Note To Teachers

I think that the saying, Those who can do, those who can't teach, is a great misrepresentation of teaching, especially in the arts, and perhaps in all fields. A better way of putting it would be, Those that do it the best have a responsibility to teach. All acting teachers that I know who are worth their salt are excellent actors in their own right, and therefore, this book is written for teachers as well. If you are unfamiliar with the techniques, particularly in the first section of the book,...

About The Author

Cathy Haase, a native New Yorker and actress, has landed major roles in vehicles running the filmmaking gamut from Berlin avant-garde to Hollywood action. She is at home in a variety of roles, such as the stripper Danny Lee in a gritty adaptation of Jim Thompson's The Kill-Off, the wisecracking bartender in Another 48 Hrs., or the stoic pioneer of The Ballad of Little Jo. A complete list of her films can be found on IMDb.com. As a faculty member of the School of Visual Arts in New York City,...

Approaching The Text

So, what about the dialogue for a movie role What's the best way to approach it The approach to memorizing text in a film is quite different from memorizing text for a theatrical performance. In theater there are rehearsals the director and the actors meet one another and talk. The play is worked on bit by bit, until it exists as a whole in a continuous fashion that makes sense to everyone involved, or at least that's the general goal. Not so with a movie. Many times, there are no rehearsals at...

Being The Character In The Room

At this point, it's interesting to bring a character into the play of your imaginary field. This could be any character that you are working on at the moment, but the best one to choose if you are just starting out in this work is the same one from chapter 3 and the Monologue exercise. The character is introduced like it was just dropped in by parachute. There should be no adjustment of who you are, what you're doing, or your thought patterns. The character is just another loaded parcel of...

Bigbudget Versus Lowbudget Films

As an actor, my point of view of filmmaking has always been from in front of the camera and all that it entails to become camera-ready. When I first started working in movies all I knew about filmmaking was what I had learned from the experience of being a spectator. Everything I thought came from my own personal experience of watching movies my own taste and the performances of actors that I liked formed my opinion. If the movie did not entertain me, didn't evoke some kind of emotion or...

Choosing The Right Practice Material

When choosing a part to work on with the intention of using it as a basis to expand your knowledge of either a technique or of your talent, it is best to n follow some important rules. 1 The part must be of your sex and appropriate age range. Age range is a professional acting term used to describe the range of 1 ages that you are able to play at any given time in your life. Age range is extremely important in the film world. Since the camera comes in very close to photograph your face, you...

Concentration

Let's suppose you've been sitting in the chair for about half an hour doing the Mental Relaxation exercises, and you find that your preoccupation with yourself is becoming unbearable. Perhaps it's time to concentrate on something else. Most actors will immediately want to escape to a character they want to start acting. But there are a few steps that should take place before you start adding the distractions of a fictional being. In fact, it's much better to allow the self full reign, with just...

Creating The Space

There is a scene in the 1994 movie, Legends of the Fall, that begins with Sam the Indian arguing with the Hired Hand about a broken wagon wheel. It's a slice of daily life on the ranch, mundane and familiar. Suddenly, Sam stops listening to the Hired Hand and looks out into the distance he sees something. The Hand looks at Sam, who points into the distance. The Hand looks and sees what Sam is looking at a man is riding towards the house. He yells out to the Colonel. The Colonel is sitting...

Does It Really Work

The Overalls, and all sense memories, should be worked on extensively. Each time you work on an Overall, you investigate deeper and deeper into your own acting instrument. Somewhere deep within, there are keys or triggers that bring back the whole experience and make it easier to be connected to the basic rhythm of your character. After you have, say, sunshine on the whole of your body, you might need only to recall in truth a tiny piece of sunny warmth on your palm in order to bring back a...

Getting Stuck In Your Head

When you stop being in the moment that is, stop experiencing the entire body and all the senses in this very instance of time and start thinking about what is happening instead of feeling it, the moment cannot be properly investigated. You have allowed the process to leave the physical body and go into the mind. This is often referred to as being stuck, or being in your head, or the worst state being stuck in your head. One of the biggest problems with being stuck in your head is that you are...

Journal Writings As Inner Monologue

You can do the following exercise alone, but it is most effective when done in a group. Even if you don't have an acting class or program available to you, there usually are people that you know who would be willing participants. Actors and people who want to act tend to seek out one another and form groups. I've seen it happen everywhere. People who love acting always find one another. If you must do this exercise alone, then it should be done as though there were people there watching you. I...

Listening In Life

When you are listening in acting, you are using one of your senses, your sense of hearing. Many times, you are actually listening to something that is there, like the sound of the other actor's voice. Many other times, you are listening from memory, because the actual sounds that the audience hears when the film is finished are not present when you are shooting. What you are doing is listening and reacting to sounds from your own creative memory. In order to use this skill effectively in...

Listening To The Other Actor

In life, some of us are good listeners and some of us aren't. Sometimes, the circumstances cause us to listen up, and sometimes, we just turn off. In life, we hear what people are saying to us selectively, depending on our interest, but as an actor, and particularly as a screen actor, you must always listen with every fiber of your body. Even if you don't appear to be listening, you must be, not only to hear your cues for your next line or action, but also to give the response that is needed...

Location Location Location

Movies are planned and shot around the availability of their locations, rather than in the order of the sequence of events as they occur in the screenplay. Most of the time, all scenes that take place in a given location will be shot on that location sequentially, regardless of their placement in the screenplay. For example, if the movie is centered around an interior location of an apartment where the main characters live, and there are many different exterior scenes that these characters go...

Nolowbudget Films

A no- or low-budget film is basically a project that doesn't really have & enough money to get made, but everyone crosses their fingers, uses imaging nation, begs, borrows, yes even steals, and prays that the thing makes it to < the finish line. Such a film could be a short (these are enjoying a comeback due to cable and the Internet), or of feature length. There are many stories about these projects that go on to bring fame and fortune to all involved. There are many more stories of...

On Selfindulgence

When you are working with the private elements of your acting technique as we have been doing in these last few chapters, it's very important to steer away from being self-indulgent and self-involved. Although you're using many private aspects of yourself, the work isn't really about you, it's about the script. Many of the exercises are just that, a means to an end. That end is the character within the screenplay. At every step along the way, always refer back to the script. When you are...

Other Overall Examples

Bath is a great overall to do if you are experiencing a great deal of tension and pressure. You can do Bath either in a chair or by lounging on the floor with your back against the wall. Bath can be used for many states of mind that an actor may not be personally familiar with, like being very stoned or drunk. The Overall sense memory of Very Hot Bath could produce a drugged state. Seat yourself in a chair and lean back. Imagine that you are immersed in hot water up to your neck, your head...

Place

Once you have made a concerted effort to position your character in time, you can start to work on place. Go through each scene and see if you feel you need an imaginary parallel place for that scene. Many times you won't because the actions are so simple, but many times you may be called upon to exhibit very large and specific emotions and reactions to a place. In these instances some solid preparation may be a good idea. For instance, any scene that involves fear, apprehension, looking for...

Place As An Inner Emotional State

Sometimes, we experience things in life that stay with us for a long time. These things will revisit our consciousness when we least expect it. Great loss requires periods of mourning, just as traumatic events require a period of adjustment and recuperation. The characters that we play also have these events in their lives. Very often, a script will have scenes that are shot in locations of great beauty about a character who is suffering deeply. We, as audience members, are familiar with these...

Reading The Script

It's great to be an actor with a good role in a movie, script in hand, and ready to get to work on the character. What's the first thing you're looking for when you open the script and begin to read Are you looking for the dramatic scope of the character, the wonderful lines that you will speak, or the great scenes that you'll get to play Perhaps, but speaking for myself, I know the first question I want to answer how big is my role I want to know how many times my character appears in the...

Rehearsals

The old adage that time is money takes on mammoth proportions in filmmaking. The time and money constraints present at every level make a rehearsal period for the cast of a film prior to production rare. There just isn't the time allotted to working with the actors in the way that it is done in the theater. Unless the script is of a classical nature, as in the filming of a Shakespearean play or some comparable text, little or no rehearsals take place. Another reason, and perhaps the major one,...

Relaxation And The Art Of The Face

Close your eyes and allow the movie in your mind to travel through the land of your favorite film images. Don't try to remember a title or a specific movie and then search for the image. Allow your mind's eye a free hand, and sit back and enjoy the show. Films from childhood, cartoons, adventures, love scenes, swells of music, and magnificent landscapes will dance in your imagination, but more than anything, there will be faces. Faces looking out at you telling you their stories through their...

Sc Int Joes Bar

The description on the call sheet simply says, Zina tells Sammy off, and it's one-and-two-eighths pages, which is exactly how long it is in the script. If this scene were taking place on stage, it would last about two minutes, which is more than it will last in the finished movie, though it will take half the day to shoot. You are the actress playing the role of Zina. In your script, you come into the bar with your mother to prepare for Saturday night. Joe, your brother, is behind the bar, and...

