scene

 

           Where is the scene in the story?

           What should the scene look like?

 

TOP TEN THINGS IN ACTING A SCENE

1. Only make positive choices, never negative choices.
2. Don't dim your lights, be colorful.
3. Audience don't want to watch characters who have given up.
4. Audience don't want to see actors troubles.
5. Characters troubles have to be bigger than audience troubles.
6. Don't play one key.
7. Don't play the results.
8. Must have awareness of things as the character (bruised parts, hangover, etc.).
9. Don't pace just for the hell of it.
10. Reacting.
 
1. It's all work (art) in progress. Life is work in progress.

The scene has to have a:

plan
rhythm
manner

     Never let yourself be over come by the scene.

     Never do a scene without a point of view.

     In doing a scene, make a contest. It is about making a conflict with friends, enemies or one's self.

      Life is a continuous thing, so don't do a scene piece by piece.

     In a scene don't know where you're going, that is what life is about.

     In an acting workshop do scene after scene, after scene, after scene.

  1. Absolute honest: feeling and objective. Making it real.

  2. Abstract situation, behavior not conventional.

  3. Act, create a stacked deck.

  4. Act extrovert on, the other is boring. Be the center of attention.

  5. Act III resolve what everything the audience should know. Look for the selfish motive. What is the drama in scene? How to plan the scene from what is happening. Find the conflict. Every scene look for two guys in a ring.

  6. Act one; must have some place to go.

  7. Acting brain to brain has to penetrate.

  8. Actor thinks of causes. Director thinks of results.

  9. Actor knows in planning; approach as mischief to audience.

  10. Actors can't make pictures. You have to be involved in scene. Don't watch yourself doing the scene. In part you have to be involved, you can't be in two places at once with scene and audience.

  11. Actors tried to make every scene the big one, actors act to be liked by audience. Director has to watch this. Director has to keep things in proportion. Strongman effect. What story am I telling? Director; it has to be believable to the audience.

  12. Actors want to sit down, try not to sit down. Don't do conventional stage things, just standing, just sitting. Not enough difficulty.

  13. Actors contribute to the scene.

  14. Actual life is broken up.

  15. Advance the story.

  16. After take, after take, go back to what caused it, go back to roots of it, emotion and objective, variations will come out, don't try to copy it.

  17. Alarm the audience.

  18. All acting is part of story telling. Must make your points.

  19. All good acting look like; never rehearsed at all. Accidental, wonderful things will come out of it. When posing, say: stop posing to yourself.

  20. All of it is revelation. Think of your objective.

  21. Always change image for audience.

  22. Always look for a new facet, in two people plays, it is difficult to do. You just can't add another person to liven up a play.

  23. Always mislead the audience.

  24. Always the unsolved question.

  25. Always want the audience on your side. How do you want it to effect audience?

  26. Ambition?, betrayal?, friendship?, greed?, love?, madness?, prejudice?

  27. Antagonists: audience is against them.

  28. Antidotes of life to apply to scenes.

  29. Anything not the norm away from convention.

  30. Anyway you can get displayed, reasonable. A conversation is not a scene. Content and moment.

  31. Approach acting with passion.

  32. Aren't allowed to become inarticulate.

  33. Arrived - (play it) get rid of all the labor and enjoy it.

  34. As a director when you watch a scene, does it do what the story requires?

  35. As an actor don't tell these of the character every moment.

  36. As an actor you must reveal everything about the character.

  37. As an actor you must "accept the world of illusion". Entering a dream, you must stay in the dream.

  38. Ask yourself, what would be a good objective for her/him.

  39. Attempt at proper speech

  40. Attitude 90%.

  41. Attitude of two men to each other.

  42. Attitude without an emotion will never work. You must vibrate inside.

  43. Audience has to be very sorry for him, this is pathos, this is sad. In places it is funny, but it is drama.

  44. Audience is interested in behavior, not words or information.

  45. Audience moved to tears, actors can't cry. Eve played victim trap. Emanuel played sympathy trap.

  46. Watch out for traps (don't give a conventional Nazi).

  47. Audience must be guided.

  48. Audience must be trained.

  49. Audience reacts to individuals.

  50. Audience should say, "get out of there. Villain don't play a villain.

  51. Audience wants a hero. Not a down person. Cannot depress the audience. Audience doesn't want to be dragged with the character's depression.

