| The process of working on characters - | | | | the characters take another test of believability. |
| believable, flesh-and-blood characters - comes | | | | Directors have their own references for a role. |
| early, way before you step into a role. You, the | | | | Perhaps it's a male friend who goes on drinking |
| actor, will prove crucial in rounding out the | | | | binges in response to his wife's cheating. The |
| screenwriter's and director's vision. Great actors | | | | director remembers his yellow fingertips from |
| bring themselves and an emotional understanding | | | | smoking cigarettes and his shaky manner. As a |
| of the role that either makes or breaks a part. | | | | real person, this friend is totally believable. Solid |
| Few actors in film have been as successful as | | | | acting training gives you just the kind of honesty |
| those trained in The Method. Why? Because from | | | | that will convince the director that you've turned |
| the point of view of directors, screenwriters, and | | | | into this guy. (For the time being, of course!) |
| the audience, method acting works because it | | | | Everyone has life experiences with real people in |
| delivers the characteristics promised by a | | | | it. It's up to good acting schools and method |
| character. | | | | acting in particular to point the way to how you |
| One of the screenwriter's first steps is to write a | | | | can pass those "truth" tests with amazing results. |
| character biography. This comes after the initial | | | | An actor bring a character out, from inside, using |
| inspiration taken from the real cast of characters | | | | emotional intelligence. For the writer and director |
| in the writer's lives. By taking one trait from one | | | | (not to mention producers and crew), the process |
| person and another from someone else, a real | | | | stays trapped in their heads. An actor trained in |
| person takes shape in their mind. | | | | method acting goes on a natural process of |
| For instance, they'll take Aunt Martha's jealousy of | | | | bringing personal emotional memories to serve |
| younger beauties and combine it with Mum's need | | | | the character's needs. |
| to wipe off surfaces all day long even when | | | | How well the actor does this is key. It's a lot to |
| there's no sign of dirt anywhere. This establishes, | | | | live up to, I know. But it's also one challenge |
| for the writer, someone who is insecure, aging, | | | | method acting training is equipped to meet. As the |
| and trying to hold onto a sense of control. In | | | | leading provider of method acting classes in |
| remembering Aunt Martha, the writer smells her | | | | London, I can help you get there. |
| icky-sweet perfume, and sees her crusty | | | | When you get there, you'll feel it. The director sits |
| makeup's mark on napkins and cups. These details | | | | back, setting the script aside. All that matters |
| provoke emotions (pity and disgust perhaps) in | | | | now is you, the character, in action. That's |
| the writer. Method acting classes aims for a similar | | | | powerful. And there's no faking it. Aunt Martha |
| result, using the actor's own emotional memories. | | | | won't go for it. |
| When the director "takes the helm" of a script, | | | | |