Act Acting » Acting Audition » Film v. Stage

Film v. Stage

Question:

Who would like to share their knowledge, based in experience, or personal theories, the differences between acting on a large stage (think Shubert) and on as small 35mm camera (think close ups).

I will add my two cents… I have been a professional stage actor since 1986, making my living at it for the last, say, five or six years.  I do maybe five or six shows a year, averaging around 40 weeks a year.  That’s pretty good for an Equity actor… just ask the union. So because I was trained in Shakespeare, I’m very comfortable being larger-than-life.  I find my truth lies there. For years, I did many non-Union commercials, industrials and a couple films.  I had trouble adjusting to being small… and finding truth there. Last year I decided to play with the big boys and join SAG.  Within a month I booked my first feature film based on an audition where I did virtually nothing. This year, I have landed a recurring role on a TV series by also doing absolutely nothing.  After my audition for this show, I called my wife and told her I felt I blew it.  I told her I hated myself for being so intimidated my the camera and the people and the fear of being "too big" that I did absoultely nothing.  A half-hour later my machine had the message that I had the job. What have I learned from this?  It’s not about being small… it’s about trusting yourself.  Which is really hard to do on stage or film or anywhere.  In an audition, if you know what the situation is and you’ve made some choices about the character, just do it… don’t show them you know how to do it.  It worked for me once… but God there is so much more to learn about the wonderful high-paying world of TV/Film. Wayne LeGette

Response:

Simply put, stage is an actor’s medium while film is a director’s medium.

Response:

- Hide quoted text — Show quoted text – Bill, this one is at U of Miami, which, from what I understand, is pretty well respected.  What really surprised me at the read-thru was the person asking me to go over-the-top was the writer… who happens to be one of my favorite actors down here.  We’ve done many shows together and is the only person I trust enough to direct me in my first professional One Man Show next year. All I wanted to say yesterday was "Relax guys, you’re not going to get a finished performance with me sitting in a chair in a read-thru."  I figured my writer friend would know that.  As an actor, he likes to approach play read-thrus reading the script pretty monotone.  He should have known better than to push for too much too soon. I’m happy to report that after my first day of shooting the production team seemed very happy with my work.  More importantly, I was too. They pretty much let me dictate how I wanted to deliver the lines, and from just "doing it and and not editing myself", I think a character was born.  We did the hardest stuff today, which was very good planning on their part, and I feel I did exactly what they wanted… without sacrificing what my instincts were telling me. The only thing they have going against them is they have no video playback.  The director watched the scenes with her eyes… only the DP (the writer again) saw the action from the camera’s perspective. We did almost every shot in one take because we rehearsed it many, many times before we shot it.  That’s something I wish real-world film companies would learn to do more.

I wish, Wayne, that you were posting this on the Acting-L listserver, where there is a tradition for actors to write a log, for either stage or film, of day-to-day experiences, elicting sometimes some helpful feedback. Keep in mind that before video playback, and even before "student films,"  all judgments about "That’s a take," were purely subjective.   Hopefully, your staff includes a great continuity person, not just making notes about line and prop continuity. but also about continuity about matching values between key shots and close-ups.  Where most student films fail, in my experience is that the editor has to live with one or two takes between master shots and specialty shots.   Understand, that is not YOUR job to do this, Wayne — you are acting in a student film. However, it is something that you can learn how to control and monitor.  Dustin Hoffman was interviewed after the shoot for (DAMN, Alzheimer’s attack…. YES!) TOOTSIE, in which he decribed a personal notation system that helped him balance master shots on Monday with close-ups on Wednesday and pick-ups on Friday,  and Hoffman never left anything to chance, the fine technician he is, even though he was working with a grand director who understands continuity.   Break a leg, Bill — THE ACTING STUDIO http://gvtg.com/theactingstudio

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I’m not surprised, Wayne…. what you described happens all too often in student films, even those projects from reputable film programs like USC, UCLA and NYU.  The course curricula typically includes cinematography, editing, production planning a gratuitous course in scriptwriting, but I’ve yet to see a film program that includes training in how to cast and work with actors.

