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acting

A Conversation with Scott Christopher

December 13, 2024 By LDSPMA Leave a Comment

Scott Christopher is the author of the best-selling People People, The Levity Effect, and The Seven UPs of Happiness. He is also a sought-after actor who has appeared in many network television series, including NCIS, Modern Family, Criminal Minds, Granite Flats, Touched By an Angel, and many other movies on Disney Channel, Hallmark, Lifetime, Netflix, and Amazon. He and his wife, Elizabeth, live in Salt Lake City and have five sons and two grandkids.

Scott knew he wanted to be an actor when he was three years old and his sister taught him to read. From there, he began to read and copy scripts or whatever literature he could get his hands on. Every movement he made became a scene in his head, imagining a camera trained on him no matter what room he was in.

Validation for his creative pursuits came years later when he and his brother won a national acting competition at the Kennedy Center in Washington, D.C. Before their turn to compete, they stepped outside through the emergency exit for a moment. “And we two elders of Israel… folded our arms and said a prayer right there on the bank of the Potomac.” They didn’t ask for the Lord’s help to win the competition, though they and their young wives needed the money.

Instead, they prayed, “Father, please just help us to do our best. We’ve been rehearsing and have yet to [finish our routine within] the time limit, which is five minutes.”

They came in at four minutes and fifty-nine seconds, winning the whole competition by a unanimous decision from the judges. Scott won best actor, and his brother won best partner. The win motivated Scott to continue pursuing his goals. He recalls thinking, “I’ll keep trying this. I wasn’t gonna change my mind anyway, but that helped.”

Born in Michigan and raised by a single mother who converted to The Church of Jesus Christ of Latter-day Saints, Scott learned to trust in the Lord. Thanks to his mother’s faith, he grew up believing God was in charge of his life. Once his mother realized he was set on being an actor, she told him “to trust the Lord. Let Him be your agent.” And while that wasn’t the most practical advice from a business standpoint, Scott still pleads with Heavenly Father to point him in the direction he needs to go.

One of the first moments Scott realized he had made it in the acting world was working on the BYU-TV scripted show Granite Flats, which was a well-received and highly rated show. Scott says, “I made good friends with one of the actors who was very helpful in connecting me to [directors and producers in] Los Angeles. She understood that I had pretty strict values and standards and that I wasn’t looking to audition for everything under the sun.”

He goes on to say how critical the writing process is in terms of the creative whole. “If it’s well written, just hand me the script, give me a minute to memorize it, and I’ll just come out and play as me—within the context of the script. I put my life in the hands of the Lord and just see what’s out there.” Sometimes the parts are only two lines, but if the TV episode is clean, he can leave the set without feeling embarrassed about his work.

There are things, however, that Scott won’t do for the sake of an acting part. During his LDS mission in Barcelona, Spain, he became fluent in Spanish, a skill that opened up unique opportunities in his career. When offered a Spanish-speaking part on a major Amazon Prime series, his “spidey sense” started tingling over the possible content. Though he knew the show would be grittier than his other projects, it wasn’t until he reviewed the scripts and discovered the TV-MA rating that he realized he couldn’t lower his standards to take the role. He says, “Within two minutes, I was on the phone with my agent, and I said, ‘It’s not gonna happen.’”

While the producers begged him to be a part of the show, the writers refused to change the script to conform to his standards. Scott says, “So we parted ways. I thanked and praised the Lord for letting me see the scripts before I signed anything. I was heartbroken, but I was happy and at peace.”

As he concludes his discussion about his creative journey, Scott says, “Be 100% true to what you know and have felt and believed, that truly the perspective of the great plan of salvation is not about what we can take with us. We automatically assume that we’re talking about the money, jewelry, cars, and boats. And while that is true, there are    
 other things you can’t take with you, like the desire to have these things. We each have our own little gifts. Those carry on through eternity, but their worldly importance does not.”

Scott emphasizes how service and loving others truly make a difference. Joy comes from helping others. “Find what you’re passionate about, and hopefully what you’re passionate about does make a difference, even if it’s minute and small and local. Go after it.”

This article is based on the Called to Create podcast featured during Season 3, Episode 15. You can listen to the full podcast here.