  52. Audience wants suffering, they want to watch you suffer.

  53. Author give the words, as an artist you can do things, invent all that happens. Don't do words literally.

  54. Make words visual.

  55. Avoid everything idealistic for objective.

  56. Avoid the ordinary. How to do it?

  57. Avoid: compassion and pity as an emotion.

  58. Awareness of other actor.

  59. Bad guys fight dirty. what is the story I'm telling?

  60. Basically wrong.

  61. Be able to state a statement, your influence to go a certain way.

  62. Be aware of key lines, get it out.

  63. Be careful not to know what the character doesn't know.

  64. Be involved in scene, don't be two actors trying to out act each other.

  65. Be true to the style of the play. When in doubt, do nothing just think and feel.

  66. Beginning, middle and end, must have form.

  67. Behavior.

  68. Being good, avoid sentimentality.

  69. Being off balance.

  70. Better to fail on the creditability.

  71. Beware of material that is not a dramatic scene.

  72. Beware of parentheses () in action directions in scene.

  73. Beware : don't feel sorry for yourself. Playing effect can't do on audience. Devise away to get the audience to react a (audience cry, audience pity).

  74. Big feeling, can't be a little happening, who cares.

  75. Big moments come he makes fun of it (everyone else is a basket case, not him).

  76. Biggest problem; actors not projecting out to audience.

  77. Body language - do it once, audience won't stand repetition.

  78. Body language.

  79. Body language; (he grabs her, he is drowning). It has to be in every moment.

  80. Body remembers, does it again and again.

  81. Body remembers, don't get ready to do anything, your body will do it.

  82. Both were crazy; wrong.

  83. Brain and feelings, don't just do shtick.

  84. Brain is limited, your impulse is unlimited.

  85. Brains don't make actors, feelings make actors. 

  86. Brains out weighs your gentiles what you lead with.

  87. Break all the rules. Total opposites.

  88. Break it in each step.

  89. Bring back the scene with sensitivity.

  90. Build emotion big enough to act with. State of breathing hard.

  91. Build up an emotion, heart rate up, no tension. Teach yourself to say, "down boy" with tension. Press toe in left shoe to get rid of all tension.

  92. Building on the problem.

  93. Bull shit: poetry posing.

  94. But emotion must be high all the time, never lets up.

  95. Caginess of people. Two contestants.

  96. Can't act the size you live. Real is very dull. Heightened reality, condensed in what is meaningful.

  97. Can't be norm, must be abstract.

  98. Can't draw other peoples eyes to them. Just don't do things, have a reason, make that place where change is, find out what she does, don't know what she does. Don't go for big drama it will look like acting. Make it look like life, not theater. Documentary different look. Don't make it on the line.

  99. Dramatic scene can be done without words.

  100. During a scene, an actor is in a state of mischief. A prank on the audience.

  101. Can't look like conventional theater.

  102. Can't miss the values.

  103. Can't play the princess of Den.

  104. Can't predict the next thing to happen.

  105. Can't pretend nothing; if you have to eat, then eat.

  106. Cannot act with brain.

  107. Cannot be just charming (tall).

  108. Cannot command a stage in high voice.

  109. Casting.

  110. Caution: didn't make the point: have a moment to size up situation, physicalize it.

  111. Caution: Exposition. Make it human or audience gets bored.

  112. Center of character (for him his groan; his in shoulders. How he carries himself. No brains).

  113. Center of emotion: stomach or head. Read straight. What it feels like to be with other actor. Don't evaluate each line. Way to find staging; don't do visual pictures.

  114. Certain things missing.

  115. Change of central character must grow, it's all about struggle.

  116. Change rhythm.

  117. Change and surprise, great enemy is monotony. Keep inventing.

  118. Don't change your manner because of words. Don't do it unless new information or event. Why do actors do things, fear using body, emotions fear; actors keep sitting down.

  119. Channel your instincts. make the right decisions. Examine the story. The structure (wait for entire movie to see him punished).

  120. Character doesn't know it is sad.

  121. Character is a fool.

  122. Character play uncertainty.

  123. Character thinks he's winning. Get bigger when he fails.

  124. Characteristics make you interesting.

  125. Cheers: farce. Ted: give him girls drunk and he still wants commitment. Ted reluctant virgin. Basic situation, basic joke: strange bedfellows (that idea pursued idea). How to deal with joke; just exposition to exposition.

  126. Choice something theatrical.

  127. Choice the emotion that fits.

  128. Chose the emotion that best suits the scene.

  129. Choice emotion that fits scene, if it fits or not.

  130. Clash of wills. Show business.

  131. Classical: simplified. Just ordinary... full of fussy detail.

  132. Clear to audience.

  133. Cleverness won't work.

  134. Club manager your mask is (he is the nicest person, he smiles a lot) that's the attitude.

  135. Combat of creation.

  136. Come from emotion.

  137. Come from some place.

  138. Comic suffering is different from tragic suffering.

  139. Completely convinced you are the character. The actor: you have to buy the story. You are convinced you are the "sheriff", etc. Complete sense memory. Acting is like self-hypnotism.