Bill, this one is at U of Miami, which, from what I understand, is pretty well respected.  What really surprised me at the read-thru was the person asking me to go over-the-top was the writer… who happens to be one of my favorite actors down here.  We’ve done many shows together and is the only person I trust enough to direct me in my first professional One Man Show next year. All I wanted to say yesterday was "Relax guys, you’re not going to get a finished performance with me sitting in a chair in a read-thru."  I figured my writer friend would know that.  As an actor, he likes to approach play read-thrus reading the script pretty monotone.  He should have known better than to push for too much too soon. I’m happy to report that after my first day of shooting the production team seemed very happy with my work.  More importantly, I was too. They pretty much let me dictate how I wanted to deliver the lines, and from just "doing it and and not editing myself", I think a character was born.  We did the hardest stuff today, which was very good planning on their part, and I feel I did exactly what they wanted… without sacrificing what my instincts were telling me. The only thing they have going against them is they have no video playback.  The director watched the scenes with her eyes… only the DP (the writer again) saw the action from the camera’s perspective. We did almost every shot in one take because we rehearsed it many, many times before we shot it.  That’s something I wish real-world film companies would learn to do more.   Take care, Wayne Wayne LeGette Actor SAG/AEA http://www.gate.net/~wlegette

Response:

I fully expect to die without ever figuring out what acting is ALL about…

I think we all do.  In fact, I hope I do. Sara "For every boy and girl who thinks they are hot stuff at what they do, there is someone out there who will tear them a new asshole"  Kurt Vonnegut

Response:

Thanks Bill, I’m very flattered.  I don’t know if you saw my other post on this subject.  To  make a very long story short, I’m playing the lead in a University student film (SAG waiver of course) and I had a very frustrating read-thru/rehearsal yesterday.

I’m not surprised, Wayne…. what you described happens all too often in student films, even those projects from reputable film programs like USC, UCLA and NYU.  The course curricula typically includes cinematography, editing, production planning a gratuitous course in scriptwriting, but I’ve yet to see a film program that includes training in how to cast and work with actors. In fact, by the time most film students start to work on their thesis film project, they have all the mechanics of film production in hand, but NO sense of directing or coaching actors, much less the VALUES of film acting that have been accepted for decades. To a anxious student film director eager to make a mark, the basic working value often times translates into bigger is better.   Give ‘em what they want, Wayne…. screw it, just do it….. then get onto your next job…. preferably a paying job.   Break a leg, Bill — THE ACTING STUDIO http://gvtg.com/theactingstudio

Response:

dlollar67 wrote <snippped: differences between acting on a large stage and on as small 35mm camera

My experiences have been different from most. I started my acting career working on camera without ever acting on stage. My stage experience was as a dancer. Last summer I did my first play and it was fun but I don’t want to do it again. I enjoyed being big. Having been a dancer it felt good to, literally, be able to stretch my arms out if I felt like it. It was also fun to have an audience appreciate the performance while it was happening. I did a comedy so I heard a lot of laughter and that pushed me to be bigger and more ridiculous. But the fun stopped there. On stage there are so many things to worry about; the fake window, fake beer in the bottle, the entrance thru the fake door, walking up steps in the dark or running around the back of the stage to grab a prop off of a table, etc. I didn’t like the responsibility and I constantly reminded myself to be big, bigger than soap and sitcom acting which is pretty big to me! Stage vs Film is like action vs thought. With stage acting comes the responsibility to reach every person in the theatre. On film, your responsibility is to reach your heart and mind. If you FEEL what you’re THINKING, or, depending on your approach, think about and react to what your character is feeling (this way is harder) then you’re doing enough. Once you start acting or, showing what you’re feeling or thinking, you may look foolish. There are other little restrictive technical things to remember in film, like not blinking during close-ups (I blink as I look down or to the side), staying in frame during close-ups (no head-wagging or shaking), not faking feelings during close-ups, and reacting to what should be happening vs what is happening. Example: If your scene partner is terrible or too big, then you must play the scene like he’s not, take after take. You can’t get sucked up into the "bigness". You don’t know which take/shot the Director will use. He may not even show the other person and you’ll look terrible, over-reacting to something that isn’t even in the film. "It’s not my job" is my motto in film. I only worry about me and react to myself. The director has to worry about everything else including making the scene work. Film is a Director’s medium because he/she has the greatest responsibility. I applaud stage actors; my mother is a stage actor/singer. But as a performer I enjoy the selfishness of film acting. Andie in NYC

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I’ll post your "just do it, don’t show it" on the bulletin baord this week, and see how many actors grasp the concept. I’ll post your "just do it, don’t show it" on the bulletin baord this week, and see how many actors grasp the concept.

