How Improvisation Can Improve your Filmmaking | Nexus Production Group | Skillshare

How Improvisation Can Improve your Filmmaking

Nexus Production Group, Improvised Filmmakers

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9 Lessons (36m)
    • 1. Intro

      1:50
    • 2. Varying Levels of Improv

      4:07
    • 3. Character Creation, Conflict & Project

      5:52
    • 4. Why Improv?

      4:23
    • 5. The Surprise Factor

      3:47
    • 6. Working Efficiently and Effectively

      6:04
    • 7. Thinking on your Feet

      4:09
    • 8. The Big Picture

      4:18
    • 9. Conclusion

      1:24

About This Class

Improvisation is a form of performance in which the players have no script. Free of traditional methods and constraints, improv gives filmmakers and actors complete freedom to explore characters and relationships in depth and capture genuine authenticity in performance.

This class will cover Why Improv, the Varying Levels of Improvisation, Creating Characters and giving actors freedom, the all important Surprise Factor, Speed and Efficiency from concept to filming, Thinking on your Feet, learning to see the Big Picture on set and more.

In the class project we'll take you through the steps for creating your own characters and conflict, allowing you to draft a scenario that is ready to film and turn into a micro-short. 

Suitable for aspiring filmmakers, writers and actors, or more experienced artists looking for a new approach to film, How Improvisation Can Improve Your Filmmaking will inspire you through the creative freedom improvisation fosters, and how putting away the script can lead to new discoveries, making your own work, behind and in front of the camera, fresh and exciting.

