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Excerpts
from forthcoming book:
Film
people, whether in Hollywood, Rome, New York, London or Paris, have
one thing in common: they admire professionalism. Given a choice between
two actors, professionalism will often be the deciding factor. Competence
and reliability are crucial to the forming of a reputation far more
treasured than erratic brilliance. The
student seeking to become a professional actor must develop and refine
understanding of the extra disciplines that filming demands. For example: you've got to know how to help the camera. In a close up, the camera magnifies your actions, so you have to know how to scale down the action of your performance without losing intensity as the shot gets tighter. The professional will reduce performance physically in a close up, but not mentally. In fact, the mind should work even more intensely in a close-up because in a close-up the performance is all in your eyes and facial expression, and you cannot use the rest of your body to express yourself.
Fellini
often remarked that movies are a synesthetic medium. The effects on
the senses from peripheral images and sounds other than the central
elements in any scene. The collateral effects, such as seeing good food
in a scene and having one's appetite stimulated. A song meant for the
ears but which brings visualization or evokes memories or historical
periods. All these effects are referred to as synestesia. Fellini
was deeply aware of synestesia and encouraged actors to use this second
layer of awareness which impacts an audience almost subliminally.
The
power of imagination that is the foundation of great acting is implicit
if we are to achieve wholehearted harmonious collaboration especially
from those who have digested the immense possibility that opens into
our lives when we have decided to fully embrace the profession of movie
acting. The
importance of alertness and the wisdom of relaxation in movie acting.
"If you are knocking yourself out, you are doing it wrong,"
according to Michael Caine. Therefore, one of the first things we have
to learn is how to overcome nervousness. We must seek what Socrates
asked for in the prayer from the "Phaedrus" when he said:
"May the outward and the inward person be at one." It
is by this "pulling oneself together" that our greatest powers
and talents are helped rise to the surface. Our lives are granted periods
of spontaneous grace, when we feel exceptionally well and at ease. Finding
the secret for extending these periods of intrinsic happiness until
almost everyday of our lives is a fulfilling joy is like finding a magic
power. Acting,
by its very nature, is a moving from the world of reactions to the world
of self controlled action. In life we are often like boats without direction
whose captain is asleep at the wheel as our boat is tossed aimlessly
toward dangerous shores. The accomplished actor learns to handle the
sails of emotions and stays awake by holding the rudder of reason to
take advantage of the pressure of winds and currents, and thereby sets
course for safe harbor. Achieving control of your vessel gives you immense
self confidence and fills you with joy. So, as an aspiring actor, if a life storm has pushed you off course do as all good sailors do: head into the wind, reduce sail and then reset course so that by taking advantage of the energy of the storm you make great progress in the good direction where the island of fulfillment awaits you. |
