Theatre
Prompt
Choose an actor or actress with a major role in a movie from one of the following five “Required Viewing” films from the genres The Western, Crime and Gangster, Horror and Suspense, War, and Anti-War, Drama Films.
Once Upon a Time in the West (Western)
Miller’s Crossing (Crime and Gangster)
The Shining (Horror/Suspense)
Zero Dark Thirty (War and Anti-War)
Boyhood (Drama)
Discuss the specific acting demands that the actor faces making a film of this genre.
Now choose a different actor or actress with a major role in a film from a different genre listed above. In what ways do the acting demands on these two actors differ? In what ways are they similar?
You must address material covered in the lectures and required reading material as well as your own observations to make your points. You may also cite material from recommended reading for extra credit, but you are not required to do so. Be specific and thorough in your observations, opinions and arguments. (Do not include long sections devoted to plot details in your paper. The Special Readers and the Instructor have seen these films – more than once! Instead, get directly to the specifics of your arguments.)
Remember — You must cite appropriate portions of both the required reading and the lectures to support the arguments in your papers. Failure to do so will significantly lower your grade.
You have to make related your argument and these two reading materials closely (Making movies” by Sidney Lumet, “Acting in Film” by Michael Caine)
Be sure to cite the lectures and all required reading material copiously to support your arguments! This is vital! You must show that you have done the work for this class.
Two Reading materials
(“Making movies” by Sidney Lumet, “Acting in Film” by Michael Caine)
*Below are the 5 chapters of the materials we deal with in the class*
Lesson 6: Westerns
Reading
Making Movies
Chapter Nine: The Cutting Room – Alone at Last
Acting in Film
Characters
Screenings
Once Upon a Time in the West
1968, Directed by Sergio Leone
(required viewing)
Lesson 7: Crime and Gangster Films
Reading
Making Movies
Chapter Ten: The Sound of Music – The Sound of Sound
Acting in Film
Behavior On and Off the Set
Screenings
Miller’s Crossing
1990, Directed by Joel and Ethan Coen
(required viewing)
Lesson 8: Horror and Suspense
Reading
Making Movies
Chapter Eleven: The Mix – The Only Dull Part of Moviemaking
Acting in Film
Directors
Screenings
The Shining
1980, Directed by Stanley Kubrick
(required viewing)
Lesson 9: War and Anti-War Films
Reading
Making Movies
Chapter Twelve: The Answer Print – Here Comes the Baby
Acting in Film
On Being a Star
Screenings
Zero Dark Thirty
2012, Directed by Kathryn Bigelow
(required viewing)
Lesson 10: Drama
Reading
Making Movies
Chapter Thirteen: The Studio – Was It All for This?
Screenings
Boyhood
2014, Directed by Richard Linklater
(required viewing)
Theater 120B
Acting & Performance in Film, Part II
Midterm/Final Study Notes
The Western /Crime and Gangster Films Horror/ Suspense / War and Anti-War Films / Dramas
The following is a list of topics you may want to address to help advance the arguments you raise in your Final paper. You may certainly explore other topics and you are not required to address all of these suggestions.
Some topics to consider are:
Character – In the film “Whatever Happened to Baby Jane” for instance, Bette Davis had the specific demand of developing an extreme character that nevertheless was three dimensional and truthful.
Relationships – While Joan Crawford did not need to create an extreme character in “Whatever Happened to Baby Jane,” she did have to invest in a specific relationship with her emotionally disturbed sister. Everything she did was based on quelling her fear of Baby Jane, while trying to get free of her.
Subject Matter – In “Lifeboat” for example, each of the characters on the boat had strong, specific opinions about everything that affected them and their survival. Each had an opinion of what should be done with the German sailor, for instance.
Environment –The environment can be like a major character; the vast desert in “Lawrence of Arabia” as a case in point. How does the character interact with his environment?
Conviction – it is common for a character to have strong, impassioned convictions that drive them throughout the film; Morpheus’ need to free humanity from the Matrix or Lawrence’s drive to unite the Arab Tribes to defeat the Turks. Is the character willing to die for his/her convictions?
Theme, Message and Mood – In many genre films, the writer and director have a distinct theme or message that they want the audience to understand or at least ponder. Often they want the audience to leave the movie theater with a particular mood. How does the actor help deliver these themes while remaining truthful to character, relationships and story?
Hybrid Genre – Is the film an example of a “hybrid” genre? For instance, “The Matrix” is primarily a Science Fiction Film, but it is also an example of an Epic Film. How does the actor deal with a film that combines genres?
Story versus Character – In “Making Movies” Sidney Pollack says that drama focuses on Character and lets character develop the story. In Melodrama (drama in the extreme) story is everything and character must take a back seat. Do you agree? If so, are the actor and the character you have chosen driving the story of the film? Or is the story driving him/her? Do you think this affects the actor’s performance choices in a film? Is so, how?
A Brief Explanation of the Craft of Acting
Remember – an actor’s job is not to lie or pretend, but to tell the truth. The core of all acting is “doing” truthfully. While characters talk and gesture and experience genuine emotion, at the center of all acting is action. Characters do things to try to get what they want. Also, both drama and comedy are reliant on “conflict.” Conflict involves characters having problems that get in the way of what they want. But most often the characters’ needs are so strong that they attempt to overcome these problems to achieve their goal. Sometimes they succeed and sometimes they fail, but they invariably struggle to attain their objectives.
You are encouraged to address any topics from the viewpoint of the craft of Acting.