The Eyes Of The Actor

The tool kit of the actor contains the use of the body, the voice, the language, the memory, the imagination, the intelligence, and the life experience, all of which combine to make the instrument. If you deny the actor any one of these components, you are, in effect, putting a mute on the instrument or hobbling it. The two eyes of the actor are among the most important conveyers of thought, emotion, and/or reaction. Yet so many directors choose to show us the actor in profile much of the time, and regrettably at some of the most important moments. Try this experiment: Take a still photograph of one side of an actor's face. Then take another still photograph of the other side of the same actor's face. Lay them side by side. As it is extremely rare that the human face has perfect symmetry, you will see two surprisingly different expressions! Which is the one you wanted to convey? By limiting the audience access to only one eye, the director limits the actor's ability to fully communicate the experience of the moment. Of course, there are situations that demand that the actors be placed vis a vis, such as an embrace or a face-to-face confrontation. But whenever and wherever possible, I beg you to give your actors a break and place your camera so that we can at least get a piece of the second side of the face and see both eyes. It is probably this awareness of the difference in sides of the face that creates the apocryphal stories about film stars who insist on being photographed only from their "best" side.

Get Paid to Take Digital Photos

Get Paid to Take Digital Photos

Reasonable care has been taken to ensure that the information presented in this book isĀ  accurate. However, the reader should understand that the information provided does not constitute legal, medical or professional advice of any kind.

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