The Rehearsal Process

[philipswales]

Need some sadvice.

I am currently in preproduction on our next short, "Transient Evil". Everything is going according to plan so far: we've cast all the parts, scouted all the locations, assigned all the crew members job, and last night we did a make-up test with our special effects guy.

Next step is to have a script reading/rehearsal with all my actors.

Rehearsals are something of an unknown quantity to Spare Time Films, as in the past we've acted in all of our films and didn't feel the need. But now we're using outside actors for the first time, and want to put the effort into getting the performances right (the acting has been a bit, lacking, shall we say in past productions).

Does anyone have any tips on what I need to do in rehearsals?

------------------------------- http://www.sparetimefilms.co.uk
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[Mods]

You might want to print out a sheet for each actor/actress with a little explanation of their character. Preferably as thorough as possible, this will enable them to get to know their "character" as much as possible.

On the first rehearsal, try and go thorugh the whole script, just let the actors/actresses get used to their parts and let them have their first dig at speaking their lines.

Then after doing that a couple of times, (this could be over a period of a couple of weeks) you'll want to start working on induvidual scene rehearsals, getting the right tones of voices, expressions on their faces etc.

You can plan some movement, but that would be best left to when you're on location, after all, it's what the directors paid to do! (or not paid to do even :P)

You might want them to learn lines. I handed our lead actress a 20 page script, not expecting her to learn it, and she has. But that's just cos she's a damn good actress. In other areas, we simply allow the actors/actresses to check their scripts before we shoot.

You choose. Hope this helped.


Mods

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Mark "Mods" Lovegrove
Anarchy Pictures

[SoulJacker]

So what?s Resident Evil, *cough* Transient Evil about?

Spill the blood, *cough* beans then....

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Jay & Silent Bob DO NOT LICK BALLS.

[sandcastle]

It depends, I think, on the profesionalism of your actors. If they've been in films or plays before, they probably already have their own styles and preferences as to preparing for the part. It also depends on what kind of film you're trying to make: if you want a very natural performance, I wouldn't rehearse much at all. Rather, sit down and talk individually with them for an hour. Ask them questions, let them ask you questions, get a sense of how they're planning to do it. If that fits in with your vision, great, and if it doesn't, you'll know what to fix.

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[philipswales]

Thanks for the tips.

Transient Evil - "ahem" - is not a rip off of Resident Evil. The original title was TRAMP/GOD, and the new title was actually dreamed up by one of this board's members after I competition I posted some months back to come up with a better title.

Most of my actors are complete beginners, and some are better than others. Most of the parts are in just one scene only, and exist mainly just to get killed by our possessed, psychotic tramp. So I don't think a character breakdown/synopsis would be much help.



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[DaveHartill]

I am currently working with actors for the first time myself in my first major project - Just Killing Time?. So the following is just a few tips from the things I have picked up...I hope this helps.

I am sure you have cast wisely and you are fairly sure that the actors fit the roles and play them as you had imagined the roles to be played. However if it is anything like my film there will be occasions when the actors do not understand the script or not in any case how you intended it to be. "What is my motivation for this scene" is an acting cliche but I have found it also quite apparent. Explain (at length if needed) why the character is saying what he is saying. Also get the actors to understand the role - to feel it. Instead of telling the actor to get angrier with him explain why he is feeling this way. eg. Tell them that when you say this line you want to shut theother person up. They will then understand for themselves that the actor is angry without worrying about pitch of voice or loudness of voice.

Another point I have found that may be helpful is to schedule your actors - get them to rehearse individually or in pairs. When there is a group of them I find all too often that they want to direct each other everyone is pitching in with advice and most of it is not consistent with your vision. If you have one on one rehearsals I find that you acheive more.

Get the actors to know they're lines if they are reading from a script they cannot express themselves properly they use the script as a security blanket - get them confident with their lines and then you can direct them.

Speed reading before a rehearsal helps just flying through the lines with the script in front of them and then putting the script down and getting on with it.

Ask your actors to practice at home using a mirror so as they a well awar of the expression they are giving out.

Well I am sure you probably got bored after the first few paragraphs, I am sorry if I went on a bit. Good luck with the film.

Dave

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[SoulJacker]

TRAMP/GOD = The work of genius

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Jay & Silent Bob DO NOT LICK BALLS.

[philipswales]

What's THAT supposed to mean?

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[britactor]

hi,

i'm an actor so I can give you an actors point of view if you like.

Firstly, do a read through with everyone sat round a table...informal. This will break the ice and help give the actors an overview of what the script is all about (you can be pretty sure that if the script is quite long, the actors will only have read the scenes they are in). After this, discuss in general terms what the script is all about...is it an absurd piece? A comedy but not a send up etc etc, talk generally about what you want (eg-naturalism etc).

Don't go too much into detail about each individual character at this stage...You must TRUST the actors...If your actors are good and well trained you will see thier characterisations unfold throughout rehearsal.

Next, get the blocking out of the way...Most actors will still have their scripts in hand at this point so it is a good time to get the utility work out of the way.

The sooner the actors get "off book", the sooner the real acting can start...The good actors will not require much direction but keep a closer eye on weaker actors. If your're unhappy with thier work make suggestions in such a way as not to undermine them...acting is a sensitive business.

I hope this gives you a reasonable overview. But like I said, the better the actor, the less work you will have to do. Also, be collaborative, actors often find wonderful nuances in scripts that the writer hadn't seen, thus enriching your production. However, this will only happen if proper creative conditions are prepared.

It is no coincidence that many of the worlds top directors are also brilliant at handling actors.

James
PS- All this talk of "correct facial expessions2 and use of mirrors is nonsense. Good actors will always find the truth in the role.

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[SoulJacker]

Sarcasm - that name is shit....

...but in some ways better than Transient Evil...anyway...

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Jay & Silent Bob DO NOT LICK BALLS.