I am enjoying my research....a lot. How lucky am I that my research includes watching some of the most amazing films ever made!!
Dog Day Afternoon
Human Traffic
Snatch
Pulp Fiction
Reservoir Dogs
Taxi Driver
Godfather Part one
....and many more....
The masters at work.......Al Pacino is a genius.
I am currently reading "Acting in Film" by Michael Caine. It really is an amazing read- its honest, to the point and he doesn't muck around. Their really are some gems in that book!
"If you catch somebody acting in a movie, that actor is doing it wrong. The moment he is caught performing for the camera, the actor has blown his cover. He is no longer a private character in a private world" Michael Caine
I spent today onset with the film school crew on their film intensive. I was originally there to observe and help out a bit, but ended up acting in it. It was a great experience!
This exercise was about them practising lighting, set ups and film (on actual film...not digital!)...there was no text..I got the chance to test out some of the techniques I have been reading about in the many screen acting books I'm reading...I am really passionate about learning about the technical side of film as it is such a huge part of it. The crew paint the picture of the world the actor gets to play in....
"After looking through the lens the director Michael Schultz asked me what I was doing..I said..Leaning on the wall...NO! You're ACTING leaning on a wall..." Robert Brestoff
There is something incredibly technical about being natural on film. I could feel when I was "acting" today. When I felt like I had to show something....it is so much stronger to just BE in it.
I have read (and keep reading) "The Camera Smart Actor" by Richard Brestoff- it has a really unique way of going through and explaining all the technical roles...We read a script of a scenario about a new actor on a film set aptly named "Newcomer"..We follow him round as he meets all the different crew members and tackles the challenges of being a screen actor...cute (and really helpful actually)...
Today was topped off by seeing the film "Bridesmaids". I don't think I have ever laughed that much in a film or yelled "Oh my Gosh...thats just what I say!". I was really inspired by this film in a number of ways--It was really refreshing to see a female lead film like that but also successful female comedy...and a lot of it!.... It broke down the "Sexy" female stereotype that haunts the media and showed as real women being stupid, disgusting, rough and above all else- human.
My research is about me figuring out why I find a sense of ease onscreen and I think its a number of different reasons...
-The short sharps spurts of action (In between set ups I can reflect and gear myself up for the next part)
-Shot size- When I am aware of my shot size I can play within that container, it gives me a very specific limit ..Limitations are sometimes the best things- its always good to have something to push against and work with
So the question is how I take this over to the theatre I do:
I managed to do this in Go Solo this year in my piece Ngahirata as it was a series of vignettes from different parts of my grandmothers life. The movement transitions in between the time periods gave me a chance to check in and breathe...much like in film...giving me the chance to gear up for the next point I had to hit.
There is something in this for me about "bite sized chunks". If I break my work up into pieces I can work with specifically with a clear focus then it's not about being good- but doing that job.
I need a container to play within or I feel like I have to show and spell things out to an audience. Once again a huge part of this is trust. Trusting the preparation, trusting the work put in and letting that moment with the audience be what it is....
Anything could happen really..I've decided to view it as an adventure from now on...
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