Book Michael Caine - Acting in Film: An Actor's Take on Movie Making (The Applause Acting Series) Revised Expanded Edition by Michael Caine PDF Books. Michael Caine answers these questions and more as part of a film acting workshop broadcast on the BBC. You can watch the hour-long special. Downloads PDF Michael Caine - Acting in Film: An Actor's Take on Movie Making (The Applause Acting Series) Revised Expanded Edition.
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This is an actor's perspective on film, which is different from a manual on how to act on camera. I have a theatre background, so it was helpful for me to hear tips. Acting in Film - Michael Caine - Ebook download as ePub .epub), Text File .txt) or read book online. acting. (Applause Acting Series). A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael.
Hi everybody, Being theatre actor has definitely helped me in front camera. This book is for every budding actor and I recommend it to all who love the acting business. No, you'll just be thinking "shit I have to copy Michael Caine". Wherever I happen to be, whether at home or in a hotel room, I rearrange the furniture and try to put tables and chairs in places that create a logical mock-up of the scene. Most acting books have annoying step by step instructions but they don't give any examples!!! This is amazing! Aug 29, Alex rated it really liked it.
The point is to do it well. I still go back and reference this book. Excerpt from Acting in Film: There is a lot of dead time for an actor during the making of a movie. You can sleep and possibly appear dopey on camera, or you can socialize and wear yourself out. I socialize enough not to offend anyone, but I deliberately spend a lot of time in the dressing room.
I use the time to go through those lines.
A lot of actors run other businesses from their dressing rooms or trailers. I was working with Sylvester Stallone and I asked him what was so attractive about his trailer that he kept rushing back to it between takes. I thought he might have a girl in there.
Then there was an actor who used to play the New York Stock Exchange from his trailer. If an actor is thinking about another business, maybe he should be in another business. Show business. There I am mumbling it and mumbling it and still mumbling it, so that it becomes second nature.
He is presumably new-minting the dialogue as if he himself just thought of it by listening and watching, as if it were all new to him, too.
It may sound like a contradiction, but you achieve spontaneity on the set through preparation of the dialogue at home. As you prepare, find ways of making your responses appear newly minted, not preprogrammed. Similarly, in a film script, your internal thought processes might well start articulating themselves long before you get the chance to speak. There may be a key word that triggers you during the sentence the other actor is saying. So pick up on that; form your thought and be ready to speak.
For example:. You can show this by your reaction. And that bit of acting can only come from serious listening. Or you can bring new life to an apparently mundane reply by planning a thought process based on a key word and then never voicing it:. The camera thrives on niceties like that; yet you often see actors missing out on these little presents that can open up whole realms of possible reaction. Take the script and explore these possibilities because to pick up key words opens a repertoire of potential response that can lift a scene off the page and into reality.
There may or may not be rehearsals; it depends entirely on the director. So you must do as much as you can to construct your role before you get on the set. The director always expects you to bring a fully formed characterization with you, and this without your seeing the set or meeting fellow actors.
Once you get on the set, you will have to repeat those mannerisms and actions accurately for a variety of shots. The long shot is the wide-angle shot taken at a distance. This shot reveals all the ingredients of a scene.
If there are three actors practicing their golf strokes on the office carpet, in the long shot you will see all of them plus the carpet. It is the best guide to the placement of the camera for the other shots and it is the reference for inclusion of other shots when the scene is edited.
The medium shot is a closer view of selected ingredients. The close-up is a very close view of only one element. If you were one of the golfers, the close-up might be of your feet on the carpet or of your face. If you fiddle around with your golf club during the master shot, you must fiddle in exactly the same way for the other shots.
Initiating a movement that you cannot repeat will often mean that scenes will have to be shot again. It would look as if the golf club had jumped around of its own accord. I go through each scene and do my actions the same way, over and over, exactly as I imagine I will have to do them on the set.
Wherever I happen to be, whether at home or in a hotel room, I rearrange the furniture and try to put tables and chairs in places that create a logical mock-up of the scene.
I put out cups and saucers or whatever I may need and I time the dialogue around my actions. Now obviously you may not know the exact layout of the set you will be working on or the exact nature of the props you will be given to use, but any clear decision you can make beforehand will provide you with a life raft.
Plan your mannerisms and actions precisely and keep them simple so that you can repeat them effortlessly and accurately.
This is not the area for inspired improvisation. Keep it simple with those golf clubs. Organize your physical actions and tasks so that they are logical — that way you will remember to do them — and practice them so that they become memorable. You have got to be able to do a physical task the same way over and over again absolutely perfectly.
Michael Caine did an acting masterclass on the BBC some years back. This may look fine in real life, but on a 30 foot movie screen you just gonna look demented.
Tom Cruise knows how to do it like the back of his hand. He actually always did. Just understood the camera and how it operates. As it moves closer, you do less … and less … and less …. I loved the whole movie — I reviewed it somewhere, I think it was at Tribeca — and I just fell in love with it — but that Michael Caine bit was phenomenal.
So spot on!! I just read your review how did I miss it? I wanted it to go on longer! Just these two guys driving around, talking, riffing, etc. So much fun!
Your email address will not be published. This is an actor's perspective on film, which is different from a manual on how to act on camera. I have a theatre background, so it was helpful for me to hear tips and tricks from a performer's point of view. The catch is that you can watch the video on this study on youtube, so the purchasing the book isn't really necessary. I highly recommend this book for any actor who wishes to be on film.
One person found this helpful. I first saw the actual physical course on the BBC. As such you should also get yourself a DVD set, if available. The book stands well on its own though. It really focuses on practical professional techniques in terms of acting, and how to relate to the people around you, including the director, on set. It also contains practical advice on how to memorize your lines and prepare for a performance in general.
All in all, a good back to basics approach to acting in film and a thorough enjoyment to read, considering various anecdotes that add to the reading experience. Kindle Edition Verified Purchase. I studied film at New York University, and I feel like I learned more about how to direct and work with actors reading this book than in any of the classes I took in college.
Michael Caine gives a great description of how actors work each other, directors, and other people in the crew, and gives practical advice on the way he thinks and it seems likely how most actors think when preparing to be on film. This is a must-read for anyone interested in the creative side of filmmaking. This a book filled with humor, intelligence and subtlety. Some actors are good but not very smart, it happens. Caine is extremely smart and wrote a good book.
It goes from the difference between a movie and a play to technical advice to actors on the set and includes how to behave on and off the set. There are a lot of funny stories, but each of them is a lesson, so young actors better read this twice. Non-actors will be delighted by the humanity of the book.
There are plenty of books called "how to be successful", usually very pedestrian. If you are tempted to buy one, try "Acting in film" instead; it is full of advice that applies to scientists as well as it does to actors. Indeed I had to laugh several times when I read it: For instance: Still relevant in !
I'm a young guy so that's where I know Mr. Caine from: This is a great read for actors looking for knowledge and tips on acting in film. Good for filmmakers, too. Highly recommended! A great book, straight to the point! It is a book about movie acting and it will teach you exactly that - how movie acting is different from acting in the theater. Michael Cane uses a lot of vivid examples to prove his point and to give a number of priceless tips on how to improve your acting. His passion for acting is contagious and inspiring!
Enjoyable book for actors in general, even if they're not appearing in movies. Lots of good advice, even about basic things like learning your lines. I thought the book was rather bitsy in the sense that it seemed to deal with one topic then skip suddenly to another. Apparently it's a transcript of a masterclass that Caine did some time ago, which explains its style. And it's quite short there are a lot of photos , something that isn't obvious as an ebook until you find it's suddenly ended!
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