FILM 448 DIRECTING ACTORS FOR THE CAMERA Spring 2019

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1 FILM 448 DIRECTING ACTORS FOR THE CAMERA Spring 2019 Class Time: Tuesday and Thursday from 10:20 11:50 Class Room: CFS 124 WESLEYAN UNIVERSITY Film Department PROFESSOR: COREY SORENSON ( will be limited on nights and weekends) OFFICE HOURS: By appointment and Tuesday 4:30-5:30 in Theatre, Office 106. You are responsible for reading everything in this syllabus thoroughly. It is a reference to be reviewed throughout the semester. You will be notified of any changes. Course Description: Directing Actors for the Camera: Working with actors is an essential component of cinema and television. This workshop course leads students through exercises both as actors in front of the camera and directors behind the camera. Topics include: directing actors for the camera, casting actors, the analysis of screen performance, script analysis from the actor and the director's POV, oncamera acting technique, introduction to the craft of staging dramatic scenes for single-camera shooting, director/actor collaboration, and communicating with actors to create successful performances. Required Readings will be selected from: Directing Actors for Film and Television by Judith Weston Kazan on Directing by Elia Kazan Making Movies by Sidney Lumet Secrets of Screen Acting by Patrick Tucker Acting for the Camera by Tony Barr Course Goals and Objectives: 1. Develop methods and systems for directing actors for the camera. 2. Develop a beginning understanding of and appreciation for the work of acting on camera. 3. Develop a process for casting actors 4. Practically experience the work of an actor performing for the camera. 5. Develop vocabulary for and facility with actor/director terminology. 6. Research professional directing work and synthesize the knowledge for use in the student s practice. 7. Understand and articulate how other production departments can enhance a director s work with actors. 8. Practically demonstrate how to direct a scene for camera from casting through rough cut.

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3 CLASSROOM, REHEARSAL, PERFORMANCE PROTOCOL: 1) Arrive early, ready and willing to work, and be prepared. 2) No cell phone noises. Keep it on silent. If you might be receiving an emergency phone call during class, notify me prior to the start of class. 3) Only water. No food, drink, gum, candy. 4) When you direct, you will be responsible for finding any and all props that are used in your scene. 5) Offer yourself with humility to the process and to your collaborators. In this class, you will be asked to act and direct. Both tasks must be completed with complete preparation and respect for your peer-collaborators. Methods of Evaluation: Grades are based on demonstrated proficiency of the subject matter and are graded as follows: Attendance: Your attendance is mandatory. Directors lead by being out front. That means showing up early and leaving late. While you do not receive points for showing up, you are allowed no more than 2 absences throughout the course and it is your responsibility to catch up on anything that you missed while you were away. Being absent more than two times will lower your grade by, one half-letter (A to a B+, B- to a C+). Being late by 10 minutes (or more) 3 times throughout the course will be considered an absence. EXCUSED ABSENCES: 1) Being ill from class will be excused only with a doctor s note; though extended illness may necessitate assignment changes if you are in the middle of a group project. 2) RELIGIOUS/CULTURAL OBSERVANCE: You may be excused from class to attend major religious/cultural practices. In order to receive an excused absence, you must notify the professor no later than the third class meeting (Thursday, 1/31) when you will be gone during the semester. Participation: Coming to class, asking questions, being courteous to other students learning process, and supporting your fellow classmates with their performance work is required. You will be required to assist one another in your directing projects. Course Outline This course is a combination of lecture/reading and practical hands-on experiencing. Class time will be weighted toward the practical application of acting and directing, but assignments will also require reading and writing in addition to performing and directing. One of the best ways to learn how to direct actors is to practice acting to understand some of what an actor thinks and feels in order to best help them achieve the performance you need while directing them.

