Film Acting Course - Learn the skills needed to Act in Films

1. Film Acting Course Learn the skills needed to Act in Films: I think as actors we're always wanting that moment. Everything comes down to that beautiful moment where you just close your eyes, letting your feelings come out, which then you open them. Someone else. . . my name is Baudilio Bey Perez, I am an Actor, l film director and screenwriter. I think that since there was a child, I've always been a romantic creator. Imagining stories and wanting to live them as if they were real. So I tried many times until I could live the very life of my characters and stories, playing in front of and behind the camera. I have created this course, which are all the knowledge I have gained over the years. acting for both film and advertising projects. The purpose of this course is that you can see you on screen the real experience of an actor, understanding of the one hand, the academic approach to film acting. On the other hand, how to master emotions to face any acting challenge professionally. By the end of this course, you will fully understand the differences between film acting and stage acting. You must know the very nature of film acting techniques to master your emotions in front of the camera. You're body is the only instrument to you will have to portrayed a character and you must learn to control it at will. This course is created for those people who have always dreamed about being film actors. And especially for those actors who had been acting in plays and want to immerse themselves in the world of cinema. Let's see then what are the contents you will see in this course. first of all, we will start by understanding the difference between acting language for movies in that for plays. It's crucial that you understand this before you stand in front of the camera. There are two completely different languages and you must know these from scratch. Then you should understand why it's so important to master the body in order to be an actor. Once you understand it, we will advance to the techniques where you will see the different theoretical approaches to Acting. Stanislavski.. Meisner, you will see what each of these theorists consists of. So do you have differentials to reach emotions when it comes to acting? The most interesting things that I will give you a concrete examples on the screen of all knowledge and also exercises to put into practice as a course project. Additionally, you will know how is the journey of a character in a story. You're supposed to know what is Dramatic Arc. In order to portray a character, you will learn how to prepare for a casting, how to build valuable social relationships in how you should prepare physically and mentally to face any acting challenge for any film project and also to find the most suitable acting agency for you. Film Acting is the closest performance to reality has ever existed. But when completely aware of the nature of our behavior in reality is what we're going to master in this course to become film actors. My name is Baudilio Bey Perez, and welcome to this Bey atelier and Film Acting 2. The differences between Theater Acting and Film Acting: Hello people, welcome to these Bey atelier, in film Acting. I want to start this course by addressing this topic because I think is the very foundation on which we're gonna build the rest of the knowledge that an actor must have. And it's so important that it have added this lesson to my filmmaking course. Since the film directors are the ones who are going to direct the actor sections in the movies. On the other hand, you must know that there isn't a perfect time to start acting or making movies. I mean, it's something that you can start at any age of your lives. So the problem is that we as human beings, we are in contact with so many things around us that are constantly feeding and nurturing our mind and our point of view of our life in itself. And I tells you this because I suppose that many of you come from an stage background. I mean, you had been Acting For plays for many years or so. So when it comes to acting, it's important to know the difference between the language used in plays, in that language of the movies, especially in terms of acting. So it's necessary to clarify these from the very beginning to be able to tackle more complex issues later. Let's start then. The objective of these lessons is that you know the nature of these two languages in order to have a powerful insight into cinema acting. But first of all, we had to look back at the beginning of the history of cinema. The beginning movies were plays recorded with a cinematographer by using a cinematographer. But as time passed, this process was refined. New tools we're going to be used to make movies. And this results in these two languages, movies and plays separated in two different paths. That from my point of view, they are two different form of Art. And in this context, I wanted to show you what are the characteristics of the plays and movies that impact the actor's performance. I think most of the problems that experienced theater actors have to deal with, have nothing to do with acting skills, but in their unwareness that these differences exist. Additionally, sometimes they know that differences, but they don't know specifically what each of them are, or which are the most important. The first aspect is the nature of the space of the setting where the performance takes place. On the one hand, you know, that plays take place on a theater hall. And this implies that there is a significant distance between the actors and the audience. The audience is beholding a play from afar. And even if you were in the VIP area of that hall... even in that area, there is a significant distance between you and this stage. So basically this aspect forces actors to adapt their performance to this condition. Because it's necessary that even the last spectator in the hall can feel and understand the performance, thereby understanding the story. For example, if you are acting in a play, you're supposed to be on a stage many times. In a big one. So your voice must reach the last corner of the hall. So it's a technique and that needs your voice to be powerful enough to reach the entire audience. And at the same time convey emotions. But this condition not only affects the voice, but also the actor's gestures. They must be sharp enough and firm enough to that all the spectators can see and feel them. Again, the distance between the audience and the stage impacts the actor's performance. But at the beginning that was not a problem for Cinema because at the beginning there were not sophisticated cameras or cinema lenses... So directors. just put the camera in front of a setting in K Now for general shot that captures everything that happens in that wide setting. Additionally, the movies were actually silent, etcetera. but as time passed Cameras evolved allowing film director to get much closer to the actors. And in fact, it doesn't take long for Cinema to really capture the intimacy of an actor up-close, really next to him. Then just at that moment, these two language separated, they embarked on two different paths because the plays continued until today, but the cinema found its own nature as an art that stood alone. Then since the camera could get closer to the actor's face, the actor no longer need to gesticulate in an exaggerated way to be seen in the distance. And the same thing happens with the voice. It was not necessary to speak out loud all the time to be heard. Many theater directors really collide with this new reality because it requires a new language. The camera was very close to the actor. It was more difficult to fool the camera with the performance . And above of all this condition allowed an opportunity to represent, and render more real situations with a more realistic voices, scenes and actions. From there, actors got another challenge. That new challenge was to get to the truth. Those the stage actors who were started making movies had the challenge of forgetting that they were acting to really embody the character in the most honest way possible. But let's picture this. You can imagine almost 2000 years of human history doing plays. And they actors acting under these conditions and teachers passing their knowledge from generation to generation, what I wanted to say is that it was not easy for a scholar of stage Acting to let go those ideas to immerse themselves into film acting It's even a problem that exists today. It's a problem you've been for many casting directors who came from a stage background. The thing is that film actors need to the ballot for the ability to create subtle gestures. They need to be able to whisper covering suddenly, and they need to even develop the actual skills that are character requires. This condition leads us to another fundamental elements that we must understand in order to approach film actin. But this element has nothing to do with the performance itself, but with the narrative difference, Plays to some extent are representation. But the movies, are presentation. I know it sounds strange, but I'm going to explain it to you to understand it too quickly. Let's imagine that we are going to put on a play that it's about a story During the Second World War. So to achieve that, we need to make a stage design with elements that represent that we are in the Second World War. But regardless of how good or bad the stage design is, the audience knows that they are in a theater hall watching a play. They know that what they are seen on a stage or elements that are trying to render an era, a story. They are aware of the nature of these Art Form So I don't need to bring 150,000 soldiers and make real explosions around of a war to represent the war in a play. This language allows us to represent things, situations, events, anything through as semiotics specifically adapted to their reality of being on a stage. iAnd that reality has limitations that are part of the nature of this form of art. But this condition not only has to do with the custome design or set design, but also with the performance in terms of truly representing a character through Acting. Acting in plays sometimes has a poetic approach to the Character's. It's a poetic point of view of the author typical of this language. So I don't need to represent, for example, a soldier with all 0s characteristics to really move the audience. So if the directors are writers, approach is poetic and artistic enough, it can work quite well for a play. But movies go differently. Those are not their rules. If you are going to make a movie about the Second World War, the audience in one way or another really needs to see the war, or at least a small bar if that really convinces them they are seeing the Second World War. So when we approach film Acting, it should be with exactly the same purpose. The audience needs to see the truth and the screen. There is no room for mistakes. I would say that there is no room for improvisation also. Which in the case of theater, plays, is something typical of the nature of that Art. It's important to be clear about this topic of improvisation because everything is happening in front of the camera is almost a cinematic signifier. So we can get ourselves the license to improvise in order to distort the character. Everything is happening in front of the camera is previously written on a script. And you are supposed to follow that script. The most reliable in the most truly way. So everything that has to do with enhance Characters with your personal touch... comes down to the fact that we are portraying real Characters and complex characters. So the outcome of that process involves or personal touch itself. And I would say that improvisation with a period in their random actions and subtle gestures we are doing in the middle of a scene, in the middle of the performance. So pay close attention to this. Other differences between the Cinema and the plays is to face to face feature of the plays. On the stage. You only have one single opportunity to do it well, because each presentation is unique, it has a specific audience that will never be repeated. And even though it's a great challenge in case you make any mistakes, for example, forgetting your dialogues, you can get out of a problem with improvisation. On the other hand, many stage actors take it for granted that because they have performed in plays in front of many people, The you're ready to perform in front of the camera. The conditions in the film setting are two different. First of all, on the stage, the number of people in the seats protects us from feeling judge. Sometimes there are so many people there enjoying the work that the adrenalin drives us forward. But in the setting, everyone is judging. This means that the actors needs to deal with a different amount of pressure. The pressure generated by the crew...by the camera, but all the people present who are going to see each one of your movements, of your gestures. and very close when they say action. Actually, when I started, it was a teenager performing in my school theater. And in fact, and I also spent a lot of time doing concerts with my band. And I can really tell you that performing in front of the camera is much more intimidating than performing on stage. I would dare to say that the camera is the closest thing to this Sauron's Eye that you will ever see in your life. That is exactly the feeling A great eye judging you. On this stage, the audience is always that people who are going to enjoy the show. But in the setting, the camera seems to be an extension of the eye of the director of the film The director of photography And as we advance in our career, those directors are gonna be increasingly demanding, professional, serious, and committed to their work. This course is focused on film acting, but it's necessary to know these differences Between film acting and theater plays. So it's not to contaminate our Technique. Plays and movies are not the same languages in terms of acting. I'm going to recommend you a first movie to understand this Birdman, by IIñarritu. In this movie... he director supposedly uses both languages. That is Acting for movies and Acting For plays. But he deliberatly deceives us... he uses film acting in a scene as that, and the story are representing a stage performance. Main idea is that you watch the movie, being aware of it. There are some scenes where there is a couple of acting on a bed... under the sheet whispering in his beacon in a very low tone. Everything they are doing under that sheet in some scenes couldn't be used on stage because the audience would not understand it. But later on when the other actor enters, engages stage, we realized that the scene is a play in the actor's changed their language to a play... performance. It's extraordinary because actually all the actors in the movie aren incredible, are amazing. Really handled both languages. But even though there are differences, there are similarities as well in almost all the similarities are related to the evolution of a character in the story. Movie scripts come from the Aristotelian structure. And plays scripts were also born from this. We're going to address these later on in depth in another lesson. But basically this structure tells us that a character mess experience a Dramatic Art in a story, this romantic car, because should manifest itself externally or internally. This dramatic arc consist of the fact that at the beginning of the story, the character has a mindset, or lives under specific conditions, then he experienced this, the journey. After that journey. His situation changes those conditions. Or maybe he changes his mindset because he learns something important on that journey. So this feature is so important that it involves the storytelling itself. An Indian, what we're doing in movies or place is telling a story. To tell a story, we'd need to make a character, which is our craft. Try to look back in the history of cinema of how those great actor's ended up making movies... Clint Eastwood, Judy Foster, Mel Gibson? They are all great directors and writers because while acting in the movies, they understood the decision-making process behind every aspect of the story, behind the creation of a character. Well, you already know the differences between cinema and plays in terms of actin, in that way, I love to start talking about this because it's important to know the oriigin of the nature of the language of acting for movies, which is the one we're going to use from now on. But then going to leave you just a scene from Birdman where the directors combines Acting for movies and Acting For plays. So thank you very much. Until the next lesson, we'll do it. That's really it'll be real Tuesday. Mike. Mike don't call them like No, no. No. Why? What do you just need you to tell me why? Take it easy? Take it easy. I know this is stupid. It's a matter what niche, what always end up having debate difference, Love me. Eddie, please give me the gun. Look at me. I was drowning. You deserve to be loved heady. You do. I just wanted to be what you wanted. Now, I spent every ******* minute praying to be somebody else. Somebody I'm not anybody. Okay. Just put the gun down and she just doesn't love you anymore. Don't do you know? You're never will? I don't exist. I'm not even here. None other Stephen matters. I don't exist. The best. My head which are born Lundberg. What you can get it up in six months. And now you want to **** me in front of 800 stranger, I needed to feel real aquaria. I knew that intensity, you know, that about to really, really wanted to sit out of the apartment. No, no, no. We'll look, look, look, look, look. I'm sorry 3. Body Awareness The Power of the body: Hello people. This lesson is called The Power of the body, During my entirie career I came across so many scholars and acting teachers. Who approach Acting teaching in a way not suitable for beginner actors? I mean, even though they concur that emotion is the very center of acting, you also concur with it. You cannot ask a toddler to run when they are not able to walk first. So in order to engage emotions when Acting, you should be able to use the only instrument you will have to make it in that instrument is the body. The body is the only instrument you will have to convey emotions. So for actors and actresses, it's an expandable, a skill to learn how to use the body at will, write to see it in the following way. What's in trying to tell you is, for example, imagine that you wanna be a great composer in you don't know how to play the piano or guitar or an instrument, it's impossible for you to compose a song under these competitions. And even if you have talent, that talent won't go very far. If you don't nourish it with an authentic knowledge of your own body. The most interesting thing of this issue about knowing our body is that each student has a unique process. That is the process of getting to know our own body is something non transferable. One of the reasons this happens is that each person has a unique set of muscles in their bodies, in their faces. I mean, we all share the same muscles. The muscles of each person has a specific form related to our DNA. So we're all not exactly the same. So each of us has unique gestures, unique ways of walking, a specific tone of voice, a unique way of looking. It's a whole set of unique things that we must learn to control in order to know them, in order to play with those tools. I think that one of the mistakes that actors and actresses make, while acting at any level, even in a professional level. Even I've made that mistake at the beginning. It seems that the more we admire great actors, the more we imitate them. thereby spoiling our own nature of factors that happens because of two reasons. On one hand, the great admiration for those actors. It's too difficult to control actually, because as you finish this course, it will go to the movies to watch your favorite actors performing on the screen. And you will, you will want to do a performance as good as theirs. So it's a monster difficult to tame. It, on the other hand, that we don't trust ourselves enough to perform. So when we watch a performance, Fine performance would take that performance as if it were a kind of map, a recipe to follow in order to reach emotions. And it's quite the opposite. So in this regard, I would say that some students who enrolle in Acting schools end up frustrated because they don't manage to do and emotional performance properly, thereby giving up acting itself. So the problem is that the way my face and body move when they feel angry, for example, it's not the way your body moves. And you have a specific body gestures and faces that make your anger feel real in compelling. and I would even tell you that bad actors are the ones who make sterotype gestures, they do that out of fear. In the first place. The fear of looking ugly. You can imagine how far that can go. So that's fear about not looking beautiful or handsome enough for the scene will prevent you from delving into the truth behind your true gestures. So I'm gonna show you an example about it. It's Jennifer Lawrence interview into graham norton show. I'm gonna give you some context before. So she's telling about an experience she had for some photos of an advertising she did. And she's explaining why her photos never came out. I'll tell you why. Yes. Tell us why Because it really amazing Abercrombie model. Yeah. Hey, I probably eventually I just don't make your story. So my picture has never came out. It just like the whole campaign in the picture is never came out and I didn't know why my agent wrote and asked why and they literally only responded with the photos. They like their whole idea was we weren't real people. So they they like, I don't know, We were like on a beach and then they throw us a football and they're like play football. And all the other models were like playing football in a pretty way. That me I was all of the photos. I've got a red face covering swept by nostrils are flaring. Like a one-point a girl, you just get her away from me. So it seems a really funny and simple his story, but there is a really hard truth behind it. The problem was not Jeniffer Lawrence... Jennifer Lawrence is an excellent actress, but it was an advertisement project. So when she was asked to play football in a beach, naturally, she did it As an excellent actress would do. And we're supposed to do the same. I mean, she did it no matter if she looks beautiful or not, the problem is that in advertising. The rules are somewhat different. But the directors expectations were different. There were not cinematic. They needed beautiful faces playing football to sell a product. And Jennifer Lawrence was Acting natural. She didn't look beautiful than the photos, because she knows that deliberately looking beautiful is something detrimental for film acting. So Acting natural is the only way to create empathy, the renal long-term story. But the directors of that advertisement wanted to generate an impact in seconds needed, she looks falsely beautiful because that was quickly advertising in that is what works. Nothing else matters. So being aware of it is by far something that you should take into account when approaching film Acting. The muscular configuration of our face and body is not only related to the external nature of our body, but also to the internal one. I mean, the amount of hormones we have, our gender, the gender is likely to affect our gestures significantly. And even amongst the same gender, everyone has a specific amount of hormones, giving rise unique gestures. So you can realize now, how far do unique dimension of our body goes? It's something scientific and I'm telling you all of these without taking into account the psychological background that we may have that also influences our body. So there are a large number of factors that influence our gestures. So the first thing we're gonna do is to be constantly aware of our body. I mean, in the daily life, in everyday situations, we must have a kind of part of us, detach of ourselves as if it were a surveillance camera, Looking over or gestures looking over our movements in everyday situations all the time. We can start with that first stage, everyday situations, how we eat our lunch, for example, how we take a bath, how we talk about eating with someone. And also all the gestures we make when we wait in the subway or divorced, they gestures you make when we talk on the phone, for example, they are all common situations, situations that we can have some control over. In fact, we could write down those gestures in a notebook, for example, to remember them later on. So when you are aware about simple gestures, which belongs to simple emotions you are ready to move on to complex gestures, which belongs arousing emotions. So, for example, when you got scared of something, or you feel disappointment about shortcomings, for example, when we are in a happy moment, it's important also, I mean how we laugh genuinely, For example, on the other hand, how our face moves when we received news good or bad. I think it's pretty close to sorprise actually. And the other very important fill in this second stage is physical pain. You didn't know how difficult it is to look over our gestures. Whiile suffering and pain, physical pain. But by the way, I never said that it was easy. That is what we should do. And mark my words. Well, I'm talking about remembering the emotions you feel in those moments. I'm talking about being aware of how your body moves. We, you are experiencing those situations and emotions. And they insist to recall the these because the initial way to approach film Acting is by doing those body movements and gestures, even though we're not filling their respective emotions. So it's not an easy job. There is a lot of work to do. So let's move on to the third stage, which belongs to two main emotions. First of all, rage and anger Those emotions are really difficult to deal with regarding this exercise of the surveillance camera. Because how many times you are dealing with those emotions in your daily life? I mean, in my life... twice in a year or maybe once in six month. Depends on depends on the nature of your temper, of your personality also. But it's not frequently that we are involved in those situations. So we must take into account the exercise in order not to waste those occasions. So try to imagine pictured the situation. You go mad and can you set aside time to go to the bathroom to look at yourself in the mirror, to look over your cheekbones, how you frounce, how your blood is running through your veins in your forehead. So many gestures, so many features on your face that portray that, that emotion. So not to mention that desperation is even more difficult because it requires some quick reaction from you. I mean, when you are in a problem that produces desperation, you want to solve that problem as soon as possible in order to quick that state of desperation. That would be the second feeling. Desperation Finally, the third feleing would be sadness. Sadness is the most difficult of all. Because when we're devasted we really don't want to do anything. We forget our dreams, everything. There is no desire to do anything. Now, it's even more difficult to fight against that moral dilemma of knowing that we had to do that exercise when we are experiencing a tragedy, for example. So a part of us must be detached of ourselves in order to do that exercise properly, in order to make it. May I confess that the first time I tried this surveillance cameras exercise was once I was driving homewards, I was very upset in my car. I don't know what kind of situation I was passing through, but I was really upset at that moment. Since I was driving home my car and there was a long way left to reach my house. I couldn't help but watching me over in the mirror like that surveillance camera, you know, I could notice how the blood pressure in my face was pushing my cheekbones up to my eyes, it's likely. And that was biting my lower lip slightly also. And they are all inevitable gestures. So when I was asked at that moment to portray rage emotion for any scene, I was making this gesture. And it didn't make any sense because this gesture is the outcome of watching over and over again the same kind of movies, the same kind of actors doing the same actions, portraying the same emotions. And conversely, I had to make that yesterday in the car. And I noticed that I really looked unkind. So in order to create that reliable connection between your body in your performance is important to take into account this exercise about the surveillance camera. Another important Exercise regarding the three stages of body Awareness is to pay attention to your body iand gestures, when you are doing a physical effort. For example, if you are trying to chop a luck with an ax, imagine that you are a lumberjack. We are not supposed to look handsome. Making such an effort, if you are a woman is the same. You are not supposed to look beautiful doing that. It's the same case that Jennifer Lawrence was talking about in the interview. Another important detail to take into account in this issue of the body is to get to master our nervous tics. Nervous tics really can become a real challenge while acting. Nervous tics are not only related to face gestures, sometimes they can manifest themselves in our body. I mean, those movements we are doing unconsciously with our body in a daily life, in everyday situations. And it's not until we managed to see ourselves on a recording that we become aware that we have those bad body habits. Actually, this is not something very complicated, but it can be a problem in a stressful situations. For example, you may not be aware that you have a nervous tic. And we'll you were selected in a casting and you are on the date of the shooting. But that day you get very nervous during their shooting. of the scene in the nervous tics appears. At that moment, you won't be able to control it. The directors will notice it. The problem with nervous tics is that nervous tics are signifiers of screen brighten. That is, as if it were a characteristic of a character, a Character's feature. And if the Character's doesn't have that, we cannot add that to the character. Remember that as actors we are representing the character. We're not a screenwriting. That is why it's important that you record yourself with any camera, do projects with your colleagues so that you can notice these kind of things, which can even be related to bad postures when walking or sitting, etcetera. For example, I didn't know that I walked with a hunchback, but it wasn't until I was film for the first time, I realized that I was walking like that was a bad habit. So sometimes we have those bad habits that are also cinematic signifiers because they can be a Character's feature. So the idea is that you somehow discovered the most neutral the state of your body. So it's clean when representing a character. To affect as little as possible. The nature of a character. On the other hand, have to mention something to you, when you only do theater, your body gets used to that activity. That is, regardless of the story they're telling into play, they nature of the stage is not so physically demanding on the actor because most theater stages are not that big and even the biggest one is not like a real location. So the stage has limitations because if you have to run on the stage, you didn't have to run 200 m, like you would have to do in some movie in a real location. So even though you can act very well into play, you will have some handicap in your physical abilities when it comes to tackling a physical challenge in a movie scene. And this is due to the fact that you haven't been seen running wrongly. I mean, they had only seen you in the stage, on the theater stage, then there is not such a natural process of correcting themselves so between the actors. So it's important to be aware that this is part of the language and we must be prepared to face it to recap, the first thing we must do is to keep the surveillance camera on all the time. At the beginning they will be difficult and because of the nature of some emotions, I mean, there are sudden and quick. But then it will be easier because you will be aware about this exercise. So the second is try to pay attention that your performance, it's not attached to your idols, that you are performing, not imitate them. And then finally, I always insist you must create Acting groups in order to create a scenes, in order to shoot yourself with the smartphones. To shoot yourselves to watch over your own gestures, and even provide inputs about the performance of your fellows and your colleagues. But I would add a less one. You must pay close attention to your gestures when talking when I am talking to you, I don't close completely the mouth. I mean, my mouth is still open a slightly. So this is the nature of my face. And you must pay close attention to care those details in order to portray your performance. In order to portray a character in a reliable way, in order to give a realism to your performance. So, thank you very much. And until the next lesson 4. The importance of intellectual skills: Hello again. Hope you have seen the movie birdman. I highly recommend that to you to watch it because it's a lecture of acting itself In this lesson, we're going to talk about intellectual skills, but intellectual skills in, in terms of how we manage to have a specific mindset to portray a character... and to know, how important it is. Intellectual skills in the Creative making process behind a character. in the Movies the Characters we on a screen, are the sum of three elements. The first most important of all is what it's written on the script. That is to character developed by the writer plus all the Character's features and the Dramatic Arc is compelling. But that job not necessarily concerned us as actors. At least you were screenwriter of a film, of course, in this matter, what we're supposed to do is to work along with a film director in order to create in ourselves that rendering of the character previously written on the screenplay. But in short, that would be the first element, what is written in the script. The second element is our ability to act convincingly that we should play as if it were not acting. That is We have no shame that we connect with emotions when necessary, etc, of course, experienced is required for this time working on it. And it's a skill that we gain as time goes by. But there is a third element that I would say this the most important of all, who you are as a person, who you are as individual What are you made of.. what is that person who came to casting in order to show his abilities to a bunch of casting directors. So to recap, what we see on the screen is the sum of three elements. The first one is the character written, script, the character of the story. The second one, would be how prepare you are to play convincingly. And the third one would be how prepare you are as a individual. How well educated you are to engage any challenge in your life itself. So these third element, what we are as indivuals, is decisive It's crucial. We're gonna give you a very basic and simple example of it. Imagine that you are 20 years old and you have to represent someone who is 80 years old. Your agent thinks that since you are an extraordinary actor, they could change your appearance with an incredible makeup, thereby matching the character. And you go to the casting. But once you get to the casting you came across 30 grandparents between 75 and 85 years old. We're also going to do the same casting, who is going to get that role. It's clear that you are not going to get that role because you're not an old man. You don't talk like an old man. You don't look like an old man's, nothing like that. You are 20 years old. And even if you did the performance very well, why would they choose a 20-year-old? And there are 32 old men in the waiting room willing to make the role. But these examples seems very easy to understand. You are simply not an old men are an old woman. The problem lies in with it's necessary to make an intelligent character. You're not someone very smart. You didn't talk like someone well-educated. You didn't gestures like someone intelligent You didn't move like someone's smart. I mean, you didn't seem cleverer at all. And although you have experienced Acting, that is to say you are not ashamed your connect with emotions. You use Technique. You didn't match the character because you are not Someone who has the capacity to have similar thoughts. It's alie when they say that great actress can match anything. That's not true. In fact, it's more likely in plays than movies due to the nature of language as explained in the last lesson. In the cinema, you cannot lie. So in order to be prepared to that situation, it's important to train the brain. To trend you're intellectual the skills. The only way to do that is education. At any level. Education really give you the chance to make multiple characters. I don't mean that you will be able to match any character. I'm trying to say is that you are going expand the possibilities, the tools with which you are going to represent a character. In as long as you get education, more and more education, a general knowledge to address any character, you will be able to succeed as an actor. And I'm gonna give you an example of how important it is sometimes film directors select unprepared actors. Actors who are not suitable for the role, but they are selected just because they are beautiful. Beautiful women or handsome men. It's the most common. In fact, it's the most common in television series. But the problem is that if you are being selected for the role only because you are beautiful, First of all, the movie or series, it's not going to be a good one at all. And even if you had the chance to get the role, that project will not go so far. Because in fact, the producers, or film directors or creatives, had selected beautiful faces because the story is not strong enough to empathize with the audience. The problem is that this is an advertising mindset, In advertising you only have a short time to empathize with others. Maybe 30 s or 45 s. So there is not time to tell a profound story to develop profound Characters The reason why beautiful faces are suitable for advertising because it's necessary to create quick bond with audiences. But this superficial empathy doesn't last long. In a movie or a series, the rules are different. In order to engage with the audience the character has to be very well created. And the beauty of the actor is necessary only if that beauty works for something in the story. The problem with plateform series is that sometimes the objective of the project, it's not that the all the way of the series is seen. Sometimes the goal is that all the answers watch a few minutes of the series and then they change it. But that is another topic, of course. But in orderto cut to the chase the problem is that the most of people involved in actin entertainment rather being celebrities rather than actors. But to make a great actor takes a lot of work and we must pay close attention to this. Intellectual capacities will provide you opportunities because good filmmakers and producers are aware of it. There is a perfect example about it. Natalie Portman she was able to make a breakthrough which make a name for herself before getting a degree. And there is a great anecdote about it. At that time where she was a teenager, she was asked why she decided to study psychology if he was already famous actress in her answer was simple, I don't want to be a dumb atress. I want to make good movies. So for here, in order to get that level, it was necessary to enroll in a college. In that education would provide her the tools to engage any film project. There is a great deal of knowledge out there...in our surroundings, in schools, universities, etc. in that knowledge will really improve our conception of Art. Anthony Hopkins for example, is a poet, he's a musician. He's a well educated man in that is the reason why he has the ability to tackle those Acting challenges. In fact, very difficult Character's, for example, isn't Hannibal lecture and intelligent person. That character is like a genius. So an actor who has no formal education, how could think, manage to speak like a genius, for example? I mean, it's much easier to be an educated actor and managed to represent someone who is not educated. The opposite. The opposite would be that you are not someone well educated and you want to make someone inteligent, for example. So sometimes in movies and serious this happens. The character is supposed to be someone very smart, educated, but that person behind the character, that actor fails to portray the character fails to embody the character because the individual behind the actor is not someone with that intellectual capacity. I had the chance to see this among my acquaintances and colleagues. Sometimes actors and actresses managed to make their way at early age. That is, they begin to appear in series or projects, etc. but since they feel that they are already successful, they reject continuing to develop their intellectual acting skills. They just spend their time posting things on Instagram, going to the gym. But you have to be aware, honestly, what is the reason why you was cast for that series? What is the reason why they choose you for that project? I am in the project because I'm beautiful. I am in the project because one of the producers, this, my friend. In any case, it's an incredible opportunity that we should not miss. So if you get an opportunity like that, that can really propel you forward. You can stop working in your intellectual abilities in order to increase your level in actually the is not only happens in acting. For example, Brian May from Queen, is an astrophysicist. And you may wonder what does have to do with the band, with the music. it has a lot to do with music. Creativity, sensitivity, Art itself... art requires deep thoughts when we understand the most fundamental things of nature, of humanity, of existence by accessing the knowledge or mind becomes more artistic. Obviously, this is not something that you are going to do overnight. Something that is built slowly step-by-step. So I'm going to name what should be the intellectual capacities and an actor should never stop development. The first is the language. The more languages you know the better. But not only the language, but everything that is behind learning the language that is to know the culture of countries that speak those languages. On The other hand, if you know more languages, you will have the opportunity to come into contact with more people. Sometimes accent skulls as a stress, but it's something that you can have some control over. Try to watch movies, practice the large, there is a great deal of information on the intranet to learn languages. The second knowledge is history, universal history. All the story is created by screenwriters until today are based on the most prolific Characters in the history of humankind. They are Character's from all over around the world. And probably you will come across Character's screenplays resembles some historical character. And you will be able to nurture those characters with all the knowledge you have. Additionally, some film projects requires the creation of as specific environment. That environment implies customs, manners from a specific culture or country. So as soon as you get more historical knowledge, especially the cultures that gave rise to the current word, you will be able to deal with those kind of challenges. The other important knowledge is psychology. This is so true that Natalie Portman and studied psychology believed me she is an intelligent girl. She's aware of it. That career gives her tools to develop her Character's. She knows who is Freud, who is Yeung? And even the psychological approaches of philosophers like Heidegge, Kant, Nietzche. So this kind of knowledge will give you tools to approach a character with some psychological archetype previously studied by science. In the end, you need to know how someone with a specific psychological profile really behaves. A murderer and envious, an alcoholic, etcetera. And finally, science. Science, even though it doesn't have much to do with actin directly, scientific thinking will make you doubt everything. It will teach you that there is a principle of uncertainty in nature. Scientific thought will make you understand that you must work hard to achieve goals and that the system sometimes cell says that some of us are more capable than others. But the true is that this is not true at all. The difference lies on how much time you invest in learn to do your best in some activity. That is a philosophy of life that will nurture your discipline, the daily discipline and natural needs. But there is a fifth element that I would add. You must pay close attention to the people you are spending time with. Because even though you are thinking you are well-prepared you are well educated and you have the tamper to engage any Character's challenges. Maybe people around you are preventing you to upgrade your intellectual ability to improve your mindset. So it's likely happening unconsciously. So in order to solve that, you must be aware that what are those things you are doing daily in your daily life. In everyday situations, you are spending time watching high-quality movies. you Are spending time, beholding high-quality Art, watching plays reading good stories, reading good books, literature, science, etc. and finally, I would say that it's important to leave a good impression. And film directors on guessing director. So you mean when you come to a casting, when you come to an audition, were supposed to do a presentation to introduce yourself and talk about your background, your skills, your education, etcetera, also your hobbies And they are all the tools that a film director, so I'm going to use to portray the character. So put all this into practice, and until our next lesson 5. Emotions and truth Stanislavski & Adler: Hello people. I have to title this lesson emotion, Truth and emotion and truth, because everything comes down to reach an emotions properly faster in the most effective way. In order to make it, it's necessary to approach the professional Technique effective. I highly recommend you not too tight, too much to one single technique because some of you are more likely to play some Characters and others because of the nature of your voice, your body. In Europe, Boolean sold. So, so some techniques are more suitable for you than others. So pay close attention to this lesson. So let's start in with the Stanislavski technique. This technique, it was created by the legendary actor and theatrical pedagogy, constancy and Stanislavski. This acting technique focuses on voice, physical lens, romantic analysis, emotional memory in observation. But what is this Technique about? The Stanislavski is Acting method is known for using the actress feelings and experiences as a mechanism to portray the character's feelings at the truest level. And in order to do this, Stanislavski uses something called effective memory, where director uses a cane of a diary to collect very sensitive experiences that help in interpreting character. He keeps lives too. And I would say that is this the best technique of all in I'm going to tell you why. The thing is that all human activities that involve a performance, I lowest regenerate a catharsis process. In this process consists of relations, the emotion stuck in our mind over and over again. And the performance is to mean we have to release those emotions. And he doesn't matter if that performance is a play or concert. Blaine I, guitar or piano, or a violin, etcetera. It won't be easily playing in front of the camera. The thing is that we as actors are looking for that constantly. We're constantly looking for where to express ourselves through Art. And I suppose that is in order to find life answers. So the questions that searching something that happens to everybody. I'm remarking this because I suppose some of you are dancers, singers and performers. And you know how to perform on a stage is like in that is the very center of the Stanislavski Technique. But what should we do in order to use that technique in front of the camera? The fact is that the most difficult emotions to portrayed in front of the camera, or sadness and anger, and most of all the different kinds of sadness, me and grieve nostalgia, a very subtle sadness, for example, in order to use this technique, that is exactly what I'm talking to you about. The first thing we must do is to create a kind of emotional memory of a cap. You can write down those memories in a notebook, for example. But you must keep that backup in your head always because you will need a way locked-in. You will need this memory bicarb because our performance, can it be detached from the exact intensity of emotion that AAC needs, sometimes AUC and requires you to be sad. But in an histologic sadness doesn't even require it. Tears, that only requires you rise to moisten, for example. I mean, it's not about starting to cry in and think, oh, that will be enough. Actually, we could spar with a sin. For example, if our sadness intensity is greater than what the scene needs. Sometimes people think that because an actress or actor manages to cry easily, the euro are ready, expert actors. The thing doesn't go that way. Actually, it could look terrible if you are crying when you didn't have to. So the idea is that these emotional memory settles in our mind in opens the gate away. Two are emotions. That is, we remembered the situation experience withheld until the emotion I felt. It wants to gain weight opens. We approached this equation. It's a scene with dad kind of emotion, a little flow with females, experienced what the character is passing. I would say that challenge is always to transition. The transition that take us from the fact that memory we are failing as a human emotion we're going to portray in the character. And even though that personas corners, that would be a painful process. From my point of view is that completely placement creative process. And it's the very center of the Dramatic Art in, I would say that, that is extraordinary as well because your own life experiences are real and they are the flame that it needs emotion. Even though those emotions don't come from the character of the story, they are absolutely real. I mean, we're just going to be displayed on the screen is real. But let me tell you that there are some purists of actin who think that this is some kind of torture because you have to get those personal memories out of your heart. It can be painful and then trying to get out of them can be difficult. That it's maybe true. But we are artists and I think that's the point of making Art. So I highly recommend is Technique. We're going to see an exercise later. But basically, it's what I told you. You must have a least of memories that match the emotion that a specific a scene needs. Of course, we need to read the script, understand character deeply in understand also the exact emotion the character is feeling in order to search for the appropriate memory that matches that emotion. And I'd say that it's an extraordinary way of gets into the truth. But it's Stanislavski Technique leads us directly to the Lee Strasberg. This method, this method encourages the actor to magnify it and intensify his or her connection to the play. But translating the character's emotional experiences into the actors on real life. So it's as if it were the same as Stanislavski method, but in the opposite direction. So it's by far more complicated because we need to fill the Character's of the story much more. So you need to get the most important scenes out of the character, filled the script in. Try to imagine what those scenes with bell-like in your own daily life around through and what you leaves daily. And that's why we are going to dress in this course, some film script lessons so that you understand what the Character's Journey in a script is like. But the American actress cell Adler created here round Technique from the two previously mentioned. Actually she was one of the poorest complaining about emotional charter that implies transferring destructive emotions to the actor's life. So she argued that actor should use their imagination to reach those emotions without harming themselves in a certain way she is right. I personally think it's the most beautiful way to make it, but it's the hardest at first. But actually it happens that once we master a Stanislavski Technique, once you put that Technique into practice unconsciously, you will want more and more. Now I assure you that you will tackle the stellar Sadler Technique, which basically consists of really maddening but is happening to us in the scene, what the character is experiencing tried to embody the character, to imagine that we are the character ourselves. But obviously all this implies a psychological process where we connect with the character, not harming our personal lives. But depending on the type of character we're going to play in the film project. In order to use the sailor Adler technique, we can help ourselves by doing a study of the character, trying to see the web, their histories, trained to do it, their costumes as well. They are minors and approach the life of the character, thereby understand. And here's emotions waitlisted During the 1D. So, so far, I suppose you're understanding how one Technique is connected to each other, but pay attention to these. The thing is that when a Stanislavski created his Technique, There was no cinema. His technique was created for the theater, for a stage performance. In a stage performance involves two important processes, as I mentioned before, improvisation in a unique and repeatable performance. In that is the reason wet for me secion, a singer in a violinist, for example, to transfer his version on emotions to the stage is absolutely beautiful. Because it Truth E is that great musicians, theater actors do that on the stage. But obviously it's still Adler's was really committed to the actress health should really dislike this technique. She didn't find it the most suitable for her first. And mainly because the cinema didn't have a direct audience witnessing the performance, the cinema needed more repetitions, and also cinema language requires more real characters. Additionally, I think she wanted a technique that there was less aggressive for the actors. Believe me, that theater directors in the 19th century were not that kind of role. Of course, she was watching over the actors integrity, the challenges that Adler Technique in places that it requires a great imagination into her dad kind of imagination. We need to know rich or mind with Art. We need to lose the fear of feeling like children. Use the fear of plane. Let children, you must really enjoy creating a character. Every single detail that implies creating a character. That's just what I told you, that you shouldn't tied to one single technique. Because maybe you come across as specific film projects that really inspires you, that really moves you to look back into your past events. To collect those affected memories you are going to use to portray the character. And I'm going to show you an example about it. The movie Elvis in that movie has some water, is supposed to learn to sing, is supposed to dress like Elvis did in the past. But actually as some butter use a Stanislavski Technique to approach a specific as seen in the story. Let's check it out. So I'm as you you may know, I I lost my mom when I was 23, unnecessarily service. I'm glad you brought that up. Yeah. So I those it really comes down to a man I've told this story many times when it comes down to that first, the first thing I actually sent to bys was coming out of this grief that I was feeling relating to my mom and and missing Unchained Melody. And so that was the foundation on which that was my first moment where I realized that's how I want, if I was to do this, this is how I'd want to approach planning office. This is how that was the first key. And so in a way, this film was when I sort of, I didn't think about it at the time. It wasn't this conscious thing, but I've looked back and gone. It's it it ends up feeling like well, yeah, yeah. And it ends up feeling like this love letter to my mom and to Elvis and his mom. Because because that's the biggest void I've ever felt in my life was losing her. And she was my best friend. And I, you know, I've never experienced that type of unconditional love and I probably never will of a mother. And you know what I mean? But I know that that's how Elvis felt. And so those scenes, you're talking about the grief moment. Those are the scenes that you never want to kind of dread because, you know, it's so painful. You don't really want to. It's like walking into a burning building. You're like, I just don't want to go in there, but once you're there, it also, it doesn't feel like playing pretend, you know, so it feels so real. That is the Stanislavski Technique at the most fundamental level. I find this movie particularly a really special and powerful because of the nature of the story and because I asked him Butler was really committed to engage the character in order to portray Elvis Presley graves in the most powerful way. On the other hand, when you are listening to us and water are talking about his character, talking about the entire film project. He, he's really displaying that commitment that really takes us to watch for. My yarn has boundaries by young. Here's limits. Actually takes the entire movie to the next level. Well, thank you very much. And until the next lesson 6. Emotions and Truth Meisner: Hello people. In this lesson we're gonna talk about the Meisner Technique in, since it's the most advanced level and the most difficult of all, I spoke to so many celebrities and actors who are pretending to use that technique to show off because they really want to seem fancy and clever. But the Meisner Technique, it's not something mandatory for all the situations Characters. And it seems you were supposed to learn to use it when it's necessary. That is what I'm going to explain to you now. Basically this technique consists of two stages. The first is very similar to the Adler Technique, where we have to leave like the character to feel like the character. With the difference that for the Meisner Technique, you have to take it to the next level. Especially in cases where to character requires advanced a psychological work or a kind of behavior with which we are not familiar. For example, a madman, a serial killer. So when with some mental retardation etc. according to master, we need to leave with people like that to get to note that perfectly. The second stage of this technique it has to do with certain types of scenes. Mostly those scenes where we interact with other actors. In Meisner tells us that it's more important to learn, to listen to the other actor, then to learn the lines of the script itself. Obviously at that time he was regarding the stage performances because there was an interaction in which there could be opportunities for improvisation in something like that, that came from listening deeply to the other character, to the older actor in front. They're generating an emotional reaction that really respond to this situation. In other words, if a character is saying something painful to your character, we must listen with all our senses to really feel and be able to respond in a true way. The problem is that in the setting immune this shouldn't set in the conditions are not like those of the stage. The setting is sometimes discomfort. Not to mention that the scene may not have an interaction with another Characters. And we'd even have to take into account that is cinema quality has called dentist. Sometimes we have to repeat things over and over again and maybe in those repetitions, we disconnect, loosen our imagination. And then to be able to connect again quickly, maybe we need to directly access effective memory by remembering those bars, feelings to feed our character. So everything comes down and to create real emotions. And we must select the most suitable technique for us. Since we're talking about the Meisner Technique, the ads to understand its nature in depth, one of the fundamentals of master technique is to actress must be connected to the situation and they scenes by using imagination. And that includes generating emotions hauled away, I think is quite similar to what stale others mentioned. In order to achieve that, it's necessary to master relaxation. I mean, the only way for our mind to be completely immersing what is happening in the scene and in the story is by achieving relaxation. In this regard, there are different techniques. Everyone can develop their own relaxation technique. There's not one single Technique to relax because each person has a specific reasons why they don't relax. So maybe you can relax because you back hurts, for example, you are ashamed to play it in front of orders, in front of the camera? Or would you cannot to relax because you have a family problem to solve? So dura, different kinds of problems of different nature that give rise to different relaxation techniques. So the trick is to reach that relaxation States. And let me tell you that that fear of playing in front of the camera and in front of others goes away after ten times Acting. The rest is more complicated, and that is what I'm going to address now. There are two types of factors that will help us achieve relaxation or prevents us from achieving it. External and internal factors. Obviously, these factors in turn will help us immerse ourselves in this story. External ones are all of those that include, first of all, the story. That is how good the script is. I mean, that the script is good enough to make you fill in the scene for real. In that emotional situation of the Scenes have a logic and causality. Another external factor is to conditions after setting. That is, there is a con, discipline and pleasant environment so that you are relaxed. I mean that there are no elements that distract actor. This is too important actually. In finally indicates of spirit Films that the costumes and locations help you feel parts of the story in your professional contexts. That shouldn't be a problem because all the comforts will exist. The problem is that it won't always be like that. I mean, if the film project has a lot bug jet, there are likely to be detrimental to your relaxation stay to your actin. On the other hand, whether it's a high budget or not If it wasn't an income cerebral this scene as in terms of production, it would be detrimental to your action into your relaxation estate. In those cases, we would have to resort to the Stanislavski Technique to connect the strong emotion that the Character's needs. So additionally, if they film script is not a good one at all, I mean, it has meaningless emotions. Without logic, we will have to collect those effective memories to reach that emotional state. Again, those sorts external factors which hardly It's remain till to your relaxation, stayed in your actin. I'm going to show you an example of announcing this dialogue. But that problem doesn't come from the actor, but from the film script. We wanted to clarify that I'd really love the Christopher Nolan's movies. I mean, I love interests or in some other movies. But in this case we're going to talk about tenet as specific as seen from ten. It actually is a scene that it doesn't make any sense at all. So I'm gonna show you the disinterest and I'm going to explain it to you later. I'm gonna give you some context of the scene. The girl is explaining to the guide. So the boy that they have discovered some strange technology that allows travel time, Los the time to be distorted. So let's check it out. Hi, there is best and a clipboard you can get almost anywhere. Foremost, I'm scared, tenant. Small talk, my song that might reveal who we are, what I thought I was here to find out what we do. Have to watch you hit the how what does your department well, not my business. To do what I do, I need some idea of the threat we face. As I understand it, we're trying to prevent World War three, nuclear holocaust. Know. Something was pulled the trigger. Symptom. Check the magazine. One of these bullets is like us troubling forward through time. They're the ones going backwards. Can you tell which is which? How about now? It's inverted? Satrapy run this backwards to our eyes. It's movement is reversed. You think it's a type of inverse radiation triggered by nuclear fission. You didn't make it, really didn't know how yet. So what did it comes from? Someone's manufacturing them in the future. They're streaming back at us. I have dropped it. How can they move before I touch it? From your point of view, you quoted from the bullet-pointed, you dropped it, but cost comes before effect. No, that's just the way we see time. Maybe you didn't notice it. But the first time I saw the movie, I did notice that. In fact, I think the script has some big deficiencies in narrative and emotional terms. There is nothing that generates emotion in the story. I mean, that guy has been told that it's possible to travel in time. His reaction was as if you had been told that they had just invented a new package or combo at McDonald's. Have you noticed how the character is not listening deeply to the other person. He's not to react and logically to what is happening in the scene. Traveling in time. And something very impressive in the approach of the scene has no emotion, but that problem was not related to the actor's performance. So in the same way that, that is scene we're supposed to cause emotion into character. There could be another, a scene that doesn't cause emotion. But the screenplay says that you should be crying. So that would be a problem because you have to resort to the Stanislavski Technique in order to make it. But on the other hand, there are also internal factors that can prevent us from relaxing. These factors would be old and natural provenance that a person may go in through that prevents them from achieving enough relaxation to use the Meisner Technique. Those problems can be of a family nature or some physical problem with your body, some pain in all these problems can be solved with relaxation therapy, whose approach will be the specific one that each actor needs? Well, we had reached the end of this lesson, but let me tell you that. It seems we are going to talk about the Character's Journey later on. We're going to address some aspects of these Technique. So thank you very much. And until the next lesson 7. Emotions and Truth Example: I want to show you a scene from a short plane. Would I play the leading character of the story by using the Stanislavski and Meisner Technique. But I guess I can give you some information about the story, about the context of the story in order to understand that it's in, I don't mean to show you the entire story right now because it's supposed to be displayed at the end of the course. But it can give you sine information most of all about the prior events before the beginning of the story. That story takes place in the middle of the 17th century. In the highlands of Venezuela. At that time, there was a time of grief than struggled for indigenous people in the mountains. Native people who were striving The Lord, fighting against the Spanish conquerors who were trying to take over the mountains. But that process of conquest was not a simple as it seems. I mean, there were several Congress waves in order to take over the mountains. So in order to understand the story, my family, it is supposed to be set home in one of those waves. So I am the son of one of those families who settled in the mountain. My Spanish family who ended up sharing with the Indians along the years because in fact, between one wave in an older, they went around 20 or 30 years. My family and erupt sharing with angels and empathise and the Indians in understanding their way of life. But once I reach 25 years old or recruitment cool arrives to the house, to my house. And it had to respond. And because I am actually the stronger of the house, I have to respond to buy joined the army in order to prevent that the rulers, the Spanish rulers, take actions against us. So I decided to leave the house to join the army against my father's. We'll that it's actually a very sad is seen then is spend maybe one or two years in the army. Once I return, I come across my house in flames. So my character in the story is regretful of leaving the house. He is trying to find his father eating the mountains in the middle of a war between the indigenous people and the spawners. So the scene, what I wanted to show you is that moment when he manages to find his father. So first of all, I'm gonna show you the entire sin, the final cut. And then I'm going to show you two times where I failed to connect with emotions. They check it out. Axiom. One There's a very emotional and creative process behind the creation of that, the scene that was one of the last essence of the story. By the time there was shooting that scene, I was really involved with a story. I was really embodying the character by using others are Meisner Technique. I mean, you can notice all of those details that you are supposed to use to use this technique. I mean to body they character, I mean the Character's with our dear to you because as the fact that he has traveled all the Valley alone and he was involved in, in a war between indigenous people in the spawn years. But the truth is that even though you're aware of it, you can use the Stanislavski Technique to boast the character. I mean, to push the seam to the next level even more. So that is exactly what I did. So try to picture the moment I was behind that rock that some digging out my memory is seeking out my emotions, trying to collect the specific effective memory that gives rise to the motion on the states have the character. But at the same time, I had to give the system director a signal to call to action, but pay attention. That signal doesn't require, it doesn't have to be exaggerated. But just make a gesture or movement of your body. You can provide information to take film career that you are ready to, to engage the same. You can do anything. Slowness, it doesn't disconnect different emotion as simple as that. So you must understand that there was behind that truck gathering my emotions because they wanted to feel that that theme that infiltrates in your veins. So then it would stand out and continue Griffin to the rating of that emotion to make that transition into the motion of the state of the character. I think that once I was already walking towards my father, for which no longer the actor was to character itself. I mean, that's best to craft. At that time it was use in depth Technique because they wanted to enjoy it. I wanted to express myself as an artist. So when it comes to obtain, it doesn't matter to Technique you may use as long as you managed to get emotion that character requires. On the other hand, you must pay close attention to all those details that can prevent you from connecting emotion. In the first place. That there's nothing in the setting that can discharge actors, that can distract actors. I mean, people taking photos, laughing, talking, etc. and second, when Acting, actors are supposed to forget all their responsibilities as a human being. Those aside from the word of the setting, from the world of the character. So try to put all this into practice and until the next lesson 8. The Contemplation Exercise for Project: Hello people. What are the practical lessons about? In each of the lessons we are going to see exercises to put into practice to understand them. We're gonna see a scene from a movie. And the idea is that you can use, that is seen as a reference to what you are supposed to do. Try to be free. Remember that the practice does not only have to do with these exercises, but also with that constant investigation about our body, about our gestures and emotions. In all the exercises, you should have a mirror to understand what I mentioned about the surveillance camera in a previous lesson. But this doesn't mean that you are going to get used to seeing yourself in a mirror all the time. In fact, it's even better to record yourself. I mean, if you had the means to record yourself with a smartphone, my using a camera with me by far much better. So it lets us start. This exercise is about to master in subtle the assertion we're looking at something moving or exciting. I mentioned previously that the camera in the movies is too close to face it much more so in these kind of a scenes. In other words, the character is going to turn to a place to observe something. And then we will see the character's face react to what she or he is looking at. But as I mentioned, the camera is going to be very close to the character. But what is so difficult about this exercise? First, we must be aware of subtle gestures. Remember that people who come from theater are not used susceptive yesterday. The other hand say complete. Because in recent years more and more movies are being shot in his to deal with green or blue screens. That means that the actors War II, the studio must imagine the whole scenario that surrounds thin at death. In these is very important because even shooting in a relocation, there are so many things that can disconnect us from the story, so we must use our imagination to meet them. This time we're going to use ASAM from the third law of the Rings movie. The Return of the Qin is almost one of the last scene as the movie in discussing the entire fellowship of the ring, is fighting against the very army of sour. Well, Frodo and Sam are destroying the Rings. But what are we going to see in this scene? We're going to see the septal, powerful and magnificent reaction of the Character's added burn candles, Lego lesson married when they see the tower fall in front of them. So let's try to detail level above all the three reactions stages. Heidegger in gambled, go through the ticket out. I personally think that the subtlety of the Oregon gestures in DC scene are spectacular. Let's check the scene again. First he reacts to what is happening, which is actually something Southern unexpected in something that he doesn't understand debt. Actually Gandalf and Legolas performing data way. They turn around tired and surprised because previously they were fighting Then we see the tower for the music changes because cinematically is what everyone in the story wanted to happen from the first movie, from the beginning of the story. In other words, the actor's adapt moment must be fully aware of this stage in which the characters are in the story. The characters are fighting at that moment, hoping that sauron will fall in there, finally, seeing him full. In all three movies university these characters in such genuine moment of vulnerability. But in that is scene, they really look like that. It needs absolutely beautiful. It's something exciting, moving. But at the same time, they don't even have the strength to smile too much anymore. The reaction that Viggo Mortensen Aragorn portrays in data scene is truly extraordinary. Is a slight smile in his eyes are slightly moist in the same way that the handle is also moved. But then you can notice Mary's extraordinary reaction, seeing the able kinda route, I'd reaction to something negative and sudden. And then we also see the subtle reaction if Aragorn and Gandalf, you are supposed to do with discussing straight to repeat it and record yourself as if we're where we hold the in the tower falling. So first, you do it several times in front of your mirror without recording yourself. In order to discover and to feel what the real reactions would be like. You can even be in your daily life waiting for dads moment for that reaction to see what it's true nature is. Then you can check the gestures out in the mirror and uneven record yourself to see how it looks like, but pay close attention. We must do this process over and over again many times to go deeper into the subtlety of the reactions. On the screen, you can see an example of a scene from one of my works where I'm doing exactly this exercise. I'm supposed to be seen the girl with her mother. And that moves me. But the reality is that while there were shooting that scene, I mean, the shadow where I'm seeing the GRE Daguerre was not there because it's difficult to work with children. They get tired, they get angry quickly. So I had to imagine the girl. So my character is supposed to be working land one morning in a neighboring indigenous family passes by my foreign, so I'm excited to see them, a movie to see bigger. But this performance can go wrong if we'd done to it properly. And I'm going to show you an example about it in the movie, Beauty and the best, the live-action the actor is England Watson is not really connected to the character in a very important and scene of the movie. And I'm going to prove it to you. But pay attention. I don't mean to say that she is a bad actress. No one at all. She's a good one. It's just in that a scene in a dare to say that this has more to do with the film script than the Watson acting skills. So I'm going to split the screen. And on this site, I'm going to show you the live-action with Emma Watson. And on the other side, I'm going to show you the animated one. So let's check them out. So this last one then made it one. It seems extraordinary to me. I mean, it's not because it's your agent, etcetera, because it really is more artistic and authentic and cinematic. Look at the reaction of the animated character. The bell is a skirt. Her hair is messy because she comes from grown into, tried to save the best. Even though in the cartoon, you can't see the sweat. You imagine it because everything suggests it. I came up, alright. I got to see one last time. Threatened nodes as the strength in the cartoon, the bill is holding tight, flee the shirt of the best. Not to mention that she is really crying. But just right here it comes to worst, which has nothing to do exactly with actin, but with a film script import three, the sorceress appears destroying the intimacy that should exist. At that moment. You had no idea how I hated that source are just showing up. Look at the animated when it's a sacred inherently power that is Breaking the Spell. We already know that a sorcerer is Kooris the best. It's not necessarily to see her again. But what camps now is so important is exactly the same as the lower of the Rings exercise. The three stages that into live-action are not fulfilled. Right to notice that wants to spell, begins to break all of them. The bell, the clock, the candlestick, the teapot are reacting to something aggressive. You're not excited, debt your reactant to something surprising. They are somewhat squred, even pretty notice the bells reaction in the live action. She doesn't even move away from the best. Even when she's watching this strange lights screening there. Look at her face. She's not really impressed, or at least she doesn't convey. You get the animated the bill continuous. Moving away from debased. It's the reaction that any person would have seen something so impressed her face yesterday is extraordinary. The other hand for it, notice that live-action in mechanics a long time standing in the same place with a movie in a single part of her body or the other hand in the animated one, notice that the Bell tries to touch him because she thinks that he could still be there in which she sees him move. She backs away again. Anyway would do that. It's something magical and power for that is happening in front of, you. Know, that in the live action, this was done deliberately in some way to try to show the bell somewhat strong in the live action. But this has nothing to do with strength. Its with cold, salty in the facts. Logic indices. I mean, being strong has nothing to do with this. It has to do with facing the fear, your readiness. Well, I really find this exercise, we're important. It really is because it really opens our minds to see how the language of movie works. Its way to put into practice this exercise many times over and over again, until you master subtle gestures. Until the next lesson. 9. Video project tips: Perfect. This lesson is only to notify you of some important tips when it comes to record in the course project and even the self stapes for casting. First of all, we must take into account natural light. Natural light will always be more authentic than using lamps. One of the most common mistakes is that we don't know in which direction the light should be with respect to us. Light is always supposed to come mostly from one side because that is how it, scenes in movies or commercials are supposed to be recorded. So this fact comes even from the time of the great painters. So always take into account that delights must come from one of the sides. A proof that you are doing it to properly is that half of your face must be shaded. Yes, at it looks here. Another important advice is in which direction you should be looking. A highly recommend you that when it comes to doing the actin that they ask you, always look slightly towards one of the sides of the camera. It doesn't matter which side it is. Simply that in the same way that natural light is needed, they will also need to record people under this same principle. Also keep in mind that since the natural light I use is a strong enough, even when I'm moving leg, this one side of my face remains shaded. That means that natural light is being used properly. Another important tip is that when it comes to record in the self-tape for castings, it's always necessary to use a white background or one with the natural color so that it doesn't distract the casting director when trying to evaluate your performance. But this is not always the case. Since if the request attacked in the requires you to interact with elements of environment, This rule is no longer important. So in most cases, you should respect the is for the video presentation only. For the course project. It's not necessary that you record it with a white background, simply anywhere. But do your best to respect the technical details related to light. To record the video for the course project, try to follow these tips and record yourself more or less with the angled you see on the screen. It's not necessarily your fear to be seen in the video, but your face and torso must be clearly visible. I mean the torso. It's also important when it comes to expressing ourselves using our phase. Remember that for the project exercise, you must record yourself reacting to an unexpected event that happens in front of you. So you should turn around, look just like in lessons where we see the example of the lower of the Rings. In the example you see now, I'm seemed to react in two sample situations to show you how you should record it. But they exercises that The Lord of the Rings lesson. Always try to stay relaxed. You can record yourself several times. You don't need to upload a single sample of the same performance. It can be two or three versions of the same Acting. I wish you good luck and continue enjoying this course. 10. Differences Between Acting for Theater and Acting for Cinema Example: Hello people. This lesson isn't exactly an exercise. It has to do with the following two things. First of all, I'm going to show you that transition between the stage acting language and language of the movies, film acting, and how that transition has manifested itself in the actor's voices. So we're gonna see several the scenes. So you can realize this and you can take into account when represent in your characters. On the other hand, we're gonna see a, a scene where we are going to learn how by performing a good dialogue, that Meisner Technique can be manifested. In order to understand that listening process that an actor must have went back. I want to start by showing you a couple of scenes from the movie Gone With the Wind. I want you notice how they actors play. I want you to see all the details. If theatrical movement of the actors, the theatrical expressions, the way they speak, everything is dramatize a secret about ticket. Actually. Mr. button has been up north. I here. Don't you agree with us, Mr. Butler? I think it's hard winning a war with words, gentlemen, what do you beans? I mean, Mr. Hamilton, there's not a canon factory and the whole South. What difference does that make sense to a gentlemen? I'm afraid it's going to make a great deal of difference to a great many gentleman's there. Are you hinting, Mr. Butler that the Yankees can ligase? No, I'm not. I'm saying very plainly that the Yankees are better equipped than wheat. They've got factory shipyards, coal mines, and a fleet that bottle up our harbors and starves to death. All we've got his cotton and slaves and arrogance. Listen, any renegade talk. I'm sorry if the truth of vengeance, apologies, not enough. I hear you're turned out at West Point, Mr. Rhett Butler, and that you are receiving a decent family in Charleston, not even your own. I apologize again for all my shortcomings. It's the most perhaps you won't mind if I walk about and look over your place. I seem to be spoiling everybody's brandy and cigars and dreams of victory. What do you have to? Why don't you upstairs resting the other girl? Discarded secret. I love you. Love you. I will just need enough that you gathered at the other man's heart today. Headline. Cut your teeth on it. Have I your hardening? Which things hate me for hearing. It never hate you and I know you must care about me or you do, don't you? Yes. I can. We go away and forget these things? But how can we do that? You don't, you want to marry me? I'm going to marry Melanie. But you cannot have UPF for me. Why must you make me speaking? If you didn't notice it? Although there are some shots relatively close to face, that is kind of medium shots like they are made with approximately 50 millimeter lenses. I mean, those shots are not completely close to the face. Face, the tails are not scene as they would be seen using a cinema lens of this time. That technology is still required, that kind of performance from the actor and exaggerated in histrionic performance. On the other hand, it hadn't been lungs since they had started making talkies. I mean, 20 years before movies were silent. Additionally, you can also notice the audio quality. By 1939, you can't imagine what the microphones were alike. It was impossible to clearly detect the whisper of an actor. I mean, you had to speak loudly because they're wearing to uni directional microphones, either uni directional microphones, Hello you to capture the voice of a specific actor in the middle of a scene. We're going to watch now a couple of scenes from titanic where we are going to see pretty much the same kind of Character's talking when a scene for it, notice the details. Notice how real it looks like. In most of all, try to notice those details captured by the camera lenses from 1997, which are in fact in the St. Catherine of Siena. My lenses use today. Let's check it out. And where exactly do you live, Mr. Dawson? Well, right now my address is the RMS Titanic. After that, I'm on God's good humor. And how is it you have moons to travel. I worked my way from place to place, tramp, steamer and such. But I wanted my ticket on Titanic here to Lucky handed poker. A very lucky all life is a game of luck. Real man makes us online, right? Awesome. And you find that sort of rootless existence appealing to you? Yes, ma'am, I do. I mean, got everything I need right here with me. Aaron, my lungs in a few blank sheets of paper. I mean, I love waking up in the morning not knowing what's gonna happen. Hello, I'm gonna meet where I'm going to wind up. Did you notice the difference? It's completely different even though they are the same kind of Character's. I know there are a little bit different times, but not different enough for there to be such a difference in the performance. But what you need to know is that nowadays in place, actors may use that acting language of Gone With the Wind. That language in a play with work perfectly today. Because the language of theater or nits it. You need those voices. You need dad histrionics. You need to transgress reality itself. The other hand, so no tin works differently. It's objective. It's not to transgress reality. It's to try to represent it in the best possible way as real as possible. Because that is what the language has asked for. Okay, we're gonna see now that Meisner Technique in a dialogue. I'm going to show you a scene for an a movie and try to fill it. Tried to feel how morula strip infinite same or react to each line of the dialogue. Check it out. This morning before I spoke with Mrs. Miller, I took the precaution of calling your last parish. What do you say? Oh, the pastor. Hi. Did not speak to the pastor. I spoke to a non you should have spoken to the pastor. I spoke to a none. That's not the proper route for you to take an SR. The church is very clear. You're supposed to go through the pastor, why? You have an understanding new and here you have no right to go rummaging through my have a history. This is your parish in five years called The asked him why I left is perfectly innocent. I'm not calling that I'm a good tree. So after another child I had another child until you are stopped. Wouldn't under you speak to I won't say I'm not touched. You haven't the slightest proof of anything, but I have my certainty. And armed with that, I'll go to your last parish and the one before that, if necessary, I'll find a parent, trust me, Father Flynn, I will. You have no right to act on your own. You have taken vows. Screen1, you answer, toss. You have no right to step outside the truth. If that's what needs to be done though the door should shut behind me, I will do what needs to be done. You realize that each phrase of each actor produces a reaction in the other actor? That is the listening process that may serve. And Adler talks about it's honest listening. If the actor is only thinking about the other actor finishing his part, the actor will never be able to produce the subtle gestures that represent a human being truly listening. On the other hand, that listening process will generate a chain reaction to say, each line of the dialogue with the specific emotion that it needs. But it's not that simple as it seems. In fact, in the scripts. So you have already seen under the name of the character, you should be written the emotion with which the actor must say to dialogue. I mean that emotion will be in parenthesis. But generally, that's emotion. It's an approximation. The specific emotion is something almost abstract, but we can represent it if we are really listening to the other actor. This process of through listening will help us to bring out the true voice of ourselves. When we Act in not an app, you're using a false voice. The voice must have different tones so that it sounds true. That natural rhythm that poses and even getting stuck talking, etcetera. I mean, those details are some times the outcome of the emotion generated in a conversation. Well, you can put all this into practice. Tried to design your own dialogues, to write down. You're on dialogues in order to master that interaction between Character's. You can represent SOM is seen from any movie like this. I mean, ensuring with your fellow actors. Well, thank you very much. And until the next lesson 11. Character's Journey Types Of Characters Dramatic Arc: Hello people. In the following two lessons, we're going to talk about Characters and the screenplay. The purpose of these lessons is for you to understand how the Character's Journey is Lake. Because regardless the character you're likely to portray the story, we need to know the specific a stage of the story in which the character is doing C-sections. I mean, probably this has nothing to do with your character, but with a character you are interacting with in the scene. I guess that you have ever heard about supporting character, main character in tertiary. But in terms of writing, we must take into account the following two terms. Protagonist, main character. I know you maybe wondering, they are supposed to be the same, but they are not. I mean, that this is what I'm going to explain to you. Now. What's untrimmed explain to you is in terms of writing. I mean, when you watch Oscar Academy, I mean, would you see the Oscars? You realize that the main character in protagonist is the same because it's necessarily towards some actors. But since you need to know what is the decision-making process behind the creation of a character. It's necessary you to know those differences very well. Let's start with the most important. The protagonist. Generally, the protagonist is the foundation of the story who experiences the Dramatic Arc in the movie. But coefficients usually came out in this regard because sometimes our protagonist is not the main character of the story, but there is a queue in order to understand it. Generally, stories are told from the protagonist point of view. But I know you may wonder how you're going to figure out who has the point of view of the story. There would be an easy way, but it doesn't always happen in stories. For example, in some stories there is a kind of voiceover telling the story. And in some cases this voice belongs to the protagonist of the story. And there are some examples like structure and redemption and Braveheart. In the case of Shawshank Redemption, the point of view is in red. And the case of Braveheart, the point of view isn't Robert the Bruce. They are the characters who are telling these stories. But that would be a queue. But not always happens that the voice-over of the story belongs to the protagonist stuff that story sometimes belongs to any tertiary character, for example. And sometimes this fact surprises at the end of story. But another queue in order to discover who has the point of view of the story. It's to figure out who leaves to Dramatic Arc of the story in an internal dimension. I'm going to keep you too very good examples to understand it. Shawshank, Redemption, for example, red, he leaves the strongest Dramatic Arc. I typically mean he doesn't believe in hope, but at the end of the movie, he comes to believe in hope. In data II is the central theme of the movie. The problem means that in terms of production and awards, Morgan Freeman who plays red, it's a supporting character in the main actor is Tim Robbins who plays, and he's a friend in the main character in a movie, is the one who does the most actions in the story. Who leaves history under the frame is the main character of the story, believes this story. But daddy stories told by red, it may give you another example. The non-insured in that story at the Redman is the main actor who plays I networking and then ends up being Lilly other. He's the main character and also leaves Dramatic Arc, but the story's always told from the point of view of his wife girder, who is played by Alicia be candor. From the beginning this story show us Gerta contemplating INR, beholding his transformation through the paintings. Is Girard as point of view who is practically T9. There's a story through her paintings. What I told you so true that Garreta character was so well created, the dot character won an Oscar for best supporting role. Because in terms of production, at least every candle is this supporting actress as a movie. But obviously the main character in the protagonist could also be the same person as for example, in Titanic, grows is the main character and also the protagonist because the story is told from her point of view and she's the one who suffers is romantic Arc. And she begins AS a reach and Rudiger and then changes to her love for Jack. He's a perfect example about it. I'm gonna give you an example in a movie like Braveheart, which is telling the story about William Wallace. William Wallace is the main character story because he is doing most of the actions in the movie. But he also suffers some kind of Dramatic Arc in this story. I mean an external one because as simple as that, a different meaning of the story, he's alive and at the end of the story, he is stat. And you know that he spends most of its life trying to leverage Scotland. But the main plot of the story is that he's trying to convince novels in order to do so, in order to make it. So everything comes down to someone being convinced to fight at the end of the movie. In that character is Robert the Bruce, who is actually telling the story. You can notice at the beginning of the movie that VoiceOver, VoiceOver belongs to Robert the Bruce Robert of rules at the beginning, he didn't want to fight. But at the end of the story he decides to fight because of the sacrifice made by William Wallace. Remember that when you are telling an important story to someone, to some friend, you tell it to because that history really moves you. So you had been changed by that story. Older movies, container journey led by these two characters. And I'm going to explain to you what the journey of these two characters is like. Because the whole story comes down to these two characters. In any case, as I already told you, I have a complete course and how to write a movie script. Because they think that as actors, we should know exactly what a movie script is like. But it does a moderate. I'm going to explain it to you right now. The storage in the movies are based on the Aristotelian is structure. Structure comes from ancient Greece, were hundreds of his stories were written using that Aristotelian structure. That structure had a fundamental principle. The storage should be a reflection of life. That is, they should contain a birth development in a death. In other words, at beginning of development in an end. But this also meant that a character in those stories had to start the journey with a kind of mindset. Then go through an important or sometimes painful experienced in then learn something new there, right? Changing that mindset, That's urine you have to change, is what is called as romantic Arc. The years passed from generation to generation until today In that same structure and the rat being used in the story is told in the movies. So in the movies that the structure is represented in three acts, which in turn represent those three elements that Guinean development in the end. So according to data structure and the protagonist who is the one who leaves the strongest Dramatic Arc in the story, leaves in a world where he has a relative peace. That world is presented in the first tact. But something unexpected happens that shakes the piece of the character. In essence, natural people seek bi's again as that survival instinct. Therefore, the character has to make a decision to restore a database. That decision is to face an obstacle that will lead to a goal in the story. The second Act in the story begins when the character makes the decision to face that obstacle. Then throughout the second act, we will see the character faced antagonistic force of the story. Where this force will surprise that got actor with new difficulties and obstacles much greater than those of the beginning. So the protagonist will have to make a new, much stronger decision based on everything he has lived so far. He gathers all his forces in faces, antagonistic force, again, achieving the objective that has been set at the beginning of the story. So the moment where he achieves that goal is the third fact. So notice how important it is to understand each of the stages in which the character is in the story to approach the scene that we're going to play. So we must know whether movie script is like to understand it in its most fundamental nature. For example, it's possible that the two production issues, it's necessary that we should Scenes from the end of the middle of the story, at the beginning of the shooting shuttle. So in order to understand how we are going to approach emotion of the AAC in that belongs to the last part of the story. You must be aware in connected with a moment that the character is leaving, especially everything that is before that moment. That is the reason why must learn not only to correctly read that structure in the streets, but to really fill them in order to correctly portray any character, both the main character in the protagonist experienced Dramatic Arts, but to protagonist experiences the strongest internal change. But there are also other characters as a tertiary character. What are those characters that don't influence matching the life of the main character or protagonist, but are part of the environment of the story. Theorem important also to generate that contexts of the story, a real point of view. There's also the antagonistic character whose objective is to lead the antagonistic force of the story, that force faced by the main character or the protagonist. Remember that most of the seniors are led by Characters that do actions. But it turns out that the behavior that a character has in as specific as scene is the result of everything that the character has experienced during the story. So let's suppose that he had been considered to play some tertiary character in a movie. In your scene is about an interaction between your tertiary character and the main character, who are supposed to know what the main character's journey has been up to that moment in this story. Because you must portray someone who is really listening to another person in the story. So everything comes down to that listening process that Acting scholars were selling us about in that previous lesson about axiom Technique. And the listening process is not only related to what the actor is experiencing in the setting or what the actor is listening to in the setting, but also what the character is supposed to be listening to in that stage of the story. Remember that the actor is not the same as a character. Your performance, you be connected to what the character is hearing in the story. Understanding the journey of either the main character or the protagonist. My purpose was to really encourage you to read the stories in a professional way in order to have a powerful insight about how a character is evolves in a movie. At the beginning do will be giving Acting offers of the nature of tourists ready Characters. But then you will be clean been to another kind of Character's more complex and important. So you must know what is the nature of the story. You must know what is the exact emotion in psychological dimension that any character requires. Well, thank you very much. And until the next lesson 12. Disabled Exercise : Hello people. The following lesson is too easy to understand. You have to imagine and feel that some part of your body is injured or ratified. The first level, it can be one of your arms or one of your legs. That doesn't work. They the as you can practice at home in your daily life and tried to feel what it would be like that you were under that condition. Once you really feel that you are moving in jest serine as if you were and their dad condition. You are ready to record yourself or look at yourself in the mirror. The idea is that you are capable to represent the following a scene of the movie, legends of form. You can do it in the following two ways. First of all, US into actors in pairs. Scene as there are two characters involved in the scene, but you can also do it individually. Imagine in that situation. In this interesting played by Brad Pitt has returned home again. I've to remain in years. But he unexpectedly run since to his father who doesn't seems to be doing very well at all. His father has half of his body paralyzed. But the interesting thing is that his father is very happy to see him again though. So first, Tristan observes his father and reacts, use in subtle gestures in the first exercise. So you can do that, take into account what we saw in that previous exercise. Then Kristen's father, the coronal, happily approaches Tristan in sits next to him, be removed in happy to see it. It's a really powerful the scene. Try to do it because it will really improve your ability to dominate the body a lot. Amino machine yours. Oh, well, come on. Man. Whose father? Stan. He hit a stroke some years ago. We can talk now. He wants to celebrate. This is for you, Colonel Williams and level off from his son, Tristan. Step. These are boar's tusks by Japanese warrior to his great man. The airport they, Scott Decker. Look at I've other things too for mother and little Lizzie and Susanna. What is it? Oh, Alfred and Ms. Susanna were married several years ago. Brothers, a congressman now In big new place over in Helena. Jessica shouldn't be. Cattle prices dropped out the bottom after the war in it. Currently seem to care much. Lost just about everything he had. Make it back on horses or something else. We will make it back for a walk. He's saying that your brother Bo different bolstered act or did he suggested I become a bootlegger. Good money bootlegger can record you do. Screw the screw the government. Did you notice how incredible decency, nice. It's magnificent. You can put these acini into practice with your fellow actors. I mean, you must imagine that you have not seen your friends or your family member for viewers, and then you meet again. Of course, under those unexpected conditions. This exercise is very important, especially for those people we're starting out enact him. But if you want to take this exercise to the next level, you could try to represent a blind person. This is very difficult because you must concentrate to such an extent that the information that is entering through your eyes doesn't disconnects you from the reality that you are representing a blind person. I know it's not easier all, but in order to give you some idea of how to make it, it would be like those moments where we are starting at some point, but at the same time we're thinking about something else. We are like disconnected from reality. It happens to me all the time alpha1. So I'm gonna give you an example of a scene where alpha channel is playing a blind man. You understand? Either way, I'm going to do this thing. Why don't you leave, spare yourself. Your gun, crown, monkey myself account. Indeed, account balance. Give me stay right here. I'll blow your ******* head off. And do you want to do it? Do it. Let's go. You ****** up. Alright. So wide. So everybody can get on with your life, would judge? Wildlife? My God, no life. Yeah. Yeah. Understand. Look dark. Give up. You want to give up? Give up. Some given up to you said I'm through your right. I am through. We're both through. It's all over. So let's get all and let's ******* do it. Let's ******* pull the trigger. You miserable, blind mother ******. Which are here. Here we go, Charlie. Ready? You're going to want to die. And neither do you. Give me one reason not to give you two. You can dance the tango and drive it for I bigger than anyone I've ever seen. You never seen anyone to either give me a gang curl tangled up, just taking go on. Asking me a feeling that you wanted to go. What's a great performance season needed to try to watch carefully these exercises to put them into practice over and over again, as long as you get confident. So in this kind of actions, you will become better actors until the next lesson. 13. Romantic Scenes: Hello again. I hope you are doing well. In this lesson, we're going to talk about romantic scenes, in erotica scenes. But in terms of how we managed to perform those kind of the scenes properly and professionally. Since I've been involved in Acting For many years, in, over the years, I've come across so many actors and colleagues who always asking me the same questions. Are the cases real or goddess is real. And they also ask how you manage to perform and to deal with the fact that you are in the middle of a setting. I'm an entire film crew who maybe is a judging you and it's turning it to you. And that is a great challenge to overcome. In Iowa was censored that kind of questions in the same way actually, there are two main answers you can tell. The first one is the polite. And I'm gonna give you an example about it. I suppose had many TV shows and it's streaming shows me Internet, where celebrities usually answer those questions quickly because they know that they are deliberately made it to create controversy. So they want to escape from that situation as soon as possible. So they usually answer that those kind of scenes are completely uncomfortable. That those kind of cosines or something, they are striving width, etcetera, etcetera. And I would say that those kinds of answers come down into the fact that there are too many prejudice around. So fractures in order to, not to leave room to those kind of controversy or subjects or trends that may give rise to some gossip about what an unfair between the actors involved in the scene in the movie. They usually respond to that kind of questions in that way quickly. I guess it's weird in the sense that of course it's weird but it's kinda get an overall. It was so nervous because I was like paranoid about coming across as a predator for one. Because like with sex scenes, you don't know what to do. You're like, is it too is it enough? Is it with the right, your worst nightmare? Too much? Yeah. They're going to be like, Wow. You don't know what to do. Dot, dot, dot. Yeah, like Jennifer. It's never as glamorous as people think it is. It's oftentimes very mechanical stuff. Do you get nervous dinos scenes still or you just so professional but you don't think about it. I don't get nervous. No, not, not, not, not in sequences like that. But since I am your instructor for this time, make compromise is to respond to that kind of questions in a professional way. So if you're wondering how an actor and actress managers to do those kind of scenes, those kind of challenges. And if also you are wondering if the Kansas or Gary's, these are real scenes. My take on my professional taken is that they are absolutely real and they must be completely real. So I suppose that, that answer gives rise to another questions. And I get it. Since the quizzes are real in garages are real. Are they actors supposed to be involved in a relationship in the middle of setting and in the middle of the film project. And my answer is that to some extent they are, but I'm not talking about creating a relationship out of the setting into Canada, Reno, real life. But in terms of create a bond, the actors can feel comfortable with. Actually, there are two manufacturers that require that condition. And I would say that the first is the fact that the camera is so close to performance, is so close to the actors. So it's necessary that what is happening in front of the camera is a thrill as possible. So, as I told you before, it's impossible for actors to deceive the camera, to deceive the audience by performing, just try to imagine this, a 100 millimeter lens capturing every single detail of the actors, every single detail if actor's actions. So it's necessary for actors to create that real environment actually is the most, is a technical requirements of cinema in order to portray character is action situations in a truly way. So ketosis and choruses are parts of the nature of actin. So one of the objectives of this lesson is try to make your whereabouts it. But on the other hand, let's suppose that you had been considered for a film project. I mean, your agency or your aliens has found a very good Acting offer for you. And if film director has given you the film script in order to understand the story, the character. You're suppose to read the entire film script before accepting that role. Because you didn't know the nature of the challenges that may arise. The story in shootings. And the film directors are not supposed to deal with your discomfort while shooting. Shooting is a very expensive stuff. There's a lot of money in it. And I know that you will likely be overwhelmed by the news that you had been considered or that role. But at first, it doesn't make any sense. Because some of the challenges that will arise in the shootings in the story are not related to allow the scenes, but they are likely related to dangerous things. Too risky things like how to ride a bike, how to handle stabbing weapons, how to, when will a sword, how to ride a horse? Horse riding is actually a very dangerous thing. You must be prepared to engage those kind of challenges. So try not to be mindful when accepting Acting offers. But since I know that you're not going to reject any project of any nature. I'm gonna give you the tools that you must have to deal with those kind of challenges. I think that the first thing you must take into account is that you are an actor in urine actor because yours, your Kim to leave many lives as possible. By Acting, by performing. Your actually a performer who wants to leave main lives as possible in one single life in Acting has really given you that chance. So try to take Acting a secret where I get away to those lives and worlds. So I don't mean to let you, there are two main examples of film projects. Many movies and actors that were involved in a film project who ends up being involved in a real relationship because of process, the experienced a shirt behind the creation of those characters. But I can assure you that most of them Arc Joan actors who have not many projects of that nature behind it. So, so that short experience makes them take that kind of projects in that way because they are not experienced. The challenge of the creation of a relationship, a professional relationship, in order to create a bond in a film project. So in the Creative making process behind a character, they the managed to split the real lives from this setting life. So personally, I think this is part of the actor straining of the actress growth and is something we're all gonna get through. I'm gonna give you an example. On the screen you are watching an advertising where I played. But there is a girl involved in, in advertising in the story. And actually she's a friend of mine. And since we were friends, we were able to perform those Character's properly comfortable enough to create that Love environment where since we are really love, we seem a real carpool. And it was not necessary to create a real relationship behind settings in order to play those characters properly. But I know that it's the context of an advertising where sometimes involves a week of shootings, a couple of days, and that's not a problem at all. But if you are involved in a film project which has a love story, you must prompt that kind of relationship before the shooting, maybe three or four months before the shootings. There are many examples about it. Even Titanic, Leonardo DiCaprio and Kate Winslet. They never wear boyfriends, but they are actually good friends until today. So that would be one of the most important pieces out of bias that can give you in order to make that Character's involve in Love Story. Try to create a friend relationship before shooting, to create that kind of environment. The doesn't prevent you to touch each other to get closer. And that kind of environment may be created in the context of a friendship in the friend zone. The other hand, in the previous lesson we were talking about it's still others Technique and masons Technique in from their point of view in order to make in loved Character's, it's necessary to fill in love in the setting. So this is by far more profound and dust Jesus encourages and loves gestures. So this is the reason why I told you that you must have split your mind into parts where lactate. Because if we are to be involved in a professional film project, who has a love story, we must go all the way and we must play the character in all, each dimension. What I'm trying to say is that cases in love gestures would be a consequence of being Love in the story. So since you are in love as a character, it's shooting be broadened to play those scenes incenting. So if everything comes down in real feelings, you're supposed to be loved in the story. We're supposed to be loved as Characters. And you shouldn't have provenance with that kind of challenges. On the other hand, I highly recommend you to talk honestly with your partner. I mean, your boyfriend and girlfriend, hospital and a woman, whatever. Because not all the challenges harder later two cases and cars, but also a psychological process behind the creation of a character than will likely impact your real life on some level. So regarding to save your relationships, your real relationships is it's important to be honest with your partner. So I would say that it shouldn't be a problem at all. For some people, maybe that's a problem. And finally, the last issue to tackle in order to create Love is soirees to perform Love lessons is to perform a static labs gestures. These not always has to do with real emotions, but also with the fact that the camera is nearby and in your gestures are supposed to be clean enough and aesthetic enough to be read properly by the audience. So what's end trying to say is that even though we are feeling real emotions while acting in their love is scene, we must strive to do gestures. We have some control over, I mean, we are feeling emotions, but we are looking over that gestures all the way. In any case, not all cases are beautiful in real life. As I told you before, tried to reach out your friends in order to create Acting groups. And even though some of your friends are not willing to make a Leman from acting. Acting in fact, it's really enjoyable a stop. So your friends will be useful for you to create short films where you will be able to perform those Love is Scenes. Remember that you must be prepared when opportunities come out, so it's not to feel embarrassed actin. Well. Thank you very much. And until the next lesson 14. Example of Love Scene: Hello, people are really wanted to reach this lesson because I guess you're thinking you're going to learn about how to kiss someone in front of the camera in this lesson has nothing to do with that. But however, I highly recommend you to do it in pairs, since Love is scenes, there are two processes involve always. But additionally, I can assure you that by paying close attention to this exercise, you can learn what to do in this game of cosines. The following scene is from the movie before sunrise is movie is a masterpiece. It's a good reference when it comes to portray and two people in Los. So the most interesting thing is that there isn't even the kids in the scene is a conversation your boss. So I wanted you to see whether gestures are like whether they are talking. Obviously the characters are ferritin. So pay close attention to those gestures that are the result of their being, trust and chemistry between the actors involved in the scene. We're not necessarily a couple in real life. They are not in, they never wear. So let's check it out. Well now they're stuck together. So we're going to ask each other a few direct questions. We ask each other questions. You have to answer. All right. First question for me, yes, I'm going to ask you describe for me your first sexual feelings towards a person through sexual things on my gun. I know I know. No flow. Slurry. This, select them together and you as a swimmer. And here they had bleached out chlorine here in green eyes. And to improve his times achieves the era of his legs and arms. Disgust. Oh no, he was like this gorgeous dolphin. And I front in that a big, big crush on him. One day I was getting Pressfield back to my room and he came walking up beside me, know, and I told him, you should be crucial to me and say, well, it's too bad because I have a big crushing. Really scared the **** out of me because I thought he was so Fine. Then you officially asked me out on a day two. I pretended I didn't like him. I was so afraid of what am I doing? I went to swim a few times. I was swimming competition that you went really, really wrote this little declarations of love to each other at the end of the and from its true with degrading forever unlike meet again very soon. Well, then I think this is the opportune time to tell you that I happened to be a fantastic swimmer. Really. Make that okay? Yes, yes. Yes. Next question. So I can give when we're then Sramana, after I went into such private details about my birthday. Yeah. I know what those are. Two very different questions. I mean, I could answer this. Sexual feelings, sex, no problem. Love. And what if I asked you about what I would have liked, but at least a great story in Love is a complex issue. I mean, it's like, I mean, yes, I have told somebody that I loved them for and I've met it was a totally unselfish giving Love. Was it a beautiful thing? Really? It's Love. I mean, I don't know. But as far as sexual feelings go, I'll have you started with an obsessive relationship with Ms. July 1978, Dino Playboy magazine. Crystal, my turn now. Okay. Tell me something that really ****** you off. Really drives me crazy. And everything looks good. Linguistic go. I hate being told by strange, being strange man industry to you like to smile, like to make them feel better but they're boring life. What else? I hate? I hate that. 300 km. Did you see how incredible divorce reaction are in the natural account for that the career fields. That extraordinary moment when the void tries to come the girl's hair and immediately moves away from her. It's incredible that Theresa a real leasing it in the reset, shyness and emotion that comes from being with someone you like, it feels completely real. It's not about kissing and touching to make it look real is set at the moment you are Acting. You should feel that way. It's amazing that it all happens in one single shot. I highly recommend that movie. Now you're gonna see another example from the movie The Bridges of Madison County. In this movie by Clint Eastwood, we're going to see how the murder strip Character's DES, as such simple action that at the same time, it ends up causing them to dance and torture charter for first-time. Let's check it out. I still think you was wrong. On my face. Be feel like me saying so. I think I'm running around the block hollowing an agonist. Tell you now, if it sees a manager. You good. Oh my dream. Johnson. Hi MADS. Yeah. We're no, I was just fixing myself something to know why. Yeah. I heard about him. Here's some kind of hippie. No. I don't know. Is that when it up looks nice. Now this is going to step into about when you call. So maybe yeah, they don't get back to Friday's coiling. Okay. You know oh my it doesn't matter where you will. Because I can close my eyes. And they're, you know. Now, if you could see them manage, you could be charged. Oh, my dream. It doesn't matter. Desired outcomes are close my eyes. I really find this Scene magnificent. There are so many details that could not be indiscreet, but are the outcome of the construction of the scene. In of course, that comes from the Character's interaction itself. Pay attention to these. The way she fixes his shirt gives rise to so much elitism in the scene. Because someone wants to get closer to her. And she's the one who takes the first step while talking on the phone. Uh, see if they had lived together for a long time. It's super romantic. We must know these kind of things to embellish our Characters. Now I'm going to show you something very important. What it looks like when actors downfield counts trouble when acting together, Love is scenes. So regarding the scene, I'm going to show you the movie. I'm going to show you. It's only my point of view from a specific, a scene of the movie. I actually loved that movie. So it's the movie Blondie, that movie about the meridian, more rich life. I loved the movie and the filmmaker language. But I am a filmmaker. I'm always thinking now about the secrets behind the filmmaking process. Even though they armors performance this magnificent. I think that actors didn't feel really comfortable playing together. So I would say that the film directors even added a kind of emotional music's to hide that situation. So let's check it out. Reading, you're going to have very quiet. Daddy, This is so beautiful. From a point of view. They don't feel comfortable around each other. I feel that I feel that they don't trust each other. In actually, if you see an original photo of the real character, just by looking that photo, you can tell how much they love each other. It's something inevitable. Confidence is the most important thing regarding this issue of lava scenes. So in order to make cat, I would say that trust, that trust of the friendship is the best tool of all. Thank you very much. Mental, the next lesson 15. Casting & Agency: Hello people. Once we have decided to become actors, and we really want you to make a living of it. We must take care of the first steps in one of the fears of steps is to create a portfolio. A video book. Video book should provide information to the agency that we are worthwhile actor's worthwhile performers. And that is not only unrelated to acting skills, but skills to another nature. For example, how to ride a bike, how to ride a horse, how to drive a car. That's USB-C, several languages that you know, martial arts in the, you know, also how it's a scene or to play some instruments, for example, because they are all skills that are likely to be in any character. But I know you may wondering how to get a good one since you are a beginner, you're starting out induce word as actin and you didn't have the tools to create a. Okay, no, it's a short film or any sentence. You are not filmmakers. But actually when you are an actor, you have friends, you have colleagues who are also performers. And that is the reason why I had insisted on this many times, on many occasions throughout this course, you should try to get in touch with your friends to somehow create projects and create kind of short films where you will be able to display your skills. So at this time we have more possibilities than ever to shoot some it seems by using a ROM means, I mean you can shoot it seems by using its smartphones. For example, you are an actor. You're supposed to read plays, to read a screenplay is film scripts and also literature. Us actors who are supposed to have some information about the screenwriting in about how to create a character and his story. So if you're an actor in you really want to make a living of it. You must not be afraid about the creation of story. On the other hand, you must take into account the following two things. First, since the COVID-19 crisis, the self-tape is more important than ever. That is to say that even having a video book, most of the time you will have to provide a sample of your performance to the gas in director by using a self-tape. So in this regard, the smartphone comes out. It's very useful. It allows us to shoot with higher-quality than we imagined. On the other hand, today, there are also cameras called DSLRs, that can be rented by you and your friends in order to shoot a story. If the video book that you are providing, the features that the scenes, any stories that are in it, they are written by you. Imagine how valuable that is to the film director. This means that you're a creative person, knows about a character. You are given information about the intellectual skills that I was talking about earlier. So don't be afraid to get in touch with filmmaking. Once you're ready, have here video book, it's time to look for the agency, the most suitable Agency for you. In this regard. There are two kinds of agencies. The advertising wants to, in the fiction wants. The advertising ones are focused on advertisement projects. But to some extent they're also focused on film projects. When a film project requires some background actor or tertiary Characters. So you're able to fill those roles wholesome. On the other hand, the fiction agencies are divided into kind of agencies, the qualified fiction agencies and the general fiction agencies. The general fiction agencies are those that have around 200 actors and they're released who are able to engage those tertiary Characters and background character as far film projects, even though those actors are not getting an important role for any movie, the organic thin roles in their earning money in the agency is earning money is taking and small percentage of every single actor month after month. For models in advertising, it's important to be considered in this kind of agencies because they usually work for advertising projects wholesome. Or the other hand, there are the qualified fiction agencies which are more demanding, awesome, because they are led by really picky casting directors. I mean, they have around 20 or 30 very skilled and talented actress. So in order to apply to them, to those kinds of agencies, it's important to have a really good book. It's important to take into account that most of film directors are usually in contact with those kinds of agencies in order to get to find the main action of the movie or the supporting actors have the movie. Generally the main actor is casted directly by the director of the film or by someone very close to the director. And that is the reason why I insist that you should be in contact with Films cools, because you don't need to be in an agency to be able to play in a great short film, for example. And that's your film can work as a business card to be considered in a qualified agency. I know that this course has been seen by many people from all over around the world. I am in Spain. In Spain, for example, there are agencies that manage actors who can play in English. Obviously that opens more doors for you. So in Spain, France, Italy, Mexico, there are certain kinds of agencies where they take into account actors who can play perfectly in English I'm not going to name England, Australia, India, or United States because English is spoken there. But it's important that you can answer those kinds of agencies as well. I can also tell you that if you are in Europe, a highly recommend you moved cosmopolitan cities were actors of all ethnic groups are taking into account as so long as they speak several languages. Barcelona, Madrid, Paris, London, Berlin. I'm going to tell you something very important regarding this issue of background actress and tertiary characteristics, cetera. And my purpose also is to encourage you to keep going in this actor's life, keep doing castings over and over again. Ready character should never draw for any reason, more attention than the main character. What do you think about it? Because you are doing Gaston is over and over and again. And I guess that you had been rejected over and over again in you don't know. But the thing is that in terms of frighten everything that surrounds the main character shouldn't be, should work in order to highlight that main character. So maybe the casting directors Notice in debt that you will be shaving the main character, the main actor with your performance. So there are too many factors behind the decision-making process in a gastrin. So you must be aware of all the process all the way in all the time to be successful as actor. Another important piece of advice that you should take into account is that when you stored in an advertising agency or not so important one, those agencies are going to do afford to session for you. But depending on the agency, that is not going to be a good session at all. I mean, it's someone who takes it forward those to fill out a list of requirements for an actress portfolio. So I highly recommend that you hire a good photographer, invest well so that those photos can sell, do correctly. Another very important detail regarding the video book is that it's more important that you see two or three scenes where you play a really well-done to make a quick clash with many things. What I recommend you is that the video book is starts showing two or three complete sense where you play fluidly. And then at the end you add a collage, I mean, a kind of montage where you can see the best you have done. Fixing agencies are very demanding. They didn't have many actors. In fact, they work with only a few. That's where your photo book in your video book must be very good. When do you see it, Meisner? Once we're in an acting agency, we must know that there are gonna be two main types of casting. First of all, the face-to-face casting, where you are going to have to go and do a previously agreed performance. That is, act out a scene or do some specific action. There are some important things to take into account in this regard. In the face-to-face casting, their other extra factors that are at stake. I mean that the casting of stars from the moment you're right at the studio in grid, the first person who walks into casting, it's like a job interview. You must like it. The people who are Directing the casting. Great to be friendly, respectful, and polite in Evolvable. If it's an advertising casting tray to pay attention to the brand for which you will do the casting. I highly recommend you to analyze the brand started at corners of the brand so that you are dressed in color are similar to those of the brand. The face-to-face casting is the most intimidating. The more you do, the better, the more you do, the less fear you will have an average actress lose their fear of Guston after 30 attempts. On the other hand, there is a gas and via self-tape, which became popular after the COVID-19 crisis. For this casting, you will have to have a good one smartphone or a camera as good as possible. It doesn't have to be the most expensive camera in the world, but really, the better it is the vector use self-tape will be. Generally you must make a video presentation where you show your profiles, your hands, and you say your name and your agency. Actually you are supposed to do those kinds of presentations in the face-to-face casting. Something important with respect to both face-to-face and self-tape castings is that generally are agency will give us a guide to do the actin. In fact, is the project manager who provides the Acting instructions. That is some instructions so that they actors have an idea of what they're going to Act either in the self-tape, are in the studio. Regarding the performance. They want to see reactions, details, expressions, and gestures to be selected in a Gaston, there are several filters. The first is obviously to be in the agency. The second is that the casting directors selects to you to Odisha and among the possible actors available linger agency in that aspect, your video book in your photos will be considered for friction projects is practically the most important thing of all. The third filter is that the casting director selects to you from the option that I auditioned. The best options will be shown to the direct, the film, or advertising. The last filter would be that the directors selects to, in summary, for stages that constitute the decision-making process behind a Gaston. Well, I guess you have Harris so many stories about actor's being rejected that tourist. And they are all true because actually film directors are not looking for good actress, especially rather that they are looking for, for Characters in that specific actor or actress who matches that character. So a perfect samples about it is hard on Schwarzenegger. He's not a good actor or at all, and no one can say that. But he's a celebrity, is a good, quiet, a Hollywood star in an admired him because of his role in Terminator and in order some action movies. But he was chosen for, for his role in Germany nature because he really looks like a cyber. Because South his features, because of his accent make him look like our real machine. And actually in James Cameron knew it. So try to understand that example and never lose hard to continue doing castings. So thank you very much. And until the next lesson 16. The Importance of Physical Training: The purpose of this lesson is to make you understand how important it is to pay attention to our periods in our skills in order to make a leaving of acting. I don't mean to say that you must spend all day long in the gym in order to get in shape, but to have some versatility to engage any Character's challenges. When you had been considered in an acting agency, your profile is supposed to be sent to many film directors and casting directors in order to get an acting job and now lesion. So you should be suitable for a wide range of characters in order to get an ambition. Because at the beginning, you will be only given acting out for something nature of tertiary Characters. And they film directors are not supposed to wait for you to match the character. I mean, the number of actors willing to play that role is very large and the supplies are large, so it's pointless to wait for you. So you must be aware of that process that is not only related to your appearance, but also your skills in order to fill the requirements of any character. Let's suppose that you are in an agency in Jordan shape also imine you look very well. In some film director is interested, you mean She wants you to play her film. So that the problem is that even though you are in shaped, the character is in all the way the one. You must support them some weight in order to make it. So in order to match the character. Maybe by dieting for one month, eating enough carbohydrates and fats, you can make it. But conversely, if that character required that you get in shape and you are another way the actor, it will be more difficult. It will take around six months, a year. Maybe. You're getting shaped to match that character. And if that character and supporting one, it's pointless to wait for you because there will be a large number of factors willing to play that role. So let's important to pay attention to this example to understand how important it is. Physical Training. On the other hand, veni shape really provides you the chance to portrayed a character in a truly way. Remember that in terms of writing, cinema is presentation. So we need to render the reality. So in order to make it, if we need to portray all the Character's features. So we need to look like we are capable of doing all the things that the Character's is supposed to do. So try to imagine how many characters require that you are in shape. Maybe a bothers men or an athlete, or a soldier or a dancer. So you didn't necessarily need to know how to play soccer. But if you look like a soccer player, in terms of physical features, a large part of their way would be complete. Additionally, we must Snow did the movements of our body are related to the strength and elasticity of our muscles. That is not only a matter of appearance. I mean, if you're going to play a role of a tennis player, you are also in shape. Those movements you make are going to look better if you are previously shape. You've been For Film School sharp Films. The same thing is going to happen because the production can't afford that. That means that the Tyvek in, and you should be the one who finances your physical preparation. The more skills in sports you know, the better it had come across it all the times where we my career, even for advertising projects, they are looking for an actor who knows how to ride a motorcycle. You are looking for an actor knows martial arts. They're looking for an actor who knows how to ride a horse, or an actor who plays soccer, etcetera, etcetera. So if you know some basics notions of each of these activities, you will be a Moreover cited actor. So they're all worth wireless skills. There's something boards and when it comes to making movies, for most of the movies that require a 25-year-old character, not only 25-year-old actors or actresses will go to the audition, but those who sends 25-year-old, we're do I want you get with this that most of all for my students in Europe quit smoking. There isn't a point in continuing smoking is detrimental to your skin, is detrimental to your john days. If you don't smoke when you reach 30 years old, you will look much younger. You will be able to say that you are 24 years old in they will be leave you, you have no idea to what extent is smoking can harm you. It's going to do irreversible damage to your skin. In fact, I could say that in reality, you're gonna look older than you really are. Let's thesis obviously attached to that previous lesson on body Awareness, it's also important to highlight that you shouldn't be obsessed with this. The idea is that you are integral actors. I mean, all physical preparation is part of your knowledge. Physical exercise makes us work better. It makes us correct. Bad body habits mean that bad body postures. And finally, I could tell you that by training more blood will reach your brain. They're writing proven your intellectual skills. So thank you very much. And until the next lesson 17. Social Relationships: Hello people. I really wanted to reach this lesson because I suppose that many of you are taking courses in order to find the tools to make your way on your careers. So I really wanted to help you, really wanted to give you a boast on your career. So the purpose of this course is to show you how the things go in the extra slides. Most of the problems actors and actresses, half when relating to people, have nothing to do with their appearance or very skills, but to an inherent in shallow mindset that underlies most of them might take one is that in order to achieve all the things we want in life, it's necessary to create a kind of plan. The plan that allows us to, to at least get closer to those things. That plan must also contain the kind of behavior and mindsets we're going to having education and when opportunities came out, first of all, we have to understand that our work, our craft, depends on other people actually. I mean, most of us don't make movies. So we need to be in contact with filmmakers in order to get chances. This is where most of the problem arise. Because many actor sexually inaccuracy til toward modelling context. I mean, they tend to be more in contact with people related to fashion in advertising than with filmmakers. So the people around this with whom we interact will end up influencing that self-image we want to project to others. And that is crucial because people aren't going to notice it always, especially in our social networks. In actually, you can notice how important it is that today when you do it casting the yes. Q4 here, social networks. Because the guests in director or the film director, by reviewing your Instagram in detail, for example, they may have an idea of what is your personality about, what is your attitude, etc. in order to find out if you are the most appropriate actor for the role in that is going to happen at any level, both for movies and for advertising. So in summary, if you have a plan where you want to play in some short films, for example, you are supposed to interact with people from film schools in order to know how they think, what are their interest. Because actually having that information you can get better the layout of your social network in order to project those intangible things that charisma that tip personality, deeper feelings that Indian is what the filmmakers are looking for it. So what's entering to say is that if you're on the posting photos of your body on your social network. And also vain things, shallows stuff, superficial stuff. You can add spec that film directors and gaseon directors are gonna be excited by reviewing your profile. They are not going to find any special behind your profile. I mean, son of the stories behind a film project imply an interesting character. You must project that you're capable to portray those characters. On the other hand, some film projects doesn't have a written script yet. So it's in process. So they film director of the screenwriter is looking for that interesting people in order to create that character as if it were a source of inspiration. So you must take into account, hold the process all the way in order to be aware about the connection that mass halfway between the actor in the creative people. I mean, they film director or producer or the screenwriter, the casting director, especially we must do that since the fact that we must be aware of the kind of projects we went to being in. And actually this can become a problem for you. For example, if you are a very handsome man or a very beautiful woman, you managed to do gas Scenes and minus to appear in advertisement. Also, you are working as a model as long as you continue to grow it in your social media, your mind is going to change. In Indiana, you will want to interact with different people. So unconsciously, you will want to interact with more important people. But the problem is that the movie is always ends up being created by the same way. I mean, kids from the film schools in most of them are not popular at all. They are trying to make their way. So they will end up Gaston for it. They are movies. Those are known actors with whom they are in contact. I have seen this many times in many occasions. For example, I know several colleagues who are popular in social media. The are ready frustrated for not being included in short films or friction projects. But it happens that they were never in contact with the right people because they were always more interested in being celebrities then becoming actors. They loved that idea of appearing in movies, good movies of course. But they didn't do what it's necessary to play on those movies because they don't know exactly what is necessary to make it. Sometimes actors go into the cinema to watch a movie, a very good one. They assume that the Creative making process behind the movie was conceived in Silicon Valley. In LA, for example. I could say that the most famous movies in Hollywood where conceive at that place, but On the other hand, there are some independent movies that are also international ones because they managed to get distribution contract that they are likely to come from. Non-profit programs are film foundation programs of any film festival, for example. And there are likely to come from filmmaking group, for example. I mean, a bunch of friends who get together in order to create a movie, to make a movie. So sometimes the context in which the movie is created is too far from the contexts that influence or speaking to happen once they become famous. This is happening in a lot with Latin celebrities from need to see on Latin soap operas, etcetera. Because actually actors become celebrities of acting in soap operas, but failed to take the step towards what daydream off. I mean, to play in movies. I tell you what you can notice also, at completely professional levels, there are very famous actor so leverages that when they go to film festivals like Cannes Film Festival, they tried to get in touch with John directors who are not popular at all because they are the ones we're going to do, those independent films that will allow the actor to raise his level. So that is a very good strategy. I insist try to maintain a social profile of someone is smart, someone interesting, and tried to keep in touch with filmmakers from film schools. You can watch for yourself these and Film Festival page. You can go to that side to review foundation tab. Foundation is a kind of a non-profit program for John directors from young filmmakers who are not famous at all, but very talented though. So those Joan directors, many of them come from Films cools. They're not celebrities, but they are amazing artist. So that is what I'm talking about. The you are the ones who are going to make it a great movies of the future. So big, close attention to that because they are supposed to be your best friends. Actually, you can watch and Tarantino's movie Once Upon a Time in Hollywood. In that movie, Leonardo DiCaprio's character, he's trying to get in touch with a Joan film director who uses neighbor actually, that happens in some scenes and behind the character is always worried because he must attend the parties that they film directors throws at his house, Et cetera. I mean, Tarantino is portrayed in reality as it is. So as I was telling you, you must create a kind of life map, an entire map of your career from scratch in order to Act in the right way in education under any circumstances. Most of all in order to have the right attitude to meet new people. Because that's first, you will be open to set any Acting offer because you are an unknown actor. But as you grow as an actor, as you grow in popularity, as you grow in social media, you will be managing your time in a different way because time is not infinite after all. So you will be wandering in any occasion. If that person you meet in that bari, that networking party is good enough for you, is successful enough to expand time with those questions may be detrimental to your career because they are preventing you to meet new people. But it will depend on urine Italians not letting yourself be carried away by appearances. So you are supposed to listen to people very carefully. Instead, you are supposed to give the other person the chance to get in touch with you. You don't know what opportunity there may be behind that versa. I mean, the truth is that if you are a beautiful man on a beautiful woman, more people will approach you than any other person. So you're going to have to deal with it. You have to learn to deal with it. So next picture, this, Let's suppose that you are at a networking party and you come across that random person in a dance hall. I mean, she or he has found you pretty or handsome. So he is interested in you. They're not supposed to redact that person all-in because because she or he doesn't turn you on, it doesn't make any sense because he is likely extraordinary. You didn't know it. And once he realizes that you are not interstate and him his source treating you differently like a real friend. And you can both manage to create a great film projects together. I want you not to close the door on yourself. You have to meet a lot of people and be nice to everyone because you are not the one making movies. If you need opportunities, look, even at Hollywood levels. There are actors who managed to win an Oscar, for example, in shortly after they stopped making good movies. Because they be kind of verbal, they become impossible. I mean, there's no way to contact them because the opportunity is never good enough for them. So you must be aware that the problem is that generations are changing. So that kind of celebrities who are waiting for that big break again, they spend the rest of their lives rejecting chances, thereby is doing Sunday commercial movies instead, because they no longer have humility to contact unknown young people. Jonathan Lakers, I tell you what, when he went to the Cannes Film Festival, I realized that there were two worlds in the film industry, the commercial and mainstream world and the, in the world. And they both managed to get together. And those venues like Cannes Film Festival, on one hand, the commercial world is only focused on producing a great deal of movies, a lot of movies month after month, year after. Juror is like kind of business. In that environment brings about very rich previous years because they managed to learn a lot of money by doing that in Cannes Film Festival, know stat. So most of those producers are invited to, to carry out workshops and lectures to share their ideas, their experiences in order to encourage john filmmakers and actors. And I'm gonna tell you a story about it on one occasion. And American producers book. And who was a very well-dressed person, will talk about money from his baseness, etcetera, etcetera. In the business of making movies sexually. But even though he talks like a very serious version in like a rich person. And indeed he seemed that way. All the movies that he showed us that night that his company had made, they were very bad movies, super commercial in M2 movies. I mean, there was nothing artistic about them. But the thing is that the next day, a famous producer of independent movies, game, and award winning producer. He was a person that if you run into that guide on the street, you would think and that he is an elderly retire man who is perhaps struggling with his bills because he was a completely different guy. He was a kinder person, so much closer, different, much simpler. So the fact is that the two people, the two producers were equally important. But our prejudice could be an obstacle to get into Novum. So it's important to take into account this great example in the last piece of advice that I can give us try to create Acting groups in order to create film projects. Remember that filmmaking is so close to actin. Try to be humbled with your friends word your colleagues in order to create volumes of relationships. The other hand, you must take into account that ego will always be an obstacle for us, especially when ego make us think that we are too good for some film project. Thank you very much. In until the next lesson. 18. FINAL: Well, this video editing course comes to this hand. The most important thing is that I'm going to update it eventually with more than lessons, especially concerning the understanding of senior bunch of graphic language. So put everything into practice, as I told you consume quality arts, develop your own sensitivity to move in images and also the sound dimension. Well, if you like this course, you can leave me a review because it will help me a lot to create even better courses than this one until next time