1. CHAPTER SEVEN
Acting

2. What Is Acting?
An art in which an actor uses imagination, intelligence, psychology, memory, vocal technique, facial expressions, body language, and an overall knowledge of the filmmaking process to realize, under the director’s guidance, the character created by the screenwriter

3. The Performance and Effect
Initial interest – Our interest in a movie is almost always sparked by the actors featured in it
A movie’s financial success – The power of some actors (Angelina Jolie or George Clooney, for example) to draw to draw an audience is frequently more important than any other factor.
Essential relationship – Screen actors know that the essential relationship is between them and the camera

4. Stage versus Screen Acting
Stage actors play to the audience / Screen actors play to the camera
Stage actors must project vocally and physically / Small gestures are fundamental tools for the screen actor
Stage actors memorize their lines and then speak and act them in the story order / Screen actors learn only the lines need for the moment and act out of sequence

5. Movie Actors – Four Main Types
Personality actors – actors who take their personae from role to role
Actors who deliberately play against our expectations of their personae
Chameleon actors – actors who seem to be different in every role
Nonprofessional actors, cast to bring verisimilitude to a part

6. I’m Not There (2007). Todd Haynes, director
I’m Not There (2007). Todd Haynes, director. Cate Blanchett’s complete transformation as Bob Dylan. I’m Not There, © 2007 Killer Films.

7. Early Screen-Acting Styles
The first people onscreen were not actors but ordinary people playing themselves
The first actors adopted the acting style favored in the nineteenth-century theater
Exaggerated facial expressions, strained gestures, bombastic mouthing of words
Société Film d’Art (1908) – Its glory was the Comédie-Française, the French National Theater

8. D. W. Griffith and Lillian Gish
Lillian Gish invented the art of screen acting under Griffith’s guidance
Lillian Gish established a viable and successful style of screen acting
Lillian Gish as Lucy Burrows in Broken Blossoms (1919) was the first great screen performance

9. Broken Blossoms (1919). D. W. Griffith, director
Broken Blossoms (1919). D. W. Griffith, director. Lillian Gish as Lucy – an emotionally wrenching performance. Broken Blossoms, © 1919 D. W. Griffith Productions.

10. Influence of Sound Monumental conversion with awkward transitions
Allowed more human expression and complex narratives
More screenplays with dialogue, need for dialogue coaches and more rehearsals
Use of more technology to record sound and mix sound tracks

11. Singin’ in the Rain (1952). Stanley Donen and Gene Kelly, directors
Singin’ in the Rain (1952). Stanley Donen and Gene Kelly, directors. Sound technicians on the earliest sound films were challenged with stationary microphones or, in this case, a humorous attempt to hide a microphone beneath the bodice of a gown in this
satirical film on the subject.

12. Acting in the Classical Studio Era
Golden age of Hollywood, 1930s–1950s
Standard seven-year option contracts
Movie stars as a product of the studio
Four classes of performers: supporting players, stock players, featured players, movie stars

13. A Place in the Sun (1951). George Stevens, director
A Place in the Sun (1951). George Stevens, director. Elizabeth Taylor, a product of the studio system, epitomizes what we mean by the term movie star: talent, beauty, sex appeal, and glamour.

14. Method Acting
Based on the theory and practice of Konstantin Stanislavsky, founder of the Moscow Art Theater
Actors bring their own past experiences and emotions to the role in an attempt to become a realistic character
Encourages actors to speak, move, and gesture not in a traditional stage manner but just as they would in their own lives
Led to new levels of realism and subtlety

15. East of Eden (1955). Elia Kazan, director
East of Eden (1955). Elia Kazan, director. Method acting led to a new level of realism and subtlety. East of Eden, © 1955 Warner Bros. Pictures.

