DISCOVER YOUR REAL POTENTIAL
As is by now traditional, a studio has bought the rights to a book that hasn’t even come out yet. In this case, it’s Sony Pictures making a movie out of astronaut Scott Kelly’s Endurance: My Year in Space and Our Journey to Mars.
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1. Create a content strategy.
Every minute, 300 hours of video are uploaded to YouTube. How do you rise above the noise? The first step is planning!
2. Make awesome videos.
I get help with my weekly videos from my videographer, Gregg Monteith. Who do you know with great equipment? Here are the other videographers I endorse in L.A. and NYC.
3. Create a custom thumbnail.
This video thumbnail is paramount. It’s the first impression of your content—whether I discover it through an email, search result, or suggested video. By default, YouTube offers you three thumbnail options. However, I’d suggest you go pro and make your own.
4. Write an awesome headline.
Use key words and strong language to draw your audience in. It’s not all about grabbing attention and interest—you’re creating a magnet for the right audience and need to fulfill! Headlines should truly reflect what’s contained in the video content.
5. Fill out the meta data.
Be sure to fill out a description of the video. Include a link to your website in the first few sentences so people can learn more about you. In the meta data or keywords section, be sure to help Google pair you with your audience by using relevant keywords for your video.
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On a recent Saturday afternoon, Lauren Lovette surveyed her dancers before sliding into a split — one of her go-to positions when she’s contemplating a step — and rose suddenly to move through a dynamic passage in her new ballet. She calls this part “soft serve.” In it, dancers line up along a diagonal and pirouette away as their arms swirl above their heads like curlicues topping a dip of Dairy Queen. She made some tweaks; her dancers peeled away from the line with more refinement but no less verve.
“I think that’s going to work,” she said, half to herself. “I believe it.”
Ms. Lovette, a principal with New York City Ballet, frequently uses that phrase when assessing her choreography, which, like her dancing, is lush. “That’s when you know it’s good,” said Indiana Woodward, one of the leads in Ms. Lovette’s new work. “Because she believes whatever you just gave to her.”
This fall, Ms. Lovette, 24, is working from that place of conviction. Ms. Lovette, one of two women who will unveil new works at City Ballet’s fall gala on Sept. 20 — the other is the choreographer Annabelle Lopez Ochoa — is under some pressure.
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Michael Nyman: The Man who Mistook His Wife for a Hat (Naxos) by Norman Lebrecht
★★ (out of five)
In the spring of 1985, I saw three opera world premieres in London in as many weeks. There was Busoni’s Doctor Faust in the restored original ending, Birtwistle’s breakthrough opera The Mask of Orpheus and last, and smallest, Michael Nyman’s chamber opera on a troubling case history by the neurologist Oliver Sacks. I felt confident at the time that Nyman’s opera would be revived soon and often, but that’s not how it goes. Chamber operas are notoriously hard to get staged, falling as they do between too many institutional stools. The drama does not transfer well to record, either in the original Sony recording of 1987 or in this new issue of a Nashville Opera production from November 2013.
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