The Art of Film Acting: A Guide For Actors and Directors

by Comey; Jeremiah

• ISBN13: 9780240805078
• ISBN10: 0240805070
• Format: Nonspecific Binding
• Copyright: 2002-05-31
• Publisher: Routledge

Summary

This guide for actors and directors develops a valid method for training performers to act from their core--whether they are cold reading, auditioning, or performing for film or television. This book teaches actors how to achieve and respond to believable and honest emotions before the camera, and it maintains that the key to a successful performance lies in how the actors relate to one another and to the circumstances. Exercises, including script examples, throughout the book give readers an easy resource for practicing the principles outlined. the Art of Film Acting applies a classic stage acting method (Stanislavsky) to the more intimate medium of performing before a camera, teaching readers to experience an emotion rather than to indicate it.

Author Biography

Jeremiah Comey has been teaching film acting for 25 years. He has a degree in Theater Arts from California State University. He spent several years in Hollywood acting in feature films, television sitcoms, soaps, industrials, and commercials, and has directed several short films. A Fulbright grant recipient, he has also taught numerous acting and directing workshops both at home and abroad. Currently he teaches film acting and coaches actors and directors in his Hollywood studio at the corner of Hollywood and Vine

Table of Contents

Preface	xi
Acknowledgments	xiii
The Exercise	1	(9)
Transcript of two actors doing a scene in class. Jermiah interacts with them and guides them through the scene using the Five Arts	1	(8)
Summary	9	(1)
Actor Practice	9	(1)
Stage versus Film Acting	10	(18)
Preparing for a Role	11	(1)
The Demands of Performance	12	(1)
One Good Performance	13	(1)
Projecting	13	(1)
Film and Theater Close-Ups	14	(1)
Emotions and Feelings	14	(1)
Subtext	15	(3)
Camera and Proscenium Arch	18	(1)
Personality and Character	19	(3)
Dialogue	22	(1)
Monologues	22	(2)
Film Experience versus Stage Experience	24	(1)
Reacting	25	(1)
Summary	26	(1)
Actor Practice	27	(1)
Becoming a Great Actor	28	(14)
The Actor's Responsibility	28	(1)
Casablanca	28	(1)
Acting Is Being and Awareness	29	(1)
The Five Arts of Film Acting	30	(6)
The Power of Relating	36	(1)
Acting ``On the Nose''	37	(1)
Listen to the Other Actor	37	(1)
Acting Is a Profession	38	(1)
Summary	38	(1)
Actor Practice	38	(4)
Sight Reading	42	(6)
How Sight Reading Works	42	(1)
How to Sight Read	43	(2)
Importance of Sight Reading	45	(1)
Second-Guessing the Director	45	(1)
Multiple Auditions	46	(1)
Helpful Hints	46	(1)
Summary	46	(1)
Actor Practice	47	(1)
The Art of Concentration	48	(20)
Concentration	48	(1)
Internal Rap	48	(1)
Interest Is the Focal Point of Concentration	49	(1)
Feedback	50	(1)
Emotions	50	(2)
Happiness, Sadness, Anger, Fear, Love	52	(7)
Differentiating between the Emotions	59	(1)
Laughter and Sadness	60	(3)
Focused Concentration	63	(1)
How to Increase Your Concentration	63	(3)
Summary	66	(1)
Actor Practice	67	(1)
The Art of Not Knowing	68	(13)
Everything Happens As If for the First Time	68	(6)
Being Intimate without Taking It Personally	74	(1)
Beginner's Mind and Logical Mind	74	(1)
After the Scene, Forget It	74	(1)
Opinions and Beliefs Will Destroy You	75	(1)
Play the Character, Not the Stereotype	75	(3)
Judgment Is a Trap	78	(1)
Leave Your Feelings on the Set	78	(1)
Self-Criticism	79	(1)
Use Your Beginner's Mind to Not Know	80	(1)
Summary	80	(1)
Actor Practice	80	(1)
More on the Art of Not Knowing	81	(19)
The First Time	81	(7)
