How To Succeed In Auditions And In Scene Performance
The Art Of Focus And Concentration
You are standing before the Camera. Settings are arranged. People are moving around. The Asst cameraman is checking the light intensity with some instrument, right close to your face and calling cinematographer loudly while you are still recollecting your lines. The director is instructing loudly to the crew. Sound technician is adjusting lapel mike on your body breathing on your face.
Suddenly there is a shout "Ready?"
Followed by "Sound"..."Lights"...Camera"....a...n...d..."ACTION"
Tensely you start your lines...andyou stop!
There is a block. A total mental block!! You have lost your CONCENTRATION and FOCUS
The director shouts..."CUT"!
Everybody looks at you...director, crew and your Co-stars!
What a pity! The shooting is stalled because of your mess up!
Tension builds up affecting your performance and the portrayal of your character when you notice a chaos around you on a set before a "Take". It further aggravates when you see the crowd watching you.
How to overcome this mental block?
5 Ways To Concentrate
Select an object on the set, say a lamp. A small table, a picture on the wall or anything and keep your focus on it. Even if the shot demands you to look somewhere else, keep looking at that object mentally. You don't see anything else or hearing anything. Just keep focused on that object.
Go on giving an auto-suggestion that you are "The Character". Go on repeating this in your mind again and again. Say to you "I will do well","main bahut achcha karoonga" "yes"! "It will be a great performance!"
Don't repeat your line now. You have done enough. Repeating just before the "take" may create a mental block
Take a deep breath and release slowly. Do this 11 times.
The best is to create a "Wall". Think of your bedroom or any room with a blank wall. Mentally put that wall in front of you, blanking out all the chaos on the set. You are now focusing on the wall, but are not aware of it. Your mind is active and aware of what is happening around, but not seeing it.
Have You Got It?
Good!
Finally, when you hear "ACTION", go into your "character' and shoot!
Congratulations! You have just given a great performance!
The wonder of actor's eyelines which speak everything without any dialog One of the greatest Actors of Our Times-Sir Ben Kingsley ("Gandhi" fame) Sir Ben Kingsley is an English actor. In a career spanning over 40 years, he has won an Oscar, Grammy, BAFTA, two Golden Globes and Screen Actors Guild awards. Wikipedia
When I say "Eyes", I mean "Eyelines"
Training on Eyelines? No! I don't know of any in Mumbai. But, You are Welcome to Improve my Knowledge There could be many reasons for this.
A school may not be aware of the concept of "Eyeline" in acting for camera
There is a possibility that director | cinematographer is in a hurry to complete as many scenes as possible (may be in TV serials where they have to complete and film episodes on a daily basis)
The director may presume that an actor will adjust to his/her own eyelines in a shot with the camera
Remember! A camera, loves eyes
What is an eyeline?
An eyeline is simply where an actor is looking when you're shooting i.e. where he / she was looking– while acting a scene.
Why an actor should care about eyeline?
An actor should care about eyelines because where and how an actor looks on screen gives viewers information about his character.
Though basically "Eyelines" is a subject of filmmaking, direction and cinematography as to where to place the camera, especially in 2 shot filming, it could be a great opportunity for actors to showcase their talents through eye expressions
In a cine industry of Bollywood or TV serial market in India, where there is a cut throat competition
Therefore, it's absolutely essential for actors how to position themselves suitably in a shot or at the audition to give a memorable performance
Two shot
Is a type of shot employed in the film industry in which the frame encompasses a view of two people
Using subtle eye expressions and eyelines in a close up shot in Jaguar Car Ad. José Mourinho, the driver in this Ad film is not an actor, but is a Portuguese football manager and former football player, who is the current manager of English club Chelsea. The film is a masterpiece of direction, cinematography and of course, of José Mourinho, as an actor. Wikipedia
Cheating Your Eyelines
In the movie business it is common to be asked to “Cheat”. Cheating is moving your body unnaturally to make it look better on camera.
There a ton of different “cheats” that happen on set. But, one of the most common is “Cheating your Eyelines”.
It is positioning your movements and body towards the camera. This will allow you to have more face time and look better on camera.
Despite the feeling of it being uncomfortable, this will allow for the audience to effectively engage with your actions and dialogue.
Some key points to remember
The moment you enter and ready for your shot, find out where the camera is
Whether you are in a shot as alone or with your co-stars or just standing there in a group and just have to give a reaction shot, without any dialogue, you must ensure that you are facing the camera. Even if you are not facing the camera, make sure that you can see the camera in the corner of your eyes.
