What do Directors expect of Actors?
Actor comes to the set – REHERSED
KNOWS HIS / HER LINES
IS PLANNED (WHAT TEQ TO USE TO GET TO THER EEMOTIONS)
DIRECTOR AND ACTOR SHOULD HAVE A discussion before the shoot
about there method, teq what makes them tick, what director thinks of the
characters and what actor is thinking of the character, the DIRECTOR AND ACTOR
HAS TO BE IN SYNC
Actors should make the character themselves
HOW TO GIVE NOTES:
Give reasons while giving notes, e.g. – go to door because
you will be closing it later
AS a director, be prepared to give notes on what STATE OF
MIND the character is coming from, what state of mind the character is in now
in tis particular scene, BECAUSE film is not shot linearly.
Give motivation for the notes
GET ACTORS TO LIKE YOU
GET TO KNOW THE ACTORS
BUILD A RAPPORT
GET THEIR TRUST - tell them the truth
Listen to what actors say (actors are smart – they might
bring something more to the shoot)
Make actors safe and comfortable - they should be able to
explore there character, try there ideas and keep it open
BLOCKING - IT IS MOVEMENT OF ACTORS
Before the shoot the director should know about actor
What get them excited?
What makes them tick?
What angers them?
What triggers them to be in different state of emotions?
How the actor concentrates
What is the actor’s tequinique?
How do they get to where they get to?
DO NOT inundate actors with information, let them live it,
be in the moment, give plain clear directions, NO LONG speeches
When suggesting changes give reason for change.
METHORD acting – is about becoming the character, they live
the character, they talk like the character, and as director talk to them as
the character.
IT IS A INTERNAL
PROCESS
Getting to the truth, becoming as real as possible.
In this actor draws from
1-
Affected memory – actors will recall from there
own past and use that to get to there emotion state
2-
They come from senses – touch / sight / hearing
/ seeing /.
e.g.-
To feel cold they will sit naked in an ac room.
Marlin Brando al Pacino is a method actor.
CLASSICAL ACTORS:
SIMPLY TELL THESE ACTORS a situation and they will do it, it is an
external process. The actor will observe there part characters, if one is a
fireman in a movie, they will live with a fireman and in fire station for 2
weeks, and observe to act like them.
As a Director ask your actors what kind of actors they are,
and then ask them how you can help them.
IN MOST SCENES –
BE AWARE WHAT THE LINES ARE
WHAT IS THE SUBTEXT OF THE SCENE IS?
WHILE WORKING WITH CLASSICAL ACTORS - DESCRIBE THE situation,
them do it, be precise with what you want,
With MA they will get there, so don’t give them too much
directions,
Classical actors get there by doing,
Method actors get there-by-there Psyche
For method actors you want them to get there by themselves,
For Classical tell them what you want.
METHORD EXCERCISES:
AS IF - give a situation to actors and let them do it
HABIT - run through something like you normally do it.
BREAKFAST – FOR character actor tell them to savor the bfast
For method actors ack they to feel the place, mention their
favorite breakfast, feel the place, and the smell and make the place special
ANIMAL - what actor will the actor be, and then go to zoo
and watch and observe the animal.
FEELING - THE
EMOTIONAL STATE TO BE IN, N TO MAKE AUDIENCE FEEL
THINKING – ACTION TO GE THEM THINKNG
ACTIONS - ISWAY OF DOING,
TRUE TO FEELING
WORDS – WHAT THE ACTOR SAYS
IF A SCENE IS NOT WORKING ,
take the actors off the set and do IMPROVISATION SESSION , to get them to to be aware of there lines
but to just be themselves, get them to forget they are acting and become the
part.