16. Screen Acting Today
Actors and directors synthesize various movie-acting approaches
Transition from studio production to independent production
Greater box-office power equals greater star power
Freedom to choose roles and negotiate earnings
Typecasting

17. The Letter (1940). William Wyler, director
The Letter (1940). William Wyler, director. Bette Davis, an icon of movies past. The Letter, © 1940 Warner Bros. Pictures.

18. Rabbit Hole (2010). John Cameron Mitchell, director
Rabbit Hole (2010). John Cameron Mitchell, director. A contemporary star, Nicole Kidman displays a willingness to take risks as an actor. Kidman’s distinctive “blank face” allows the audience to “write” whatever it wants on her.

19. Technology and Acting
For every advance in the world of special effects, the narrative and the acting that propels it lose some of their importance
The future of acting is at stake as more and more performances in narrative films are the product of computer-generated imagery (CGI)
May enrich the illusions that movies create at the expense of film artists themselves, including actors

20. The Social Network (2010). David Fincher, director
The Social Network (2010). David Fincher, director. Synthespians in The Social Network are Arnie Hammer and Josh Pence as identical twins. This was accomplished in postproduction with motion-capture technology and the digital grafting of Hammer’s face
onto Pence’s.

21. Casting Actors
Casting – the process of choosing and hiring actors for a movie
Casting directors – Casting Society of America (CSA) maintains files of actors’ résumés and photographs
Screen tests – may be done alone or with other actors
Other organizations: Screen Actors Guild, American Federation of Television and Radio Artists

22. Factors Involved in Casting
Budget and expected revenues
Gender
Race
Ethnicity
Age

23. The Manchurian Candidate (2004). Jonathan Demme, director
The Manchurian Candidate (2004). Jonathan Demme, director. Both the characters depicted on the screen and the actors playing them have grown more diverse. Manchurian Candidate, © 2004 Paramount Pictures.

24. Gandhi (1982). Richard Attenborough, director
Gandhi (1982). Richard Attenborough, director. The English actor Ben Kingsley plays the Indian political and spiritual leader Mahatma Gandhi (1869–1948). Kingsley looks so much like Gandhi and inhabits the role so completely that, for many viewers, the
two men are inextricably linked.

25. Aspects of Performance: Types of Roles
Major roles versus minor roles
Stand-ins and stuntpersons
Character roles
Bit players and extras
Cameos and walk-ons
Animal performers

26. Aspects of Performance: Preparing for Roles
Different types of roles and their different demands
Naturalistic and nonnaturalistic styles
Improvisational acting
Directors and actors

27. The Bank Dick (1940). W. C. Fields, director
The Bank Dick (1940). W. C. Fields, director. Character roles represent distinct character types (sometimes stereotypes). The Bank Dick, © 1940 Universal Pictures.

28. Preparing for Roles
Synthesis of basic sources: the script, their own experiences and observations, influences of other actors
Collaboration with the director
Different roles have different demands
All actors have their own approaches

29. Henry V (1944). Laurence Olivier, director. “I’m England, that’s all
Henry V (1944). Laurence Olivier, director. “I’m England, that’s all.” Laurence Olivier as the title character. Henry V, © 1989 British Broadcasting Corporation/BBC.

30. Naturalistic Styles
Actors re-create recognizable or plausible human behavior for the camera
Actors look like the characters should (costume, makeup, hairstyle)
Actors think, speak, and move the way people would offscreen

31. Knocked Up (2007). Judd Apatow, director
Knocked Up (2007). Judd Apatow, director. Seth Rogan’s naturalistic performance as a reformed slacker. Knocked Up, © 2007 Universal Pictures.

32. Nonnaturalistic Styles
Seem excessive, exaggerated, even overacted
May employ strange or outlandish costumes, makeup, hairstyles
Might aim for effects beyond the normal range of human experience
Often intend to distance or estrange audiences from characters
Often found in horror, fantasy, and action films

33. Edward Scissorhands (1990). Tim Burton, director
Edward Scissorhands (1990). Tim Burton, director. A nonnaturalistic performance by Johnny Depp. Edward Scissorhands, © 1990 Twentieth Century-Fox Film Corporation.

