scene (con't)

 
  1. Naturalism is dull, you have to give them a circus.

  2. Never ask yourself what I would do, think "who am I", who the character thinks he is. Acting is being other people. You as an actor don't come into it.

  3. Never be dull and workman like.

  4. Never be mislead by the dialogue.

  5. Never do a scene without a point of view.

  6. Never do anything without a plan.

  7. Never enter without a purpose.

  8. Never figure to have directors.

  9. Never gets to normal. Don't play the manner. Emotional content.

  10. Never give all of story in one scene. Where do I fit in. What I will reveal in scene. Learn to conserve.

  11. Never play the ending at beginning.

  12. Never play the result.

  13. Never put yourself in position where audience worries, if you fall or something, watch how you sit, so it doesn't distract.

  14. Think what the playwright is saying for his time period. What is the meaning under the words?

  15. Never trust the material, find a way to deal with it.

  16. No awareness of self, good acting. If you go back in your past, you are aware of self. Total abandon from actor. Instrument vibrating with feeling.

  17. Trick: run the dialogue together.

  18. No body is interested in deep thinkers, act with feeling. Feeling not intellect. Don't make pictures, be the character. It has nothing to do with actuality. This is where Strasburg was totally wrong. You don't have to experience something to be able to act it. 

  19. No body listens, workout interesting things to do.

  20. No creditability.

  21. No defeat for the character. Must be admirable to audience to be protagonist.

  22. No dialogue: just behavior take your time. Never change the dialogue. Can find behavior.

  23. No fun unless a contest.

  24. No one wants to listen to court talk.

  25. No preparation, abandon all planning.

  26. No way for audience to identify.

  27. Normal reaction, do something opposite. What makes it funny?

  28. Not a speech, make it a happening.

  29. Not a duplication of life, if it does you have monotony, but a reflection of life. [audience] "Yes, I know, I felt that way." Something that will stir the audience.

  30. Never think what I would think. Think what the playwright is saying for his time period. What is the meaning under the words?

  31. Never trust the material, find a way to deal with it.

  32. No awareness of self, good acting. If you go back in your past, you are aware of self. Total abandon from actor. Instrument vibrating with feeling.

  33. No body is interested in deep thinkers, act with feeling. Feeling not intellect. Don't make pictures, be the character. It has nothing to do with actuality. This is where Strasberg was totally wrong. You don't have to experience something to be able to act it.

  34. No body listens, workout interesting things to do.

  35. No creditability.

  36. No defeat for the character. Must be admirable to audience to be protagonist.

  37. No dialogue: just behavior take your time. Never change the dialogue. Can find behavior.

  38. No fun unless a contest.

  39. No one wants to listen to court talk.

  40. No preparation, abandon all planning.

  41. No skill if you have skill you can make them laugh give audience time to react.

  42. No staging, give yourself playing area, otherwise you get stuck.

  43. No ultimate truth. Theater is a series of effects. Audience will make their own truths.

  44. Not a speech, make it a happening.

  45. Not different people, just same woman.

  46. Not here to find out the suspense, play it.

  47. Not just a conversation.

  48. Not just an attitude.

  49. Not just narrative.

  50. Not line to line, it is behavior to behavior.

  51. Not stories of events.

  52. Not what they say. Forget radio. Moment by moment.

  53. Not words.

  54. Nothing as a viewer can watch. The point to be made.

  55. On how to smoke a joint. How do you behave?

  56. One thing must lead you into something else.

  57. One: changes of rhythm, have audience constantly off balance.

  58. Opposite of love is indifferent, not hatred.

  59. Opposite of order is chaos.

  60. Overacting. Two actors enjoying their performance. You're a fool, boy. Have to be in real love with each other. We are moved by people who are moved.

  61. Overtones of tragedy: set the tone of play. Talking about poetry.

  62. Paid to entertain.

  63. Painting dominate color, emotion.

  64. Part magician. Contest, dueling. Every moment a battle, find ways, every moment is unusual. Theatrical sense. How do I make everything special? Once you have a spell, don't move.

  65. Part of problem of scene. Both became conversational, so below a performance, conversation is not a scene.

  66. Pattern of behavior, it's just not dialogue.

  67. Pattern of behavior: (she gets hold of him, he gets away) then stage the scene.

  68. Pattern of behavior: Boys impulse is to leave, break things. Two kinds of people: Ordinary, Extra ordinary. Human behavior 1+1 isn't two, it's eight, six, so on.

  69. People coping with difficulty situation. A whole person in difficulty. Reactions, just not dialogue. It's about behavior.

  70. People must talk out of passion.

  71. People show defiance and pride before they are defeated.

  72. People trying to get over difficulty.

  73. People who come late to class have a guilty conscience.

  74. Performance (turn on lights).

  75. Performance is like a strip tease.

  76. Person has to live with themselves. No body is guilty.

  77. Person in shock choice two emotions go from one emotion to another. (Rage and grief).

  78. Person thinking he has a great entrance.

  79. Persona for character: (incompetent).

  80. Personalize.

  81. Phone conversation: write out other person's dialogue.

  82. Phrasing is the difference in speech and writing: in speech there are no periods, etc.

  83. Physical can't be high all the time.

  84. Physical mess.

  85. Physical things that could happen.

  86. Pick emotion that best serves scene.

  87. Pictures have meaning. Don't do the image that is normal, ruins suspense.

  88. Planning the scene for character.

  89. Play a scene: where does this relationship go?

  90. Play against whatever is the scene. A good one.

  91. Play all the word with value.

  92. Play everything fully: that's the secret.

  93. Play human beings involved with their problems.

  94. Play human beings.

  95. Play of language = simplicity.

  96. Play of language.

  97. Play out the moment: beginning, middle, end.

  98. Play period have perfect posture.

  99. Play relationship that has gone on for years, (wife and daughter, husband and wife).

  100. Play the moment.

  101. Play the situation, ideal and truth.

  102. Play the situation, not just words.

  103. Play the situation. The reality of the situation, the humor will arise from that.

  104. Play the value, not the dialogue.

  105. Play theater, the theatrical.

  106. Play to the other person.

  107. Play tragedy, or language plays.

  108. Played in human arena, blood thirst. We are beasts, people want blood, they don't want ideas, not intellectual. Give them passion. Give them combat.

  109. Players playing eccentric characters: no, no. Characters starts out as victim.

  110. Playing an older person. Young is constant movement. Older movements. Growing old is like growing into a store.

  111. Playing off the images.

  112. Plays: Avoid the ( )'s.

  113. Plot

  114. Poetic drama.

  115. Point of the scene is...

  116. Point to point.

  117. Pose, her mask (stern like a teacher.)

  118. Precise.

  119. Precisely the moment in drama.

  120. Preparing an entertainment.

  121. Presence of death.

  122. Plays: Avoid the ( )'s.

  123. Plot

  124. Poetic drama.

  125. Point of the scene is...

  126. Point to point.

  127. Pose, her mask (stern like a teacher.)

  128. Precise

  129. Precisely the moment in drama.

  130. Preparing an entertainment.

  131. Presence of death.

  132. Present the dilemma.

  133. Principle of movement by itself must tell the story. Who is aggressor? Passionate?

  134. Principle: conversation is not a scene.

  135. Problem here is: What is the important parts?

  136. Problem is: if I didn't hear dialogue I wouldn't know what the scene is about. A deaf audience should understand. It's more than talking, not radio. What is essence of scene: Behavior. Visually it lacks things that are interesting.

  137. Problem is: understand the story.

  138. Problem is: which moves are coming from character, which from actors?

  139. Problem with scene: acted well, but...

  140. Problem with scene: drama is supposed to effect the audience, feel for these people.

  141. Problem with the scene: what is the main thrust of story: to get style, (her clowning is laughing with the tears).

  142. Problem: do not play a scene.

  143. Problem: scene is on one surface: only superficial. Go further in depth: Lorette Taylor.

  144. Problem with quiet scene is that you must try to make it exciting to hold audience's attention.

  145. Projection

  146. Prolong your movements: audience, will they, won't they.

  147. Psycho: Norman's pose: stupid.

  148. Purpose of film today: play each moment fully. Don't over simplify in just dealing with plot.

  149. Purpose of objective is to get us away from thing of ourselves.

  150. Purpose of scene in movie is to further the story. Everything is not O.K.

  151. Purpose of scene: think simple, don't think plot.

  152. Purpose of scene.

  153. Purpose of scene: (to show the time of President Hoover). The devastation of the time. Qualities, theatrically, interesting in scene, go beyond the material, nice isn't good enough.

  154. Qualities, theatrically, interesting in scene, go beyond the material, nice isn't good enough.

  155. Questioning has to be interesting, like a cop. It is not a thrust of acting to prove myself ordinary.

  156. Raw nerves.

  157. React to what you are drinking.

  158. Read about other times, to draw images.

  159. Reading a part don't believe everything character says: natural behavior of lying everyday.

  160. Realism, bigger energy. Art: there has to be order, existing doesn't hold alone on stage, do things big.

  161. Reality is not art. Avoid reality.

  162. Reason for a scene in a well constructed scene.

  163. Reason for scene?

  164. Reason for scene: core.

  165. Recall things in life that the audience has forgotten.

  166. Recognize the moments, they are the lifeblood of drama.

  167. Rehearse opposite. How would it go? If not being watched. Play the other circumstance.

  168. Rehearse: don't think how well it's going to be.

  169. Relate to each other.

  170. Relation

  171. Relationship, (lost soul in world of romance).

  172. Remember you are putting on an entertainment.

  173. Remember: not just an actor, but a counselor at a camp. Audience is like children, you have to keep their attention. Secret, it has to entertain.

  174. Required to do this position, that position by director.

  175. Requires a number of technical things to work, theatrical.

  176. Resemble life; don't answer all answers all up front. Feel emotion, do objective. Let talent take over. Less the better.

  177. Reveal human behavior. Nobody listens to you. Don't just sit down.

  178. Revealing character, audience have more knowledge.

  179. Rhythm of line, did not work clean, justify what they do.

  180. Rhythm

  181. Richness of scene (offer hand, what do with cup, etc.)

  182. Right: conspire to get audience to react the way you want.

  183. Rub your nose in it, that is how you learn.

  184. Same problems: get your notebooks 1st problem: don't understand the scene. What kind of scene?

  185. Meaning of scene.

  186. Scary for audience; (if this is going to happen you have to make him pleasant for her to cope with him).

  187. Scene ain't worth anything unless there is conflict.

  188. Scene became dramatic. Don't just do things, what is dramatic? What happens between the lines, complete the silences. Don't do things sereable.

  189. Scene doesn't develop.

  190. Scene doesn't effect us emotionally, it ain't worth @#*!!

  191. Scene doesn't work. Approach is wrong.

  192. Scene has a purpose. What does it show? Overall idea of scene.

  193. Scene has content, a whole piece, beginning, middle, end.

  194. Scene has to be specific.

  195. Scene in relation to play.

  196. Scene is a contest.

  197. Scene is about (room with out a view). Life with a view to audience. Your whole story without the words.

  198. Scene is about (a man ordering a woman around). Legs have to follow the aggressor.

  199. Scene is combat.

  200. Scene is conflict. Scene is a small war, comeback.

  201. Scene isn't worth anything unless there is conflict.

  202. Scene is foreplay, once you get through screwing it's over. Find difficulty and then prolong it. Move the audience, don't move the actor.

  203. Scene in not able to hold audience.

  204. Scene is not about dialogue.

  205. Scene is not just about talk.

  206. Scene is struggle of wills.

  207. Scene is weird, make choices off the wall, outside the nine dots.

  208. Scene is written (why could he do that)?

  209. Scene lacking in humorous interest; colorless.

  210. Scene must be a contest of wills.

  211. Scene must start before dialogue (this is an angry lady, have her packing, throwing things).

  212. Scene relation to audience.

  213. Scene with many levels.

  214. Scenery that doesn't over impose itself.

  215. Shtick, closer to reality.

  216. Secrets of drama: what is recognizable to audience.

  217. See how you can add difficulty.

  218. Selfish-motive is the core of our behavior.

  219. Series of steps: human emotions and pictures.

  220. Series of unknown things in life.

  221. Serve the authors intention.

  222. Set the contest.

  223. Set up a heart break.

  224. Set up danger, you don't have suspense.

  225. Set you off from other actors.

  226. Shakespeare, speak slowly.

  227. Shape to scene, where does scene go?

  228. (she is chasing him, he is retreating).

  229. Show people in difficulty.

  230. Show what is relationship.

  231. Showing the scene, not just telling it.

  232. Showmanship

  233. Showmanship every moment.

  234. Sickness of people is very dramatic.

  235. Simple, honest, vocal. Don't start acting, once you remind audience you're an actor it's over. Cannot take every big moment and turn it into radio. Vocalize, make it loudly. The problem is to deal with big moments. They don't have to be loud.

  236. Simple

  237. Sincere, simple.

  238. Skills of articulation. 5 beats. What you emphasize and what you don't emphasize. practice to speak these words. Plays of language. Oscar Wild.

  239. Slap on the neck, never ear, mouth, eyes.

  240. Snap out Noel Coward lines.

  241. (Society system is antagonist).

  242. Some link between problem or characters.

  243. Somebody is doing something to somebody.

  244. Something to startle the audience.

  245. Sound must go with look. Theater: fill the auditorium with voice.

  246. Speak clearly. Simple, clear, clean. Too much means insecurity of actor. Use charm and good posture.

  247. Relax yourself.

  248. Spontaneous nothing can be left to chance.

  249. Scene. Struggle of wills.

  250. Stage minimal.

  251. Stage the moment. (I want the cigarette).

  252. Staging it to make pictures to tell the story. Give yourself playing area. What can be done at the moment, the objective, what are people doing to each other. Act overcoming objective, what do you want?

