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5. Finding the Characters

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Nur Amalina
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17 views10 pages

5. Finding the Characters

Uploaded by

Nur Amalina
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPT, PDF, TXT or read online on Scribd
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FINDING THE

CHARACTERS
INTRODUCTION
The concept of a character begins with skeletal clues
provided by the writer – is discussed, evaluated, and
enriched by the director and actor – the skeleton
acquires muscle and sinew, flesh and blood – it acquires
life.

The Directors transform skeletal clues into a dimensional


character through their personal experience – memories
of a way of walking, a facial gesture, a facial expression
– character and characteristics – rearranging them into
possible images of the scripted character.
A DIRECTOR’S NOTES
A prepared pages of notes about crystallizing the goals
and drives of primary characters – including ideas and
fragments; imagery that will help actors to find
characterizations, props, that reveal hidden character
aspects, a background incident that may give a
characterization richness.

Never been published – back story (biography of


feelings).

Egri divides the study of a character’s background into


three categories:
1. Physiology
a character’s physical appearance
2. Sociology
a character’s place in society and the family
3. Psychology
internal values such as temperament, moral
code, personality, fears, drives, etc.

 Develop dimension – discard their own ideas –


use persuasion or gentle arm twisting.
THEME/SPINE

Central meaning/ message of a screenplay.

Main action/ goal of the principal character.

The spine of their screenplay relates closely to the basic


wants, needs, drives, or goals of its characters.
BEATS

Break scenes into smaller building blocks called beats –


scenes within scenes – character’s entrance or exit –
changes in emotion – label each of the beats.

Physical staging/ blocking of scenes suggest different


physical relationship between characters – suggest
movement – camera angle.
HOW CHARACTER IS REVEALED
1. Physical aspect

2. Traits and mannerisms

3. Does and does not

4. Says and does not say

5. React (of other characters)


WEARING MASKS

We all wear masks, presenting one face to our parents,


another to our enemies, another to our mates.

When an actor assumes a role, he/ she fashions a multi-


layered, multi-dimensional person.
BUILDING A PERFORMANCE

1. First Reading
2. Rehearsal
3. Performance
a. Relaxation
b. Energy
c. Listening
d. Simplicity

 Clichés
TRANSFERING CHARACTERS
TO TAPE OR FILM

Shooting out of sequence – disruptive to


characterizations – mental and emotional hazards for
actor and director.

Emotional intensity, mood, and energy of a scene taped


weeks before.

Emotional depth – some need additional time – real life


experience.

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