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The GOOD GUYS and The BAD GUYS
It's all in the Cinematic Archetype
THE KEY TO ABSOLUTE STAR POWER
What if you knew the actual ‘scientific formula’ to Charisma? And what would you do if you found out the quantified technology behind Presence? And what if you knew how to psychologically produce that incredible thing ‘IT’? How much FUN would you have with all the commercial audience ingredients to Star Quality?
SOUNDS TOO GOOD TO BE TRUE?
We didn’t believe it at first either. But the latest applications of Jungian psychometric identification, new graphic audience response survey technology, and archetypal screen image dynamics have provided us with the the keys to more correct casting.
Many new and exciting developments in screen imaging and talent processing have recently occurred. Within the last two decades, new scientific imaging devices have brought us the capacity to measure and evaluate the imagery of entertainment talent. New measuring equipment has given us the capacity to extract psychological audience reactions. New computer imaging devices which include PET scanning (positron emission topography), SQUID arrays (superconducting quantum interference devices), FMRI (functional magnetic resonance imaging) have provided us with the maps of the archetype brain.
Multiple CFI™ proprietary biometric software applications (in combination with market research programs and audience response field survey tools) accurately measure the intercommunicative relationships between the audience and what they see on the screen. The most important measurements include the mental or emotional and neurological or physiological operations of FACIAL ENERVATION, LINGUAL ARTICULATION, VOCAL MODULATION and KINETIC MOTORIZATION. These are the key conduits between talent presentations and theatrical audience relations and reactions. It can sound very complicated but in the end, the answers are as clear as day and night.
For the last eighteen years, we have specialized in developing motion picture product and creating screen charisma and sexual chemistry within film talent. We’re here to make it easy for you and provide you with the incredibly dramatic results (but not add any technical headaches).
THE FOUNDATION OF EVERY HUMAN DRAMA OR COMEDY
IS CREATED BY THE NATURAL CONFLICT OF TWO OPPOSITES.
In every story, there are TWO basic roles or characters that are opposite each other. These two opposite characters (or roles) are known as ‘Cinematic Archetypes’.
1. One of the two cinematic archetypes is the character or role
whose focuses on a specific half of the entire human range of behaviorism,
and is known as the TRUE-HERO ARCHETYPE.
2. The other cinematic archetype is that character or role
whose essences focus on the other and opposite half of the human range of behaviorism,
and this one is known as the ANTI-HERO ARCHETYPE.
CFI™ can scientifically identify every actor’s cinematic archetype and match him or her to the correct storyline archetype in the script or outline. After this biometric examination we then objectively identify the emotional essences that audiences love best about the actor ... and chart the characterized results. (Armed with the knowledge of what mass audiences believe about them, the actor is dramatically revitalized. The benefits for everyone associated to the talent are amazing.)
As always, whenever a new scientific process is brought forth by advances in technology, it will appear alien or unnatural at first sight. There is a natural human tendency for people to withdraw or, at the very least, remain skeptical of such modern advances until after they have a chance to acclimate or adjust to the oddity of the new thing.
At first, these new imaging processes may seem confusing or even at odds with previous image methods and standards of theatrical or creative expression. It usually takes a small time for our constituents to observe the implementation of these new technologies before they can trust the discoveries. This is only natural and it is not a problem. Every time you are exposed to something new or different this can happen to you -- and it happens to audiences too – every time they go to a theater.
Every time a new face comes on the screen, the audience uses psychological observation techniques to evaluate the new face and get a feeling for their product. We have the knowledge of how they construct that information and the science to identify it. We use this process to evaluate, calculate and orchestrate the imagery talent needs in order to attract and enchant audiences. Although every actor in the world would love to perform any role or archetype as equally well as the opposite actor, this just isn’t possible. Actors are naturally more gifted at performing one type of storyline archetype better than they are the opposite.
HERE'S WHY ...
Deep inside the personality of the actor is the psychological potential or proficiency for performing one type of character/role or archetype better than the opposite. This inborn personality of each actor neurological predetermines the player’s archetypal abilities. Each actor has a ‘personality archetype’ all of his or her own.
Each of the opposing storyline archetypes (or character/roles) can best be performed by an actor whose inborn personality archetype and deep emotional essence is specifically corresponding to the archetype of the story. Within this performance comes the sexual chemistry and charisma which, once hit and miss, is now achieved fully and consistently.