Scenarios That Invade Your Concentration

W When a place or scenario (a memory of a particular event) comes up during & the Overall exercise, you should acknowledge that it is occurring, but not get involved in pursuing the imagination further into the story. Keep going < back to the sensations of the skin and the proliferation of the Overall on the skin. The Inner Monologue is an excellent way of acknowledging an invading place or scenario. Use the Inner Monologue to express the frustration and difficulty that you have...

Script Development Through Rehearsal And Improvisation

Some projects have a long gestation period, either through the creative methods of the director writer or because of necessity it just takes a long time to work out what the script is really about. Actors may be called in to help with the development of a screenplay. Both films I mentioned before, Looking for Richard and Hearts of Darkness, present good examples of how actors and directors work together to complete the script development process. If you have never worked on a film script in...

Setting Up A Sensory Structure

Sensorial choices in acting are not usually made from the remnants of such a historical day, but one can gauge from such a day what constitutes a powerful experience. Whenever you are making choices for acting, they .5 should be made with the rich immediacy of things that are important to you. No one has to understand why a particular sensorial choice holds so much power for you that is your own private matter. The choice must have power in order to fuel your character with a sense of urgency...

Shooting The Master

I When it's finally time to shoot the master shot, the first AD will call in the u first team, the cast, and ask for quiet on the set. The first camera assistant will ask you to hit certain marks while the light and distance is measured. There will be light meters and tape measures coming toward your face and body. The makeup assistant will be looking carefully at every corner and crevice of your face, wardrobe will be adjusting your dress, and the hairstylist will be arranging and touching...

Speaking To The Lens

Who are we speaking to when we are speaking to the lens of a camera There is always a logical and intellectual answer to this question a literal answer that comes from the structure of the script. You are talking to your brother, you are talking to the troops, you are talking to your lover, you are talking directly to the audience, etc., and all these answers are easily found in the script. What about what excites and interests you personally What about the unique opportunity to say something...

Substitution The Camera As Partner

Substitution, by definition, is putting a person or thing in the place of another to perform the same duties, as in a substitute teacher. It implies that the one that was there before is no longer present and needed to be replaced. In acting, we are constantly substituting our own life and experiences for the given circumstances of the script in order to increase our understanding and gain the sense of reality that we need to act our parts. However, in acting, the given circumstances and...

The Actor And The Crew

During your time in the makeup or wardrobe trailers, you may encounter agitated young people with walkie-talkies and hurried looks on their faces. They will come into the trailer and bark into the walkie-talkie, bark at those at work, and probably bark at you, too. These are the production assistants, or PAs, as they are commonly called, a group of people who perform a variety of tasks on the production. The ones the actors come in contact with are the messenger escorts. They deliver...

The Bigbudget Movie

I'm not really sure what the money value of a big-budget movie is anymore, since the price tags on films keep skyrocketing, but a good way to judge one is that it will have the basic SAG contract, a well-known director, and name actors or stars in the lead roles. Any movie with these components has to have a sizeable budget. If the film involves violence, special effects, or amazing stunts, the price tag goes up. To suspend a car from a helicopter that crashes into a wall, where both burst into...

The Book

This book is divided into three parts. The first part, The Actor, deals with exercises of relaxation, concentration, and sense memory. It is by no means complete such a book would have to be at least the size of a bible, because like the bible, many different people would have to contribute to the story. Sense memory, for example, is a very personal issue that works differently for each person who uses it. I have presented a framework that you can spring from through personal practice and...

The Costume Department

The costume department is comprised of the following g You probably met the costume designer while you were being outfitted for the character. This person, like the key makeup artist, is responsible for all of the clothing that the actors wear in the film. Most of his work is done off set, designing. The people the actors come in contact with are the wardrobe supervisor and his assistants. These are the people who are in charge of organizing and maintaining the wardrobe, as well as dressing the...

The First Steps To Giving The Character Your Voice

What we are going to do now is to start to incorporate a fictional character into the relaxation and concentration process. One way of doing this is to read some of the words that the character speaks, but only as you, without trying to impose characteristics on them. You should always start with what you can do easily and avoid (at least for now) searching away from yourself, making things more complicated. Reading words from a piece of paper is an easy thing to do if you are just being you...

