Internal Technique

9. PURPOSEFUL DIALOGUE

Character conversations should be sparse. One should speak only if there’s no other way to convey the exposition. Actors use their whole bodies, not just their lips. Give them less dialogue to allow them to dive deeper into the subtext of the character’s actions. One look can say far more than a dozen words.

10. FILM RIGHTS

Writing isn’t just an art, it’s a business. When a novel reads like a movie, your odds of attracting producers and selling the film rights increase exponentially. Some producers are even buying book rights before the novel is finished.
(What are first serial rights?)
Screenwriting may have to abide by more strict formatting and rely upon more visuals than fiction, but our worlds have commonalities, too. We all want our stories to succeed on take one … or Take Two.

Stanislavski In 7 Steps: Better Understanding Stanisklavski’s 7 Questions

Posted on December 2, 2015 by

There are so many different acting techniques and books and teachers that finding a process that works for you can be confusing. Ironically, most acting books and teachers use similar principles as basis of their pedagogy; Stanislavski’s system. This is because Constatin Stanislavski is considered the father of modern acting and every acting technique created in the modern era was influenced by “Father Stan.” For young actors, understanding of Stanislavski’s seven questions is an invaluable foundation upon which to build a character.

1. Who am I?

Start with the basics and then fill in the gaps with your imagination. Pick apart the script to find out what type of person your character is; what they look like, what they believe, how others describe them and so on. Think about your character’s past and the significant events/people that influenced them and made them who they are in the script.

2. Where am I?

The script will usually tell you where you are but the important thing for an actor is to consider how the character feels about the place they are in. Characters act differently in public than they do in private. People move differently when they are cold vs. when they are too hot. The space your character occupies can determine how they behave during a scene.