Filed Under: Articles, Called to Create Conversations Tagged With: acting

Representing the Savior on Stage

June 3, 2023 By Tristi Pinkston 1 Comment

Photo from the 2019 Hill Cumorah Pageant.

The theater has been an important part of Latter-day Saint culture from the very beginning. One of the most prominent buildings erected in Nauvoo was the cultural hall, where the Saints would gather to enjoy concerts, plays, and other performing arts that celebrated the life of the Savior and taught other important gospel concepts. Visitors to Nauvoo can still attend events held in the cultural hall to this day, and it’s a marvelous experience.

As Latter-day Saint creators today, we frequently feel a pull to use our talents for the same objective—to honor the Savior and to convey our love for Him to others. I personally feel this is the most important use of our talents, and perhaps even why we were given them in the first place. As with all gifts, however, there are ways to use them appropriately, and this is especially true when it comes to depicting the Savior in our dramatic works.

Several years ago, I had the opportunity to serve on the Church’s music and cultural arts committee. We had the task of reading over scripts and musical compositions submitted by Church members to determine whether they were appropriate to be performed within our meetings. This committee no longer exists, but I certainly did enjoy my time there.

As part of our process, we evaluated each piece for the following criteria, which you can use as well in examining your own work.

Is the Savior Depicted on Stage?

Great care should be taken in how we show the Savior in our theatrical productions. We should demonstrate reverence in every respect, including how the actor is costumed and who is chosen to play that role. As per the Church Handbook, the Savior may be portrayed by a man “of wholesome personal character” (Chapter 20: Activities 20.5.6). Additionally, the Primary may portray the Savior in Nativity scenes, but should not depict Heavenly Father or the Holy Ghost (See Chapter 12: Primary 12.5.5).

Is the Savior Quoted Correctly?

While other characters in our play may be fictional and we might use our imaginations to create dialogue for them, the actor portraying the Savior should only speak lines taken directly from the scriptures, without adding anything extra. It’s best to check the script carefully to make sure we have quoted the Savior’s words as accurately as possible. An excellent example is found in the Bible and Book of Mormon videos the Church has produced over the last several years. As I watch them, I feel as though the scriptures have come to life before my eyes, which helps me understand and appreciate them more. Attending a play that reverently features the words of the Savior can likewise be a testimony-building experience.

Is a Testimony of the Savior the Prevailing Message?

If you ever had the opportunity to see the Manti Pageant or the Hill Cumorah Pageant, you’ll remember how those productions made Christ the focus of the story. While they depicted the difficulties experienced by the early Saints (in the case of the Manti Pageant) and the wars between the Lamanites and Nephites (both the Manti Pageant and the Hill Cumorah Pageant), the message was brought back to the hope that Jesus Christ gives to all of us. Depictions of sin, war, and conflict should be kept in careful balance, and the audience should be left with feelings of hope, joy, and reverence.

Our Personal Preparation

I can think of no subject more daunting than writing about the Savior. Because the subject is so immense, no author could truly write something that adequately conveys everything that He is, but this does not mean we shouldn’t try. Again, we were given our talents so that we might share our testimonies with others, and our attempts don’t have to be perfect.

I suggest that as we embark on these projects, we prepare ourselves in the following ways:

  1. Study the life of the Savior and His actual words as found in the New Testament and the Book of Mormon.
  2. Look up conference talks and other addresses that focus on the Savior and His mission.
  3. Pray earnestly for inspiration so that we may be guided in what to say and how to present it.
  4. Attend the temple when location and circumstances permit and seek guidance there.
  5. Seek out positive examples of the type of art we wish to create and study them to determine why they are successful in conveying their themes.

The most important element in our preparation is our willingness to humble ourselves and allow the Spirit to teach us how to create. It’s far too easy to let our artistic egos take the upper hand, but when we’re seeking to write something that truly has the power to carry messages to the hearts of our viewers, we should step back and let the Spirit take the lead, for that is the true way people are touched.

Theater is just one medium through which we can teach others about the Savior, but it’s certainly powerful. It not only touches the audience, but the cast as well. When we choose such an uplifting topic and show it the reverence it deserves, the experience can change lives.

A headshot of Tristi Pinkston.

Tristi Pinkston

Tristi Pinkston is the mother of four, the wife of one, the author of one hundred and seventy-five, and the editor of oodles. She serves as the chairman of the board for the Bear Lake Arts Council and participates enthusiastically (if not with utmost skill) in their theatrical productions. She is currently the editor-in-chief for the resource library here on the LDSPMA website. You can learn more about her on her website.

