In my many years as a film actor, I've come across a lot of different acting styles, a lot of different levels of acting, and a lot of unique scenarios. There are many little things I've found (especially in indie film) that I think could be improved in terms of performance. By no means is this to come across as an arrogant, cavalier attempt to get attention, or (forgive my Frenchy pun) act like a badass. I honestly want to help, and I think sharing a few tips to less experienced actors would be nice. Don't get me wrong, I'm still far from being a Gary Oldman or Daniel Day-Lewis...I'm striving for that level of intensity as well...so I don't claim, nor do I pretend to be, a superior actor...I've simply taken notice to certain things on set, and I think we could all benefit from it.
Some of things I want to share with you are the kinds of techniques and tips you probably won't learn in your acting class (others you may). And you can bet your fellow actor, friends, or director won't tell you about--little things which help 'sell the moment', but are too vague or seemingly hopeless for anybody to call you out on. One of the reasons I've decided to write this, is because I've seen a pattern amongst many novice actors (even experienced ones), and I think a few pointers could help.
Now, keep in mind, this is by no means a professional breakdown of technique or style. These are simply small--cut to the chase--kinds of improvements that can be made. The kinds of tips that may seem asinine to some of you...but trust me, they are things many actors can benefit from. Some of them may even seem silly or pointless. Some may never involve you. Try and understand, these are simply little tid-bits of performance that are treated like throw-aways, but ones which I think could strengthen your 'selling powers' as an actor.
I realize some of my tips may seem to revolve around a specific genre of movie or a set of techniques you may not use—I’m sharing examples I’ve gone through and see, but I think some of them can be form-fit to your direct needs as well. Of course some of them are straight-out candid examples of ways to better a particular action.
Let's get started!
1. Sell everything you do!
This refers to your commitment to an emotion, or at least to the commitment of faking the emotion. Everything you do as an actor should be at 100%. An actor’s doom is when they hold back an action or emotion, for fear of looking silly. Actors need to learn to thrive in uncomfortable circumstances. Never be afraid to go all out…acting isn’t about looking pretty or cool. If your action is ‘getting choked’, then you better gag, bulge your eyes, shake your head, twitch, and fight it…nothing is worse than an actor that is humdrum about an action, or an actor that’s afraid to muss-up their hair and makeup. Also a quick note: learn how the body reacts to physical blows. Watch where your body bends and moves, and how fast it does so when you're punched, kicked or hit...an actor that can realistically sell his 'oomff' moments is invaluable. Far too many actors are stiff when they are hit, punched, pushed or pulled...not everyone can bend like a reed in the wind (ha, no pun intended), but make sure you know how to sell a hit (i.e. take a punch) as well as throw a punch. Being comfortable with light stunts and fighting will increase your appeal to a lot of film makers.
2. I can’t scream Doc!
I can’t tell you how many times I’ve run across actors that can’t scream on camera. This sort of ties into number one above—selling your action, but it’s a little more detailed. If you are required to scream, you better scream. And I’m not talking about producing some scream-queen shriek…sell your scream. If your arm has been cut off…scream like your arm just got cut off. Don’t hold back. And never assume your scream will be ADR’ed in post.
3. Not more Karo?!?
Ok, yet again another example that ties into selling your action…get used to it, that’s our main goal as actors. As indie actors, you may be asked to put fake blood (Karo, food coloring, chocolate powder, etc) into your mouth and either spit it up during injury, let it slowly spill out, or you may set the blood before the actual take. Make sure you don’t just push the blood out carelessly when action is called. Believe me, this may sound trite, but so many beginning actors have a very difficult time doing blood takes without looking completely obvious that they are pushing the blood out of their mouth (as opposed to the goal…our innards). If a director says ‘spit the blood out’, it’s OK to ask, ‘Do you want it violently spit out, or subtly?’ If it’s violently, don’t spit with your mouth…spit with your lungs, and make it quick…if you are playing out a realistic cough or gag, the blood spill will take care of itself. If you want to release more by careful manipulation, push it from your mouth with your tongue. I know…it’s a silly, nitpicky example of something to work on…but trust me; it sells your injury or death, and in turn, sells the movie. Nothing is worse than an actor that looks like they simply push the mouthful of blood out on action.
4. Take your Time.
Don’t rush through your lines. Take your time. I don’t mean relish in your close-up, and chew the scenery like Denzel Washington…I mean relax. Don’t rush your emotional bridges…break down each action in steps. If the director needs you to speed up, he or she will tell you to. It looks fake to spit your lines out. Not to mention unless you’re a trained theater actor, you’re likely to stumble over your lines and have to do it over and over again until your tongue unties. Feel the emotion…but don’t dwell too much on it.
