Friendly Enemies : The Director-Actor Relationship

by SALVEY, DELIA

• ISBN13: 9780823079445
• ISBN10: 0823079449
• Edition: 1st
• Format: Trade Paper
• Copyright: 2003-01-01
• Publisher: Billboard Books

Summary

It's the best-kept secret in the entertainment industry: how much actors-ven award-winning movie stars - distrust directors, and how most directors,n turn, fear actors. This work shows young film and television directors howo overcome the obstacles and meet the challenges of working with actorsffectively and successfully. It provides guidance on such key topics asnderstanding the actor, the director's preparation, casting, rehearsals, andorking on the set. An additional chapter features directors' notes,haracter analysis, and a scene breakdown from a section of the movie classicOn the Waterfront". It features one-on-one interviews with entertainmentrofessionals including: Burt Brinckerhoff, well-known producer and directorver 46 legendary television shows; Todd Holland, Emmy-winning director of "alcolm in the Middle", as well as "The Larry Sanders Show" and "Twin Peaks";eena Davis, star of "The Accidental Tourist", "Thelma and Louise", and "Aeague of Their Own"; and Anthony Franciosa, star of stage, screen, andelevision.

Author Biography

Delia Salvi is a full professor at the UCLA School of Theatre, Film, and Television. She is also a professional acting coach whose students include Geena Davis, Craig Berko, and Mia Sara. Salvi has conducted master classes in California, Oregon, and Washington, as well as in many countries in Europe. She lives in Los Angeles.