4 Acting for the Camera: As Elia Kazan said Of course, the film director should know acting, its history and its techniques. The more he knows about acting, the more at ease he will be with actors. At one period of his development, he should force himself on stage or before the camera so he knows this experientially too. Part of this course involves acting for the camera. For anyone who is new to acting, that s okay, but you are expected to try your best (it s the only way to really learn). Acting requires more than just physically showing up. It requires the bravery to imagine and to risk failure, to creatively express another human being; and it requires challenging yourself, being emotionally and psychologically available, and rehearsing outside of class (lots of rehearsal). You will also be required to have your lines memorized on the day that your scene shoots. And you will be expected to respectfully take direction from your peers. Directing Actors on Camera During the course of the semester, in addition to in-class scene exercises where you act in one another s scenes, and in addition to the two directing projects you will have, you will be required to read screenplays, select a scene, cast the scene, and film it providing two documentations of your work. 1) A Scene Log a copy of your shooting script, and a written overview of how you worked on the project, including the shot choices you made, why you made them, and the work you did with the actors. 2) a Rough Cut of the scene. Please Note: given the limited class time, some of the directing work will be done outside of regularly scheduled class meetings and it will be your responsibility to schedule and complete the scenes. COURSE ASESSMENT 25% of your grade will be weighted towards your acting performances, and how you analyze and demonstrate acting technique. 50% of your grade will be weighted towards your directing work. Of that, 30% will be based on practical work. 20% will be based on process as demonstrated through written work. 25% of your grade will be research and presentation of your research on directing. Points / Grading Breakdown: Renfrow Speech Cold Read Callback Acting Scene Directing the Acting Scene Casting Practicum Directing Scene 2 Missed Opportunity Story What is it about for you (assigned script) What is it about for you (chosen script) Character Breakdown Scene Log Directed Scene (rough cut) 20 points Total Points Possible 100 A = A- = B+ = B = B- = C+ = C = C - = D+ = D = D- = F = 59--

5 Of course, the film director should know acting, its history and its techniques. The more he knows about acting, the more at ease he will be with actors. At one period of his development, he should force himself on stage or before the camera so he knows this experientially too. Elia Kazan There are no accidents in art only the fruits of long labor Constantin Stanislavski People will forget what you said. People will forget what you did. But people will never forget how you made them feel. Maya Angelou Empathy is at the heart of the actor s art Meryl Streep A good director creates an environment, which gives the actor the encouragement to fly Kevin Bacon The magic doesn t come from within the director s mind, it comes from within the actor s heart. James Cameron A successful film begins by choosing a director whose creative vision will define the choices made by everyone in the film. Kathleen Kennedy WEEKLY SCHEDULE Tuesday 1/29 Interview being seen Start working on Renfrow Speech Read: Lumet CH 4 Read Weston: Introduction; Moment by Moment 2/5 Result-Oriented Direction Directing the movie in your mind Read Weston: Result Direction and Quick Fixes Due: Missed Opportunity Story 2/12 Cold Reading What actors experience Read: The Costs of Acting, SMFA 2/19 Watch the work Breaking down a script Assign scenes Thursday 1/24 Introduction/Syllabus. Principles and philosophies. 1/31 The Actors Tools Given Circumstances, Objective, Obstacle Coming from somewhere, going to somewhere Acting is Doing Read Weston: Listening and Talking; Actor s Choices Read Barr: CH 1 2/7 Filming Renfrow Speech The surprise: Catch me if you Can 2/14 Call Back w/camera 2/21 Intersecting the material Read: Kazan Forward, Preface and Introduction. On What Makes a Director. The Pleasure of Directing improvisation.

6 Due: What is it about for you? 2/26 Acting/Directing a Scene 2/28 Acting/Directing a Scene 3/5 Acting/Directing a Scene 3/7 Acting/Directing a Scene 3/12 Spring Break (Over break, read the other scripts on Moodle and select a scene that you want to film) 3/14 Spring Break 3/19 Spring Break 3/21 Spring Break 3/26 Choosing shots. With the script and scene you ve chosen, the following are due: Due: What is it About for You 4/2 What s your Casting Plan? How to Meet with actors How directors Cast their films Read Weston: Casting 3/28 Casting is everything Breakdowns Casting Directors Read Kazan: Death of a Salesman Read Weston: Casting Due: Writing a breakdown/character description 4/4 Casting Practicum Giving adjustments in the room. 4/9 Watching the Masters 4/11 Rehearsing your Actors Read Weston: Rehearsing 4/16 Directing Scenes 4/18 Taxi Driver, Scorsese 4/23 Directing Scenes 4/25 On the Waterfront Read Kazan: On the Waterfront 4/30 Directing Scenes 5/2 Editing: The Cutting Edge The Score, Mystic River 5/7 Last Day of Class Due: Scene Log Due: Rough Cut of your Directed Scene Final Exams *Semester plan is a tentative schedule ONLY, and may vary as necessary. It is the STUDENT S RESPONSIBILITY to keep updated on due dates and schedule changes by attending class and/or keeping in contact with the professor. **Some readings may change, and students will be notified if there are changes. Other Resources: MASTERCLASS: Mira Nair teaches independent filmmaking, Spike Lee teaches filmmaking DVD film commentaries Books: DIRECTING Film Techniques and Aesthetics by Michael Rabiger and Mick Hurbis-Cherrier Film Directing Shot by Shot: Visualizing from Concept to Screen by Steven D. Katz On Directing Film by David Mamet Acting for the Camera by Tony Barr