  253. Stand still. Underplay.

  254. Start a gag, apply it out to its resolution.

  255. Start at base of legitimacy.

  256. Start with so much difficulty.

  257. Stay sensitive, be aware of things around you.

  258. Stay with the truth of story.

  259. Steal scene as a real human being, if you have no lines.

  260. Steps: 1. Style: (Drama). 2. Story in a capsule. 3. How to do it?

  261. Stir the imagination of audience with feeling and thought.

  262. Stop acting dialogue.

  263. Stop being careful.

  264. Stop the scene: we have the same problem reoccurring over and over.

  265. Storm in a tea cup.

  266. Storytelling has to be behavioral.

  267. Storytelling, not busy work.

  268. Straight person is great.

  269. Strongest man in the world.

  270. Struggle. Emotions involvement, art is simple.

  271. Style is everything, have to decide.

  272. Style: stay constant with it.

  273. Style: what is the main thrust? Funny.

  274. Stylish manner, sets, lighting is stark, great drama. Unrelenting fate. Must fall from height.

  275. Sub-text is so obvious, that's why Don never even mentions it.

  276. Suggestions of horror. (She can't behave like a victim throughout. She is charming, flirtatious): the mask.

  277. Drama is to move audience.

  278. Suppose to be near poetry. It's not everyday reality.

  279. Suspense comes from the doing of it. Peter Lorrie involved people.

  280. Taboos: (can't lay a hand on father, that is unforgivable, audience will hate son).

  281. Talking from the audience point of view. Human step of survival.

  282. Talking on telephone: write down other persons dialogue.

  283. (Talking to another cell mate, what purpose is it suppose to achieve.)

  284. Tasteless: it was about nothing.

  285. Technical stuff was off.

  286. Technique to cover the technique.

  287. Technique: He suffers, facial characters. Three dimension.

  288. Tell the point in the scene.

  289. Tenn. Wms. nightmares. Fill the space. Think of yourself monumental. Classical not really reality in time. Bigness. Can be all reality.

  290. Territory has to fill the theater.

  291. That is why I say that all acting is foreplay, when you get to the screwing it is all over. You got to tease them and tease them as long as you can, by playing every facet of every dramatic moment.

  292. The style always changes everything. Only did physical structure of scene. Explore every moment.

  293. The actor's pose: (woman who is full of life, play her child like her normal happiness).

  294. The answer is you have to make everything that happens meaningful.

  295. The audience must believe you. You must not be perfect. You learn how to move, then leave it alone.

  296. The camera is helping you act.

  297. The character: what do I want?

  298. The characters must advance or decline.

  299. The emotion is true, the objective is true, everything else is conspired. Lighting, settings, etc.

  300. The entire relationship.

  301. The face they put on to the world.

  302. The first rule is don't repeat what you did before.

  303. (The higher up, there is more class on the surface, but are slobs underneath.)

  304. The key. (Everything young is beautiful.) Director has to have sensitivity, tell a story.

  305. The main trouble is it is not moving.

  306. (The man is in love with an absolute.)

  307. The more you put a lid on it, the more pressure.

  308. The must scene: for people who have done great evil, this is where they are punished.

  309. The must scene: the bad has to be hurt, destroyed, the good triumph.

  310. The must scene: villain gets punished.

  311. The nature of the time, setting it up. Why is it happening?

  312. The only complaint audio level.

  313. The out come is in doubt.

  314. The personal is what it is about.

  315. The possibilities were not covered.

  316. The principle of opposites.

  317. The problem is: (if she is all strength, there is no question on the plays end.)

  318. The problem is: (create an atmosphere of great fear).

  319. The problem is: (only understood three words). Read telephone book aloud. Speak clearly.

  320. The problem: today's acting is more direct play to each other, great creditability. (How they loath each other), brain to brain, not style to style, react to one another, instead of colorful deal with content.

  321. The purpose of the scene is... 

  322. The question you ask yourself when doing a scene: who is doing what to whom? Who is the aggressor?

  323. The quieter you are the better for the camera.

  324. The ragged edge.

  325. The reason the scene is in the picture (the woman is commander).

  326. The scene has to have a plan, rhythm and manner.

  327. The scene is about the (money bag), not about (bullshit).

  328. The scene is there to show: (he is an antagonist.)

  329. The shape of the scene.

  330. The shake coiled is the most dangerous.

  331. The tension is: delay character's revelation.

  332. The thing to do is not to act, every moment doesn't have to be entertaining.

  333. The third eye. Watch for: doing self indulgent by actors. green and red light. Don't let actors take over the scene.

  334. The time urgency.

  335. The unusual.

  336. The whole idea is to see how much you can give the character.

  337. The whole thing is foreplay, just maybe, not yes.

  338. Theater is never life.

  339. Theatrical qualities, great deal of content.

  340. Theme repeats itself: many variations. Scene has no progression. Scene nothing happens. Scare the shit out of the audience, weird. We need danger.