  140. Concept of scene was wrong.

  141. Condition reflex. Teach your body.

  142. Consider what was lacking.

  143. Conspire for the conclusion.

  144. Constant foreplay.

  145. Constant surprises, disorder.

  146. Contest between the two characters.

  147. Contest. Biggest moment of the scene.

  148. Continuing the relationship.

  149. Conversation is not a scene, no matter how witty; a confrontation is a scene.

  150. Conversation is not a scene. What is the excitement underneath (normal meeting with a woman on the make).

  151. Conversation minimal speech.

  152. Converter of human beings.

  153. Convince yourself you are in a room, no audience.

  154. Copping.

  155. Costume plays; must have excellent posture.

  156. Create an atmosphere.

  157. Create suspense (will they get killed, no they don't, etc.)

  158. Create the center of attention: concentrate on mark.

  159. Create what's in the silence.

  160. Creditability.

  161. Dance of fear, take on the rhythm, changes of rhythm, keep audience on edge.

  162. Deal character to transparent.

  163. Deal how you come across as actor, know that.

  164. Deal with audience and camera.

  165. Deal with each other.

  166. Deal with other people, don't do singles.

  167. Dealing with suspense.

  168. Decided when to get serious.

  169. Depend on situation and character, just don't run around.

  170. Develop it into the right key.

  171. Develops early in life to defend himself. Another way to change behavior. Ego sense of self.

  172. Dialogue is minor.

  173. Dialogue on both sides of the page.

  174. Dialogue.

  175. Didn't have reality of soldiers.

  176. Didn't know what style it was.

  177. Dim mind, two emotions: insane.

  178. Director has to make scene seem actual, rather than theatrical.

  179. Discipline: not to think; how am I doing? You'll forget. Concentrate on objective.

  180. Do a thing once, then progress.

  181. Do everything opposite of milking it. Writing makes it trail. Be nice acting, wear the mask so people can't read you. Overcome the difficulty.

  182. Do everything to make it difficult.

  183. Do it all on impulse.

  184. Do it with great seriousness. Destruction of actors.

  185. Do less, camera blows it up. Simple.

  186. Do not go plot.

  187. Don't play dullest thing in scene. We don't admire depression.

  188. Don't repeat something, go back to cause of it (the emotion and the objective) when redoing a scene, then hoping your talent will even make it better

  189. Do nothing if you have to do everything.

  190. Do the things that are the unspoken word.

  191. Do the unexpected, find attention.

  192. Do the words fit the action?

  193. Do this but don't use authors words.

  194. Do your homework.

  195. Does it conform to what we are trying to do.

  196. Doesn't care about what the movie did, or justify it by the movie. All movies do it wrong somewhere.

  197. Doesn't have to look real, but seem real.

  198. Doesn't look accidental.

  199. Doesn't smell of reality: scene.

  200. Doing it for how will they react.

  201. Don teaches not to flounder around, but look at the resources of principles. They never change, it's not, "I have a great idea".

  202. Don teaches principles.

  203. Don't act careful. Act like children. Game play.

  204. Don't act each line, find lines to throw away.

  205. Don't act in a vacuum, react. Use each object for its meaning. Audience is barely listening, they are watching.

  206. Don't be clever don't become performer in Boldville.

  207. Don't be helper's people, won't do things for you.

  208. Don't be in a rush.

  209. Don't be off balanced as actor, exercise, sense of self: I am a star, say I am brilliant, have a larger ego. When you act, your territory has to be bigger. Fill the enormous space.

  210. Don't be predictable, no contest.

  211. Don't be static or repetition.

  212. Don't be studied. When in doubt do nothing. Let the audience know how to frame moments.

  213. Don't be subtle.

  214. Don't be to physical.

  215. Don't be to successful, you must fail as character.

  216. Don't become a "prop actor".

  217. Don't bore each other, you bore the audience.

  218. Don't bring in your own.

  219. Don't comment on character.

  220. Don't create movement for moment.

  221. Don't depend on dialogue, behavior is the story.

  222. Don't do a emotional striptease.

  223. Don't do a god-damn thing, be cool.

  224. Don't do clich�s.

  225. Don't do hand acting.

  226. Don't do it all at once.

  227. Don't do singles, it must be brain to brain.

  228. Don't do things logical, it is uninteresting.

  229. Don't do things under insecurity, audience is not interested in actor.

  230. Don't do unnecessary things, don't fuss.

  231. Don't do vanity stuff.

  232. Don't do what comes easy to you: some people argue well and some cry well, etc.

  233. Don't do word, cue, word, cue. It won't look real.

  234. Don't fall in love with the little things. Have the whole thing, then go detail by detail.

  235. Don't find what is nice to play: find the motive of the character.

  236. Don't get cute, take out the improvements.

  237. Don't get into dialogue.

  238. Don't get involved in busy movement. Business, frame it.

  239. Don't get off on wrong assumptions.

  240. Don't give us the monster, give us the foot.

  241. Don't go down the middle of bowling alley, everybody does. Go out side the nine dots. Find what you can do for objective with other person. Where ever you can, not always, sometimes with other things.

