ACTING ON CAMERA 2014 PARIS June 12-22 2014 10am -2pm, 35 St Roch, Paris 75001

ACTING ON CAMERA 2014 PARIS
June 12-22 2014
10am -2pm, 35 St Roch, Paris 75001
PROGRAM for Actors of FILMACTINGPARIS.COM
“Real experience gives the actor real confidence”

GENERAL
This 10-day workshop is for actors and highly motivated individuals desiring to work in the US/UK movie industry. Actors learn, exercise and perfect their skills on-camera. Training includes how to breakdown scripts and scenes; working with objectives, choices, organic activates and creating a specific character tree. Actors are inspired to find “the door” into their character. By working the camera, actors find casting techniques to win roles. Simulating a movie set, actors develop natural blocking and organic activities. All monologues and scenes are filmed with professional equipment and can be used for demo reels.

CHARLES WEINSTEIN
Charles directed MELISSA LEO (THE FIGHTER 2011 Academy Award Best Supporting Actress , FROZEN -2009 Academy Award Nomination for Best Actress, TREME, 21 GRAMS), Laura Linney (THE SAVAGES, LOVE ACTUALLY), Michael Imperioli (SOPRANOS, THE LOVELY BONES, GOODFELLAS), Calista Flockhart (ALLY McBEAL) Charles and Zach worked together on UNDER THE BRIDGE. Charles has invited many casting directors to his workshop from New York and London and recently hosted Debbie McWilliams who is currently casting JAMES BOND 24.

DAY 1: Orientation. Some handouts will be distributed. Actors begin with monologues for castings. “Acting is the ability to live truthfully under imaginary circumstances.” Where did the objective originate? The simpler the objective, the more playable it is. Finding positive objectives to stimulate the imagination.

DAY 2: The size of the objective. “Trying, really trying, that’s the reality of doing.” When the objective doesn’t work or if the objective is blocked, we may improvise until we find an objective that works. “How to keep my monologue alive and fresh through the use of interruption.” Actors choose scenes for demo reels.

DAY 3: The observation exercises. Are you listening to me? From the objective we make choices and from those choices we create organic activities. Filming auditions and rehearse scenes.

DAY 4: How to alter a performance from shot to shot, take to take. How about “taking it down?” Or “give it more energy.” Working with close-ups. Rehearsal of scenes with input from coaches.

DAY 5: Creating the spine of a character. Research a character; the building of a character tree; how to create a past, present and future for your character. Rehearsal of scenes with coaches.

DAY 6: “Introduction to Uta Hagen Object exercises. Rehearsal and filming of scenes.

DAY 7: “Never try to be emotional; instead choose an activity with real difficulty in the object of doing.” Continued rehearsal and filming of scenes.

DAY 8: Introduction to the Meisner independent activities. Memorize your lines without inflection. How to learn your lines as mechanically as possible. Filming of scenes.

DAY 9: : “Most acting is reacting, and you only react if you’re listening.” “ I think if you have a talent for acting, it is the talent for listening.” -Morgan Freeman. Working on accents and microphone levels. How loud or/and how soft should my voice be on camera? What’s my best side and where to look? How to make the camera work for you.

DAY 10 Where to find jobs and work. How to create a CV and demo reel. The importance of good headshots. Filming scenes.

Wrap party!

Suggested book list

A Dream of Passion – Lee Strasberg
A Life –by Elia Kazan
Acting for the Camera –by Tony Bill
Acting in Film –Michael Caine
Building a Character – Constantin Stanislavski
Charlie Chaplin, My Autobiography –by Charlie Chaplin
On Acting –Sanford Meiner
On the Technique of Acting –Michael Chekhov
Respect for Acting –Uta Hagen
The Open Door –Peter Brook
Towards a Poor Theatre –Jerzy Grotowski

1 Comment »

  1. Lucinda said,

    August 28, 2014 @ 2:28 am

    I apitcepare you taking to time to contribute That’s very helpful.

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