The First Steps To The Substitution Technique Choosing The Right Substitute

The first step to mastering the Substitution technique is creating an imaginary person through the use of your five senses. When I say imaginary, I don't mean someone who doesn't exist, like a child that has an imaginary friend, someone that they have made up completely and who doesn't exist in reality. I mean a person who you know well and who you create in front of you with the use of your imagination and your senses. As with any sense memory, the choice of what, or in this case whom, to work...

The Journal As Inner Voice

The Journal is a useful tool for actors. It gives them an added space to work in that is very private. It is where they can assess what they have just done immediately after they have done it. When you write in your Journal right after an exercise, you have a way > S of remembering everything for later. Often when you are working, the impressions have been so plentiful that it is difficult to remember them all. It is also true that something that made no sense to you at the moment 5 becomes...

The Makeup Department

The makeup department on a major motion picture is nothing to be taken lightly. It is the first department of many that the actor comes in contact with on a film set. It is comprised of the following jobs This person has the last word on designing the look for all the characters on the film. She is an important crew member who is privy to the way each character is supposed to look for each appearance in front of the camera. She designs the makeup and hair and oversees any special effects,...

The Overall

We are encased in the largest organ of our bodies, our skin. The skin has two layers, the outer layer, called the epidermis, which has no feelings, and the inner layer, sometimes called the true skin, which is highly vascular and sensitive. We will be dealing with this highly sensitive and vascular part of the skin's qualities in this chapter and how it can be used in the sense memory series of the Overall. An Overall is a condition that can be experienced over all of the surface of the skin at...

The Preconceived Idea

When my students are presenting a monologue for the first time, they < always want to memorize all the words, come in gangbusters, and present u a complete character ready for the camera. They aren't able to do this on the first try. They panic and freeze, because they don't know what to do to begin simply. I always tell them, Don't worry, the Academy Awards aren't for another six weeks, and you weren't even nominated this year, so we have plenty of time to explore. Just relax and start...

The Process Of Relaxation Concentration And Sense Memory

* Many actors begin to work on characters by asking a lot of questions. What should I do How should I play this What's my activity, my action And so on. All are valid questions, which they will try and answer intellectually w and then create behavior that indicates the sum of their answers. However, they have predetermined how the character will act, and this can appear too artificial. Particularly in the case of stage actors, the resulting gestures are often too broad for the camera and the...

The Reading

The most common way of rehearsing the actors is the reading. This is becoming more and more popular among directors as a means of communicating interpretations of the script and the individual characters to the actors. Directors develop their own style of conducting readings to get the most out of them. Some prefer a very relaxed setting, like an apartment or home, very often their own, where each scene is hashed out and talked about, perhaps the actors will improvise a little to further the...

The Rushes And The Finished Film

There is a dream you have when you act in films, a dream of an image of yourself on the screen a you that is larger-than-life and encompasses a message or a feeling that you are compelled to express. Sometimes, it is a very clear image in your mind sometimes, it is just a shadow or a glimmer of something that you reach to understand. It could be a part of yourself that you long to embrace or a part of yourself that you wish to expel, to exorcise. Whichever it is, this dream image may or may not...

The Skin And The Overall

So, here's the movie scene An actress walks down a cobblestone alley at night, the bare white skin of her back and arms glistening in the street lamp's glow as she slithers down the street in her little black dress and high-heeled shoes. She sees the man she loves, and the camera lingers on her face. We see that she is torn between running to him and running away from him. He sees her, and they approach one another. They argue about something that has happened earlier that evening. They look...

The Voice And The Breath

Throughout the previous two chapters, I have repeatedly reminded you to remember to breathe. Each new step in the process of relaxation and concentration must be accompanied by checking the breath in order to investigate the moment fully. It is in the simple process of sufficient breathing, so that the emotion of the moment can move freely through you, that you discover what the moment is all about. Through the breath, we discover what we are experiencing in our entire selves. Just try it...

Things To Do On Your

If you can't rehearse with the director or other cast members, you can still improvise on your own. Without the overseeing eye of the director, though, the work can only be considered improvisational, because whatever you do might be changed once the filming starts. Most actors do not exist in a vacuum they are part of a community of other actors. The first thing you need is a trusted a friend or colleague who knows your work and will be willing to assist you. The person must agree to be there...

Watching Movie Scenes For Listening

The best way to show you how important listening is to film acting is to tell you to watch great movies while paying particular attention to how and when the actors listen, how what they hear causes them to act, and how they respond. Casablanca is a great film to watch for the skill of listening. There are many examples of actors using their sense of hearing to tell the story in this film. Some of the strongest scenes are when the characters are simply listening to music. There are several in...