34. Improvisational Acting
Extemporizing or playing through a moment
Often involves collaboration between actors and directors in creating stories, characters, and dialogue
Improvisations often involve actors and directors creating stories and dialogue that may be incorporated into the script.
An extension of Stanislavski’s emphasis on naturalistic performance

35. Taxi Driver (1976). Martin Scorsese, director
Taxi Driver (1976). Martin Scorsese, director. Robert DeNiro and Martin Scorsese improvised the lines in this scene from Taxi Driver. Taxi Driver, © 1976 Columbia Pictures Corporation.

36. Director and Actor Collaborations
Collaboration depends on individuals sharing in the creative process. Each brings their own individual work and aesthetic, and the collaborated results are a part of a shared creative responsibility.
Some notable collaborators are:
Martin Scorsese and Robert DeNiro
Tim Burton and Johnny Depp
Spike Lee and Denzel Washington

37. How Filmmaking Affects Acting
Little time for (acting) rehearsals
Movies are shot out of sequence and fragmented
The character you are acting with may not be there
Actors must repeat the same action/line/emotion

38. Framing, Composition, and Physical Relationships
Framing and composition – brings actors together or keeps them apart
Physical relationship – physical relationships of the actors to each other and to the overall frame can significantly affect how we see and interpret a shot

39. Long Takes and Ensemble Acting
Long-take and deep-focus cinematography – provide the opportunity to create scenes of greater-than-usual length and broader, deeper fields of composition
Ensemble acting: Long takes – these takes encourage actors to work together continuously in a single shot

40. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. A masterly sequence, courtesy of sharp acting in conjunction with carefully planned cinematography. Citizen Kane, © 1941 Mercury Productions.

41. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

42. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

43. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

44. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

45. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

46. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

47. Citizen Kane (1941). Orson Welles, director
Citizen Kane (1941). Orson Welles, director. Citizen Kane, © 1941 Mercury Productions.

48. The Camera and the Close-up
Creates a greater naturalism and intimacy between actors and audience
True close-ups isolate an actor, concentrating on the face
Active (commenting or reminding us) or passive (revealing an actor’s beauty)
Reveals both the process of thinking and the thoughts at its end

49. The Passion of Joan of Arc (1928). Carl Theodor Dreyer, director
The Passion of Joan of Arc (1928). Carl Theodor Dreyer, director. We respond to a single character’s expressions as they are shaped by drama and camera. The Passion of Joan of Arc, © 1928 Société générale des films.

50. Morroco (1930). Josef von Sternberg, director
Morroco (1930). Josef von Sternberg, director. The beautiful face of Marlene Dietrich as it appeared on screen, shown here in “Rembrandt lighting,” was the conscious effort of the actress, director, and cinematographer.

51. Acting and Editing
Editors have considerable power in shaping screen actors’ performances
Selects, arranges, and juxtaposes shots to cover errors
Controls the duration of an actor’s onscreen appearance

52. Looking at Acting We identify with:
the characters and the actors who inhabit those characters
characters who pursue a goal
characters because of our own behavior as people
behaviors consistent with our general state of mind; we are engaged in role-playing

53. Looking at Acting: Criteria for Analysis
Appropriateness / Transparency
Inherent thoughtfulness or emotionality
Expressive coherence
Wholeness and unity

54. Throne of Blood (1957). Akira Kurosawa, director
Throne of Blood (1957). Akira Kurosawa, director. This film draws on the genre of jidai-geki, or historical drama, traditionally full of action. The actor Toshiro Mifune uses ritualized, nonnaturalistic facial expressions and body language in his portrayal of Lord Washizu.

55. The Piano (1993). Jane Campion, director
The Piano (1993). Jane Campion, director. Holly Hunter, who won an Academy Award for Best Actress in The Piano, speaks only in voice-over and therefore appears more naturalistic, inner-directed, and muted (subdued).

