Acting for the Camera

 

Whilst the director is responsible for everything that takes place behind the camera, s/he remains dependant on the actor’s ability to be entirely credible once the camera is rolling. This can present certain problems for the actor. It takes time to go through all the technical requirements needed to shoot a scene: lighting installation, decisions on how sound will be captured, setting up camera angles, etc. During this period the actor is left to one side, unnecessary (maybe even in the way) until the team is ready to shoot.   When the actor arrives on set everything is ready and time is usually short.   The professional actor is then expected to enter into character, rehearse once or twice and then “take”.  Being able to achieve this requires technique, concentration and the mystery of talent. 

Technique

In an ideal situation, the actor can create the character through script analysis and discussions with the director. The character then has to be presented and performed in a way so that the camera can capture the inherent truth of the actor’s work, concordant with the director’s vision.  An actor must have the techniques that enable him or her to create and maintain the character. These techniques depend partly on being able to deliver the lines written and control movement, and partly on being able to adapt to a director’s instructions.

Concentration

It takes practice to develop the concentration needed to block out all the elements present that are not in the character’s field of vision (the camera itself, the boom operator, the lighting stands etc. etc.).

Talent

Talent is inherent.  It can be augmented by developing the imagination. But of itself, talent is either present or not.   

Why these workshops are different

Actor’s sites are flooded by workshops about how to be the best actor you can be in the best circumstances. Developing your craft, getting in touch with your imagination, being truthful to the text etc etc.

But what about the rest of the time (most of the time) when the text isn't great or the director is too busy to talk to you or the production is so far behind schedule that there is no time to explain where your contribution fits into the larger story of the movie and you have no clue what to do!

That is what is different about these workshops.  It’s not about acting, that is taken for granted. You know how to act and develop character etc under ideal conditions where everything is geared to the actor’s needs and requirements.  But on a set – particularly a large production – the conditions are far from ideal and the actor’s needs tend to be the last that are taken into consideration. 

In my workshops I share part of my actor's tool kit.

Among others, I tackle the following questions:

How can you react convincingly when there is no one actually acting opposite you,

(for technical reasons for example)?

How do you deal with big emotions, without it being perceived as overacting

(especially if you don’t have access to the full story)?

How do you keep a performance fresh take after take?

How do remain ready while waiting endlessly to be called onto set?

How do you make sure what you are doing will be easy to use when it comes to editing?

During this workshop you will get to experiment with my unique methods and see straight away what the 'on screen' result is; comparing what you experience while shooting, what you aimed to get across, with what really reads on the screen.

The workshops are intended to help each actor find their own answers to the questions – there is no “one size fits all” solution.