    Filed Under: Articles, Craft Skills, Faith & Mindset, Gospel Principles, Media, Film & Theater Tagged With: acting, Jesus Christ, Theater

    Acting with Juice Boxes: Exploring Indian Breathing Techniques

    January 20, 2021 By Brittany Passmore 2 Comments

    I certainly don’t consider myself a professional actress by any means, but I cherish the memories I have from participating in school and community productions. Because we have so many talented and aspiring actors and actresses in our membership, I wanted to talk about a breathing technique I learned from my high school theatre teacher about rasa boxes.

    Rasa Boxes

    My director taught me and my peers this Indian breathing technique during one of our many play rehearsals. He explained to us that rasa was an Indian word that could be translated as “breath” but also “the juice of life.” We joked that the rasa box technique could also be called the “juice box” technique.

    The technique can be illustrated with a three-by-three square. Each box represents a different state of emotion, such as sadness, pleasure, anger, and so on.

    raudra
    anger, frustration, rage
    bhayanaka
    fear, terror
    karuna
    sadness
    sringara
    pleasure, bliss
    shantra
    beyond emotion
    hasya
    mirth, laughter
    bibhatsa
    disgust
    vira
    gallantry, heroics, courage
    adbuda
    wonder, awe

    Shantra is in the centermost box because it is “beyond emotion,” or a neutral state that can lead to all other emotional states.

    The main idea behind rasa boxes is that your breath can be used as a tool to embody these various emotional states. Once you “activate” or engage the breath properly, you can better feel and portray the actual emotion throughout your body.

    The Exercise

    My teacher led us through an exercise to try out the technique. We would always start with shantra, a calm and even breath. There, we would re-center ourselves before and after we attempted other emotional states.

    We would pick one of the rasa boxes—like vira, for example, the breath of gallantry, heroics, and courage—and try to activate that breath. We measured the intensity of our breath (and thus the emotion) on a scale of one to ten, one being the weakest and ten being the strongest. Then we would work our way up and down the scale to explore the breath—not necessarily to get all the way to a 10 but to see how our breath influenced our body language. After playing with the breath at different intensities, we would go back to shantra, recenter, and choose another rasa box.

    It wasn’t an easy exercise. I struggled at first to know how to portray an emotion like vira—after all, how do you breathe heroically? My director encouraged us to just keep focusing and projecting the emotion through our breath. He warned us to not overthink the exercise and let go of whatever held us back, and I found myself understanding the technique more as I tried other breaths.

    A young woman sitting crosslegged with her hands in front of her diaphram, breathing.
    Takeaway Lessons

    I learned from this exercise that how I breathed could actually influence how I felt and how my body reacted. I wasn’t an expert at applying this technique in all my high school acting, but I think it helped me better portray the role of a simple countrywoman going into shock after experiencing a driveby shooting. 

    And although I don’t usually remember all of the Indian names for the different rasa boxes, I’ve become more aware of how my breath is related to my everyday actions. I’ve learned that focusing a little control on my breathing can truly influence my attitude and the results I see in my life.

    Try out this breathing technique in your acting (or everyday) pursuits! Remember that the point is not to overthink the process and get each emotion perfect on every number of the scale. The point is to explore what your breath does to your emotions and body so you can be more aware of the power your breath has and discover new ways to portray various emotions.

    ***

    Brittany Passmore graduated from BYU with a major in editing and publishing. She works as a freelance editor specializing in science-fiction and fantasy. When she’s not reading, writing, or editing, Brittany loves to be a stay-at-home mom to her 18-month-old son and dabble in her musical hobbies of piano, flute, guitar, and singing. Oh, and of course, she loves practicing yoga.

    Website: https://brittanympassmore.wixsite.com/passmoreedits

    A photo of the author of the post, Brittany Passmore.

    Filed Under: Articles, Cultural Diversity, Faith & Mindset, Media, Film & Theater, Productivity, Professional Skills Tagged With: acting, actor, actors, breath, breathing, breathing exercise, breathing techniques, drama exercises, emotion, emotion in acting, emotions, Indian breathing techniques, juice box technique, rasa boxes, shantra

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