Bad Acting on Film Is the Triumph of Logic	88	(1)
Don't Be Safe	89	(3)
The Power of Not Knowing	92	(1)
Memorizing and Not Knowing	93	(1)
Repeating an Emotional Experience	94	(1)
Discover Facts by Concentrating on the Other Actor	94	(3)
Judgments Ruin Your Acting	97	(1)
A Genuine Experience	97	(1)
Summary	98	(1)
Actor Practice	99	(1)
Still More on the Art of Not Knowing	100	(17)
The Director's Ideas	100	(1)
Ideas and the Actors	101	(1)
The Director's Vision	101	(5)
Good Actors Make Things Happen	106	(4)
Directors Use Blocking to Elicit Responses	110	(1)
A Director's Scene Preparation	111	(3)
Importance of the Art of Not Knowing	114	(1)
Summary	115	(1)
Actor Practice	115	(2)
The Art of Acceptance	117	(14)
Acceptance	117	(3)
Play the Game	120	(4)
Trust the Roller Coaster	124	(1)
Having Fun	125	(3)
Sets and Locations Are Real	128	(1)
Summary	128	(1)
Actor Practice	129	(2)
The Art of Giving and Receiving	131	(17)
Giving and Receiving	131	(6)
Giving, Receiving, and Subtext	137	(1)
Accepting Responsibility	138	(3)
The Relating Exercise	141	(1)
Different Emotional Levels	141	(5)
There Are No Officially Sanctioned Responses	146	(1)
Summary	147	(1)
Actor Practice	147	(1)
The Senses	148	(19)
See through Untainted Eyes	148	(3)
The Abilities	151	(2)
The Maestro's Ears	153	(5)
The Sense of Touch	158	(1)
Touching to Relax	158	(2)
Touching to Stimulate Love	160	(1)
Touching to Provoke Anger	160	(3)
Touching to Stimulate Laughter	163	(1)
Smell and Taste	164	(1)
Summary	164	(1)
Actor Practice	165	(2)
Intimacy, Empathy, and Intuition	167	(20)
You Are What You Are: The First Ingredient of Intimacy	167	(1)
Intimacy: The Quality of Good Actors	168	(1)
Memory and Fear: The Enemies of Intimacy	168	(3)
Empathy	171	(1)
Intimacy and Empathy	172	(2)
Scenes ``Not Worthy'' of an Actor	174	(2)
Physical Actions	176	(1)
Intuition: Your Sixth Sense	177	(2)
The Creative Inner Child	179	(4)
Words That Prevent Good Acting	183	(2)
Act, Don't Think	185	(1)
Summary	185	(1)
Actor Practice	186	(1)
The Audition	187	(22)
Getting Ready to Audition	187	(1)
Casting for Type	188	(1)
Film and Stage Casting	189	(1)
Auditioning	190	(1)
Film Audition	191	(1)
Acting in Plays	192	(1)
Approaches to Acting	192	(3)
Physical and Emotional Aspects of Characterization	195	(7)
Imagination	202	(1)
Subtext	202	(3)
Types of Actors	205	(1)
The Message You Send	206	(1)
Summary	207	(1)
Actor Practice	207	(2)
More on the Audition	209	(24)
The Casting Director	209	(1)
The Job	210	(1)
Acting Is a Business	210	(3)
Why Actors Don't Get Cast	213	(2)
The Differences between the Relating Exercise and the Audition	215	(1)
The Art of Not Knowing	216	(2)
The ``Where.''	218	(1)
Sides	219	(1)
Fear	219	(1)
Relaxing	220	(1)
Benefit of the Relating Exercise in Audition	220	(1)
Skills for the Audition	220	(5)
Preparation for Audition	225	(1)
The Audition	226	(2)
Commercial Improvisation	228	(1)
Comedic Improvisation	229	(1)
Dramatic Improvisation	229	(1)
Summary	230	(1)
Actor Practice	231	(2)
The Comedy Audition	233	(35)
Comedy and Exposition	233	(5)
Characterization	238	(1)
Absurd Situations	239	(2)
Environment	241	(1)
Comedy Patterns	241	(1)
Auditioning for Comedy	242	(1)
Find the Humor	243	(1)
The Elements of Comedy	243	(11)
Comic Actors	254	(1)
Physical Comedy or Farce	255	(2)
Punching and Undercutting	257	(1)
Rhythm, Tempo, and Pacing	258	(2)
Rehearsal	260	(1)
Emotional Ideas	261	(4)
Preparing for the Comedy Audition	265	(1)
In the Audition	265	(1)
Summary	266	(1)
Actor Practice	267	(1)
Conclusion	268	(5)
How It Happens	268	(4)
Summary	272	(1)
Afterword	273	(3)
How to Get in Touch with Jeremiah	275	(1)
Bibliography	276	(2)
Videography	278	(4)
Index	282