Why this is necessary?
Because if the camera can’t see you, the viewers can’t see you
What to do in such a situation?
Turn your body slowly without anybody noticing your subtle movements toward camera till you can see the camera (preferably its lens) and whether you have to speak or just give a reaction shot when somebody else is delivering his/ her dialogues, maintain your eyeliner in that position.
How to avoid the Major Mistake of eyelines in an Audition
For an actor, the most uncreative environment on the planet is the film and TV audition space or while you are ready for a shot in your scene in a location—multiple hot lights, a crowd of strangers, a place often windowless, and always airless.
Well, we have already explained earlier what kind of place you face while on a shoot for a film TV or for an audition
When you enter into an audition room, you face in this terrible hole, trying to fully focus on your character. You stand on the mark, taking your eyelines to the reader (if there is one) or of the person you think is just some assistant rather than a casting director or at anyone who is smiling and nodding at you, just off camera.
If he /she is just a reader and not a real co-actor from the script, your gaze is fixed at them rather than at the camera because they offer comfort in your moment of terror, they are the supportive sight in that unfriendly space. You look at them because you can concentrate solely on delivering a good audition. You find it strangely relaxing, and you don’t have to worry about anything other than the dialogues.
The consequences
1. As most of the actors commit the same mistake, a casting director gets bored.
The frame size is the same for every person auditioning for a role. A casting director shoots every audition for a particular character in the same way. Consistent framing allows them to compare auditions and actors effectively.
2. But if you adopt a singular Eye line at anything else other than at the camera near or around the camera, the character you have created is stagnant and definitely looks “flat” to a casting director.
Many a times, I have seen actors place their toes obediently on the mark, get tensed as if they were at the firing squad, and then attempt to relax and deliver lines in a manner they think is better
Remedy
Take 2 seconds before you start your audition, close your eyes; picture the setting of the audition scene. See the trees, or the cars, or people in front of you as the other restaurant patrons.
See them on both sides, but close and in line with the camera
Relax, go into your character and just shoot your lines!
Depending upon whether it’s a shot above your waist or a close up, or whether it requires movements or not you can move, but make sure that your eyelines are towards the camera and you can see the camera, even though the corner off of your eyes Inspired by If you want to learn "Acting for Camera", Join us: http://topactingcoach.weebly.com
Forgetting your lines after the director says "Action"
Not being in a "character" in a particular shot or in the entire scene
The camera catches your gaze, wandering while your Co actor is talking to you
Lack of necessary expressions while delivering your dialog
Lack of required energy level in your performance
Wrong movements (not hitting the mark while walking)
Not using the props properly
Getting stuck with speech, a word or speed
Causes
Lack of preparation (The reason could also be getting script/lines on the set)
Getting distracted with the activities on a set, which is always chaotic before a loud "quite" or "silence"
Gossiping with Co actors or crew before or after your shot when you may be having more shots remaining
Using your cell phone often
Consequences
Wandering mind leading to lack of concentration and focus
Poor performance
Multiple retakes of a shot annoying director, producer, DP and crew members
Earning a bad name of a "poor actor"
Bad publicity and losing opportunities
Shattered dreams of becoming a "Star"
Treatment (Solution)
Practice meditation
You have to give yourself strong auto suggestions, repeatedly
Practice concentration regularly by focusing your attention on a single object for as long as you can (lamp, table, pan etc.)
When distractions occur:
Take a deep breath, hold for 5 seconds and release it very slowly. Repeat this at least 5 times
Order your mind by saying "stop" or "stop wondering", Shake your head vigorously for a second and say again "back into", when you notice your mind wandering
Pinch your arm or thigh hard
Immediately shift your posture to an awkward one
Say to yourself repeatedly "I'm so and so" (Character)
Say to yourself positive things like "I can do it", "I will do it" or "I'm good, yes I'm good" to bring back your concentration
While on set avoid as far as possible what I have mentioned under "Causes". After all, your career is more important than gossiping, phoning or flirt around.
Speak only what is relevant and required as a courtesy, on the set.
(However, this does not mean you do not clarify your doubts with a director or cameraman. For your flawless performance, you must ASK)
If you practice the above regularly, you will tune your mental instrument so well that over a period of time, you will learn to be in a character instantly, irrespective of distractions
