astigmatic
Well-known member
cool thanks chamber005, very in depth and helpful!
how do you tell an actor to adopt a personality type
- Thread starter astigmatic
- Start date
What the character is doing in the scene may be more important than what they're saying. Perhaps the actor needs a physical activity.
Either way, one extremely effective way to direct an actor is to give them a goal to accomplish. Like, I might say to an actor, "do everything you can in this scene to get your partner out of the room" or "keep the other people from finding out a secret." Stuff like that. Another thing is similar to the old adage about how to play "drunk" -- by trying to play sober. Do the opposite. Only drunk people try to convince us they're sober, so when someone's trying really hard to walk a straight line or focus their eyes, whatever, they appear more drunk than if they're over-acting slurring and stumbling.
So, maybe suggest to your actor that their goal is to try to prove that they are sane when they speak their lines.
Either way, one extremely effective way to direct an actor is to give them a goal to accomplish. Like, I might say to an actor, "do everything you can in this scene to get your partner out of the room" or "keep the other people from finding out a secret." Stuff like that. Another thing is similar to the old adage about how to play "drunk" -- by trying to play sober. Do the opposite. Only drunk people try to convince us they're sober, so when someone's trying really hard to walk a straight line or focus their eyes, whatever, they appear more drunk than if they're over-acting slurring and stumbling.
So, maybe suggest to your actor that their goal is to try to prove that they are sane when they speak their lines.
JonathanLB
Carbonite Member
You're not supposed to tell an actor "Be happy" or "Be sad" or "be crazy" or whatever. Can actors adapt and try to translate your result-directing into something they can play? Sure, of course.
If you wanted someone to be paranoid, almost like the world was closing in on them, I'd just say, "There are people out to get you, you should be vigilant in checking everywhere someone could hide, visually survey your surroundings, don't let them catch you." That's a lot better than "Be paranoid." Their version of paranoid may be different than mine or they may have to imagine being paranoid first, then imagine what a paranoid person does, then try to play that. If you tell them something specific, they can play that.
Or if you wanted to get across the idea they are agitated like they are sort of on the verge of a break, I might say, "Your goal is to end the conversation as fast as possible. You don't want to be seen talking to this person." They may look around a bit more, see if anyone is watching, talk fast, not make eye contact much, etc. At least I can see what the actor does with that, and if I don't like how they're playing it still, I can come up with another way of putting it. "You have to go to the bathroom really badly. This person is holding you up and you can't take a piss until they stop talking to you."
There are all sorts of fun, inventive ways to give an actor a way to play something that lets them explore without saying, "Ok look right, then look left, and then look at the person, then talk nervously, then act like you are paranoid." That's so confusing, you've just implanted all of these thoughts in the actors' head, now they're trying to remember what you told them, and go through this checklist, self-consciously, rather than just being in the scene. A really good actor can still probably make this work but why chance it? Clear, effective communication is best.
If you wanted someone to be paranoid, almost like the world was closing in on them, I'd just say, "There are people out to get you, you should be vigilant in checking everywhere someone could hide, visually survey your surroundings, don't let them catch you." That's a lot better than "Be paranoid." Their version of paranoid may be different than mine or they may have to imagine being paranoid first, then imagine what a paranoid person does, then try to play that. If you tell them something specific, they can play that.
Or if you wanted to get across the idea they are agitated like they are sort of on the verge of a break, I might say, "Your goal is to end the conversation as fast as possible. You don't want to be seen talking to this person." They may look around a bit more, see if anyone is watching, talk fast, not make eye contact much, etc. At least I can see what the actor does with that, and if I don't like how they're playing it still, I can come up with another way of putting it. "You have to go to the bathroom really badly. This person is holding you up and you can't take a piss until they stop talking to you."
There are all sorts of fun, inventive ways to give an actor a way to play something that lets them explore without saying, "Ok look right, then look left, and then look at the person, then talk nervously, then act like you are paranoid." That's so confusing, you've just implanted all of these thoughts in the actors' head, now they're trying to remember what you told them, and go through this checklist, self-consciously, rather than just being in the scene. A really good actor can still probably make this work but why chance it? Clear, effective communication is best.
Paul Hudson
Vacuum Tube Member
Actors should be free to act, if they are good. Character types should clearly be detailed in script. These questions should all be answered in the casting or early rehearsals.
memento515
Active member
a good script is actor-proof
a good script is actor-proof
If your characters personality is not reflected in the dialog and in physical action, then your script needs work. Youre asking your actor to do the heavy lifting that's not being done by the script.
a good script is actor-proof
If your characters personality is not reflected in the dialog and in physical action, then your script needs work. Youre asking your actor to do the heavy lifting that's not being done by the script.
polfilmblog
Well-known member
Okay, to be clear:
"I have a character that I want to be eccentric, very fervent.. at the verge of insanity. However you wouldn't really be able to tell from the characters dialogue."
I would hope there are actions that go along with this dialogue that DO cue the audience in?
If the character's CHOICE of dialogue isn't eccentric, then maybe this isn't written all that well in the first place???
We are what we say and do. What is it that is allegedly "eccentric" about this guy, except for the way you would like him to be played?
Eccentricity isn't just a tap on your keyboard.
Once this character exists as "eccentric" in the story world, you would have a better chance of getting that through to the actors (and everyone else). My opinion, anyways...
"I have a character that I want to be eccentric, very fervent.. at the verge of insanity. However you wouldn't really be able to tell from the characters dialogue."
I would hope there are actions that go along with this dialogue that DO cue the audience in?
If the character's CHOICE of dialogue isn't eccentric, then maybe this isn't written all that well in the first place???
We are what we say and do. What is it that is allegedly "eccentric" about this guy, except for the way you would like him to be played?
Eccentricity isn't just a tap on your keyboard.
Once this character exists as "eccentric" in the story world, you would have a better chance of getting that through to the actors (and everyone else). My opinion, anyways...
kimko
Veteran
There you go simple direct, the story,director,actor, the edit.:furious3:
rsbush
Well-known member
It is not WHAT you say that determines character, it is HOW you say it. HOW you do what you do is what reveals character. In your case the discrepancy between dialogue and behavior could actually reinforce the character's eccentricity.
What you want to do is affect the actor's behavior by giving them a psychological or physical adjustment. One example of a psychological adjustment: "Play it "AS IF" the fate of the world depends on what you say."
An example of a physical adjustment : "It's "AS IF" you have an army of microscopic bugs under your skin crawling up one arm and down the other and you can never let anyone know about it."
Of course these are very simplistic examples. You need the right adjustments for the specific actor and circumstance you're dealing with. And remember, you don't want to give a ton of direction, you just need the right 'little bit'. You want to spark the actor's imagination, not fill in the blanks.
Also. Make sure your actor's characters always have opinions of the characters they relate with. This is as important as anything else in determining behavior.
Last edited: