JUST A COMMENT.. IN CASE YOU WERE WONDERING!!

IN MY OPINION:

WILLIAM REYNOLDS:

LOVE SCENES?>> MAYBE, >>MAYBE NOT!!

JUST A COMMENT.. IN CASE YOU WERE WONDERING!!

There are so many love scenes out there in the film and television world. And while people just assume it’s nothing but actors grinding up against each other, it’s often more than that. Obviously not all actors are mindless drones, so there’s some personal stake in each scene. And, believe it or not sometimes there’s even actual sex! But of course not every actor enjoys working with their scene partners. Sometimes the feeling is mutual. Sometimes both hate each other so much that they yell, and scream on set in the hopes that one of them is finally just replaced. Who knew that Ryan Gosling, or Nathan Fillion were such pains to work with? Who knew that Natalie Portman and Mila Kunis would have completely opposite opinions of their terrific tumble in Black Swan?

Some of actors actually hate each other. Some tried to take advantage of one or the other. Some just had great fun…and even some just had fun with themselves (Robert Pattinson). Some actors (Denzel) want do a sex scene at all 'unless' it adds to character and the film. Some do add to the film, while others are just there because many times it adds to the marketability of the film..[ THE BOTTOM LINE ]

FACTUAL QUOTE, FROM ONE OF THE GREATS>>ROBERT DeNIRO

IN MY OPINION:

WILLIAM REYNOLDS:

FACTUAL QUOTE, FROM ONE OF THE GREATS>>ROBERT DeNIRO::
A lot of young actors have the idea that, “I’ve got to do this right.  There’s a right way to do this.”  But there’s no right or wrong. There’s only good and bad.  And “bad” usually happens when you’re trying too hard to do it right. There’s a very broad spectrum of things that can inhibit you. The most important thing for actors – and not just actors, but everybody – is to feel loose enough to create what you want to create, and be free to try anything. To have choices.” – Robert DeNiro

NUMBER ONE THING ACTORS SHOULD 'NEVER DO

IN MY OPINION:

WILLIAM REYNOLDS:

NUMBER ONE THING ACTORS SHOULD 'NEVER DO":

Actors should never…

1. Complain

Cultivate a life that isn’t focused around complaining. I once watched someone agonise about choosing between two of the best acting agents in the country, almost to the point of tears. It’s an important decision, but whichever decision you make is a great one! Complaining wastes energy and people won’t want to work with you. Man oh man is this so ever true. And sadly so many don't even know they are doing it, day in and day out. Who in the world want's to be around or let alone work with these types, and there are plenty.

I JUST LIKE THE QUOTE; AND IT FITS>>RIGHT?

IN MY OPINION:

WILLIAM REYNOLDS:

NOT REALLY IMPORTANT: I JUST LIKE THE QUOTE;

AND IT FITS>>RIGHT?

YOUR BEHAVIOR CAN MAKE OR BREAK YOU AS AN ACTOR:

IN MY OPINION:

WILLIAM REYNOLDS:

 

YOUR BEHAVIOR CAN MAKE OR BREAK YOU AS AN ACTOR:

 

 

DON'T THINK YOU ARE OW'ED ANYTHING, BECAUSE YOU ARE NOT>>> The sooner you realize that the business doesn’t owe you anything, the better. You’re not owed a part on a show. You’re not owed a good reader (a person reading the script with you, often off camera)  You’re not owed an agent who fights for you. This isn’t a cynical way of looking at things; it’s releasing anyone else but you of the responsibility of making things happen. When a reader doesn’t give you anything, you can choose to use that as an opportunity to work harder in the scene and try to affect her/him, or use it as an excuse for why you didn’t book the role. Your lack of an agent can make you while away the days in coffee shops, spewing bitterness about the business to anyone who’ll listen, or it can make you write, shoot, and distribute your own content. One gets things done, and the other does nothing at all. Thinking that you are owed something is death in this business. The business can’t ever give you everything you want. That’s not the nature of it. It is a wild beast that can’t be tamed. Believing that the beast owes you anything will only cause you pain and keep you from your goal. 

SO YOU THINK YOU'RE THE ONLY ACTOR THAT HAD TO WORK OTHER JOBS??

IN MY OPINION:

WILLIAM REYNOLDS:

 

SO YOU THINK YOU'RE THE ONLY ACTOR THAT HAD TO WORK OTHER JOBS??