Transcripts

1. Intro: My name is Sarah Jane, and together we're Nexus Production Group. We've been producing and directing films for over 10 years now and for the last several years will be music improvisation to make afterwards, including a couple of features. So today in this class, we're going to show you what we've learned and how you, too, can use improv to improve your filmmaking. So both seasoned and as well as aspiring filmmakers, writers and actors will find this class beneficial will help you at an extra element of well to your films were discussed. Various topics, such as the different levels of improvisation and why you may want to employ improv in rehearsals and on sets will cover efficiency and thinking on your fate. We're gonna look at the big picture and how you can see the edit of your heads. Let's not forget the surprise factor that's important one night. Any surprise can really add realism to the performances. We're also going to cover character breakdowns, how to write them and also plot outlines. In fact, that's gonna be your class project. You'll come up with two characters the conflict and the scenarios so you can actually make your own improvised field. So join us for this final, exciting and interesting class on how improvisation can improve your filmmaking. 2. Varying Levels of Improv: before we move into the class project, we would like to first give you a little rundown off what improvisation is. So the definition and also the varying levels up improvisation you can use so styling with the definition now improv is a former performance in which the players have no script. So, of course it started in theater, and we all know about theater sports. There was a show back in the nineties called Whose Line Is It Anyway? Which is very popular, so that's in front of a live audience. But for film, it's much the same. Actors in Khost perform without a script, yet this time the audience is the camera. I think a big difference in the way we work and four on provides films is we work heavily without actors beforehand to give them deep character breakdowns that something will go into later. So now let's get on to the varying levels of improvisation you can use. One of these is sticking to the script for the most part. Now this is the most common you'll see. A lot of movies are like this fully scripted, but then the director will allow the actor to actually improvise certain parts of a scene. Certain lines as a result, in some very famous moments, such as Robert DeNiro, Taxi Driver, you talking to me like a very famous scene, completely improvised. I've actually been on a film or a TV series that waas, where the director let the actors run through the lines. They did everything scripted, and then he gave them one or two takes for them to just improvise and do a completely different take on it however they like. And I think it worked really well cause it was a comedy, so the characters went a little bit more crazy and it was a little bit more fun to watch. You can also go with a plan, but no script, which is exactly what we do. We write dot points for each scene, and because we've done all the character work with the actors beforehand, they know exactly what they character behavior will be like, how they will act in certain situations. For the most part, they'll know exactly what they have to hit the back of their mind are saying this scene. I'm going to do this, and however they get there is up to the actors. They work together to develop that on the spot in the scene, and it makes it spontaneous and fun. And we love working that way. Another improvisational technique you can use is Michael ease form of distillation. So to get a distillation, what you have to do is take the scenes that you want to shoot, get your actors in the set, get them to improvise the scenes and actually as they would based on the character breakdowns on What you're doing is the director is recording each of these scenes, and then that's when the process of distillation comes in. You pick those things that you want to use, the ones that you thought were the strongest. So then you take those scenes that you recorded and the ones you like, and you just get all the dialogue done on paper. So basically what you're doing with the echoes is creating the scripts through distillation . And then from there you give the actors back this group that you like. I said, This is the scene we're going to shoot, and the final form of improvisation you can use well, it could be described as free flowing. Now here there might be a plan that might even be a script, but it's more about capturing the essence of your theme. It's about capturing the mood and the movement off. The narrative that you're trying to tell Terrence Malick is an excellent example of this. He has been described as a filmmaker who worked the speed off thought he will often pull out a camera and a keeper, constantly running to capture that perfect light. He'll change plans in the middle of a scene. He will shoot the same scene in four different locations and then cut it all together. He'll film actors sleeping. He'll just cape the camera, going constantly and be ready to react at a moment's notice. He described his own style as walking down the garden path. It's all about seeing what you discover and being completely open to experimentation and really wherever your heart takes you. Now that is improvisation. 3. Character Creation, Conflict & Project: now that we've covered the different forms of improvisation you can use. Let's talk a little bit about characters. And, of course, this is going to tie him with your class project. The best way to practice improvisation. They actually go out and do a provides film, and you can do just a little micro shore just once in five minutes. We actually do a little Siri's ourselves. It's called Life Improvised. It's about the small moments in relationships. We go out, we come up with our characters. We come up with are so narrow and we go out and shoot. We do them really quickly, half a day and then a couple of weeks in the edits before release them online. It's a lot of fun, and we reckon you can have a lot of fun doing this yourself. But of course, let's start with the characters, all stories. They start with a character or characters. In your case, let's do two characters, and this description is actually in your project gallery so you can pause this video and you can brainstorm your ideas. But basically to start, come up with their age, their names, their occupation, what they physical look like just the basics. Just a way to get started once you have your two characters, once you have the basics off their outline, it's time to add the dip. Now, what makes your characters tick? What makes them afraid? What makes them love? What are their goals in life? This is