  341. Theme: (two people pressured down. This scene is a conspiracy.)

  342. Then you have an identity for (Roy).

  343. There are absolute moments of drama tempered by the style of...

  344. There are marriage jokes: each person feels they are smarter than the other. Each talk to each other as if their partner is feeble minded.

  345. There has to be change.

  346. There is no one truth. If it works. Directors job is to make it work, don't worry about the logic. There is no such thing as a monologue. You are talking to another person in a chair, or yourself, in another chair, a ghost, something. Don't talk to a generalization. Absolute reality. They're looking for someone natural. 1. After choice of emotion and objective, then reach for word. Don't know what words are coming up: learn lines, then

  347. There must be a character change in a story, less so or more so.

  348. There was no connection with the characters.

  349. There was no shape to scene. Dialogue was just loud and soft only.

  350. They can forget theirs.

  351. They give actors something to interpret.

  352. Things don't happen on cues.

  353. Things have to happen dramatically to keep the audience attention.

  354. Things that are done: don't use words for contact. Not what they say, but the what they do. Lot more unspoken than spoken.

  355. Things that are rememberable. Be outrageous, different.

  356. Things that make no sense.

  357. Think always plausible. Selection.

  358. Think camera. Think motion picture. Always simple.

  359. Think delaying resolution, don't win up front, prolong (when does the waiter spit in the soup?)

  360. Think it through, make choices, plan it in detail. Must play the discoveries, not line to line. (The characters form a bond in steps.) Give the audience time.

  361. Think objective, the body knows what to do!

  362. Think objective. Don't look like you've worked out reaction.

  363. Think of having thunder under it.

  364. Think of it entertaining. Exciting.

  365. This is a duel.

  366. This moment in play: overcome a difficulty.

  367. Thought is electrical force.

  368. Three shading of scene.

  369. Tilt mirror. Heighten people, despair. Understand structure.

  370. Time element.

  371. Timing is off. Work out falls, can't know you are going to fall. Perfect physical stuff.

  372. Timing.

  373. Timing/clock in head. Learn how long to hold.

  374. To act you must be overcome with feeling.

  375. To exist in the clothes of that time.

  376. To get, to find, to get him out.

  377. To get a variety of shots.

  378. To get ready for party.

  379. To go.

  380. To logical. Writers point of view. Writer is not a compassionate man. He is an observer.

  381. To much interest in the manner.

  382. To play a scary person, play audience expectation. What would it be like. Angular. Don't float around like a leading man. Be scary.

  383. To the problem. (He has an attitude.) Audience must see the

  384. Tools.

  385. Tough to do two character plays. Monotony. A great sense of rhythm. What is the scene about? If I do this is the rest possible? 

  386. Troubles heighten, emotion heighten.

  387. Trust the material. Don't add chocolate on top of chocolate.

  388. Try to be reasonable and control.

  389. Try to hit on a few truths it's better.

  390. Try to improve your own character. Understand different times. Grapes of Wrath. Read about them. Learn social values of different times 50's, 60's, 70's, 80's to make choices.

  391. Tune into each other. Think it through as entertainment.

  392. Turn around of joke.

  393. Turn it into something to watch.

  394. Turn on all your lights, wonderful persona, art is not a straight line.

  395. Turn on all your lights. Bigger than you are and still look real.

  396. Turn on your lights, your emotions.

  397. Turn your talent loose.

  398. Two con-men conning each other. Who is going to win. Funny by itself isn't funny. Real humans: funny. Funny with reality.

  399. Two contestants look for worthy opponent.

  400. Two people at opposite poles.

  401. Two people from different worlds.

  402. Uncertainty.

  403. Underline funny thing about this thing.

  404. Underneath is nightmare.

  405. Understand scene in knowing where is it going?

  406. Understand structure. Know the minds eye.

  407. Understand the time period play comes from.

  408. Vanity not beauty.

  409. Vanity?

  410. Variety

  411. Variety: interest the eye of the audience. Tune in on their impulse.

  412. Very simple. Audience: we can relate. (real terror)

  413. Very well calculated.

  414. Very, very heightened.

  415. Villain look for the saint.

  416. Wait long enough, all tragedy will turn into comedy.

  417. Wait until you finish something.

  418. Walk to window state of terror it's not actor.

  419. Walk toward camera. Avoid side to side.

  420. Was because actors didn't understand scene or know how to do drunkeness.

  421. Watch sitcoms and learn: (Cheers, Murphy Brown, etc.)

  422. Watch the difficultly.

  423. Watching, reacting behavior, not dialogue.

  424. Way you act?

  425. Way out. Don't do normal images.

  426. We are not heroes in a big moment. Not organized.

  427. We are talking about a piece of art, not a picture.

  428. We demand the two characters colorful. Dramatic conflict between the two. Don't stay in same key throughout. You are an entertainer. A. What is amusing about scene. 1. (brave girl and a coward).

