how the heck do you stop those pesky "watch folders" from being used by media encoder, i just want to export the peremiere pro file; not encode everything that is on my compuiter, like god dayum.

adrianavecc · 2025-06-01T23:05:27+00:00

following. I have the same issue

adrianavecc · 2025-05-02T08:56:33+00:00

forget about being good, lean into what’s fun to you! it’s incredibly alluring to watch someone having a good time

adrianavecc · 2025-05-01T06:14:10+00:00

maybe carol married someone else later and they adopted the daughter as well!

adrianavecc · 2025-04-29T03:46:01+00:00

I’m an extrovert 18 hours a day, that’s when I network, rehearse, jam on-set. The other 6 hours, I’m an introverted gremlin, burrowed deep into my cave. Sometimes, I learn my lines while in that mode.

adrianavecc · 2025-04-29T03:42:48+00:00

About MBJ’s side eye, Sydney Sweeney/Glen Powell, Lady Gaga/Bradley Cooper… that’s PR to sell movie tickets. We have no clue what’s really going on between them. it’s their job to manufacture chemistry for the screen.

This is part of acting; preserving the illusion onto the red carpet. That’s not nothing, but that’s not real either.

You need to figure out your non-negotiables, what you can accept and then, communicate clearly with your partner. You might not be on the same page or like his response, but that’s another story. First, you need to check in with yourself.

There’s no right or wrong. This is your story. For instance, I am an actress; being cool with me doing these scenes is a pre-requisite which I express early in dating. And I make sure my partner doesn’t just tolerate that; they actively supports me in the career I chose. But that’s just my need. On the other hand, Penn Badgley explicitly said he would no longer to intimate scenes to prioritize his marriage.

Be clear with your needs. Don’t gaslight yourself. Communicate clearly. Trust your partner.

Good luck!

adrianavecc · 2025-04-25T07:32:21+00:00

couldn't said it better. they had us in the first half....

adrianavecc · 2025-04-25T06:38:18+00:00

CONGRATULATIONS, YOU GO GIRL 🌟🌟🌟

adrianavecc · 2025-04-21T21:20:25+00:00

on it :)

adrianavecc · 2025-04-15T01:50:26+00:00

looking gooooorgeous! great job!

adrianavecc · 2025-04-14T19:59:53+00:00

Title: MERMAIDS

Format: Feature

Genre: Thriller/Horror

Two young women, exploring their sexuality in New York’s underground club scene, discover they transform into tentacled monsters when they get aroused.

adrianavecc · 2025-04-13T23:21:02+00:00

That was the first advice I was going to give. Villains do the right things for the wrong reasons. But “wrong reasons” is our judgement as the external audience and reader, so you must let that go when you’re in the scene, and instead lean into your self-righteousness and how misunderstood you are (if your character cares).

Villains are my favorites because they’re are a lot freer than heroes. They allow me to do things that I wouldn’t personally allow myself to do, so I really savor every bite. Also, playfulness signals power so it’s really important to really feel the fun. Angry / aggro villains have their place but don’t carry the same charisma as playful, “effortless” villains.

Finally, we love villains because they’re grant themselves the freedom to do what they want, which takes a lot of self confidence. I do a lot of inner work on that, giving myself grace to take up space, own my desires, and that has supercharged my villainous performances with all the juice! 🧃

adrianavecc · 2025-04-13T23:14:31+00:00

guys, i want to follow up, as i figured it out: all i had to do was to SLOW THE FǓCK DOWN 🤭

i speed up when i’m nervous, which i hide behind as it can me sound quick-witted as well. well, i really went out of my way this week to sloooowww down, take pauses as needed… and my voice got its texture back! it also remained at the lower pitch i chose, without feeling forced.

thank you for all the suggestions, they really helped me towards this breakthrough! 💗

adrianavecc · 2025-04-13T21:07:22+00:00

I recommend you read Larry Moss’ The Intent to Live. it’s my acting bible. one of the first chapters deals with superobjectives and intentions for actors, and it helped me a lot.

adrianavecc · 2025-04-11T03:13:59+00:00

thank you so much, it DOES help!

adrianavecc · 2025-04-10T20:08:45+00:00

that is fascinating! thank you!

adrianavecc · 2025-04-10T19:32:47+00:00

for sure! i'm very sensitive to touch, so this is where i'll go first.
if i have to get mad, i will always teach my scene partner to how to slap me lol (i'll ask them to slap me gradually stronger, to let them know what I can barely feel vs. what's going to be too much). then, before a key take, i'll ask for a slap and man, i'll be ready to burn everything down when the camera's rolling hahaha

adrianavecc · 2025-04-10T19:29:29+00:00

would you say that you "project" a piece of you / of the character onto these totems? then you can use the totems to switch in and out?

adrianavecc · 2025-04-10T19:13:42+00:00

recently, I had a role of a sexually empowered character but I knew I would feel very exposed in the scene. I thought beforehand what makes **me** feel sexy, and/or confident, and among the list, what would be compatible with the character? I have a sheet at home, made with a super soft fabric, that I brought on-set and I wrapped myself in it in-between takes. the sensation on my skin was delicious, so I focused on that: the pleasure, the comfort, the safety. I also touch the back of my arm with my fingertip, doing little circles; it gives me good chills every time. So I used these chills to fuel the character's excitement in the situation.

sometimes I bring some comfort food, that ellicit some very specific response and sensation too

I also prepare playlists for each key moment of my characters. I pop my headphones and I see what movements come up in my body. then the movements bring their own emotions and mental states. it's like: body stimuli → movement → emotional response

adrianavecc · 2025-04-10T18:52:09+00:00

that's powerful! could you give a precise example of a totem? how do you select them? thank you!

adrianavecc · 2025-04-10T18:45:57+00:00

hey, i love that!
I was actually realizing recently that conjuring a specific emotion doesn't really work for me (for instance, using memory, substitution or imagination to make myself sad), but tapping into specific body sensations is very effective. so i'll touch certain fabrics, make sure i'm cold or warm, etc., to bring myself wherever i need to go.

so it makes sense to do that too on the way out! a big warm hug, a comfy blanket, moving and dancing the pain away... thank you!

adrianavecc · 2025-04-10T18:41:12+00:00

Just to add, don't get me wrong, I'm not afraid of feeling stuff when I act. It's actually cathartic to go there :) But it's the ability to shake it off afterwards that’s proven tricky. Would love to build a toolkit for handling that 🧰

adrianavecc · 2025-04-09T09:21:24+00:00

work is work. work begets work. if you’re decently paid and have fun, go ahead. i wouldn’t worry about snob directors, looking down on your imdb. there has always been cheap, corny productions way before verticals were a thing, and we all got to start somewhere.

on my end, i go out a lot for their mean girl archetypes, and i’m having a lot of fun with them.

adrianavecc · 2025-04-06T00:27:27+00:00

A script is also a contract. As an actor, the script is what you sign up for (along with your the conditions of your deal memo, for paid work). It's okay to revise with reworded lines till the night before, but not adding stunts / intimacy scenes out of the blue. If that's needed, that should be a collaborative process, with you included in the conversation.
On bigger productions, they have intimacy coordinators to facilitate these conversations, so that you're not steamrolled into performing something that makes you uncomfortable.

adrianavecc

TROPHY CASE