explore your characters on a deeper psychological level to really give them some depth and really give your actors something to play with. A good way to look at this is to think about people who you've met in your life. You don't exactly need to take trades from every single person. You don't copy people that you know you don't want to write about someone you already know . You want to create someone that's three dimensional. That's interesting and also exciting for you to work with as well. You don't want to copy someone like, say, your mom, and put everything into that and say, This is my mom now it's not your mom. It's not something that you know. You need to just take things from different people and even strangers that you see, like you could be sitting on the tram and you're just observing and you'll see someone. You think I wonder what this person does for work. He walks like this. So could it be this kind of person? I think of it like that. I think about different traits that you say. Think about different characters that you see and try and find their stories from the back story. And you can use that in your own character breakdowns. If it's necessary, go ahead to pause the video again. If you need to brainstorming ideas, let's flesh out your characters. And then what you do is you think about how you can actually bring them together. They don't have to be related. They could be a strangers meeting for the first time. Are they walking down the street? And one of them dropped something, or one of them is upset and the other person notices. Are they working together? And they met for the first time. One of them's new at work. Have they met spontaneously at a reception or they met in a doctor's surgery? While they're waiting for their name to be called, anything can be away for your characters to may think about the traits. How would one character relate to the other one. What would the reaction be from one person to the next? And how will they actually communicate once they do, mate? No, it's time for you to introduce conflict. Find out what character a wants and then find out what character Bay wants. And how does character is? Wards differ from characters. Be wants. This is what causes the conflict. Are they on a date? Are they in a meeting? Are they at the beach? And someone's at the kiosk and they're in. Q. Find out what's going on. And in adding the conflict, we had a film where we had someone on the first date meeting. It was an improvised scene, and then we had one of the actors phones ring, and it was someone from his past bringing up conflict with other character heard. This makes the situation difficult for both these characters and as conflict and interest for the viewer. Okay, you should now find you have yourself to characters fairly detailed in their psychology, in direct opposition to each other, a little conflict, a little scenario, maybe even a little micro shorts. Congratulations. You can upload your characters and your outline to the project gallery and we'll give you feedback are the members might even chip in and give you feedback. And if you want to go out and shoot, grab a couple of friends, grab yourself a camera. It could even be your phone. Go out and create your short if the best way to practice as we sit. And it's a lot of fun. Credit, micro shorts, practicing improvisation. Improving your filmmaking by going out and doing another thing to consider when creating characters with your actors is to give the characters and the actors freedom to grow. So when it acts a country with an idea, you can work with them one on one to actually decide. This is something that's going to drive the character's story forward, and you can choose to put it in the film. So it's giving actors of freedom to collaborate with you openly and know that they can come to you with an idea that might work for your story or might know it's up to you to work with your actors, to get this point across and to actually see what you want to keep in the film. That's right about building trust. It's about having open channels of communication in problem or than any other form of filmmaking is a collaboration. So listen to your actors listen to their imports, take the best ideas, and together you can create really compelling characters and make a fantastic improvised film. 4. Why Improv?: we're gonna relate to you. A little story of how we got side of improvisation were working on this short film for about four years ago now, and there are five producers on the sets are a lot of cooks in the kitchen. As can imagine, there's a lot of different opinions, a lot of conflict and ego's getting involved. That was only a three day shoe by the time the shoot was done, were absolutely exhausted. And by this point, we've been doing traditional for making for so long. For 10 years, we tried everything and were burnt out. We even thought about quitting filmmaking, so we fought. Should we give it up? She would take a break. Or should we do something different, something experimental to try re bottles, our love for filmmaking? The option, of course, that we chose was the letter within a feature film called Prince Foes and Fireworks. We made it in a single night on New Year's Eve. We made it completely improvised, and we fell in love with the process while we're doing it, and we were inspired by improvised films from the two thousands early two thousands, a lot of improvisation and mumble core films that we were watching at the time, and even some local films that were inspiring us and local four makers who are working with the naturalistic ways of filmmaking, which was relatable to us as individuals and also as filmmakers to just say, natural lighting, a natural dialogue on set on the screen. It was just refreshing for us. That's what we wanted to do, something similar. Yeah, there's just something so real and so authentic about it. And this is one of the methods where we believe improvisation can really improve. Your own filmmaking adds a level of authenticity, a level of realism that it's hard to capture in written dialogue. When you let actors become their characters and just be natural on screen, they come up with something thing that is just so completely free and so completely natural . So that's what we want to talk to you about how you can use improvisation to improve your own filmmaking. We want to talk to you about how to write specific outlines, how to actually write seen objectives and how to execute it correctly to make a film that is interesting for not only you as a filmmaker but also for your audience. Those specific outlines are really a key part of it. Now. We do very detailed outlines. We have seen objectives. We go over the plot. We mentioned the themes We cover everything in our outlines, and we fact, we think it's more specific than a normal