  429. You got to get literate.

  430. We don't admire depression.

  431. We want to see people off guard, not in control. People struggling against problems.

  432. Well, I would do it this way, is starting wrong. The character is entirely different from you.

  433. What act is it in? What is it like?

  434. What am I? What will sell? Why is he saying it? Be likable, amuse, delight. Give them a good time.

  435. What animal my character resembles?

  436. What are the possibilities?

  437. What are we watching with the protagonist?

  438. What audience see. Character sees himself.

  439. What color is it: exhilaration.

  440. What difficulties the character are under at moment. Create suspense you have to be in difficulties.

  441. What do people do when they feel filthy.

  442. What do you think the play is about?

  443. What does the character think of themselves?

  444. What effect do you want on the audience?

  445. What effect does it have on an audience? (ominous)

  446. Whatever it is, it is a combat.

  447. What happens to your face has to be specific for film , start out with what the character feels and his objective. (terror) That is what has to happen.

  448. What is atmosphere of play: a. (just before dark) b. (uptight town).

  449. What is going on in this scene?

  450. What is going on? What the other people think that is going on.

  451. What is happening?

  452. What is he thinking, says the audience. What are the questions? Who is doing what to whom: that's the rubber band. Make the pose. (to not get hustled)

  453. What is important? What is not important. And how to focus on it.

  454. What is interesting, not conversation.

  455. What is it about? Look under the dialogue.

  456. What is it about? It's not accidental.

  457. What is it about? Not the plot.

  458. What is it the audience wants?

  459. What is missing? When your out of your depth you start yelling. Actor must not yell. Audience becomes immune to the yelling. Only if totally necessary.

  460. What is purpose of scene: establish relationship. (he constantly try's to please him)

  461. What is reality?

  462. What is scene about? (behavior)

  463. What is scene suppose to do to audience? (this scene should tear the audience heart out)

  464. What is special about scene?

  465. What is story then stay consistent with story.

  466. What is the audience concerned about? (situation) What are the possibilities?

  467. What is the balance of overall?

  468. What is the image we should see? What is going on? Can't just be "felt" right, it has to be dramatized.

  469. What is the main thrust? What is the nature of scene. To start out (dog wants to please master)

  470. What is the partnership: (one makes the pancakes, the other one eats them)

  471. What is the period? (Victorian period, etc.)

  472. What is the purpose of the scene? (to start the animosity of the guy who is watching them)

  473. What is the purpose?

  474. What is the scene about?

  475. What is the scene's purpose to show: (win over a fifteen year old girl: get her confidence, charm her, so nice, so magical.

  476. What is the story?

  477. What is the style?

  478. (What is the thing that bonds the people?)

  479. What is their relationship?

  480. What is scene suppose to do to the audience: (this scene should tear the audience heart out.)

  481. What is this scene? Is there a submarine (drama) scene in comedy.

  482. What is wrong with it? (It's a shocking scene must have rumbles before big storm.)

  483. What is wrong?

  484. What is your characters body language, what does your character do? What are his habits. How does he behave with other people. Most of your life activity: 1. center of the character. A way to define your character. 2. ideal image of the character; the sec

  485. What is your objective?

  486. What kind of suffering, how much is there?

  487. What makes them dangerous: they don't act dangerous, no yelling etc. Wrong. (both didn't have smooth look)

  488. What scene are you in?

  489. What scene looks like: (like he is killing her parents)

  490. What should it do to audience: (shows woman becoming broken hearted)

  491. What should it look like?

  492. What should the character be doing? How to do the red light, green light. Must tell the story.

  493. What the other person is, when you get to the set, you have to adjust.

  494. What to do to the audience? (to incite) To get the audience angry.

  495. What to do to trick the audience to react through scene is to try an win.

  496. What to show? Scene is about what you don't know.

  497. What was wrong with the scene? (Scene out of balance.) Acting on two levels. Hillman the author, what is her point, (the phonies in America, the rich, buy their way out of things)

  498. What will this effect have on the audience?

  499. What's wrong. What is the purpose of the scene.

  500. What's wrong? The whole point of scene. The theme: (their friend has committed suicide) Must command audience not to laugh.

  501. Whatever the character is thinking or feeling, the actor has to be in mischief.

  502. Whatever you do you have to complete.

  503. When an actor comes on, do something wonderful. Use the opportunities. (life has been destroyed)

  504. When in doubt stand still.

  505. When planning: a tragic scene: how much is the scene working for you? Then lay back.

  506. When they roll the camera, it is your world.

  507. When you act, have all your sensitivities going at once.

  508. When you act, you have to think: character has a light bulb inside, light up the innards to get the audience's interest.

  509. When you enter a scene, always come from somewhere.

  510. When you get scared: double your effort on objective. When you go off to narrative, you are acting. You must go back to emotion and objective.