  242. Don't go from one known to another known.

  243. Don't have a picture of it, just do it.

  244. Don't' have comfortable choices.

  245. Don't have meaningless. Not to hurry.

  246. Don't have the naked argument.

  247. Don't have two great actors acting.

  248. Don't hurry as actors. Secret of drama is difficulty. Finding it is drama. Has a fascinating quality.

  249. Don't just "us" performing.

  250. Don't just do things, they have to relate to the character.

  251. Don't just give plot and dialogue (she is stronger than he is).

  252. Don't just jump into conversation.

  253. Don't just play dialogue.

  254. Don't lean towards each other, use mind and will.

  255. Don't let audience get to you. Keep values, doing it for the one who knows, always look for sentimentality. Look for values for person.

  256. Don't let the audience anticipate what's going to happen.

  257. Don't let the words influence you how you say them.

  258. Don't look for ultimate truth; colorless, whisper actor.

  259. Don't lose character in shtick.

  260. Don't lose process of thought not line to line or thinking  and feeling, not necessarily question to question for being funny. Even play human qualities. Terribly real. Go for funny or sentimental. Play for the reality o it, part that moves audience. Play.

  261. Don't make a picture, characters don't know what to do.

  262. Don't make it easy, audience won't watch. Ways to make it fascinating.

  263. Don't make pictures, don't be the cinematographer, don't worry what it looks like if you fall, etc.

  264. Don't make bad choices. If the choices are wrong, scene won't work.

  265. Don't make repetitious moves, never repeat yourself.

  266. Don't make wrong assumptions.

  267. Don't play as rehearsal, (he doesn't know this place of hers). The awareness isn't there. Make a series of discoveries.

  268. Don't play dullest thing in scene.

  269. Don't play even keyed. Don't be over decorative.

  270. Don't play last scene.

  271. Don't play mystery; mysteriously.

  272. Don't play the end at beginning.

  273. Don't play the end in beginning or middle.

  274. Don't play the result, go at it indirectly.

  275. Don't play the result: Playing what you want the audience to do; cry, etc.

  276. Don't play words behavior words. Keep audience off balance don't let them know what is coming next.

  277. Always find the unexpected. Resemble reality it has to be conspired reality; planned reality is not organized: ragged edge, it is not smooth. Actors have to throw in difficulties. That is the human dilemma.

  278. Do everything organized. Life: nothing organized.

  279. Don't repeat something, go back to cause of it, when redoing a scene. Hoping your talent will even make it better.

  280. Don't repeat yourself.

  281. Don't reveal all at once.

  282. Don't rob audience. Open the mask slowly, don't play stone face. Audience must know what is going on.

  283. Don't rob the audience.

  284. Don't rush it just because there are few lines. It's about behavior, explore the moments. Physcialize each transition, each moment explored.

  285. Don't show everything so the audience doesn't see it all.

  286. Don't take the "if" out of it.

  287. Don't take the dialogue literally.

  288. Don't tell us the end of story.

  289. Don't think business.

  290. Don't think funny.

  291. Don't think of it as radio.

  292. Don't think the words.

  293. Don't think up clever things.

  294. Don't think.

  295. Don't try to save scene. The plan didn't work.

  296. Don't try to save the scene. Don't start commanding scene loud. Acting something that has truth, can't resort to clich�s.

  297. Don't understand the scene in the text: a critiqued scene.

  298. Don't use energy you use in life. Bigger than life style, fill stage and screen.

  299. Don't use up resources, hold back. Audience waits for more from well.

  300. Don't walk into a scene with the same energy of life. Act with a larger energy. Use everything you can in your relationship.

  301. Don't walk over the diamond field.

  302. Don't walk unless there is a reason.

  303. Don't waste things together, one thing at a time.

  304. Dramatic scene can be done without words.

  305. Dramatize scene.

  306. Dramatizing.

  307. Dream up funny things, then make it work.

  308. During a scene, an actor is in a state of mischief. A prank on the audience.

  309. Each character has a big problem. A person in a dilemma. Take audience out of their dilemma.

  310. Each choice is important.

  311. Each moment has meaning.

  312. Each moment in a scene. Art of motion picture. Motion pictures are micro now, full of detail.

  313. Each moment must be played: beginning, middle, end.

  314. Each person is doing their own thing. Lets see chaos. The world is not logical.

  315. Each person wants something from the other.

  316. Each scene has its own shape, so you don't have sameness, it leads to boredom for audience.

  317. Each scene has to be part of the whole story.

  318. Each thing has to be part of the problem. Once you find a characters difficulty, stay with it.

  319. Ear is tuned to where the scene is.

  320. Earn right for pauses.

  321. Effect of doing nothing.

  322. Effortless.

  323. Element missing: (they wind-up falling in love).

  324. Elocution: playing the words as they come along. You don't have to show how horrible the words are, if you don't understand character, you can't understand the play. People reveal themselves inadvertently.