script because it has a back story and things that a normal script doesn't feature, so it gives the actor actually more to work with. So when it comes to your earth filmmaking, having these details going right into the back story is going to give you an actor so much inspiration to draw upon for their character to really make a strong, fully rounded character. And when you're actually working with actors and working with the backgrounds that Ivan was talking about, what you have to do is build strong character backgrounds basically for your actors. So when they're on set and someone comes, optimist has been that time we went to New York don't know exactly what they're talking about, like yes, remember, were first thing we did was go to that bridge, and so they know exactly what they're talking about. It's relatable It's saying they could just bounce off without having to think or what was that I was talking about. When you build a strong character backgrounds, it shows naturally on the screen. It shows naturally to your audience that these are like people that know each other for a long time. It's relatable, it's fresh, and it's also really, really fun to watch. So the only thing outlines don't include is the actual dialogue. And this, of course, is deliberately wouldn't be improvised filmmaking if we had the dialogue without. Also the point of this is with forcing actors not to think about remembering the dialogue and where they're standing. We don't worry about actors hitting marks. We want actors to have freedom, to move around the set, to really become the character and explore their surroundings as a character. Woods. People think improvisation is the actor coming up with their own dialogue, but it's not. It's about being in the moment, and then the truth happen, and that's why we do it. It is authentic. The darling is natural and riel. You are truly capturing the essence of the character and the song that feel so invigorating , so freeing and so alive 5. The Surprise Factor: so another important element that can help you improve your own filmmaking is a surprise factor. We say this is a big one because we think it is using the surprise factor will help you to get that well factor, that relatable, genuine response from the actors. They're reacting to each other, and it's really and when you say it on camera, it's exciting. It's exciting to watch on, says, Well, cause it just looks fantastic and riel emotion and real responses coming through. So basically, the surprise factor is keeping certain information away from actors so that when there is revealed in the scenario in the set is a surprise to most people or maybe everybody on set . So that's what it's all about. It's about capturing the genuine emotion from your actors. And Hollywood has also been doing a for a long time, directors unknown to lie to their actors to get the performance that they want. A famous example is really Scott in Alien. He didn't tell his actors about the chest bursting, seen cause they want to capture the real fear when it happened and boy did it work. So we did this on friends, foes and fireworks by keeping tearing the only male character away from the other women who were all strangers to him in the story anyway. The only person he met on set was the cinder who was his love interest, and she's the one that brings him to the party. So all her friends have never met Tarrant, and we kept it that way by keeping the actor Dan Hill away from the other people. So when they Dan Hill actually turned up on set as Taran and with his accent, his British Manchester accent, everybody was confused. Everyone was wondering who was this guy, and they were generally asking, Who's here? You never told us about Taran, so everyone was actually relating to the situation as it was unfolding. That was very riel, very raw, and it was very interesting to watch as well on camera. And I think that plays out in the film as well. They're hacking your chief something like this in your film. Well, it's very simple. Be selective in the information that you share with your cast, treated always as a need to know basis now to strangers meeting for the first time, they would not know everything about each other. So our two actors did not need to know the complete history off the other character. Let their information come out on camera for the first time. So you capturing a genuine response and you're capturing genuine surprise. It always adds a level of authenticity. Tier two performances, and it is always what we're striving for as directors to achieve this authenticity. So, as Sarah said, Surprise comes from withholding information from your cast and letting this information let it unfold before the camera. For the first time, however, I like to add that you might not want to hold back information from your cast. You may also feel it's unnecessary to do so, or you might not even feel comfortable doing it. That's totally fine. Don't stress, as the great thing is that there's an aspect of improvisation, which means you already using surprise factor constantly. This actually surprised, already built in every single take is different. Darla, from Take a to take Be always changes, so an actor never quite knows what to expect. Their reactions are always genuine and always riel, So improv has a surprise built in, and it means that we're getting authentic reactions and emotions constantly, and that's one of the beauties off, using improvisation 6. Working Efficiently and Effectively: so one of the advantages of improvisation is that it lends itself to efficiency not only on set but also in pre production. As we know, time is money when it comes to film. So the more time you can save, the more money you will save. It just makes all your produces much happier. So it is possible improvisation to get to set much more quickly than it would with traditional filmmaking. Obviously, you're not writing the script, so you're saving a lot of time there. It's possible to get to sit in on the A couple of days are able one day. We had this situation in Berlin in 2019. The film that we're going to shoot fell through, so I really had a couple of days to come up with a new concept and actually get out there and film. It's before we left the country, but we managed to do that's we wrote a new character description. We read a new outline, and we worked with our casts. We actually got some extras also, and we get a crew and we made happen. So we're really happy we have it turned out, writing dialogue is one of the most difficult parts of script writing. Not only can it seem stiff and unnatural when you're writing character breakdowns, you leave the dialogue to the active, which brings them all real and natural performance on to set. It also helps the work more efficiency, obviously, because you don't go into drafts and drafts of scripted China right dialogue that the fields are natural. So now you've got into sets. Improv also lends itself to actually shooting quickly now. Usually you don't have very elaborate set ups for improper, because the camera tends to follow the actor around your given actor space to move, and you're relying on your camera operator to keep up with the actors. And, of course, this saves you time on sit ups alleges. Just keep shooting, keep recording and really try to capture those moments of magic. That might happen at any moments. You're also tend to use a small crew, or at least we do, and we do recommend that for it provides filmmakers. You have crew positions that tend to double like the A D might be your continuity person, your run on my also be your caterer. So because you have a small crew, you're mawr unobtrusive. When it comes to location shooting, you can get away with shots on location and be much more inconspicuous. And also a small, tightly crew will move much quicker than a big giant crew Lots of extra people ever could. So that's just another way that using improv can improve your filmmaking and improve your efficiency. Another way to work with minimal crew for best efficiency when forming our doors is to really minimize the crew further. So what we did on France, frozen for works for the montage, saying which was shot on you use aid in a crowd where the girls are walking down Acklin straight through a natural crowd, yelling out Happy New Year, two people that are not even knowing that this is a film. So what we did Waas. We cut the crew down. It was May and the DP. They were miked up, so there was no sound guy. The actors walk through the set with the camera person following them, and all we did was I was on the side of the road watching. I didn't have to direct, obviously that we're just throwing their hands up in the air. There were kissing. There was people in the crowd who were just in their naturally in the set on that day that we just high fiving them and say Happy New Years look like a naturally people walking half drunk through a quince tree. And it really worked on. I wouldn't have worked if we followed them with a sound guy with You know what I D and a continuity person. It was New Year's Eve. It was busy. We would have had people yelling in front of the camera. People jump in front of the cameras. I would have had policemen that were on the street looking at is going why you guys filming ? So we had to really keep it low, Okay, for it to work and to look like a really stick scene. Another way to work efficiently is to actually have to camera people working. So having two cameras allows you to capture the wide and then toe also capture the middle, the close ups This way you can get the full shot of everybody reacting, and then you can also get the close up shot of stoning people reacting so If you're using two cameras, obviously you're cutting down time. You don't have to go back and say, Oh, let's do that again because I didn't get the close up because you already got it in the other camera. So that, of course, comes down to efficiency and helps to improve your filmmaking. So also there vestiges of two cameras is you can rely on one camera while the other camera is resetting to get a shot, so at least always have one camera rolling, capturing usable footage. We had a situation like this in incorporate in Berlin. We had, ah, argument seen that goes from the hallway, a narrow corridor into the kitchen. There wasn't room in the corridor for two cameras was a really tight squeeze. But what we've done is we had our day p track are actors by walking backwards as they were either in the hallway. Second camera was filming this, also from the kitchen. So she is getting our DP in the shot, making that shot unusable. But as our DP gets into the kitchen, he goes out of her frame. He resets for another angle, and this allows us to use her. Our second camera angle to actually continue the shot to actually make this seem work in just one take I make money from, You know, this is seen a strange US way going to be the last thing to mention we're talking about efficiency on, say, is working with natural light, obviously less setups lists. Equipment on set means less time and more time for actors to play. And playing in natural light can be very beautiful, artistic in its own by people moving in and out of shadows. And having a natural light in the set can really bring a beautiful aspect to your phone without reducing the production values. 7. Thinking on your Feet: now filmmaking is an exercise in thinking on Your Feet were constantly problem solving when it comes of filmmaking dealing with all sorts of situations the unexpected. How what we're gonna do now, how we're going to make a story work and the same situation with improv. But we would argue it's even more so. You required to actually be alerts to be thinking constantly with improv because of dialogues not rehearsed. You're just hearing it for the first time as a director, you have to constantly evaluate and ask yourself, Does this work for my story? Is this driving the story forward? This makes sense character wise, so you're constantly thinking, and I guarantee you, as soon as I take it over, the first thing actors do is turn to you looking for advice. They want reassurance. This is working, so you have to always be thinking. Always be analyzing, always thinking on your feet to make improv work. So another big one for thinking on your feet is problem solving. Being in a director world an improvised forming. You have to always be switched on in the moment and aware of what's happening around you, you have to be able to solve things quickly because this stuff doesn't go right. You have a split second to work it out because he's going to lose a shot or you're going to lose a moment between the actors. We have such a thing on friends, foes and fireworks that we had the rule fireworks going off on New Year's Eve. We know they don't last for long, and we had to actually do a countdown for our actors to get them in the moment, to get them acting out and to actually get the cameraman to shoot exactly the same moment. So that was a big problem solving moment for us on F if f. And luckily, it worked out well because we put our heads together and we made it work. Way also had a situation for ankle poor A where we had to problems of on the run. It was in New York. We had a scene where we went to film on the high line. We got there and they are just so many people, crowds and crowds of tourists. It just made filming impossible. Our crew was getting bumped. Rdp was getting bunch of the camera shaky, and we pretty much had to say No, this is not gonna work and on the spot had to find a new location to do our scene. Now, of course, what improvisation we already covered. It's minimal crew. It's minimal set ups. It's natural lighting. So we just have to take our cast and crew, go to a new location and come up with a new scenario on the spot and make the scene work. So not only are you constantly thinking on your feet when it comes to improvise ation, and you're also going with the flow, maybe more so than any other form of filmmaking. And what we mean by this is you have at outline that you're working towards. You have idea where that you what this seem to go. But an actor, a character might have other ideas. It's always possible for new possibilities to emerge as you're filming and actor Margot in a different direction than you were expecting. So you have a chance here to actually go in this new direction and see way may lead. Of course, that makes things very exciting. Very surprising lends itself to really open and free filmmaking much like would describe it Terrence Malick's free phone style earlier, but maybe actually want to go back to your outline and get things back on track. It's really up to you. The choices are infinite with improvisation, and that's how we feel it can improve your filmmaking. 8. The Big Picture: improv also means looking at the big picture. Now, what we mean by this is we've discussed this before, but because they're hearing the dollar for the first time your training your mind to think on your feet and your training your mind to actually look at this story over a wall on, does this make sense? So if your character, if you're actor, reveals new information in a certain scene, do they bring this up again in the next scene? Or maybe the scene after that is the story actually consistent? You not only have to consider the big picture on every single scene, you have to do it throughout the whole shoots. You have to look at your whole film and make sure they consistent moment to moment character, character, and that's all coming together and making sense. Another important factor to think about when you're looking at the big picture is to always make sure that you shoot cutaways. If you have a scene where you have to take that, do not match in the edit and you're stuck as to how you gonna cut these together? You don't have a cutaway. You really have got a problem, you might have to go back and shoot something else. And it might just be something random, which is not ideal for the film. You might not be able to get back on location, so you might have to shoot cutaways for these reasons. And there's also other reasons, too. They can be symbolic reasons, like when there's a term all in a situation. You could cut two waves of the ocean to show that things were quite not settled. In this situation, you can have them also, just to show a beautiful moment in the actor made. The actor likes to play with their hair when they're nervous. They like to do this. It could be part of the character traits, and having a cutaway like that can really add a sweet little moment in the film. It could even be a tire of a car while someone's driving or a part of a car that looks flashy and nice. You could be anything you could make kind, always work for you and work for your story. And I think your editor also love you, especially when there's nothing to cut, too. So, as Sarah said, always consider your editor. Or maybe you're the editor yourself. So always think. How is this going to cut together? Is take a gun, a match we take be Are you gonna be out to get from this sort of dialogue to the next set of dialogue and have the story makes sense? Continuity is one of the biggest challenges when it comes to improvisation, because every single take is different that only consider dollars. Also, consider the actors movements and positions. Is this actually going to match how you're going to make this work? So it's a big challenge with improper. But if you always consider the big picture, if you always ask yourself, what am I gonna do in the edit? Then you should be out to make it work, and you should be able to tell your story the way you want to tell it. If you're unsure as a director, at any point you could stop the footage, stop the actors and say, Let me have a think about this. Let me have a think about it. Let me have a look at the footage. Don't be afraid to stop midway and take a look at this footage yourself asking Depay toe, wind it back. Look out for any continuity that your I D or anyone else since it has missed. I have a look at everything. Think about the big picture in your head house. It's gonna cut from the Nexus ST to the next. Do you need a cutaway? You need to always have a look at the footage and stop and think about it. Don't be afraid to do that. This isn't a dialogue annoying. What's missing in the same is a big part off the big picture. It's really important, as we said, to be switched on as a director, and you need to know exactly what's missing. What the actors have not hit on this story. Bates. While we say it's important because if you leave something out if something is missed, that means that the story suffers. So it's important to always be listening and always be watching the takes and then stopping the same if necessary, and then going again to make sure that nothing is missed. Sometimes the actors will even be stagnant. The do conversation will be going nowhere. It's up to you to listen and say OK, this is not working, Stop, do your job and then tell them to restart. Is this something that you like? Make sure that they actually emphasize that again to make sure it's captured. There's a lot of trust that the director, working on improvised film puts in their actors to actually get the story bait and to get the story and the characters point across. 9. Conclusion: Okay, so we've covered various ways they use it. Improv can improve your filmmaking were discussed efficiency on sets, but also leading up to set during preproduction. We have discussed the big just seeing the edit in your head, making sure it's all going to cut together with discussed the surprise factor, how you can use surprised to actually bring a level of authenticity to performances. And we even discussed in detail how important leads to this authenticity and least genuine reactions. The most important thing is that you're having fun on set, and you're enjoying big with energy with your active on decorating fabulous work. By going with the flow and using improvisation, we want to see your works are uploaded to the group gallery, upload your character breakdown, applied any videos and in footage that your shooting we want to see it all and hashtag nexus improv. So we hope you enjoy our class. How improv can improve your filmmaking. We hope you got something out of it, and we look forward to seeing your character, your conflicts and even your Marco short Get out there. Go film, have some fun. Go make an improvised film