  511. When you have a joke, sell it in neon lights.

  512. Where are we in story? How should the audience react. We are at end of story. Both protagonists. Audience deeply sorry for both of them. Don't have to play heartbreak on top of heartbreak. Don't, the actors played heartbreak. When material is tellin

  513. Where do I have to get too?

  514. Where does scene appear?

  515. Where is it going?

  516. Where is the narrative?

  517. Where is the scene situated: (final scene)

  518. Where scene fits into.

  519. Where the values are, behavior of words.

  520. Where things are away from the logic.

  521. Who am I in this, can it work, know the mechanism.

  522. Who am I: part of it is what is my relationship to the other person?

  523. Who am I? Only find what is actable. How to define character.

  524. (Who does he know?)

  525. Who is aggressor? (she is)

  526. Who is doing what to whom in scene? (he is trying to find out).

  527. Who is pursuing who?

  528. Who is the audience supposed to connect with? Scene requires: (wants her to be put down)

  529. Who is the author?

  530. Who is the motor? Aggressor, who makes it go?

  531. Who's attacking? Who is guarding?

  532. Whole principle of theater.

  533. Whole scene should be about behaving.

  534. Why are they watching me?

  535. Why are those extra words, how to make the words work, make it into behavior, repetition of words.

  536. Why is it there?

  537. Why is the scene in the picture?

  538. Why is the scene in the story?

  539. Why is the scene there: (to keep audience in suspense. Why do they become lovers?) How to use scene to show it.

  540. Why is this scene in play? What effect does it have on audience? Look at it like you're telling children the story step-by-step.

  541. Why is this scene in the story?

  542. Why isn't it working?

  543. Why it exist in play?

  544. Why several veils, taking one off one at a time.

  545. Will he or won't he? Must be given to the audience so they wonder, (will he or won't he)

  546. (Women weren't aggressive then.)

  547. Words and manner don't match, audience, hey wait a minute.

  548. Words won't do it. What he is going to do. Making points.

  549. Work on presence. Sense of importance.

  550. Work up torment: (we want the lions to eat Christians)

  551. Working clean.

  552. Workout a scene. A structure to conspire to do to the audience. How should it effect the audience.

  553. Worthy antagonist, devotion, choreograph each bit, character have to change there is development.

  554. Writing is like giving birth.

  555. Wrong casting. Other problems: first to examine in any scene 1) what are the traps? 2) make choices that would _______ scene.

  556. You are listening to yourself.

  557. You are the character, don't make a comment on the character.

  558. You can't be in two places: actor and audience.

  559. You can't cheat an honest man.

  560. You can't do what you did, it's not radio. What is the situation? What is the story? What is the thing that would interest the audience? The first thing you have to look for.

  561. You can't make judgment about characters. Make it abstract, has nothing to do with you. You have to hear what the other person says.

  562. You have a funny scheme, then you have to make it work.

  563. You have to be interesting. Loose in a room as an actor, think of things to do, always give yourself a task.

  564. You have to give the audience time to participate.

  565. You have to lead them into it.

  566. You in relation to the audience.

  567. You're a fool, boy. When people start acting. Idiot

  1. Be creditable. Victims; be of equal size. Don't just play the jokes.

  2. Between drama and comedy: comedy doesn't appeal to the emotion, but appeals to sense.

  3. Beyond the laughter.

  4. Build situations for character (build a hefty weapon to kill the spider).

  5. Comic suffering is different from tragic suffering.

  6. Counter point. Attitude. Law of opposites. More obstacles.

  7. Derailment is the joke.

  8. Derailment with emotion.

  9. Derailment: characters dilemma.

  10. Do it off the wall. Don't be predictable.

  11. Find out who she is: it comes out of character. Both are absolute idiots. Now you got "character". Don't just invent business but must have timing, technique and find motivation.

  12. Find the fun in it. The behavior, not the gags.

  13. Find the joke. Underline funny.

  14. Funny is easy, you can play anything funny, resist that.

  15. Get in key of comedy. Show bizz not a cathedral. Audience wants to see people suffer.

  16. Get the right laughs at the right time.

  17. Give up a laugh to stay real.

  18. Go outside the nine dots.

  19. Go through same rules of farce, no pauses. Has to be loud must be funny. Go in a great panic.

  20. Going through funny situations.

  21. Had the basic joke: play the attitude of each character (she the man and him the woman).

  22. Have a reaction to a joke.

  23. Have a scene where the audience doesn't know what will happen.

  24. Have reality, don't make a speech.

  25. Have relationship playing off each other.

  26. Have rhythm.

  27. Have this going, how do I develop?

  28. Have to be on, turning on your lights.

  29. Have to be prepared on your own, nobody is going to help you. Technical people know a lot about acting.

  30. Have to be serious to the point of frantic.

  31. Have to reveal the characters in the scene.

  32. Have to understand every word.

  33. He is a straight man, she is clown.

  34. He is antagonist. Protagonist is venerable, admirable, the audience likes. Antagonist: things that we will dislike. Everyone has longing for power. When playing a bully find the coward in him. 