  325. Emotion is more important than words.

  326. Emotion and objective can change with new information or event.

  327. Emotional strength of scene.

  328. Emotional turmoil.

  329. Emotional.

  330. Entertain the audience. Key to play.

  331. Entertainers. Don't do natural, sameness is fatal. All sameness even voice. Hold interest do entertaining things.

  332. Entertainment: keep leading the audience down a hallway.

  333. Equal gladiators.

  334. Essence of scene: (to show I'm in control and he is a follower), with emotion and objective.

  335. Essence you emanate. Look in the mirror. What is the essence. How have people always reacted to me?

  336. Even a funny conversation is not a scene.

  337. Every line is there for a reason.

  338. Every moment has a beginning, middle and end. Then dialogue will have meaning.

  339. Every moment has value, forget real.

  340. Every moment is full.

  341. Every moment is story telling.

  342. Every moment, same precision as comedy, each thing has meaning.

  343. Every play is a war, a contest.

  344. Every possible difficulties. Stay away from not bowls or post nasal drip.

  345. Every scene has a purpose.

  346. Every word spoken, articulate.

  347. Everybody is dealing with their terror, actor generate the emotion internally.

  348. Everyone must devour someone to make it, about jungle. Anywhere. Audience feel someone is losing their livelihood.

  349. Everything has to have an emotion and objective.

  350. Everything is a pistol shot. Every scene has a purpose. Why is scene in picture (why at this moment does he ask her to marry her)? Humans can not face the idea to not exist. We can't conceive this. What people want is based on their pride.

  351. Everything is stark.

  352. Everything is up front, don't whisper, fill the space, voice and energy.

  353. Everything played out fully.

  354. Everything to humanize it.

  355. Everything you do must be meaningful, audience is waiting for information, indicate with thought.

  356. Everything you do must be significant.

  357. Everything you do must have a purpose.

  358. Evolved with each other, not outside of problems.

  359. Explore each moment, fill it with emotion.

  360. Explore possibilities.

  361. Explore scene for all its impact.

  362. Explore something, don't gloss over it. Just don't read well, come in with explored things.

  363. Explore the event. Pump up the audience. This scene (find the letter, final show down) no blood, must have blood. Audience wants it. Can't approach drama lightly.

  364. Explore the people.

  365. Explore the scene.

  366. Explore what the hell happens, don't say sit here or there.

  367. Face to face: confrontation scene.

  368. Feel an objective and not too much legs.

  369. Feeling in body, not an idea.

  370. Feeling is the whole motive, if you don't have it, you can't play the scene.

  371. Feeling people, it can come out through the face. There are people who feel, but it can't come through. Translucency of face.

  372. Fill each moment with content.

  373. Find a way a scene varies, change.

  374. Find a way to fill the content, fill the silences.

  375. Find all possibilities.

  376. Find all the dramatic stuff.

  377. Find an attitude to play (W.C. Fields; being attacked).

  378. Find an attitude: find a relationship.

  379. Find another attitude from new information. Not a soap opera.

  380. Find as a performer every moment can be different and exciting.

  381. Find behavior: don't wait for next cue.

  382. Find out what is not spoken.

  383. Find out what you're going to do.

  384. Find the difficulty and extend it.

  385. Find the essence of an actor, go by what the story requires.

  386. Find the mask: the mask is what you play. Actors want to play obvious. humans are cons.

  387. Find the joke that fits the moment in scene.

  388. Find the sensitivity in a scene.

  389. Find things to do that connect.

  390. Finding himself in unsolvable.

  391. Finding style.

  392. First thing wrong: for film it enlarges you, don't yell, it isn't dramatic. Never use yelling, unless you really have too.

  393. First create a room for scene. Give yourself playing area. Don't limit yourself.

  394. First job to keep audience interested. Make something go on, you are hired to do something interesting.

  395. First problem: not funny because both were trying to be funny.

  396. First rule: must entertain the people. Don't be a downer. People will turn you down. Deal with life bravely.

  397. Showmanship.

  398. First thing is to understand people.

  399. First thing: "I don't care what it looks like.": Vanity is the first thing to go.

  400. The first thing you got to find in the scene is the basic joke.

  401. First think.

  402. Foreplay.

  403. Forget what you have planned when you act.

  404. Form: put shape into it.

  405. Fun of this play is (the audience knows where it it going). How people are devoured. We wait to see the punishment.

  406. Furniture, atmosphere; know it, get use to it. Walk in see the room. When act it it is like you walk into a dream, an illusion. All exploration. Explore each moment.

