September 25, 2004

  • So it looks like my scene is still intact in "First Daughter" -- here's a quote from The New York Times review: "Declining the cute guy's invitation to a public debate, Sam walks away with her shoulders squared...."  Dat's me!!  I'm the cute guy!!    Told you it was a small part -- it is getting slaughtered on rottentomatoes.com though.  Anyway, without further adieu...


    Acting Skool - Part I of III


    Since I'm gearing up for auditions again and hence brushing up on my acting chops, I figured these next entries will be a crash course into actual acting technique.  It'll give some insight into the "homework" an actor might go through.  Some use variations of the same technique and some people just wing it.  The difference being that those who wing it, usually don't know how they did it in the first place.  If you have an actual technique, you can do it again and again and again on command, even on the days you don't feel like doing it.  Being a professional and mastering what you say you can do.


    "Professionals perform on demand, amateurs perform only when inspired."


    There are no right or wrong ways to go about a performance.  But there are "stronger choices" and "less effective choices".  A Director or Casting Director will expect you to have done all your "homework" and made choices before you come in to audition/shoot.  Asking yourself 7 questions whenever you're breaking down a script/scene can help you obtain those choices.  Here are the first two:


    1) WHO AM I?  You complete and fill in holes of the character’s background.  It must be consistent with the clues you extrapolate from the text/dialogue.  Don't just make it up out of the blue.  Where and when they were born.  How they were raised.  The character’s family life and upbringing (do they have both parents, siblings?)  Relationship with the family members, social economic background, religious background, schooling (Pvt./Public), major childhood events (deaths, moving, divorce), achievements/failures, hobbies, music they’d listen to, political and personal beliefs.  It helps to wear the shoes of a character.  I wear sneakers if I'm playing someone younger as opposed to dress shoes because it helps with the gait of my character. 


    We are the sum total of our life experiences and shaped by them.  A divorce affects an individual differently than an individual who has had both parents stay together for 25 years.


    Tom Hanks was asked on the "Actor's Studio" to let the students in on something about Capt. John Miller, his character in "Saving Private Ryan", that they wouldn't know.  Hanks replied, "Miller would receive letters from home, read them once and then burn them.  That way he could effectively lead his men into battle without the thought of his loved ones holding him back."  Now, that wasn't in the movie at all.  But that bio was very consistent to the selflessness of Capt. Miller.  And having back story like that in your mind while shooting, is invaluable.  Stuff like that just makes it easier on yourself. 


    2) WHAT ARE THE GIVEN CIRCUMSTANCES? You need to exactly know : 


    -What was I just doing before this scene and how did I get here?


    -What am I doing here and what do I want?


    -Where do I want to go after this scene and what will I do when I get there?


     


    This helps especially for film when you shoot out of order.  You might shoot the ending of the movie first and the beginning of the movie 2 months later.  Since you are already living the life of the character, you must know where you are within the arc so that you don't start cold.  We never just come from "nowhere".   We always know why we are headed and for exactly what reason in our daily life.  It should be no different on stage/screen.  


     


    While I was shooting "BLT", I kept a notebook that chronologically broke down all my lines on set so that I knew exactly what had happened the scene before.  If in the script, you have an arguement (that you will shoot 2 months later), the scene following it (that you're shooting today) should reflect that.  If you need to rush off and warn someone of impending danger, it is going to be reflected in the current scene and should carry over into the next scene (shot 2 weeks later).   


     


    I'll stop here for now and leave you with this. 


     


    There are so few actors that have "talent".  Meaning that it was some divine gift from above bestowed upon a select few.  Granted, if you have "it", it'll make your performances even better.  But acting can be a taught skill coupled with hard work.


       


    By mastering a technique, you will always make strong choices unique only to you since there is only one you in the world.  After an audition, you want the director to say either one of three things:  1) "That was exactly what I was looking for" 2) "That was brilliant.  I never thought of it that way." 3) "That choice was way off base but it was a good one nontheless".


     


    With #3, you may not get the part but the Director will usually give you an adjustment and have you do it again to get back on track.  And at the very least, you'll leave an impression of being a solid actor who can make strong choices -- and you'll be brought in for future projects.  What you DON'T want is to give a conventional performance, read the material like everyone else did so that you wind up blending into the other "okay and predictible" performances 20 other people just gave.   


     


    (BRRINNGG!)  Okay, that's all for today.  YOUR ASSIGNMENT: Rent "Superman" (1978) on DVD and watch the Lois Lane auditions to see the choices prominent actresses such as Anne Archer, Leslie Ann Warren, Stockard Channing made.  And you'll see why Margot Kidder nabbed the part.  Class dismissed!

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