Thanks Bill, I’m very flattered.  I don’t know if you saw my other post on this subject.  To  make a very long story short, I’m playing the lead in a University student film (SAG waiver of course) and I had a very frustrating read-thru/rehearsal yesterday. They only seemed happy with me when I played the scenes as large as I would have played them on a stage.  My co-star started to do that right off the bat and the production team was loving it.  Usually, I would have reacted like "Alright!  Stage Acting does translate on film!  Fuck all those CD’s who said otherwise!"  But after my two day-player roles working with directors who have directed "Law and Order" episodes… my instincts say these kids are in for a rude awakening. OR… as my "give everyone and chance and learn something from it" wife said… maybe they have a concept that you have to fit in to. So, I’m taking that approach today as I begin shooting.   I fully expect to die without ever figuring out what acting is ALL about… but just when you start to get a clue (from people who really do know what they are talking about) someone else moves the line back twenty paces.  Why do you think this happens in our industry all the time? I’ve heard people say there is no such thing as "stage acting" and "film acting"… there is just "acting."  Now I’m certainly not in a place to judge the film world… but I’m one of those stage actors who uses every bit of his voice and body to create and play the roles I’m fortunate enough to get.  If I did that in a real-world film audition (unless specifically asked by the CD or film director)  the CD would most likely never want to see me again. No one ever has to say "Wayne I need a little more from you.  Take it up a notch."  But I made them say that at the read-thru and my instincts say do it again when shooting today. Very frustrating. Wayne LeGette Actor SAG/AEA http://www.gate.net/~wlegette

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Would you say that stage acting is the "actors’ performance" and film acting is the "director’s performance" ?  

That is certainly what some people say.  I can attest that theatre is definitely an "actor’s" medium… however I have not done enough film to know just what medium it is yet. I did, however, start rehearsals on a SAG waiver student film today (playing the lead) and I came home incredibly frustrated.  The writer and director were only happy when I played this character as huge as I would have played him on a stage.  If I did that on the set of the series I shot last week, I would have been laughed off or maybe even replaced. Just when you think figure out what acting is… someone decides they want something different.  The key is to be a good enough actor to adapt to whatever "they" throw at you… even you think "they" don’t have a clue. I will give them what they want because it is their film… so yes… in this case it is a director’s medium.  They have a vision of what the film is going to be.  I can not possibly see that because I have only been a part of their creative process for days… they have lived this piece for months.  I must trust that "they" know best and just do my job… which is to give them what they want to the best of my ability. Wayne Wayne LeGette Actor SAG/AEA http://www.gate.net/~wlegette

Response:

- Hide quoted text — Show quoted text – Last year I decided to play with the big boys and join SAG.  Within a month I booked my first feature film based on an audition where I did virtually nothing. This year, I have landed a recurring role on a TV series by also doing absolutely nothing.  After my audition for this show, I called my wife and told her I felt I blew it.  I told her I hated myself for being so intimidated my the camera and the people and the fear of being "too big" that I did absoultely nothing.  A half-hour later my machine had the message that I had the job. What have I learned from this?  It’s not about being small… it’s about trusting yourself.  Which is really hard to do on stage or film or anywhere.  In an audition, if you know what the situation is and you’ve made some choices about the character, just do it… don’t show them you know how to do it.  It worked for me once… but God there is so much more to learn about the wonderful high-paying world of TV/Film.

Wonderful post, Wayne…. Like you, I grew up on the stage, and then, mid-career, shifted to on-camera.  What a shock when CD’s started to say, "good, Bill, but stop acting…. pull it in."   And it took a few years to make the adjustment, oddly enough by re-reading a chapter in Stanislavski’s AN ACTOR PREPARES…. the one about Circles of Attention, now required reading at my Studio.   I’ll post your "just do it, don’t show it" on the bulletin baord this week, and see how many actors grasp the concept. Break a leg, Bill — THE ACTING STUDIO http://gvtg.com/theactingstudio

Response:

Who would like to share their knowledge, based in experience, or personal theories, the differences between acting on a large stage (think Shubert) and on as small 35mm camera (think close ups).

Would you say that stage acting is the "actors’ performance" and film acting is the "director’s performance" ?  

Response:

Who would like to share their knowledge, based in experience, or personal theories, the differences between acting on a large stage (think Shubert) and on as small 35mm camera (think close ups). Dlollar–"sense it, feel it, closing in around you."–poto

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