  

Brad Pitt was born William Bradley Pitt to strict Baptists William A. Pitt and Jane Etta Hillhouse. The
eldest of three children, Pitt has a brother, Doug (b. 1966) and a sister, Julie (b. 1969). Soon after his
birth, the family moved to Springfield, Missouri, where his father ran a trucking company. He attended
Kickapoo High School where he joined the tennis, golf and swimming teams, and was a member of
the choir, the forensics club, the debating club and the student council. Following his graduation from
school in 1982, Pitt attended the University of Missouri, majoring in Journalism and Advertising. He
dropped out with only two credits left to gain his degree, and set off for California to pursue his dream
of a Hollywood acting career. Whilst taking acting lessons, Pitt did part-time work including being a
furniture mover, a chauffeur and a costume-wearing mascot for a restaurant chain.

THERE ARE TONS OF STORIES LIKE THIS ONE. DID HE WANT A SPEAKING ROLE RIGHT OFF

THE BAT? SURE HE DID? DID HE GET IT? >>>NOPE<<<

WHY ATLANTA FOR FILM PRODUCTION??

IN MY OPINION:

WILLIAM REYNOLDS:

WHY ATLANTA FOR FILM PRODUCTION??

"There are about 25,000 Georgians who are in the film and television production business and another 30,000 who are indirectly related."

Some of the workers are moving here from slower markets, while the Georgia Film Academy, which just opened a 15,860-sq.-ft. sound stage at Pinewood Atlanta Studios for hands-on experience, and the university and community college systems, will help fill the 3,000–5,000 film industry jobs forecast to open in the state by 2021.

Multihyphenate Tyler Perry, the most successful African-American filmmaker in history, is responsible for about 400 of those jobs at his Atlanta-based production company, but he's hoping to create employment 10 times that in the coming years. "Filming is booming here," he said. "It is amazing the amount of movies that are being shot here, and I'm just super-excited about it on so many levels."

New sound stages are popping up faster than craft-beer bars. Currently, there are 45 sound stages offering more than 2 million square feet of space and growing (although some are just converted warehouses 

THREE FUN FACTS ON KERRY WASHINGTON

IN MY OPINION:

WILLIAM REYNOLDS:

THREE FUN FACTS ON KERRY WASHINGTON

Kerry Washington made her screen debut more than 20 years ago in a PBS sketch-comedy series, but you probably know her from the political drama Scandal, in which she plays the powerful and compelling Olivia Pope. Here are 11 fun facts about Kerry Washington:

1. She was named after an Ireland county KERRY.

2. She wanted to be a whale trainer at SeaWorld.

3. Kerry graduated at the top of her class at George Washington University, with a degree in Performance Studies

WELL THAT LAST ONE WORKED OUT NICELY, RIGHT?

ARIANA GRANDE, FACT:

IN MY OPINION:

WILLIAM REYNOLDS:

ARIANA GRANDE, FACT:

Ariana Grande’s rise to fame started after she appeared on the Nickelodeon series Victorious. It didn’t take long for her to leave her days as a child actress behind and become an international pop star. Whether you love her or loathe her, you can’t deny that Ariana is one of the most talented singers in the entertainment industry.

Here are a few things you may not have known about her and a few interesting facts that will shock you.

1. HER FAVORITE TOY

When Ariana was a little girl, she was a bit weird and very “dark,” according to her mom. She loved to run around the house while wearing a Freddy Krueger mask. The singer even described her own behavior as “demented.” Okay, creepyyy!

SO HOW DOES THE AUDITION PROCESS WORK??

IN MY OPINION;

WILLIAM REYNOLDS:

SO HOW DOES THE AUDITION PROCESS WORK?? 

This is how. We get a call from a client, we are looking for blah, blah. We pick out those that "FIT" what they are looking for, we access their ability. THEN..  You come in, do your best, and you leave. At the end of the day, I send the session to my clients to review. Actors have always asked me, “Do you take actors off your session?” The answer is: Yes, sometimes. We have to. If someone comes in that I’m giving a chance,  and gives a poor performance and just cannot take the direction I give them, I have to take them off, we would look silly sending in someone that we know without a doubt is NOT going to be considered. Our clients call us for our knowledge/experience, and eye for the best talent for their project. But for the most part, it is rare that we have to take someone off from a session, because we prepare well.