  407. Gangsters of the time were sympathetic, victims of society. They were the one's to pride themselves of doing good.

  408. Get each point to point.

  409. Get into scene immediately, you came from somewhere, the past.

  410. Get into the right key.

  411. Get ready, place voice. Create images for audience. Greek bodies figures, see how they stand. Well rounded actor, you must have imaginary.

  412. Get rid of all reverence.

  413. Get rid of everything that don't have meaning. Strip down to only the essentials. Dispense with everything that is dispensable.

  414. get the value.

  415. Get up to act is like stepping off diving board. Person going through it must have spontaneity.

  416. Give audience time, take it in steps.

  417. Give it meaning, be specific and make a point.

  418. Give people behavior not just conversation.

  419. Give the audience something more dreary than their lives.

  420. Give the audience time to focus, do one painting at a time.

  421. Give them the emotion and inner life. Give yourself over to the whole moment. To be real you must soak yourself.

  422. Give yourself something to hard to act. Principle: (he wants to be free) selfish motive. Hope is the emotion, he behaves the way we want him to behave. Objective is something you can do something about, it's not just philosophical.

  423. Go about making decisions.

  424. Go for creditability, must believe their real people with problems.

  425. Go for real human relationships.

  426. Go the short distances in staging.

  427. Good actor; gets further into the character.

  428. Good art achieves it overtime.

  429. Good moves are about (on staircase are two groups of men shooting at each other, we don't care. A nurse with a baby carriage. Suddenly, it's all becomes personal watching baby carriage thump down the stairs).

  430. Great pathos, do everything opposite pathos.

  431. Hair dresser.

  432. Happen on cue. Character is in a dilemma. As an actor you can't show fear or need for part. This is entering into audition. Enter part with humility. Just talking, you show security.

  433. Scene has to go somewhere.

  434. Has to look like life. Art is not truth, a lie to see the truth.

  435. Have a better understanding of scene.

  436. Honor among thieves.

  437. Hope is the emotion, he behaves the way we want him to behave.

  438. Horror is there is no horror. Ordinary look of the monster.

  439. Hot tip: if other person is doing great number of things, activity, the other actor should be still.

  440. House of Entertainment.

  441. How aggressive? (not too aggressive), you need to come from somewhere.

  442. How can I cope with it as character?

  443. How did people behave then?

  444. How far is this suppose to move the movie character forward. Make happen.

  445. How is the audience reacting at this point? Further business will not work: start out with emotion (terror) and objective (to not lose her) this will suggest what the actor does. Director likes it or enhance it, that's all. Director thinks in results.

  446. How is this possible?

  447. How it starts, middle and end.

  448. How long things should take?

  449. How must the scene effect the audience?

  450. How the scene relate to the story. Each scene go towards something. Where does this scene relate? Whole story all women are witches, summon the devil. Love to get rid of them.

  451. How to act, feel how it feels. Wrong and right.

  452. How to find rhythm?

  453. How to get the effect.

  454. How to keep audience sitting up.

  455. How to make choices for people of different periods. People other times. European people had a wife and a mistress, it was done a lot. Don't react like Americans.

  456. How to make choices that work? How to make it special, how to illuminate it. As an actor be a chef. Be decorative.

  457. How to play a person insane. Insane: change emotion, alternate between one and another. Pick places to change, terror: wear a mask. Actor is an entertainer. Change to be different, variety.

  458. How to sell it? Find an unusual way. To be step by step. Don't do that (script goes sad, you go sad, etc.) Don't make apparent choices. Today, what's off beat, be a showman.

  459. How to stand on your feet. Know what is going on or you're lost.

  460. How to talk to audience: (evil man; don't play evil, just confiding with audience). Don't shock audience, try to be likable guy, be one of the friends. His jokes are undressing the girl. Bullies try to be liked. We try to make our lives better. When you play a villain, look for the saint. Do not alienate. People like to be liked. Don't make a comment on the character, the audience will decide.

  461. How to use yourself. This is what I am. Minimal acting doesn't work.

  462. How will the words look in 3 dimension? Moving around, etc.

  463. How you play each moment is important, not dialogue.

  464. How your instincts go with emotions.

  465. Human tragedy. No begin, middle or end.

  466. Human values effect audience, be able to react to character; human experience.

  467. Human will is great: you can hypnotize yourself.

  468. Humanize.

  469. I'm bigger than I am, when I'm acting: touch the walls with your act. Exercise: stand in center of room and say I'm big. Project your personality. Naturalism by itself is not admirable.