Each player’s archetype ability includes a distinct pattern of expressions or emotions. These patterns of emotions are called ‘essences’. Within these patterns of essences, there are various styles or attributes. Each actor’s essence and their attributes work fantastically when the personal archetype and the cinematic archetype match correctly.
The most valuable way we can assist your talent’s imagery journey is to delineate the audience’s point of view. In order to make it easier for audiences to accept new talent and trust new talent like they do the old standards, we show talent what audiences are expecting and this helps the actor satisfy the audience’s suspension of dis-belief. We can also make career adjustments through improvements to older talents who are lacking their audience’s complete trust.
With this new technology, we are also able to identify talent whom the audience can trust more readily than others. We can identify which talent audiences will have the most affinity with. We can also identify and manipulate which personality attributes the audience will graciously accept or instantly reject in a specific talent. With this fabulous new imaging technology, we create just the right image the audience is eager and anxious to see. The knowledge of what your audience desires and expects from you is priceless.
There are other interesting and unique paradigms within the screen imagery process which we will get into later, but for right now, we’ll start with the basics. You may not be ready to jump in feet first until after you’ve had some time to investigate the many benefits and applications. After a personal demonstration of the process, you’ll want to assimilate these benefits and embrace them rapidly. We are ready and available anytime.
The FOUR BIOMETRIC INDICATORS of Cinematic Archetype
‘Cinematic Archetype' is a term designating the true psychometric foundation of a talent’s personal character as dictated by the unconscious biometric image impression an audience receives through four fundamental human biometric indicators. These vital perceptions are created by two visual mechanisms (MYOFACIAL ARTICULATION and KINETIC MOTORIZATION) and two audio mechanisms (LINGUISTIC ELOCUTION and VOCAL MODULATION).
These four mechanisms are unconsciously targeted and locked onto by motion picture audiences during their suspended disbelief -- and are instantaneously internalized in the quiet darkness of the cinematic para-reality. These intercommunications are immaculate first impressions which are perceived immediately and permanently through both mental and emotional modalities. The untapped secret to casting sexual chemistry and the keys to charisma are acquired through this amazing paradigm called 'cinematic archetypes'.
This interactive process is called ‘image lock’. If the talent’s voice matches their pre-expectation and the actor’s character acts accordingly, the audience feels rewarded for their vulnerable pre-disposition. If not -- the actor is cursed for causing them an experience of confusion and dismay. If actors continuously act ‘as’ they were unconsciously expected to (because of image lock) the audience is extremely gratified and will lovingly praise the players for their parts.
Cinematic archetypes are contrived inside ‘audience empathy’. Audience empathy is that intimate audience response mechanism of ‘muscular mirroring’ or ‘facial mimicry’ of an actor when the actor first appears on screen. Unconsciously, audiences quickly assimilate the muscle articulation of an actor’s face or torso and instantaneously experience a mental reaction and an emotional feeling which constructs an intrinsic expectation of the player’s emotional or psychological capabilities. This ‘audience empathy’ creates an inner, emotional pre-expectation for every talent they see … even before the actor ever gets a chance to speak.
AND THE MOST INTERESTING PART OF IT ALL?
Film audiences don’t even realize they do this. It happens so unconsciously that if you make them stop, they’ll get irrationally upset and curse you for interrupting the empathetic experience. (And should their movie going friends attempt to interrupt them while they are absorbing the actor’s archetype and essences, they’ll curse at them too.) Ever notice how pre-occupied the entire audience is when an actor makes their first entrance or ‘star turn’ on the screen. (It’s because they are all busy mimicking.)
Understanding the facts about audience empathy and this unconscious psychology will help a production excel and glorify any career. However, if an audience is not honored with the act ‘as’ muscular imagery it was expecting and receives some other act ‘like’ image instead -- their disappointment will turn on the product. A product that fails to accommodate the audience’s expectations makes them feel stupid. They feel stupid for even thinking about enjoying the cinematic product in the first place and the unaware producers have destroyed their audience’s silent trust in them.
And we’re talking about ANY audience expectation -- from the first audition or casting audience -- to the final audience watching a screen. NOT understanding the pre-conception of each and every audience will eventually eliminate any actor’s career.
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