What To Do With The Wrong Preparation

Sometimes you can be very well-prepared for a scene, or so you think, and when you are confronted with what the director and crew have in mind, you find that your own expectation of the situation is completely different from theirs. Movies are a media of pre-visualization. They are seen within the mind like a dream and then transposed onto the frame. Actors pre-visualize when they read a script or work on the character. This pre-visualization happens automatically and affects how you proceed...

Where Am I Coming From

Acting for Film is a book about acting in motion pictures and the techniques that can be used to act in front of the camera. It's written to the actor, which is what I am, and discloses some of the approaches to film acting that have been prevalent in American movies. Being an actor, I have a very practical, yet personal approach to things. Whatever the technique or philosophy is, it has to work for me in the field it has to work when the camera is rolling. Every actor is a unique instrument...

Your Acting Preparation And Performance

Preparing for a role can be very exciting and enjoyable if you love to act in fact, I know many actors who would rather prepare than perform a role. Needless to say, their careers suffer from this tendency. The only real test of a preparation is how it plays out in the performance. Except for the intimate pages of your own journal and perhaps a loving teacher, no one cares about what you had intended your performance to be they only care about what they can see. When you watch the rushes, you...

Different Types Of Auditions

The different types of auditions that you might encounter will be determined by where you are in your present career as an actor. Well-known actors usually don't audition for parts everyone knows their work already. However, if a famous actor is hot to play a part that he is not being considered for, he will often send a professional videotape of himself playing the character. If you are just starting out and have no professional film experience, this course of action is usually a waste of...

Substitution And Filmmaking

Substitution can and should be used at all phases of your work on a character. It should be called upon as needed when you don't understand what you are doing or cannot find the spark that you need to ignite a difficult scene. In film acting, where the scene will be deconstructed into many different angels and camera takes, the fuel you need for doing one shot, where you are acting with other actors in the scene, is very different from the fuel you need to do a close-up reaction shot or...

Important Elements Of Screenplay Format For The Actor

A screenplay is an ever-evolving written form that changes many times in its life. The first form that could possibly come into the actor's hands is a spec script. A spec script is what writers use as a selling tool to agents, producers, star actors, directors, etc., anyone who will possibly be influential in buying the script and making the movie. Directors who write their own material also do spec scripts because they are easier to read and include much descriptive information that will be...

All Films Are The Same

Regardless of the budget, all film sets have the same problems big-budget films just solve them more expensively. The same kinds of questions have to be answered by the filmmakers. There are millions of decisions that have to be made at each step along the way. With a bigger budget, acclaimed craftspeople, and an experienced crew, problems might be solved with more money, expertise, or artistry, but the basic dilemmas are still the same. The same questions arise no matter the budget or the film...

The Fourth Wall

Creating an inner place of such emotional power is a different usage of place than the creation of a communal fourth wall, as all of the actors did in the first scene I mentioned at the beginning of this chapter. Those actors all created the illusion of seeing the same scene before them that we were seeing on the picture screen. The fourth wall is the missing wall of the traditional proscenium arch of the theater, through which the audience views the play. Though there have been amazing...

Doing The Videotaped Audition

So, let's take a look at how you can apply the techniques from the previous chapters to a videotaped film audition. I'm not a fan of taping yourself to prepare for an audition. The image that you create inside the frame may have nothing to do with the image that a director would create inside the frame you have moved your focus from acting to filmmaking. There are better ways to prepare for a videotaped audition than becoming a film director. Let's assume you have received some information...

Sense Memory

We observe the world through our senses. We have five and the much-talked-about sixth sense, which is another matter altogether . Our five senses bring us through the world each day, translating everything that we experience into a language that we understand. Then, through our senses, we are able to communicate back to the world around us. Our senses have a memory, a ship's log, of everything we've experienced, encapsulated somewhere within. To become aware of the power of that memory and its...

Creating An Imaginary Place

To create an imaginary place, we use the same procedure as creating any of the other sense memories We begin with the Mental Relaxation exercises and warm up the physical body through movement. In order to create an imaginary place, you have to employ all of your senses and be able to create the space around your entire body. This will not usually come all at once. Sometimes, only a portion of a place will come to you, and for certain circumstances, that will be sufficient. We have already gone...