After the clients—producers and director—have reviewed the session, they tell me who their selects are. If there is a callback session, I schedule their selects to come in again to audition and maybe get some additional direction from the director. Then when the callback is over, the actors leave. SO WHO MAKES THE FINAL DECISION??? ABSOLUTELY THE DIRECTOR, ALL OF THE POSITIVES AND THE NEGATIVES FALL RIGHT ON HIS/HER HEAD...SMACK. NOT MANY DO OVERS>>>

BIG AUDITION MISTAKES NUMBER 'THREE' OF THREE>

IN MY OPINION:

WILLIAM REYNOLDS:

BIG AUDITION MISTAKES NUMBER 'THREE' OF THREE>

LACK OF PREPARATION>>... (HOW MANY TIMES HAVE WE BLOGGED ABOUT THIS ONE:??)

From my experience of auditioning actors I can share with you that being on the panel I have a very clear idea of what I’m looking for in the characters. When someone hasn’t prepared well it’s like the wrong key being played on a piano, or an off key note being hit by a singer, it basically sticks out like a sore thumb. To counterbalance this there are actors who have prepped so thoroughly that the actor who didn’t is forgot about. I think you already know what you need to do.

Bare these 3 monstrous audition mistakes in mind the next time you land a casting, and through finding your method of preparation before the casting and honing in on your discipline, the audition process will be much more pleasant and you’ll make a good impression.

AND PLEASE, PLEASE DON'T TAKE ADVICE FROM SOMEONE THAT DOES NOT KNOW ANYMORE THAN YOU. THIS COULD BE FATAL.

BIG AUDITION MISTAKE NUMBER TWO;

IN MY OPINION;

WILLIAM REYNOLDS:

BIG AUDITION MISTAKE NUMBER TWO;

Making excuses

You may not verbally make excuses to the casting director/panel but you may make excuses in your mind. No matter whether the excuses are said or not, they manifest in your energy in the room and are easily detectable.

I can’t speak for other people, but when I hear or pick up on excuses I wonder what this person would be like to work with, will they make excuses throughout the time I’m working with them and if they do it’s going to make things very difficult for everyone. Excuses can come from shame. To avoid having any excuses in the first place be transparent, be honest with yourself firstly. Be responsible for yourself and you’ll find the whole process much more calming. No excuses = no attitude.

YOU WOULD BE SHOCKED AT HOW MANY ACTORS DO JUST THAT. 'I DIDN'T BLAH, BLAH, BLAH' WHO CARES??

THREE BIG AUDITION MISTAKES....FIRST ONE:

IN MY OPINION:

WILLIAM REYNOLDS:

THREE BIG AUDITION MISTAKES....FIRST ONE:

LACK OF CONFIDENCE:

This comes in many forms whether it be the way you hold yourself, lack of eye contact, not knowing what to say, the shakes and it can appear in many other ways too. Lack of confidence begins with your thoughts around yourself and the energy that comes from those thoughts penetrates the room.

When there is a lack of confidence in the auditionee that can ring alarm bells. ‘Will this person cope?’ is the first thought that runs through my mind when I’m auditioning. If you lack confidence in yourself you must work on your mind to overcome this. Don’t give anyone a reason not to employ you.

PLUS, DON'T THINK ABOUT WHAT YOU SHOULD NOT BE DOING AND LOSE YOUR FOCUS.

WHAT COLOR SHOULD I WEAR ON AN AUDITION

IN MY OPINION:

WILLIAM REYNOLDS:

WHAT COLOR SHOULD I WEAR ON AN AUDITION;;

EXCERPT FROM BACKSTAGE MAGAZINE:

The key word for this week is BLUE.

Why blue? Why a color? Colors are a form of energy. When you communicate, you're expressing ideas through energy – your personality, your voice, your appearance, and the COLOR you're wearing! When you appear on camera, the lens picks up the energy of that color. Certain colors have more energy and attraction than others. Bright reds and oranges may have a lot of energy, but to most people, these tones are not very appealing. Red can represent passion but also fire, fear, blood, and anger. Dark somber colors – black, evergreen, and brown – are usually perceived as depressing, cold, and sad. Dull shades of gray, navy, and cranberry usually represent the corporate world. Vibrant and pastel shades are generally the most popular. They're used frequently in nurseries, schools, and hospitals, as they are perceived as happy, relaxing, and healing. 

