THE POWER OF "NO"
by Bob Fraser
THE ACTOR'S TOOL KIT #22
When I first started writing and producing for TV, my agent
was a very wise man and a straight-shooter named Leonard
Hanzer.
Leonard was a smart and cultivated man, who understood the
concept of Unique Selling Proposition before the geniuses
of marketing figured it out.
(In fact, to my knowledge, Leonard actually invented the term
"show-runner" while negotiating a contract for my partner and
I. We wanted more money - they offered us a "better" credit.
Leonard got us a lot more money and that unofficial credit.)
Anyway, Leonard represented some "heavy hitters" in those
days: Henry Winkler, who needs no introduction, Susan Harris,
one of the finest single writers in the TV business, Hal
Cooper and Rod Parker, the guys who made Maude a huge hit -
and when we first met with him, hoping to convince him that
we were worthy of his skills, he said a brilliant thing:
"The only power that talent has in this town - is the power
to deny services."
I knew we were in good hands when he said that, because that
is at the core of my own philosophy. In short, my philosophy
is this: A career is built with an audience.
Period.
When "other people" attempt to move your career in a
"different direction," they are messing around with the
primal force. This cannot be allowed - and your only
recourse is in that little two-letter word ... "no."
Unfortunately, our craft (or art in some circles) is
grounded in, based on, and dependent upon a very
different word - "yes."
A critical ingredient of all forms of show business is
the audience's willing suspension of disbelief. The
important word in this bedrock concept is "willing."
Our main job is to convince the audience to suspend
their natural skepticism - and to go along on our
journey, willingly. In short, we need them to say
"yes" to our show.
Thus from the beginning of writing (or developing in
some circles) the story - "He is lost." "Yes, and he is
hungry." "Yes, and the wolves are closing in." "Yes, and
the aliens are landing nearby." "Yes, and because they
save him, they all learn to live with each other ... etc."
- all the way through the final production of the movie,
play, tv show, or dvd-mp3-cd-playstation-gamepod-picture-
phone-thingamabob - believe me, the word "yes," will
always be in constant use.
This is HOW we have learned to play.
This is HOW it is done.
Viola Spolin, Stanislavsky, Sandy Miesner, David Mamet, and
many many others, have catalogued and explained the absolute
necessity of collaboration (saying "yes') in doing what we
do - and most of us understand that it's fundamental to
acting (or performing in some circles). It just cannot be
done effectively in any other way.
We must create that willing suspension of disbelief. The
trick (or method in some circles) we all finally learn -
and always use, is: Get the audience to say "yes," by
saying "yes" ourselves.
But - and this is a biggie - this business ("this Broadway,
this Hollywood, this West End, this Bollywood, this ...
Show Biz") is another kettle of corn entirely.
In business, it is critical to use your power. And in our
business, as Leonard Hanzer so aptly put it, the only power
you have is in denial of services. The ability to just say,
"no."
However, we are steeped in "yes" attitude and because of that
- we often get in trouble when it comes to the business end
of our careers.
That is why I advise all actors to start practicing to say
"no" immediately. This is not a power that comes later -
along with the limo and the red carpet, after you've
started making good money - it's something that you must
start building now, from the ground up.
What to say "no" to - that is the question.
I don't think anyone will dispute that one must have a
serious commitment in order to achieve a career in show
business (in any field, really) - and an explicit
definition of what one is trying to accomplish is the
first step on the road to serious commitment.
In other words, you must have standards.
Don't worry, you can make up your own. (Please don't take
the route of some recent rock stars - "If the producer
does not provide 3 gross of brown M&M's in a Queen Anne
broth tureen, the artist may refuse to appear" kind of
bull - but do realize, that this part of getting your
career off the ground is totally your responsibility.)
I think that a professional actor's minimal standards
should include, "I'm doing this for money." Because,
after all, remuneration lies at the very heart of the
definition of 'professional.'
All of which is to say; once you truly understand what
it is that you want to do ... to all other things,
just say, "no."
Do you want to make money? Say "no" to working for free.
Do you want to stick by your principles? Say "no" to work
that does not support what you believe in.
Do you want to do Union work? Say "no" to non-union work.
Do you want to do drama? Then pass on that supporting role
in National Lampoon's The Age of Reason.
Do you want to do comedy? Okay, simply say "nej tack " to
Swedish films.
I think you get the point.
Yes? No?
"Reprinted from ACTOR'S TOOL KIT, the email course just for
subscribers of Show Biz How-To, the free e-zine for actors.
Get your own subscription at: www.showbizhowto.com
?2007 Bob Fraser Productions All Rights Reserved"