56. Looking at Acting: Barbara Stanwyck in King Vidor’s Stella Dallas
Stanwyck’s performance transcends the story’s melodrama
Balances character’s nonnaturalistic and naturalistic qualities
Natural appearance, movements, gestures
Expressive coherence and emotional consistency

57. Stella Dallas (1937). King Vidor, director
Stella Dallas (1937). King Vidor, director. Barbara Stanwyck balances her character’s naturalistic and nonnaturalistic qualities. Stella Dallas, © 1937 The Samuel Goldwyn Company.

58. Stella Dallas (1937). King Vidor, director
Stella Dallas (1937). King Vidor, director. Close-up of Stella Dallas (Stanwyck) and her handkerchief, an expressive object. Stella Dallas, © 1937 The Samuel Goldwyn Company.

59. Looking at Acting: Michelle Williams in Blue Valentine
A two-person story with the characters developing from teenagers to disillusioned parents
She uses intelligence and insight to create character
Her physical appearance, facial expressions, speech, movement and gesture are truthful, and she can make us understand her feelings from vulnerability to strength

60. Blue Valentine (2010). Derek Cianfrance, director
Blue Valentine (2010). Derek Cianfrance, director. Cindy (Michelle Williams) and Dean (Ryan Gosling) are married by the Justice of the Peace. She wears a white lace dress and cries tears of joy as she looks up at him and repeats her vows. The director shot their past on film stock.

61. Blue Valentine (2010). Derelk Cianfrance, director
Blue Valentine (2010). Derelk Cianfrance, director. Cindy, upset when their dog is killed by a passing car, watches stoically as Dean buries the body in their yard, an omen of what’s to come. The director used digital cinematography to give these scenes the real-life look of a documentary film.

62. Blue Valentine (2010). Derek Cianfrance, director
Blue Valentine (2010). Derek Cianfrance, director. After one last fight with Dean, Cindy is determined not to give in to his pleas for another chance, and in minutes walks out of his life. The director used digital cinematography to give these scenes the real-life look of a documentary film.

63. Review 1. The people appearing in the earliest films were
a. amateurs eager to break into the new industry.
b. rejects of the stage.
c. real people playing themselves.
d. stage actors disdainful of the new medium.
ANS: c REF: The Evolution of Screen Acting, Ch. 7, p. 294

64. Review 2. Who is credited with inventing screen acting?
a. Lillian Gish
b. Lionel Barrymore
c. Mary Pickford
d. Dorothy Gish
ANS: a REF: The Evolution of Screen Acting, Ch. 7, p. 296

65. Review
3. To suppress the distracting sounds made by early sound cameras, filmmakers used what device?
a. case
b. blimp
c. wrap
d. soundproof booth
ANS: b REF: Evolution of Screen Acting, Ch. 7, p. 297

66. Review 4. Which of these is generally NOT a major factor in casting?
a. gender
b. race
c. height
d. expected revenue
 ANS: c REF: Casting Actors, Ch. 7, p. 311

67. Review 5. Screen acting appears “naturalistic” when an actor
a. aims for effects beyond the normal range of human experience.
b. re-creates recognizable or plausible human behavior for the camera.
c. creates a highly stylized character who inhabits an entirely artificial world.
d. Strives to make his or her face into a tabula rasa
ANS: b REF: Aspects of Performance, Ch. 7, p. 318

68. Review 6. Framing, composition, and the long take can
a. define relationships among characters.
b. require actors to work closely together.
c. encourage the audience to interpret characters.
d. All of the above.
ANS: d REF: How Filmmaking Affects Acting, Ch. 7, p. 323

69. Review
7. Which of the following is NOT necessarily considered in analyzing acting?
a. Unity
b. Expressive coherence
c. Preparation
d. Appropriateness
ANS: c REF: Looking at Acting, Ch. 7, pp. 329–330