And guess which shade is the most popular with most people? You guessed it. BLUE. Why? Blue is the color of the sky and water. It is the most frequent color used in nature – at least on our planet. And it represents a positive energy. Think about it. Blue skies, blue moon, blue screen, JetBlue, etc. On any given day, you'll see more of the color blue than any shade in the rainbow so it's the most universal and the most comfortable. It puts people at ease.

 AND 'THIS', THIS COLOR IS THE VERY FIRST THING THOSE THAT MATTER SEE, AND OPINIONS ARE MANY TIMES FORMED 'INSTANTLY'. So make the most of it.

HOW ABOUT OPRAH AND JAY-Z

IN MY OPINION:

WILLIAM REYNOLDS:

SO YOU THINK YOU'VE GOT IT TOUGH?

HOW ABOUT OPRAH AND JAY-Z

Jay Z -- Jay Z grew up humbly in Brooklyn's Marcy Housing Projects, and was involved in crime while growing up, shooting his brother in the arm at age 12 for stealing his jewelry...As a teen, Jay Z sold drugs to make ends meet, and became a rapper, which would prove to be his most lucrative move, as he is now reportedly worth $550 million.

Oprah Winfrey -- Oprah Winfrey, who was raised by her grandmother, was born into poverty in rural Mississippi to a teenage single mother. Winfrey has spoken about experiencing significant hardship as a child, and the fact that she was raped at the age of 9 and became pregnant at 14 (her son died in infancy). When Winfrey was sent to live with her father in Tennessee, Winfrey found employment in the radio field while still in high school, and would begin her journalism career working as a co-anchor for the local evening news at 19...She is now worth $2.9 billion.

THIS SCENE IS 'REAL'.

IN MY OPINION;

WILLIAM REYNOLDS;

THEY LOOK SCARED BECAUSE THEY ARE SCARED

THIS SCENE IS 'REAL'.

AT LEAST ONE MORE STUNT GONE HORRIBLY WRONG:

IN MY OPINION;

WILLIAM REYNOLDS;

AT LEAST ONE MORE STUNT GONE HORRIBLY WRONG:

WHAT YOU DON'T SEE..BEHIND THE SCENES

IN MY OPINION:

WILLIAM REYNOLDS:

WHAT YOU DON'T SEE..BEHIND THE SCENES:::

I'M THINKING OF DOING SOME MORE OF THESE BLOGS:

SOME PAINFUL, SOME FUNNY;;

FIVE WAYS TO KEEP THE DIRECTOR AND THE CREW 'HAPPY'.

IN MY OPINION:

WILLIAM REYNOLDS:

FIVE WAYS TO KEEP THE DIRECTOR AND THE CREW 'HAPPY'.

1. Be Punctual:  When the director is ready to go, the crew has already been there for awhile, in place and ready to film.

2. Let the crew EAT:  Filming a movie is long and hard, moving equipment, sometimes heavy, long hours etc. they will need

fuel. One of the first things a director learns is feed the crew, a well fed crew is a happy crew.

3. Keep call times and turnaround times as reasonable as possible:  One scene and then the next (hopefully).

4. Learn the job and/or know your stuff: Some directors work from the top down, many times not knowing (or caring) 

who is actually doing the work, but it better get done.

5. Knowing what they (directors) want: All film decisions begin, and finish with the director. This is easily the most demanding

and stressful job on a film. The directors are responsible for the 'entire' movie, every part, every scene and the foresight to see

it all put back together in one marketable piece.

So if you are on a film in any capacity, principal role, extra, caterer, props, 'anything at all', be respectful and do what you

were hired to do,,,that is if you want to work again.

THE DREADED COLD READING:

IN MY OPINION;

WILLIAM REYNOLDS;

THE DREADED COLD READING:

Many actors may go in with a prepare monologue, that in the eyes of the CASTING DIRECTOR, have nothing to do with the character in the script, so it is not accepted many times.The problem is that many very good actors confess that they do fine once they’re on the job, but are terrible at cold readings. And why should that be? To some extent it makes sense that cold readings are difficult. Auditioning is difficult, just as going out for any job is difficult, nerve-wracking and uncertain. You are “selling yourself” to a prospective employer and that can be inherently uncomfortable. In addition, you are often not given adequate information to give a decent performance. If someone hands you “sides” from a scene a few minutes before you have to do that scene, how can you tell what the scene is about and how to approach it? In addition, how do you know what the auditors are looking for? Well, you don’t. In some cases you will have a chance to look at the script while you are waiting your turn, or in some cases may even be given an advance copy of the whole play or script or at least a detailed breakdown and description, but in many cases you will have no advance information and very little at the time of the audition. So an actor has to be prepared to deduce the correct approach to the scene from the scene itself, a very zen exercise: “Here is the material you will be playing, and it is all that you have.” Most actors when faced with the above prospect – going into an uncertain and tense situation with little information, in which one is seeking employment – will hate the experience. Sometimes it goes well and sometimes it seems not to go so well, but either way the actor does not look forward to going out for the job in this way. It is very uncertain and uncomfortable. And when you contemplate the fact that this is the way that most professional actors will be spending most of their time, that is pretty depressing. Actors do not work all the time – that’s just the way it is. And rather than finding one job and keeping it for a year or perhaps many years, the actor has to look for work over and over again, usually one project at a time. And so he or she is faced with this unpleasant prospect of over and over again encountering an unpleasant situation in order to get the very means of doing their craft. So what to do?????? AS MENTIONED IN EARLIER POSTS, COME UP WITH A CHARACTER THAT 'YOU' THE ACTOR FEELS IS APPROPRIATE AND JUST GO WITH IT. AND REMEMBER..'YOU ARE AN ACTOR'.

GET FOCUSED ON 'WHAT YOU WANT TO DO'.

IN MY OPINION:

WILLIAM REYNOLDS:

GET FOCUSED ON 'WHAT YOU WANT TO DO'.

Our brains behave like a beachball filled with bees. Hundreds of conflicting impulses, pushing us in different directions//// People never want to do one thing. We want to do all the things. We simultaneously want to exercise and to learn Spanish and to go out for pizza. Our desires are countless, independent agents, working to nudge our beach ball in their own selfish direction. And so usually, that ball is going nowhere. It’s controlled more by the terrain than by the will of what’s inside it. ...This is how most people live their lives. We feel endlessly conflicted. We never have enough time. And what happens to us is stronger than our ability to combat it>>>>>>>Let’s fix that.>>>>The curse of the ‘great idea’<<<<

Imagine if 20 years ago you were a genius who had the idea of starting up Google, and Amazon, and Facebook. You just invented three of the best business ideas of the last century, and if you had started any one of them you could now be worth billions. But if you were determined to do all three simultaneously you’d be absolutely nowhere.>>>>It’s not enough to have great ideas. Lots of people have great ideas. The problem is that too many great ideas cancel each other out. So, if ACTING is your dream job, don't just sit there and think a world class agent is going to come knocking, because you are soooo cute, everyone tells you that, right. Well so is Kerry Washington, Angeline Jolie, Brad Pitt, Channing Tatum etc..Difference is that all prepared themselves, suffered many setbacks, got all kinds of negative input, but kept their respective noses pointed in the direction they chose.

SANDY MEISNER ON HIS TECHNIQUE: PART THREE OF THREE:

IN MY OPINION:

WILLIAM REYNOLDS:

SANDY MEISNER ON HIS TECHNIQUE:

PART THREE OF THREE:

3. Actors Must Live, not Plan

“Don’t be an actor. Be a human being who works off what exists under imaginary circumstances.“Sanford Meisner was a strong proponent of improvisation, which allows the actor to bring spontaneity into the scene. Today, everybody values great improvisation skills — it’s a vitally important tool to have. This skill would give the actor enough courage to come into the scene emotionally unattached, and in turn let the emotions be guided by imaginary circumstances of the scene To explain it, Sandy used a metaphor: “The text is like a canoe, and the river on which it sits is the emotion. The text floats on the river. If the water of the river is turbulent, the words will come out like a canoe on a rough river. It all depends on the flow of the river which is your emotion.” In other words, you work off your partner, moment to moment, and that is what gives birth to your emotions. “Punctuation is emotional, not grammatical. If you say, “To be [pause] or not to be [pause] that [! pause] is the question,” there are three commas, three emotional commas, and an exclamation point in those lines, but they’re not on the paper.“ Additionally, you must have heard this advice a million times by now: “don’t judge your character.” This should be applied to acting in general. You must never try to understand the scene intellectually, from your own point of view. As Meisner said, intellect has nothing to do with acting. What drives the new emotions into an actor who is ready to absorb? Listening, instincts and impulses. When doing a scene, you do not pick up on cues, you do not wait for the line — you pick up on impulses (something in your partner’s words or behavior that makes your emotions tick). That is what real listening is all about. To understand it better, think of one of the first rules of improvisation: you cannot prepare anything — you respond to what you are given. When an actor listens to their partner, picks up on their impulses and then reacts with spontaneity, that is what brings the scene to life. “Anybody can read. But acting is living under imaginary circumstances.“