5. Don’t break character.
No matter what happens during a scene, don’t break character until the director says ‘CUT!’ This can cover a lot of different scenarios: 1) If you stumble over a line, there may be no need to start from the beginning. Simply pause, take a breath, and start from the previous beat. The director may still be able to use the take via clever cutting in the editing room. 2) Something you think is a major screw-up may be a stroke of serendipity or genius. You may stumble over a set piece, you may hit your head on an overhang, you may adlib a line of dialog…whatever you do, play out the action until the director says cut. 3) If the camera is not on you (i.e. in a CU with another actor), don’t worry about getting your lines perfect…so if you mess up, keep going. There’s no need to mess the take up for the other actor. Your off-camera dialog will be spliced in from your CU boom-placement in the editing room. On a side note—many actors think they should overlap another actor if they are to cut them off…contrary to popular belief this is not the case (unless specifically asked to). The editor will *create* the interruption on the editing timeline. So don’t worry about making it sound real. Make sure your cut-offs are real, yet clean…let the editor worry about timing.
6. Watch your eye lines.
Always be aware of where your eye-line is. Remember from the previous action, where you were looking, and be sure to look there. If on the master shot you watched your buddy take a punch and go down, make sure you mimic the same movement with your face and eyes in your CU. Another case is, sometimes the director will give you an eye-line that is just over the camera lens…this may feel uncomfortable for the novice actor. Just remember to keep your focus beyond the camera (hopefully to the very helpful actor you’re reading to as a set eye-line).
7. Be there, even when you’re not in the shot.
I don’t just mean be on set when you’re not on camera…I mean mentally as well. Nothing is worse than an actor that shoots the master, two-shot, and their CU, and then either disappears, or goes flaccid with their performance for the other actors when their shots are done. Even if the camera isn’t on you, you should be on your mark (for eyeline), and give 100% of your performance. I’m not saying you should still ball your eyes out, or go that extreme (don’t exhaust your emotions, especially for more difficult scenes unless you have to), but you should definitely give your fellow actors something real to play off of—both in terms of eye-line, and reaction.
8. Continuity.
It is your job—especially on an indie set—to watch all levels of continuity. This covers everything from your physical appearance (hair, wardrobe, makeup), and it also covers your actions during the scene. Always remember, in relation to the dialog and action, what you chose to do with your hands, head, body, feet, coffee cup, cigarette, etc. Know exactly when you took a sip of coffee…on what line…and for how long. This way the master shot will match your CU. Trust me, the editor will love you for this. If they are forced to use your best take (performance wise), but you took your sip of coffee a line too early, it’s going to look really jerky in the final cut. This also refers to the continuity of your emotions during a scene (especially if you’re breaking the scene up on different days). You have to remember how intense you were on a given take, so you can match it on your CU or visa-versa. I’m not saying you have to be a carbon-copy every take…feel free to explore. Just be aware of how things will match together. In other words, give the director choices in the editing room…but don’t do something so radically different they can’t match anything.
9. Know your Firearms
Something that plagues indie sets are the ill-use of firearms. It is your job as an actor to make it believable that you are firing a weapon that uses real bullets—this means the kick (or recoil) should resemble the real-world affair. Study how big-budget actors handle their firearms. Hell, you’re an actor…it might be worth it to go out and fire a few weapons for real. Watch the recoil…how it manipulates your wrist first, then forearm. Understand different caliber weapons produce stronger kicks. Realize your eyes may inevitably close during a shot (unless the director specifically tells you not to). I can’t explain exactly how to make it look great without actually showing you…so I leave it up to you to realize its importance. And for goodness sake, don’t mouth the sound of the gun…believe me, a lot of actors do it, even if it’s super subtle the camera will pick it up.
10. Listen! Look!
Actors are notorious for sliding into a line with a comfort word like, ‘Look…’, or ‘Listen…’ It’s a bad habit we all get into. And although it may feel or look or play more real, it’s simply a routine we want to break. Because when we start working for bigger movies, the writers aren’t going to like it one bit, and the script supervisor will catch you on it. I know it feels comfortable to start a line like that…and it’s actually something we do in the real world…just don’t make a habit of using opening comfort words to start your dialog.
Well…thank you for reading all of that. I hope this helps a few of you out, and gets some thoughts rolling. I know some of these example may seem stupid…or useless…or obvious...but they are just a few things I notice all the time, and some of them can be quickly halted. Sometimes the smallest details can separate a mediocre actor from a good actor.
I strongly advice—if you’re truly serious about continuing your career as an actor—you pick up a vast array of books, and read more about the craft. I’m not saying you have to read into all acting ‘methods’…there are many more books out there that express themselves more down to earth, and those are the ones I recommend most.
It is our job as actors to ALWAYS be observing. The smallest brush strokes add up to create a masterpiece. The more you look, the more you’ll notice. And with practice, you can implement these things seamlessly into your own performances. Sometimes actors need candid responses…most people will tell an actor anything not to hurt their feelings…I on the other hand prefer the truth. We as actors have to learn to deal with our shortcomings, and instead of brooding on them, fixing them.