Table of Contents

Foreword	xiv
Preface	xv
Introduction	xvi
Understanding the Actor	1	(24)
The Actor's Life	1	(3)
The Actor's Life and Its Effects	2	(2)
Actor Types	4	(5)
The Difficult Actor	4	(1)
The Actor's Persona	5	(2)
The Self-Indulgent Actor	7	(1)
The Intuitive Actor	8	(1)
The Intellectual Actor	8	(1)
The Mail-It-In Actor	8	(1)
The Insecure Actor	8	(1)
The Narcissistic Actor	8	(1)
Talent, Technique, and Organic Acting	9	(5)
Truth in Acting	9	(1)
Talent and Technique	10	(1)
Organic Acting Defined	11	(1)
Which Comes First: Emotion or Physical Activity?	11	(1)
Imagination	12	(1)
Intuition and Inspiration	12	(1)
The Method as a Means to Re-creating Organic Behavior	12	(1)
The Actor-Audience Connection	13	(1)
Actors' Needs and Fears	14	(4)
The Will to Succeed	14	(1)
The Need for Direction	14	(1)
The Effect of Technical Realities	15	(1)
Spare Time on the Set	15	(1)
Camera Rehearsals	15	(1)
Energy on the Set	15	(1)
Rehearsal Time	16	(1)
The Imposition of Strict Concepts	16	(1)
The Actor's Trust	17	(1)
Craft-Problems Actors Bring	18	(5)
The Solo Actor	18	(1)
Generalizing	19	(1)
Indicating or Pushing	19	(1)
Playing Actions, Not Results	20	(1)
Playing on One Level	21	(1)
Actors Who Play Quality	22	(1)
Actors Who Watch Themselves	22	(1)
The Difference Between Stage and Screen Acting	23	(2)
Director: Know Thyself	25	(15)
The Director's Options	26	(1)
Problems Directors Bring	27	(6)
Ego	27	(1)
Direction by Tyranny	28	(1)
Insecurity	28	(1)
Fear of Actors	28	(1)
Narcissism	29	(1)
The Manipulative or Exploitative Director	30	(1)
Being Emotionally Detached	30	(1)
Grasping the Subtext	31	(1)
Fear of Working With People's Feelings	31	(1)
The Character's Feelings	31	(1)
The Actor's Feelings	32	(1)
Trusting Yourself	33	(3)
Use Your Instincts	33	(1)
Inner Awareness	33	(1)
Your Body	33	(1)
Using Yourself Fully	34	(1)
Interpersonal Skills and Communication	34	(1)
Lack of Acting Experience	35	(1)
Common Directorial Mistakes and Traps	36	(4)
Directing for Results	36	(1)
The Tyranny of Line Readings	36	(1)
Being Too Literal	37	(1)
Not Merging Actor and Character	38	(1)
Traps in Terminology	38	(1)
Blocking Camera or Actors	38	(1)
Style Over Truth	38	(1)
Emphasizing Special Effects	39	(1)
Why Imitate?	39	(1)
The Actor's Language	40	(16)
Acting Terminology	41	(5)
Given Circumstances/Place	41	(1)
Theme	42	(1)
Character	42	(1)
Physical Characterization	42	(1)
Super Objective	43	(1)
Overall Objective	43	(1)
Scene Objective	43	(1)
Needs, or the ``Why''	44	(1)
Conflict	44	(1)
Inner Conflict	44	(1)
Subtext	45	(1)
Obstacles	45	(1)
Actions	46	(1)
Beats	46	(1)
The Actor's Process	46	(10)
Sense Memory	47	(1)
Affective Memory	48	(1)
Personalization and Substitution	49	(1)
The Inner Monologue and Speaking Out	50	(1)
Actor's Preparation	51	(1)
Improvisation	51	(1)
Creating Unique Characteristics	52	(1)
Tasks	53	(1)
Adjustments	54	(1)
Fact and Fantasy	54	(2)
The Director's Preparation	56	(23)
Approaching the Script for the First Time	56	(2)
Director's Notes	58	(12)
Script Analysis	58	(6)
Scene Analysis	64	(6)
Character Analysis	70	(6)
Putting It All Together: Atmosphere, Mood, and Pacing	74	(2)
Exercises	76	(3)
Director's Notes	76	(1)
Practical Exercise for Objectives, the Why, Actions, and Personalization	77	(2)
Casting the Production	79	(11)
Finding Your Casting Director	80	(1)
Preparing for the Audition	81	(2)
The Perils of Typecasting	82	(1)
Casting Small Roles and Non-actors	83	(1)
Conducting the Audition	84	(4)
The Interview and What to Look For	84	(2)
The First Audition and What to Look For	86	(1)
Taping the Audition	87	(1)
Callbacks	87	(1)
Exercises	88	(2)
Developing Trust in Yourself	88	(1)
Writing Character Breakdowns	89	(1)
Playing with Casting	89	(1)
Rehearsing the Cast	90	(29)
Creating a Relaxed Atmosphere in Rehearsals	91	(1)
Being a Strong Leader in Rehearsal	92	(1)
Creating a Collaboration Between Director and Actor	92	(4)
Why Communication Matters	92	(1)
The Director's Attitude	93	(1)
Empathy	93	(1)
The Value of Precise Language	94	(2)
It's More than the Right Jargon	96	(1)
Over-Intellectualizing	96	(1)
Addressing Common Problems: Symptoms and Solutions	96	(7)
Physical Tension	97	(1)
Emotional Tension	97	(1)
Vocal Tension	97	(1)
Pushing and Indicating	98	(1)
Fear of Experiencing Painful Feelings	98	(1)
Actors Watching Themselves	99	(1)
When a Scene is Dead	99	(1)
Switching Emotional Gears	99	(1)
Avoiding Predictable Behavior	100	(1)
Mistaking Lifelessness for Relaxation	101	(1)
Lack of Connection	101	(1)
Restoring Energy to the Scene	102	(1)
Racing Through Lines	102	(1)
Vocal Inaudibility	103	(1)
Using Rehearsal Procedures	103	(5)
Imagination vs. Sensory Work	104	(1)
Improvisation as a Rehearsal Procedure	105	(2)
Creating Character Relationships	107	(1)
Coaching from the Sidelines	108	(1)
Setting Up a Rehearsal Schedule	108	(5)
The First Read-Through	109	(1)
Rehearsing Key Scenes	109	(1)
Connecting to the Characters	110	(1)
Blocking Scenes	111	(1)
Your Rehearsal	112	(1)
Using Your Sets	112	(1)
Exercises	113	(6)
Creating an Object with Your Senses	113	(2)
Creating Meaningful Objects	115	(1)
Re-creating a Place	115	(1)
Re-creating a Person	115	(1)
Using Affective Memory	116	(1)
Using Personalizations and Substitutions	116	(1)
Using Fact and Fantasy	117	(1)
Creating a Physical Characteristic Through Observation	117	(1)
Using Place to Create Meaningful Behavior	118	(1)
Resolving Problems on the Set	119	(16)
The Effects of Production Elements on Performance	120	(4)
Blocking Issues	120	(2)
Problems Created by Repeated Takes	122	(1)
Matching Physical and Emotional Behavior	123	(1)
Shooting Out of Continuity	123	(1)
Recognizing When Actors Need You	124	(10)
Trust Your Instincts	124	(1)
Unblocking the Blocked Actor	125	(1)
Breaking Line Patterns	126	(1)
Releasing Muscular Tension	126	(1)
Stopping Extraneous Movements and Mannerisms	127	(1)
Preparation for the Scene	127	(1)
Creating New Stimuli	128	(2)
Developing Interaction and Relationships	130	(1)
Creating Aspects of a Character	131	(1)
Helping an Actor ``Not Act''	132	(1)
Creatively Directing Extras	133	(1)
Watching Dailies	133	(1)
Exercises	134	(1)
Director's Notes: On the Waterfront	135	(21)
The Script	136	(2)
The Story	136	(1)
The Theme	137	(1)
The Climax	137	(1)
The Setting	137	(1)
The Director's Goal	138	(1)
Character Analysis	138	(5)
Terry Malloy	138	(2)
Edie Boyle	140	(1)
Charley Malloy	141	(1)
The Men	142	(1)
The Priest	143	(1)
The Pigeons	143	(1)
Scene-Breakdown: Bar Scene in Act II	143	(4)
Theme of Script	143	(1)
How the Scene Furthers Theme	143	(1)
Super-Objective	143	(1)
Scene-Objectives	144	(1)
Conflict Within the Scene	144	(1)
Inner Conflict	144	(1)
Actions to Play	144	(1)
Obstacles: Internal and External	145	(1)
Relationship in the Scene	145	(1)
Relationship to the Place	146	(1)
The Actor's Preparation	146	(1)
The Director's Goal	146	(1)
The Bar Scene from On the Waterfront	147	(9)
Conversations with Directors and Actors	156	(91)
Burt Brinckerhoff	157	(10)
Todd Holland	167	(12)
Alexander Payne	179	(8)
Mark Rydell	187	(12)
Brad Silberling	199	(13)
Audrey Wells	212	(15)
Geena Davis	227	(11)
Anthony Franciosa	238	(4)
Barry Primus	242	(5)
EPILOGUE	247	(1)
APPENDIX	248	(5)
Appendix A: Character Analysis Chart	248	(2)
Appendix B: Sample Action Verbs	250	(2)
Appendix C: Recommended Reading	252	(1)
Index	253