![]() You’ve read the script, that is your blueprint, it’s now your turn to start laying the groundwork to bring your character to life. Crafting and displaying their inherent qualities is all in addition to telling the story and telling you so much about them self. Having knowledge of their personal factors benefit the overall arc of your role; such as their motivations, desires, fears, and past experiences. Knowing what they strive for, and what they’re wanting to achieve is key for figuring out how they’re going to navigate the world that is being created, as well as their relationships; not only with the other characters in the story but also their relationship with the audience, how they should be perceived. Understanding the Source Material Unless you yourself have written the script, it’s not your story, it’s best to start by listening and learning. Read and understand what the writer has written about your character and use that as your starting point. This can vary from screenwriter to screenwriter in how much detail they provide; some will describe in depth descriptions of their characters, and others not much at all. Whichever way it is, it’s a starting point for you to be introduced with a simple description of their demeanour or actions that could already tell you so much about them, it’s about building something authentic around that. Know the Answers The fundamental questions of 'who, what, when, where, and why' are essential for in-depth character exploration. Asking yourself these questions, and more importantly, finding the answers to them can create so much context to any aspect of your role’s personality. Think about even the most habitual aspects of your role’s life; their posture, how they walk, what they sound like? How is your character different from you? How are they similar? Implementing both of these answers is also a great way to craft something unique. In some parts it’s the fun of make believe, and in others it’s the comfort of the familiar. It's about finding a connection between you and the person you are portraying. So whenever someone asks you why something you’ve done is the way it is, you already have the reasons. “You, as an actor, should know more about this character than anybody now in the world… It’s for you to bring it to life” Gena Rowlands quoting John Cassavettes Can you Hear the Music? Some actors find music a constructive tool in characterisation. Figuring out what the character would listen to and creating a playlist based around that. Even if your character isn’t the kind of person who listens to music, what would be the soundtrack to their world? Listening to a soundscape can give you a sense of what it’s like to sit in your character’s world with nothing but their thoughts. This is the process that Lynne Ramsay used for her film; You Were Never Really Here. To ensure that Joaquin Phoenix could get into the mindset of his character, one who has suffered with such a fractured psyche. She said; “It was brilliant because he works so much on instinct. I just had to get into his headspace as much as possible. I recorded fireworks on the Fourth of July in this dark garden in Brooklyn. You couldn’t see them but you could hear them. I thought, ‘This must be what it feels like to be in a war.’ I played it to Joaquin and said, ‘This is what’s going on in your mind every day.’” Build a Relationship The Director. The person who controls the making of a film. Other than the actors, it’s going to the person you work the most, and the closest with. It’s important to work together with trust and respect for each other to achieve the same shared vision for the project. Open communication and a shared understanding of what each of you are trying to achieve is vital for a good working relationship, and creating that vision without clash or controversy will result in the best product. Creative differences are inevitable to arise. Openly discussing your ideas and listening to the director's feedback to find a collaborative solution is key to building a strong relationship. Both you and the director should have a shared goal in mind, it’s perfectly acceptable to bring suggestions to the table, like previously stated, you know the character better than anyone after all. As long as you are open to theirs too, build trust with the director, at the end of the day, it is their job to get an authentic performance out of you. By working together and supporting each other, as well as others, you will all achieve your goal. Experimentation and Spontaneity Don’t just find one path and stick to it. Use the questions you asked yourself, and the character’s answers you created to discover new and interesting characteristics, the quirks you could implement to make the role unique. Come up with new ways to do a scene, or deliver a line. One might come along that surprises you. Improvisation is acceptable within reason, and on some sets it’s even encouraged, this shows a deep knowledge of character, resulting in a feeling of authenticity. When you’re so in tune with this persona, and you believe what they are saying, the audience will believe you too. The dialogue you speak will be natural and the reactions real; Acting is Reacting. Accepting Criticism A humble fact to accept is that nobody’s perfect. You’re not always going to get it right on the first try, you’re going to make mistakes. But what you do with them is more than a triumph for a performance, it’s also a reflection of you as a performer. It is important to listen to what feedback you can get and use that as an opportunity for growth and better understanding the scene, or even the story as a whole. Whether that is on set with your director or co-stars, or even a friend you’re practising lines with, constructive criticism is essential for improvement. Taking it in and understanding it can not only improve your performance, but also enlighten new pathways to take the performance down, it might inspire a new direction to try in the next take. Enjoy the Process Ultimately, building something you can throw yourself into is a privilege for a performer, and something that is all part of the fun of acting and storytelling in general. At the end of the day, most people act because they love it, so love it. AuthorHayden Simpson Leave a Reply. |
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