Maybe some of you would like to add to the list? That would be awesome. I had a few more, but honestly, I don’t want to write a book here.
Thanks everyone!
Some of things I want to share with you are the kinds of techniques and tips you probably won't learn in your acting class (others you may). And you can bet your fellow actor, friends, or director won't tell you about--little things which help 'sell the moment', but are too vague or seemingly hopeless for anybody to call you out on. One of the reasons I've decided to write this, is because I've seen a pattern amongst many novice actors (even experienced ones), and I think a few pointers could help.
Now, keep in mind, this is by no means a professional breakdown of technique or style. These are simply small--cut to the chase--kinds of improvements that can be made. The kinds of tips that may seem asinine to some of you...but trust me, they are things many actors can benefit from. Some of them may even seem silly or pointless. Some may never involve you. Try and understand, these are simply little tid-bits of performance that are treated like throw-aways, but ones which I think could strengthen your 'selling powers' as an actor.
I realize some of my tips may seem to revolve around a specific genre of movie or a set of techniques you may not use—I’m sharing examples I’ve gone through and see, but I think some of them can be form-fit to your direct needs as well. Of course some of them are straight-out candid examples of ways to better a particular action.
Let's get started!
1. Sell everything you do!
This refers to your commitment to an emotion, or at least to the commitment of faking the emotion. Everything you do as an actor should be at 100%. An actor’s doom is when they hold back an action or emotion, for fear of looking silly. Actors need to learn to thrive in uncomfortable circumstances. Never be afraid to go all out…acting isn’t about looking pretty or cool. If your action is ‘getting choked’, then you better gag, bulge your eyes, shake your head, twitch, and fight it…nothing is worse than an actor that is humdrum about an action, or an actor that’s afraid to muss-up their hair and makeup. Also a quick note: learn how the body reacts to physical blows. Watch where your body bends and moves, and how fast it does so when you're punched, kicked or hit...an actor that can realistically sell his 'oomff' moments is invaluable. Far too many actors are stiff when they are hit, punched, pushed or pulled...not everyone can bend like a reed in the wind (ha, no pun intended), but make sure you know how to sell a hit (i.e. take a punch) as well as throw a punch. Being comfortable with light stunts and fighting will increase your appeal to a lot of film makers.
2. I can’t scream Doc!
I can’t tell you how many times I’ve run across actors that can’t scream on camera. This sort of ties into number one above—selling your action, but it’s a little more detailed. If you are required to scream, you better scream. And I’m not talking about producing some scream-queen shriek…sell your scream. If your arm has been cut off…scream like your arm just got cut off. Don’t hold back. And never assume your scream will be ADR’ed in post.
3. Not more Karo?!?
Ok, yet again another example that ties into selling your action…get used to it, that’s our main goal as actors. As indie actors, you may be asked to put fake blood (Karo, food coloring, chocolate powder, etc) into your mouth and either spit it up during injury, let it slowly spill out, or you may set the blood before the actual take. Make sure you don’t just push the blood out carelessly when action is called. Believe me, this may sound trite, but so many beginning actors have a very difficult time doing blood takes without looking completely obvious that they are pushing the blood out of their mouth (as opposed to the goal…our innards). If a director says ‘spit the blood out’, it’s OK to ask, ‘Do you want it violently spit out, or subtly?’ If it’s violently, don’t spit with your mouth…spit with your lungs, and make it quick…if you are playing out a realistic cough or gag, the blood spill will take care of itself. If you want to release more by careful manipulation, push it from your mouth with your tongue. I know…it’s a silly, nitpicky example of something to work on…but trust me; it sells your injury or death, and in turn, sells the movie. Nothing is worse than an actor that looks like they simply push the mouthful of blood out on action.
4. Take your Time.
Don’t rush through your lines. Take your time. I don’t mean relish in your close-up, and chew the scenery like Denzel Washington…I mean relax. Don’t rush your emotional bridges…break down each action in steps. If the director needs you to speed up, he or she will tell you to. It looks fake to spit your lines out. Not to mention unless you’re a trained theater actor, you’re likely to stumble over your lines and have to do it over and over again until your tongue unties. Feel the emotion…but don’t dwell too much on it.
5. Don’t break character.
No matter what happens during a scene, don’t break character until the director says ‘CUT!’ This can cover a lot of different scenarios: 1) If you stumble over a line, there may be no need to start from the beginning. Simply pause, take a breath, and start from the previous beat. The director may still be able to use the take via clever cutting in the editing room. 2) Something you think is a major screw-up may be a stroke of serendipity or genius. You may stumble over a set piece, you may hit your head on an overhang, you may adlib a line of dialog…whatever you do, play out the action until the director says cut. 3) If the camera is not on you (i.e. in a CU with another actor), don’t worry about getting your lines perfect…so if you mess up, keep going. There’s no need to mess the take up for the other actor. Your off-camera dialog will be spliced in from your CU boom-placement in the editing room. On a side note—many actors think they should overlap another actor if they are to cut them off…contrary to popular belief this is not the case (unless specifically asked to). The editor will *create* the interruption on the editing timeline. So don’t worry about making it sound real. Make sure your cut-offs are real, yet clean…let the editor worry about timing.
6. Watch your eye lines.
Always be aware of where your eye-line is. Remember from the previous action, where you were looking, and be sure to look there. If on the master shot you watched your buddy take a punch and go down, make sure you mimic the same movement with your face and eyes in your CU. Another case is, sometimes the director will give you an eye-line that is just over the camera lens…this may feel uncomfortable for the novice actor. Just remember to keep your focus beyond the camera (hopefully to the very helpful actor you’re reading to as a set eye-line).
7. Be there, even when you’re not in the shot.
I don’t just mean be on set when you’re not on camera…I mean mentally as well. Nothing is worse than an actor that shoots the master, two-shot, and their CU, and then either disappears, or goes flaccid with their performance for the other actors when their shots are done. Even if the camera isn’t on you, you should be on your mark (for eyeline), and give 100% of your performance. I’m not saying you should still ball your eyes out, or go that extreme (don’t exhaust your emotions, especially for more difficult scenes unless you have to), but you should definitely give your fellow actors something real to play off of—both in terms of eye-line, and reaction.
8. Continuity.
It is your job—especially on an indie set—to watch all levels of continuity. This covers everything from your physical appearance (hair, wardrobe, makeup), and it also covers your actions during the scene. Always remember, in relation to the dialog and action, what you chose to do with your hands, head, body, feet, coffee cup, cigarette, etc. Know exactly when you took a sip of coffee…on what line…and for how long. This way the master shot will match your CU. Trust me, the editor will love you for this. If they are forced to use your best take (performance wise), but you took your sip of coffee a line too early, it’s going to look really jerky in the final cut. This also refers to the continuity of your emotions during a scene (especially if you’re breaking the scene up on different days). You have to remember how intense you were on a given take, so you can match it on your CU or visa-versa. I’m not saying you have to be a carbon-copy every take…feel free to explore. Just be aware of how things will match together. In other words, give the director choices in the editing room…but don’t do something so radically different they can’t match anything.
9. Know your Firearms
Something that plagues indie sets are the ill-use of firearms. It is your job as an actor to make it believable that you are firing a weapon that uses real bullets—this means the kick (or recoil) should resemble the real-world affair. Study how big-budget actors handle their firearms. Hell, you’re an actor…it might be worth it to go out and fire a few weapons for real. Watch the recoil…how it manipulates your wrist first, then forearm. Understand different caliber weapons produce stronger kicks. Realize your eyes may inevitably close during a shot (unless the director specifically tells you not to). I can’t explain exactly how to make it look great without actually showing you…so I leave it up to you to realize its importance. And for goodness sake, don’t mouth the sound of the gun…believe me, a lot of actors do it, even if it’s super subtle the camera will pick it up.
10. Listen! Look!
Actors are notorious for sliding into a line with a comfort word like, ‘Look…’, or ‘Listen…’ It’s a bad habit we all get into. And although it may feel or look or play more real, it’s simply a routine we want to break. Because when we start working for bigger movies, the writers aren’t going to like it one bit, and the script supervisor will catch you on it. I know it feels comfortable to start a line like that…and it’s actually something we do in the real world…just don’t make a habit of using opening comfort words to start your dialog.
Well…thank you for reading all of that. I hope this helps a few of you out, and gets some thoughts rolling. I know some of these example may seem stupid…or useless…or obvious...but they are just a few things I notice all the time, and some of them can be quickly halted. Sometimes the smallest details can separate a mediocre actor from a good actor.
I strongly advice—if you’re truly serious about continuing your career as an actor—you pick up a vast array of books, and read more about the craft. I’m not saying you have to read into all acting ‘methods’…there are many more books out there that express themselves more down to earth, and those are the ones I recommend most.
It is our job as actors to ALWAYS be observing. The smallest brush strokes add up to create a masterpiece. The more you look, the more you’ll notice. And with practice, you can implement these things seamlessly into your own performances. Sometimes actors need candid responses…most people will tell an actor anything not to hurt their feelings…I on the other hand prefer the truth. We as actors have to learn to deal with our shortcomings, and instead of brooding on them, fixing them.
Maybe some of you would like to add to the list? That would be awesome. I had a few more, but honestly, I don’t want to write a book here.
Thanks everyone!
