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Even though there is or should be someone looking out for continuity errors during every scene, actors can also be extremely helpful for avoiding them. It's important to do every movement the same way at the same time during the scene, especially if there's dialog, because if you don't, you risk getting your best take cut out of the film because a continuity error made it unusable.
The relationship between an actor and a director is one of the most important ones on a film production. It can be the most intimate, but it can also be the most volatile. This is why communication and knowing how to take direction is so integral. Some directors, especially ones who are inexperienced, may not be able to explain clearly what they need from you in a scene, which is why, according to Bruno, learning how to translate what a director is saying can be a huge benefit to you.
What are some acting tips you can share? Let us know in the comments below! Hey Ryan, Great content Cut the cutesy bullshit, speak English at a rate other than a used car salesman and you may gain more viewers. I enjoyed your tips. Very informative. Don't know how you keep from punching Ryan in the face! Yeah its true that Ryan talks super fast. He is just trying to get info in and not spend an hour.
You can always stop the video and take notes if you are slow. I think Ryan's videos are very very good and I have learnt a lot. Who knows. Why his Ennis was so beautifully tortured, and what really makes a great acting performance?
But I plough on. To be clear, these performances are ones that sit on the uttermost edges of the spectrum.
For the dramatic role, I had to choose one completely devoid of comedy, and vice versa for the comedic. Affleck is, in my opinion, one of the finest actors working today, and he portrays Lee with such introverted emotion which is so difficult to do. There are no respites in this harrowing film, very few moments of joy, but Affleck manages to be strangely magnetic, withdrawn, aggressive, and simply heartbroken.
There are seriously too many classic Alan lines to choose my favourite. There were so many to choose for this one. My method of thinking was to find a character who we just always root for in the movie from start to finish, we want them to be happy. A throwback to a protagonist out of a Western, Gosling spends the film toothpick-in-mouth, adorning a horrendous white jacket with a golden scorpion on the back.
He is brutal, smart and above all, always trying to do the best thing for everyone. There are no evil or bad qualities about him.
So, when I was choosing a protagonist, I was looking for someone we root for the entire movie, so obviously Ithought the opposite for the antagon ist. From the very first scene of the film, we know everything we need to about Hans Landa, even halfway through the scene. He is evil, calculating, intelligent, ruthless and wickedly polite. If my character was a loving, open, sweet, sensitive young girl and my dialogue was: "I don't love you anymore, I think you should go", my verb will be determined by my above characteristics and not by the actual line itself.
Therefore verbs such as to plead, to get sympathy, to reason, should be chosen, as opposed to verbs that might reflect another type of character, such as to demand, to threaten, to hurt.
If in the rehearsal a choice doesn't work then you can change your choice. Nothing should be initially set in stone. I like to call this process "scoring" your text.
Just as a musician or singer would rely on their score to know how to sing or play their song, an actor works out how to play the monologue, scene or play. Once you've done it, you have to play it fully, otherwise it's pretty pointless. The challenge is the execution of it. It's time-consuming initially to find the right verbs, but once you have them and tested them in rehearsal, not only will you have given your performance light and shade but also depth.
It also means you do not have to fall into a dreadful cliche performance by thinking of how to say the lines and what you should be feeling and emoting. This technique allows you to be free and truthful without playing external emotion. It's really about what you don't say and trusting that actions will speak louder than words. Every actor should always have an inner and an outer obstacle. The outer obstacle is the resistance usually the other character to obtaining your action. The inner obstacle is your inner conflict, which you must always plant in a scene even though it can change.
There must always be a problem you are trying to overcome. If you think of yourself in life, you're never without an inner obstacle. You'll have seen scenes on stage or screen where the inner obstacle has not been properly planted: you get a load of actors just shouting, over-emoting and sometimes just playing the aggression.
If the inner obstacle is there, the anger, fear or hate, for example, then you've got something to fight against in the scene. Much more interesting. Actors may believe that they can do without formal training.
But I have worked with untrained actors, who have landed a film or a TV series on the basis of their looks, and seen them struggle to be able to reproduce what they were able to do in the first take.
Natural ability will get you so far, but it's the trained actors who know what they're doing and how they're doing it and can produce that emotion take after take. To fully transform into a character, to be truthfully and emotionally connected needs hard work, technique, good direction. But the audience should see none of this. They should see nothing other than the fully realised three-dimensional character right in the truth of the moment. Great acting, like great writing, is often in the eye of the beholder, but audiences almost always know when they are in the presence of something special.
Talent may be enough to get by on screen and TV, but with a few notable exceptions such as Kelly Reilly, the untrained actor often fares badly on stage. The performances that most often thrill us are those where instinct and technique are both in perfect balance but also opposition, and flamboyance and inner life collide head on, transforming feeling into thought and words. When this mixture of abandon and control ignites, what happens is as mysterious as alchemy; the theatre crackles; it leaves the spectator reeling.
It makes you believe Eric Bentley's thesis that "the purpose of theatre is to produce great performances. Many actors have tricks to help them along the way. Laurence Olivier liked his putty to mould a nose, or a costume department hump as much as the next actor. But it wasn't these external props that made him a great actor; it was something that he mined from deep inside himself, something that perhaps the poetic might call soul.
You can teach people timing, you can teach them how to stand; you can give them the infrastructure that allows them to take risks, but you can't teach them to be in touch with their own spirit. All great actors are, and it is what makes them distinctive.
Fiona Shaw, Clare Higgins, Michael Gambon, Judi Dench: it's as if there is something coiled but restless inside them struggling to get out. When it does, the stage ignites. Character building and what makes a truly great actor.
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