SANDY MEISNER ON HIS TECHNIQUE: PART TWO OF THREE;

IN MY OPINION:

WILLIAM REYNOLDS:

SANDY MEISNER ON HIS TECHNIQUE:

PART TWO OF THREE;

2. Actors Must Use Their Instinct

“It is my belief that talent comes from instinct.“When it comes to living truthfully within a scene, actors must trust their instincts. Once again, you don’t need to pretend to react on your instincts; you just react, without thinking. As Meisner mentions, the problem that a lot of actors have is that they follow only the instincts that are socially acceptable. That is NOT what truthful acting is. “We fear being branded as uncivilized for liking or disliking something,” is what Sandy says. And that, my friends, is where self-consciousness is being born. Self-consciousness is the death of a good actor. Here is what he says to one of his students after interrupting their exercise: “Listen, Philip, you have some kind of cockeyed idea that acting is an imitation of life. […] You try to be logical, as in life. You try to be polite, as in life. May I say, as the world’s oldest living teacher, fuck polite! […] You cannot be gentleman and be an actor.” One of Meisner exercise’s principle is “Don’t do anything unless something happens to make you do it,” because that is what generates instinct. And the other: “What you do doesn’t depend on you; it depends on the other fellow.” These are important principles to remember, but since we’re not covering exercises today, you’ll have to explore that one on your own. Working of your instincts brings spontaneity to an actor’s performance, and that is when the act truly comes to life and is much more interesting to watch. “Let your instincts dictate the changes,” says Meisner. And to illustrate what that means, Sandy pinches one of his students and she shouts “Mr Meisner!” That pinch justified the ouch; it brought a truthful and spontaneous reaction.

SANDY MEISNER ON 'HIS TECHNIQUE';

IN MY OPINION:

WILLIAM REYNOLDS:

SANDY MEISNER ON 'HIS TECHNIQUE';

ONE OF THREE;

1. Actors Must Really Listen

“The foundation of acting is the reality of doing.“

How many times have you heard that if you want to be a good actor, you must learn to listen? As it is mentioned in his book, after a short speech Meisner asks his class: “Are you listening to me? Are you really listening to me? […] That’s the reality of doing. If you do something, you REALLY DO IT..DON'T PRETEND TO BE DOING IT. This is the first and most important lesson aspiring actors must learn. What Sanford here says is that when doing a scene, YOU are the character. You do not listen “as the character”; you listen as yourself and you react as yourself. Do NOT pretend to be doing something just for the sake of it — really do it. ""That is the foundation of listening, which is every actor’s number one tool; ergo the foundation of acting.""

“If you’re really doing it, then you don’t have time to watch yourself doing it. You only have the time and energy to do it.“

GETTING OUTSIDE OF YOUR COMFORT ZONE

IN MY OPINION;

WILLIAM REYNOLDS:

GETTING OUTSIDE OF YOUR COMFORT ZONE:

What I find really interesting is to try and mix it up, to push myself and try different things. I don't want to stay in my comfort zone. I want to take risks and keep myself scared. Michael Fassbender

SO, YOU WANNA BE AN ACTOR HUH?

IN MY OPINION;

WILLIAM REYNOLDS:

SO, YOU WANNA BE AN ACTOR HUH?

First, I think you need to be clear about what you mean by a career in acting. Most of us, when we get to Hollywood,  Atlanta or New York, want everything and anything. We want to be a movie star but we’ll do background or a student film. It doesn’t matter. We don’t think we can choose so we don’t. But like any profession, the more specific you are about your goals, the easier it is for others to help you and imagine you succeeding and these are two very important things. You never know who is going to help you so you have to assume that everyone can. And you have to exude success for people to want to help you. No one likes people who think they don’t need help, don’t know what they want or clearly aren’t ready for success. AND MOST OF ALL DO NOT TAKE ADVICE FROM ANOTHER WANNABE IN THE SAME SPOT AS YOU.