  470. Idea; what's theatrical.

  471. Ideal image of character: (like a loose "Olive Oil", be a teenager).

  472. Ideal image of herself: (she is a queen).

  473. Ideal image of the character. Characters secret self. Whole behavior will change. Who am I?

  474. Ideal image of yourself.

  475. If scene is going to hold audience; not actors move, but characters move, (the plan is she must not touch her but once). There are scenes that demand stillness.

  476. If you present reality as reality, it doesn't entertain.

  477. If you show it all, it isn't frightening.

  478. If you work without emotion, it will look like acting. Can't lie, can't do it without passion. True feelings, true objectives. Not to be artificial, but be real.

  479. Ideal image of the character (9 year old).

  480. Impulse: (to get him back, to end it).

  481. In a good story the characters must change.

  482. In conflict, someone has to attack.

  483. In life we don't know what comes next, the same in acting.

  484. In relation to story, don't verify, don't try and sell yourself and...

  485. In story telling: it's foreplay, lead the audience on.

  486. Increasing the possibility of danger.

  487. Inside the four walls. Acting is a controlled obsession. Do not think dialogue, think intention. What you want to accomplish. Exclusion to everything else. It's a discipline.

  488. Intellectual.

  489. Intention of author. What does she know? Both must wear a mask.

  490. Interesting way: opposites to the conventional, (can't be a quarrel).

  491. Interesting people.

  492. Interpretation.

  493. Invent things to make it happen.

  494. Invent, must execute, must happen.

  495. Invention on invention.

  496. Is it more of struggle: emotion and objective are opposite of each other.

  497. Is that the end result? (deal with adolescence in play).

  498. It ain't over until it is over.

  499. It destroys scene.

  500. It has to break audience's heart. It is the last scene.

  501. It has to look accidental.

  502. It is a contest. Audience wants blood, excitement and passion.

  503. It is all a matter of choices.

  504. It lacks spontaneity and reality.

  505. It looks like acting. Loud and soft acting. Have two different personalities.

  506. It must be a contest of wills.

  507. It never stops being a scene with two actors, each were doing their thing.

  508. It was a discussion, not emotional.

  509. It's a bore to watch people think. Its better to watch them feel. 80% feelings, not intellectual.

  510. It's a contest, prize fight.

  511. It's a nightmare.

  512. It's all foreplay, not the f***ing. Bring the audience up to the cliff, are we going over?

  513. It's all work in progress. Life is work in progress. All work (art) is in progress.

  514. It's easier to talk dialogue: let it go.

  515. It's like telling a ghost story.

  516. It's not all about next line.

  517. It's not what you think, but what you do. What the hell is going on?

  518. It's visual. Dramatizing what the scene is going to be about.

  519. Job of actor: to be the character.

  520. Job of actors and directors to recreate a reality, can't fake it do this then that.

  521. Just feel and think, don't add phony things.

  522. Just have a general idea. Ammo given to actors: emotions and objectives. Then let them go.

  523. Just not to listen, but watch.

  524. Just talk, don't emotionalize every sentence.

  525. Keep audience guessing.

  526. Keep audience off balance, don't let them know what is coming next. Always find the unexpected.

  527. Keep audience suspended (will her or won't he).

  528. Keep audience with suspense.

  529. Keep changing the tempo.

  530. Keep character in difficulty as long as possible.

  531. Keep rubber band stretched.

  532. Keep the audience wondering, if you come to a conclusion, you lose the audience.

  533. Know dramatic interest: lack of connection between the two.

  534. Know everything for the first time, as if there was no rehearsal.

  535. Know story. Intention of story.

  536. Know the perimeter of what you can do, so you aren't miscast. Perimeters of what you are right for. Suggest to the audience, otherwise it's work, work and it still doesn't work.

  537. Know what contest is.

  538. Know when you have a star part.

  539. Know where you are in the play.

  540. Knowing variety, showing color, then another.

  541. Lacking emotion, just a conversation.

  542. Large human experience down through the ages. Large values hold out society together. Scene: (of large human values). Friendship. Stop any laughing, change the whole tone. Tell audience this requires respect. Facing the destruction of our society.

  543. Lead audience down blind hallways.

  544. Lead the audience to the unknown.

  545. Leading the audience to the edge. Pending death and disaster.

  546. Learn how to be an entertainer. Take hold of stage. (she has to be passive with answer, he is aggressor) somebody has to be energy. That is theatrical scene.

  547. Learn how to do it the right way.

  548. Learn how to edit yourself.

  549. Learn how to exploit the moment.

  550. Learn how to introduce a character in a scene.

  551. Learn it, then you don't know what is going to happen: the lines, staging, almost like amnesia. State of disconnected from what is rehearsed. "Between the two trapeze". No recall, everything is unknown after rehearsal. Urgency.

  552. Learn the line precisely.

  553. Learn lines (alone), cover speech, learn it by rot, know the words. Then confront one another (plan the house). Where is the bar, etc. draw sketch of floor plan, then go off and do it.

