Michael Caine - Acting in film Workshop- part 2

Michael Caine – Acting in film Workshop- part 2

Academy Award winner Michael Caine teaches an acting workshop broadcast on the BBC 6 part video part 2 of 6

the camera is like a belt or a net behind you and someone saying someone's standing behind you and saying look you can relax it's okay you don't have to push it like say in the theater you don't have to push it just relax and let it come out if you do it right for them for this camera it will catch you every time you fall back it's watching you it's your friend it loves you and it is listening and watching everything you do you don't have to do it big you don't have to shout and scream and nobody exists except us six I'm talking to you now you got a question what about the you're saying about listening and and reacting to something's going on how does that work if for example you're you've done your master shot and you're now going to go into your close-ups yeah and that person is talking to you and you're going to do your question this close-up is like three and a half hours after you've started the original thing how do you get what you have the emotional deck is to a concentration yes but that's the next thing yeah is to you don't think about it for hours you know think what you do is you see you get actors who will they will say god I saw the rushes yesterday Anna I didn't like that thing where I did that and I didn't I on go and see rushes I sit on the set and I'm figuring out what I'm going to do next right anybody smoke you got cigarette on you do you come up here and light it with me and smoke with me and we'll have a talk while we're talking yeah I've gotta like so now we continue this and the thing is this is that you concentrate on on what you're doing and you somehow it's very difficult explained you go into yourself remember you've still got the same person there although it was a long shot if you're standing here with me and they shot it from over that camera there this is a long shot I was still talking to you here like this so when the camera comes here I'm still only doing the same thing although I might calm it down a bit under face because it's it's closer but the thing you don't do in a long shot is smoke you know why because now we're going to do the close-up where did you take the puffs we've got to do exactly the same lines where did you change hands just you've got to do it exactly the same so everything you do if you're going to compare a cigarette I don't smoke cigarettes Roger so before if you're going to do a long speech and you go yes I'll do this long speech now and then I'll them when I say I'll um I'll take another pup so you took another puff on another puff and you remember that because when it comes back to it it's the most difficult thing to do in a master if you start fiddling with anything when they come into the close-up you're doing the lion in you're going I do I do and she's no not there I know you did it when I take another puff you so I'll take another puff no you did it immediately you see I'll take it up top and the whole scenes gone out the window and you probably have to shoot the master again so never smoke or fiddle and if you're going to do action and movement planet absolutely perfectly so that you do it just exactly the same over and over again you can change your performance you can change but you cannot change the action otherwise the close-up the medium shot under and the master shot do not match and is also with dialogue for instance is to learn it you learn it until you know it but you've got to learn it over and over and over and someone says something to you you could say the whole thing including everybody else's part because the tension of that actual close-up is when you're standing there and everyone goes right quiet turnover speed action then you go to bum or not to bend if that is to close down and that's it and it's up till that moment because you just you're just a go just got up you know I said I'll have cornflakes and what you see is a guy going I'll have conflicts you know because they said go turn over action and you and wittingly were staying there quite calm you knew the lines but I'll have complex and a go turnover speed action I'll have conflicts that's it and that's what you get and let you relax you see so when I say turnover and speed they're talking about wild cobblers that do with something else about motor mechanics whatever it is they do and the other thing is is you always cheat as much as you can always steal but only steal from the best people just steal whatever you can see if you fitzy Vivien Leigh do something or you see Marlon Brando do something or Robert De Niro or Meryl Streep steal it because what you're seeing them do they stop you understand but you can't see who they stole it from because they made it into them themselves and that comes to the other thing of where you get into sort of movie stardom is you had to invent yourself now movie stardom is not necessary and from my experience not a lot of it is recommended but to be a good movie actor is highly recommended I think because it's it's a delicate operation it's like I regard the theater is an operation with the scalpel I think movie acting is an operation with a laser because it's so tiny and it's so small the half the time people say I know what you're doing you say wait till you see the rushes that's what it is wait do you remember though when you never see the rushes all I've ever seen from rushes is all rushes are wonderful everybody buys their yachts in rushes and go bankrupt at the premiere all rushes are wonderful anybody who you speak to about the rushes if you were that foolish says they're wonderful but what you don't realize is you say to make up how was Russia's they say wonderful her lipstick was just for this one you say the hair how is how is that Russia toward you sort of see in the parting there it was great everybody watches their own thing and if you go to Russia's you will watch yourself and nothing else and in actual fact it should be a stranger to you it's someone else the director if he's any good we'll tell you what what you were like you cannot love your emotion you cannot you cannot Bluff this fella your lady this lady here you need do nothing but you must your years yeah you must feel and you must look and you must listen because she will she will see everything you do and you pick it up you don't have to throw it to her and she'll love you even though you ignore her for the rest of your life she'll still love you when you're 60 I'm banking on that I'm 53 you'll never guess who I'm calling her well I wouldn't have believed it myself three months ago I'm here gal well that's life on it you never I was around the corner do not on me went down one minute up the next you drop at Anna you look around and what you find Ruby bye they hold it got you she's in lovely condition oh he's fine patient that what do you think oh don't kiss my you know what it does to me come on what about it now let's at least have a drink first whiskey got a beer over here a light oil or something yeah she gets all this lot of income tax business expenses see she owns Freire dresses the thing I like about Ruby is she's a mature woman when she gets hold of you you can feel a lifetime of experience in her I find I'm going in more for that kind of woman these days yeah don't you dig your nails in again like you did last Thursday night I've got scratches all down my back yeah my even doing more than that to you today great long wheels are dug and I was right in she's had two husbands both dead and I got a good idea what I died of and all she don't keep asking do you love her like all these young birds do she don't even mention love she knows what she wants and she's going to get it if there's any going cheers Cheers good okay now I'm gonna set you to problems all right can we have the movie Cameron I'm going to do is bring

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  1. indie director here: newsbreak … acting is not a science … if arnold shwarzenegger was able to become a famous actor with no method whatsoever then we can see all that isn't really super important – however, WRITING and DIRECTING IS important

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