you a more accurate assessment.

But once you've done that you can log on to the site a few hours later and it'll give you an overview of your health and suggest how to make change and improvements that will help you to improve your health. And it's all for free!

Oh and by the way, my real age? 33.7 years old. And as I'm turning 35 next week, I'm pleased with that result!

Start counting!

I just heard on the radio that apparently people who have 100 or more moles tend to live 6-7 years longer than everyone else.

Bizarre enough fact to probably be true...