  554. Learn the dramatic clock: something's are worth 20 seconds, 5 seconds, etc.

  555. Leave it alone, leave your talent alone.

  556. Leave something for the audience's imagination.

  557. Lesser material. Don't over act, try not to save the scene.

  558. Let the audience find out.

  559. Let's get the plan right. What is each trying to achieve.

  560. Let's see the prize fight.

  561. Levels of triumph. Alfred Hitchcock relieves the audience with laughter. Whole series of contests. Don't be sinister, sinister, sinister, audience gets use to it. Series of puzzles, what, when, etc. trapper and trappie.

  562. Life can be, art cannot be order.

  563. Life energy is not acting.

  564. Life requires order. Insanity: make changes with emotion, don't be predictive, mad is totally unpredictable, always surprise audience.

  565. Light up the room.

  566. Lighting, sound and camera was focused.

  567. Lines are the noises people are making. Mostly lies anyway. Don't take it literally. Each word doesn't have the truth, unless the play is a language play: Shakespeare, Wilder, etc.

  568. Listen to author where scene should be.

  569. Look at act I, II, III. How it is at that time.

  570. Look at the pace.

  571. Look for change, what are other possibilities.

  572. Look for interesting things of the characters. They are protagonists. Antagonist: difficulty of the theater.

  573. Look for key words from author, ("Hey, sport."), author raising a sign. {{Friendly}}. (boss is lying) not what they say, but what they do. Underlying, has certain things they must do.

  574. Look for opportunities for change.

  575. Look for selfish motive.

  576. Look for simplification.

  577. Look for the possibilities.

  578. Look for the unexpected. Unique.

  579. Look for variety in the phone call. Create the other person.

  580. Look for variety.

  581. Loud and soft acting, doesn't work.

  582. Love conquers all.

  583. Machine like. By choices: How is it possible? Doing it because it was written that way. End result must be creditability. Bring up doubts in character, will create more suspense. All possibilities for mystery: What does she mean, a lot of unanswered questions.

  584. Main faults: just not attainable: no limits.

  585. Main thrust: (feel terrible, sorry for her, she is a disaster with men, but goes on to be very successful in business.)

  586. Make choices that favor style.

  587. Make choices.

  588. Make choices; is this possible? Could the scene go this way. Can't just happen because of words. Must happen with his curio. Words are foolish. Words don't do it. Forget the ()'s.

  589. Make different decisions in act 1, that you would make in act 2 or act 3. Make good choices.

  590. Make it big enough to fill the space.

  591. Make positive choices.

  592. Make specific points.

  593. Make sure there are enough notes.

  594. Make the audience think.

  595. Make the people creditable.

  596. Make the scene look like humanity. "Married with Children" tries not to.

  597. Make the scene visual.

  598. Make things specific. Audience must wonder what is coming next.

  599. Make us identify with the mad man.

  600. Make-up.

  601. Making a point.

  602. Making choices, where the hell are you in the story. How much the audience should know.

  603. Making every moment important.

  604. Making the point.

  605.  

  606. Manner: joy.

  607. Many years to become an absolute.

  608. Masterful.

  609. Material that isn't intense, not good material.

  610. Mayhem gets larger.

  611. Mean what you say; not for laughs.

  612. Memorize.

  613. Men like women. Women like men. Noel was very sarcastic.

  614. Message to audience. (you want to be famous, you suffer).

  615. Minimal, but enormous. Never show all, eighty percent never one hundred percent.

  616. Minimize something, makes it bigger.

  617. Miscast.

  618. Missing human element.

  619. Missing in scene: any sense of danger.

  620. Missing in scene: feeling.

  621. Missing: the passion of being Italian.

  622. Modern acting.

  623. Moment by moment.

  624. Moment when not knowing where to go, wait, let audience get into your head.

  625. More about their relationship.

  626. More to it than just dialogue.

  627. Most difficult situation, find humor.

  628. Most important character is the audience.

  629. Move audience with emotion.

  630. Movies are about behavior: with emotion and out of objective.

  631. Moving us.

  632. Music. Environment. To know yesteryear.

  633. Must achieve immediacy.

  634. Must be able to photograph.

  635. Must be fun to look at.

  636. Must be human beings that audience sympathize with.

  637. Must be theatrical.

  638. Must be unusual invent. Know where audience attention is.

  639. Must have struggle.

  640. Must make physical what's important. Otherwise audience won't know it. Any change, be precise, always be actor when listening to director.

  641. Must resemble humanity. We have never rehearsed the scene, we don't know what will come next.

  642. Must resemble life.

  643. My character is trying to do, throw in difficulties.

CONTINUED to page two on scene notes.

"In the end, it can't look like acting."

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