Process

Last night we had a very positive class. It was a critique night. Which can really be difficult for all involved. Ours wasn't. Why not? To start the night off, we did some close ups with off-camera partners asking how last week went. One actor-student commented on how supported she felt in a relatively ego-less environment for which she credited me as well as her peers. I'm very pleased to hear feedback like that. Not to fuel my ego, but to reinforce the work I'm doing. And it is work. It's taken a lot of work to get to a place where receiving something positive is affirming more than stroking. It was work to come around to my response to the work everyone had done the week before. Initially I wasn't happy with it. I resisted the urge to point fingers or condemn anyone until I stopped and thought of what we were working with. A four page script to be covered from at least three angles in less than an hour per pairing. A very difficult four pages I must add. That acknowledged, how high should my expectations be? Not so high. Before I could accept that, I had to check myself from beating up on myself. "You idiot, why would you think you could assign such a scene?" Shut up, ego. I looked at the work again. It's inconsistent. That's wonderful because it shows strengths and weaknesses. I decided I was glad to have assigned the scene not only because I really like it, but because I got a chance to see everyone work on a challenging scene in order to identify where they need work and what they have to build on. Sigh. So it is possible to fall down and not be doomed to humiliation and shame after all.
Before we looked at the scenes cut together, we talked about how to see good acting in a more objective manner. How to look for dramatic tension. Keeping it simple -- is it about coming together or going apart and did one of those things happen. We talked about identifying arbitrary behavior. We talked about these things in terms of preparation. We talked about coming from oneself rather than being oneself and the traps of "being natural". Then we watched it. And with the attitude of letting the work inform our work rather than stroke our egos, we experienced the critique more objectively and positively as a whole. Then each pairing picked a beat to work on in close-up for the last hour of class. I was able to help each person go much deeper and be more available to their impulses. Those with more experience required less coaching, yet still benefited from the support of having someone to catch them should they fall. Which is really the bulk of a director's job when it comes to directing actors. I really enjoy that process of going through it with actors.
I get impulses, too. Last night, E was wearing glasses and a watch. I wanted to see him more naked and exposed. I asked him to take them off. He did and put them to the side, off-camera. I told him to put them in front of him and to look at the watch. Still off-camera to start with at least, but with a more focused eye line. I don't know where I got the idea, but it worked. He held onto the watch the entire beat and it really gave him something. That's the beauty of going with impulses - they don't have to be logical, just honor them and see where they take you.
Jordan was talking about all the After Effects tips he's been finding on the web. How amazed he is that all these motion graphics pros share their techniques so openly instead of trying to capitalize on their skills. I said that in a small way that's what I'm trying to do with Finding Fellini. That's there's a part of me that wants to hoard the information that I work so hard to accumulate. But that ultimately I benefit the most from having a place to articulate the ideas and information that I acquire. Sure I have to be careful about disrespecting people, especially actors that I teach or direct. But I need to be respectful to those that put their trust in me whether I'm speaking about them publicly or privately.

¡Viva la transparencia!
Signore Direttore