9780240805078

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

by ;
  • ISBN13:

    9780240805078

  • ISBN10:

    0240805070

  • Edition: 1st
  • Format: Nonspecific Binding
  • Copyright: 2002-05-31
  • Publisher: Focal Press
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Supplemental Materials

What is included with this book?

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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

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