  35. Heart line. Then plot line.

  36. heighten: language heightened not too damn vocal).

  37. Her attitude is: (I'll put up with this shit, but I'm out of here).

  38. High point, low point = rhythm.

  39. Highly stylize. Realism kills things.

  40. him - terror - outside the nine dots, the unusual is the objective - outstanding. Pick the emotion that fits the scene. Choice the exact opposite in objectives. Scene is not conversation, it is combat.

  41. His connection?

  42. His dilemma is the stupidity around him.

  43. His emotion: terror, but behaving as in control; mask.

  44. His the means to it. Harder to do, better to act, use the circumstance, invent, make more.

  45. Hit at the core of what people have been laughing at. Look for absolutes. What people are familiar with.

  46. How to build a joke: continuous track, don't stop and pause, you don't have to speak fast either. Just keep it going. Can't stop, no periods, don't hurry, just keep it going, then go crazy.

  47. How to find the humor. Look for red flags of author.

  48. How to frame joke.

  49. How to make it work? What to do? Bad actors tries to be funnier.

  50. I'm doing counter point.

  51. I'm going to make them laugh here. Mark it.

  52. Indignation: big one for comedy.

  53. Keep the lines fluid until pause.

  54. Know skill, it can't be sloppy, but precise.

  55. Laugh at the basic joke. Establish character, establish story. Film frame by frame, must tell the story. Don't do busy work. Think of something funny, put it in right place.

  56. Laughing at actors contribution.

  57. Laughing with tears. The terribleness that make us laugh.

  58. Laughter is not any measure of success.

  59. Make a base of credibility then come up with things off the wall.

  60. Must achieve reality. Joke sets up, what they are. Tell the story and get the laugh.

  61. Joke based on character.

  62. Never make comedy hard to listen to. Sitcom: louder and funnier.

  63. Never sacrifice character for a laugh.

  64. Old jokes.

  65. Once you perceive the joke, go right at it.

  66. Once you spot the nature of the joke stay with it.

  67. One comic and one straight man.

  68. One person is the audience identification. One is the clown.

  69. Orchestrate toward the joke.

  70. Outside nine dots.

  71. Play for the humor.

  72. Playing the comedy: actor is in a state of mischief, find what is funny.

  73. Playing two guys who are being amusing. Show us the creative process. Basic joke: blind leading the blind. Difficulty.

  74. Precision - comedians must learn precision.

  75. Precision

  76. Problem is the jokes are muddled.

  77. Problem is: (on TV they would click you off, in the movies they would go to the bathroom). The pauses are so endless.

  78. Problem is: what is the key, you must play it, it must amuse heighten people, etc. Larger than life.

  79. Emotions must be heighten. This is a funny movie, what are the opposites?

  80. Problem with scene: Basic joke, if a thing is tragic enough it's funny.

  81. Progression writing of the story: characters are introduced, they become more or less (more coward or more brave) like a joke 3 times. Laurel and Hardy. Things get in their way going upstairs: worse and worse. Compounding the joke. More and more elaborate.

  82. Reaction causes laughter.

  83. Ride a laugh, keep up emotion.

  84. Scene of people. Comedy of Manners has restrictions.

  85. Sense of ridicules. If you can't go back to the principle you can't go back to reality. (Strange bedfellows). Human dilemma. Black Comedy based on despair. Funny is not enough.

  86. Still has to have combat where the situation is funny.

  87. Strength to weakness. Heighten people in heighten situation.

  88. Study what your funny is: how to play a joke? How to set up joke.

  89. Suffer in comedy. In pain, must have overtone of humor, it doesn't work.

  90. Suffer look for the clown.

  91. Suffer, be in a dilemma.

  92. Techniques of comedy are exact.

  93. The play is a comedy, that's it.

  94. Understand scene, how it relates to story, then make choices.

  95. We don't laugh at pain.

  96. What is going to make a person laugh?

  97. What is most human, not what is funniest.

  98. What is scene about? It's not accidental.

  99. What is the basic joke? (mice playing with lion)

  100. What is the comedy situation? Look for what is amusing.

  101. What is this scene? Is there a submarine (drama) scene in comedy.

  102. What is wrong with scene? Didn't use all comedy elements of scene.

  103. Where the humor lies.

  104. Who is the funny person?

  105. Who is the straight man?

  106. Why are we amused?

  107. Why is a scene in the story? Advance the scene, what is the scene about?

  108. Work clean, don't muddle it up.

RETURN to first scene notes page 

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