Using The Word Film

I would like to clarify why I use the word film even though many of the important movies of today are being shot on digital video and other mediums. There is a lot of discussion in the entertainment industry today about the advance of digital technology and how it will affect filmmaking, both now and in the future. Cameras are becoming smaller and more versatile, and there are affordable computer programs to edit whatever you have shot for relatively less money than ever before, almost anyone...

The Observation Exercise

In my classes at the School of Visual Arts in New York City, I'm usually teaching first-year film and animation students a required course in acting. What this generally means is that they don't want to be in front of the camera, but in some capacity behind it. They come with the notion that acting is just something that certain types of people do well, and they are not aware that there is any technique or process involved. In my professional workshops, I often encounter people who want to be...

The First Rehearsal

Let's suppose that you are the right actor for this job, and, therefore, you have all the emotional and technical ammunition to do whatever is asked of you. The first rehearsal is going to be a blocking rehearsal for the actors. The rest of the key crew members will be watching the rehearsal to anticipate the coming demands on their departments once it is decided how to shoot the scene. Directors have varying degrees of preconceived ideas about how to film a scene. They have discussed it with...

Observation

In my acting classes, I try to make the students aware of how much their behavior can be affected by what their preconceived notions are of a word. If I tell them to really concentrate on their breathing, for example, to close their eyes and just concentrate on the breath, they will assume what they believe is the correct body posture and demeanor to indicate a state of intense concentration. Since they all know that they are in an acting class, the indications will be larger and more...

Place As A Sense Memory

Actors create everything out of their own imagination anyway. Everything an actor does is enhanced by his or her imagination, which fills out the moment, hopefully, to its fullest extent. When working with place in filmmaking, whether in a studio or on a real location, actors have to enhance the situation with their imagination. As always, there are many approaches to solving the problems presented by place. One of the ways of finding the best methods for you to K solve the problems of working...

Following The Blueprint

A screenplay is a blueprint for an actor's preparation. It only gives you the bare bones, the outer shell, but that's all you need to fire your imagination and begin to technically create the character. Filmmaking is a collaborative art, where everyone does his job separately and thoroughly, then works collectively under the aegis of the director, who shows everyone the way to collaboratively put it all together. Somehow, because only the bare a bones are given to you and you are only one part...

Mental Relaxation

An ordinary metal folding chair is good or any sturdy, straight-backed chair with no arms and no cushions. Have a clock nearby, so you can time yourself. In the beginning, give yourself twenty minutes. At first, just try and breathe calmly and fully with closed eyes. Try and take the pressure off. Unlike yoga or meditation, where you are told to always go back to the mantra and remain calm, these exercises are geared to bring you more in touch with how you feel and what's going...

Time Line Continuity

Each scene section should have a time line for your character. If the information is given to you in the script, by all means use it, but many times it is not specifically given you have to make it up from the given circumstances of the screenplay. In doing so you are creating the life of the character when she is not seen in the script. You should note the following How much time has passed since we last saw the character What do you think the character was doing when he or she was not on the...

Monologue With Substitution

A good way to test choices that you have made for a Substitution is to see if you can instantaneously create your substitute with your key sense memory. Focus your concentration on the sensory key that you have chosen, and see how much of the Substitution experience it brings back. You should be emotionally connected very quickly. It isn't necessary to bring back the entire experience of the Substitution, only the portion of it that was strong for you. With time, actors learn how to gauge these...

The Actor And The Rushes

Viewing rushes for an actor is an acquired taste, and many actors do not want to see the rushes at all. They feel it makes their performance too self-conscious. Many, however, especially stars, demand it and have the right to be present written into their contracts. They want to maintain quality control over their work and voice their opinions about the direction the film is taking. Only stars of great popular value can place themselves in such a 2 position. oi Besides, a lot of directors feel...

The Call Sheet

On the opposite page is the call sheet, the shooting plan for the day. Every cast and crew member gets one. In the preproduction phase of the movie, all of the scenes have been given numbers in the consecutive order that they appear in the final shooting script. If there is a very long scene, it may be given more than one number, so that it can be broken up into workable sections. Each character in the movie has also been given a number. That is how the scenes, and the characters that are...

The Inner Monologue

It is inevitable that the Gibberish eventually becomes words. Actors are always worrying about the words. Do I have to learn the words Will I remember the words What do the words mean And so on. At this point in the game, the words don't matter. The only important thing is that the words be directly connected to what you are thinking or feeling in the moment. Uncensored, not-thought-out, inexplicable words and sentences that comprise the Inner Monologue. In my classes, I usually suggest that...