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modeling & talent ● breaking into showbiz By Adam Hill Deﬁning Your Own Reality If what you’re doing feels like work, you should learn new ways with which to enjoy it, so you can fully master your craft Y ou can say that my reality is my home, car and pets. The fact that I need air to breathe and food to sustain me. That I can feel sad, happy, angry and frustrated. That I live in Las Vegas, Sin City, yet I don’t gamble, drink, smoke, or carouse. All this, and much more, is true and seemingly obvious. How- ever, is it my true reality? What is so much realer to me is my imagination, my cre- ativity. It is not as tangible or corporeal as the more obvious realities. Yet, in my world it transcends all the other reali- ties. If truth be told, all my other realities depend on my imagination and creativity. “REALITY LEAVES A LOT TO THE IMAGINA- TION.”—JOHN LENNON If you are someone pursuing a career in show business, where does your imagination and creativity rank in your life? When I was a beginning actor, I had the nerve to ask the brilliant actress, Rosemary Harris, a question—”What is acting?” After a moment’s thought, she responded, “Dress up time in grandma’s attic.” It took me a while before I understood the simplicity of her statement. Acting is about imagination and our ability to believe what we imagine as true. There is no imagination as alive as that of a young child, which is what we actors and all artists strive to achieve. 22 PAGEANTRY “TO BE AN ACTOR YOU HAVE TO BE A CHILD.”—ACTING LEGEND PAUL NEWMAN At the beginning of my book, “Beyond the Moon,” I make the bold statement that you are born with the two most powerful acting tools: your imagination and belief system. In childhood, these tools are evident and they oc- cupy a great deal of the child’s life. The imagination of the child who plays “Cowboys and Indians” or the little girl who has a tea party is soaring. These games are real to a child because they believe them to be real. A strange thing happens as we mature. Right around the time of puberty, we begin to deny our imaginations. Why? Perhaps it is our peers who put restrictions on us by ridi- culing our imaginative choices. Nothing stops a young per- son faster than the sound of being laughed at. Perhaps it is our teachers and/or parents, or other authority ﬁgures, who tell us to stop daydreaming and get our heads out of the clouds. “Get down to Earth,” they say. “EVERY CHILD IS BORN BLESSED WITH A VIVID IMAGINATION. BUT JUST AS A MUSCLE GROWS FLABBY WITH DISUSE, SO THE BRIGHT IMAGINATION OF A CHILD PALES IN LATER YEARS IF HE CEASES TO EXERCISE IT.” —WALT DISNEY Perhaps the secret is to not get our heads out of the