Archive for Workshops

ACTING ON CAMERA 2014 PARIS September 15th-21st 10am -2pm, 35 St Roch, Paris 75001

SOPHIE MOUSEL, Actress, FILM ACTING PARIS 2014
“Cet enseignement clair, simple et efficace, ce bel équilibre entre pratique et théorie m’a beaucoup parlé et je conseille, particulièrement aux débutants devant la caméra, sinon à tout acteur motivé, à y participer! Au travail!”
ACTING ON CAMERA 2014 PARIS
September 15th-21st
10am -2pm, 35 St Roch, Paris 75001
Professional Workshops for actors desiring to work in the USA/UK Film industry. Low cost.
This 7-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 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. “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. 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.
DAY 4 Introduction to the Meisner independent activities. Memorize your lines without inflection. How to learn your lines as mechanically as possible. “Never try to be emotional; instead choose an activity with real difficulty in the object of doing.”
DAY 5: “Introduction to Uta Hagen Object exercises. Rehearsal and filming of scenes. 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.
DAY 6: “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 7: Where to find jobs and work. How to create a CV and demo reel. The importance of good headshots. Wrap party!
Don’t hesitate to participate in Charles Weinstein’s workshops. His teaching is easily accessible, simple and clear, and professionally very useful. Go for it!
Its a great workshop with a perfect balance between theoretical and practical teaching
A simple but very efficient method for all work in front of the camera:
1) Making a character tree, being precise and knowing each detail of your character
2) Choosing a strong objective
3) Making choices to attain it
4) using organic, physical activities to improve your body language and be more clear and expressive
5) Becoming more original in your acting choices
Getting a great insight into the origins of cinema, it’s evolution, the New York movie industry
Acting methods by Meisner, Stanislavsky, Strasberg, Uta Hagen etc.
… getting concrete information about castings and learning auditioning techniques
Many actors here improved their English, whatever level you have and getting ready to work in New York and London film industry.
Le centre d’intérêt et le fil rouge du stage de dix jours en petit comité avec Charles Weinstein a été une méthode qu’il a développée et qu’il a approfondi lors du travail des scènes de film, choisies pour les participants.
Elle consiste à focaliser un objectif bien précis qu’on veut à tout prix atteindre suite à un dialogue, un monologue, une scène quelconque. Cet objectif a un pouvoir étonnant sur la scène à laquelle il donne une direction. Il peut lui prêter un vrai caractère, une réelle force et profondeur. Avoir un but précis rend en outre notre corps plus engagé et son langage plus expressif et stimule l’imagination de l’acteur qui par conséquent fait souvent des propositions plus originales.
À côté d’improvisations et de travail face à la caméra, Charles nous a fait voyager à travers l’histoire du cinéma, les débuts des grands acteurs sur le broadway, le génie de Chaplin, les méthodes de Meisner, Stanislavsky, Strasberg, Uta Hagen et d’autres, en prenant toujours soin de tout illustrer par un exercice ou un extrait de film. L’atmosphère était amicale et le travail s’est fait en détente tout en restant professionnel.
En outre, Charles a tenu à nous mettre dans des conditions de casting pour nous expliquer comment aborder un script en peu de temps.
Le stage a été clos par un petit tournage des scènes répétées, qui peuvent, si besoin, être utilisées pour une bande démo.
Cet enseignement clair, simple et efficace, ce bel équilibre entre pratique et théorie m’a beaucoup parlé et je conseille, particulièrement aux débutants devant la caméra, sinon à tout acteur motivé, à y participer! Au travail!

Comments