RESPIRO E MOVIMENTO®

DISCOVER YOUR REAL POTENTIAL

ACTING

Octavia Spencer on Period Pieces

By · Follow us: Facebook · Twitter · Instagram · YouTube

Speaking with The Hollywood Reporter, Spencer revealed her preparation for playing an African American woman in the Civil Rights Era. She explains, “It’s just difficult to shoot period movies when you’re a contemporary woman. History hasn’t been kind to black women, and at that time, we were just fighting to get our rights as citizens…. Playing in the ’60s, as a woman of modern times, is very difficult, at least for me. I always watch [civil rights documentary] Eyes on the Prize from beginning to end to understand the mental and physical moment in history. And so there won’t be any anachronisms, I don’t come out of the time period; I stay in it. I listen to music of the time and I only deal with family and friends that are on the film; I don’t go to the movies, and I don’t do anything that’s contemporary. I tend to isolate. I only come out of it when it’s time for me to wrap. It’s just a hard place to be, emotionally.”

(via)

Nick Offerman: How To Treat His Fellow Actors

By · Follow us: Facebook · Twitter · Instagram · YouTube

Another experience that its ups and downs was Offerman’s small role in Sin City, in which he shared a scene with Bruce Willis — who Offerman has both praise and criticism for. He explains, “I’m a huge fan of comic books and graphic novels. It was a really big deal to audition for Robert Rodriguez in a hotel room at the Four Seasons. I didn’t hear anything for two months and then I got a call, ‘You got the job.’ I was over the moon. Getting to work with Bruce Willis was a great education, both good and bad. He’s amazing at what he does, but he’s perhaps not the greatest collaborator. We spent a lot more time with his stunt double. Bruce would come in at the end and say the line once and then go back to his trailer. It was a  — or not treat them.”

(via)

How To Be An Actor Without Limits

By · Follow us: Facebook · Twitter · Instagram · YouTube

There are two kinds of beliefs that you inadvertently use to limit yourself…

1.-Self-imposed limits

These are limits you place on yourself. They come in the form of negative mind chatter suggesting you’re not good enough, not worthy of success, not pretty enough, not tall enough, not [fill in the blank] enough…

2. Limits from other people

REMEMBER, limiting thoughts are contagious, like a virus.

How to escape the cycle of limitations

First, allow yourself to recognize these limiting beliefs (both the self-limiting ones and the ones you pick up from others).

Look for beliefs you want to model. Take notes and find nuggets of encouragement – views that make you feel good, and help you become aware of the thoughts that make you feel bad.

(via)

How Does Mahershala Ali Get Into Character?

By · Follow us: Facebook · Twitter · Instagram · YouTube

As Ali has spoken out before, one way he gets into character — especially while working on multiple projects at once — is that he makes music playlists for each individual character. He points out that he makes lists based on “Music that he would respond to, music that reflects the world he’s living in, things he would have listened to growing up or whatnot. They help focus me very quickly, almost like a meditation. It especially helps if you’re working on a couple of things.”

In addition to making playlists, Ali also focused on getting to know his Moonlight character on a deeper level in order to make the most of the character’s limited screentime. He explains, “I found myself thinking of him as a spirit first, strange as that might sound, and engaging in conversations with him. Finding out what it was I needed to know about, what he needed to say… Alone in my office, walking around just talking with him, and even going for walks. I haven’t approached it in that way before, and I wasn’t sure if it was OK to do that! But then at the end of the day, I never know what I’m doing.”

(via)

Sutton Foster on the Importance of Being Prepared

By · Follow us: Facebook · Twitter · Instagram · YouTube

 

Sutton Foster: “Sometimes I won’t even find a character until I put on the costume”

Foster went on to win the Tony Award for Best Performance by a Leading Actress in a Musical, and she’s especially proud that she seized the opportunity when it was presented to her. She says, “One of the things that I’m most proud of is that the opportunity came, and I was ready, meaning I was prepared, I knew my stuff, I worked really hard, and I stepped in.”

Of all the skills that Foster displays on Broadway, she points as acting as the most important. She explains, “A lot of people say, ‘What’s more important: acting, singing or dancing?’ And I say, always acting. ‘Cause singing without acting is just noise. Dancing without acting is just arm movement. I don’t feel like I’m just moving around and doing, like, fancy footwork. Same thing can go with singing; someone can sing super-high notes, but if it’s not based in any reality or any purpose, then it’s just showboating.”

(via)

The “Subtleties, Complexities and Paradoxes” of Playing Villains

By · Follow us: Facebook · Twitter · Instagram · YouTube

One unique way Hardy approaches his characters is by drawing them to figure out how they should visually look, particularly characters that are fictional. He says:

One has to have a silhouette, you know? Say I’m playing Elton John. You know what he looks like. Playing Al Capone. You know what he looks like. But what about characters we’re making up from scratch, who you don’t know what they look like? You have to create a memorable silhouette for them, too.

 When I was at school I was told, “Tom, when you play the prince or the king, I want to fucking see a king walk onstage before you even open your mouth. What does that look like?” Do you do it literally, with a costume, or through physicality? How do you immediately see the king? Crown? Robes? I have to find an identifier, a silhouette which immediately radiates something for me. Remember, you won’t necessarily know by their clothes that they’re the king. You can walk on in a disheveled homeless man’s outfit, but there’s something about them that radiates a nobility, something that makes you go, “This person’s a king.”
(via)

Dev Patel: “I never went to acting school.”

By · Follow us: Facebook · Twitter · Instagram · YouTube

Dev-Patel-Lion

Patel, who is best known for playing a much-thinner character in 2008’s Slumdog Millionaire, had to bulk up considerably to play the Westernized adult Saroo. He explains, “I’m 26 and, like most actors my age, hungry to show emotional range. This role enabled me to play a character suffering real pain, a change from the scripts that want you as a funny sidekick. It took eight months to prepare. I wanted to commit every fibre of my being to getting it right. I had to bulk up, grow my hair, learn the accent. At my last audition, where I met the director Garth Davis, I’d been in The Man Who Knew Infinity and was skinny, with a buzzcut. I had to get myself a personal trainer and started eating like a glutton – downing the protein shakes.”

When asked what he has learned about the great actors he’s worked with like Judi Dench, Patel points out, “They have a curiosity about life, a sense of humour and emotional reserve. I never went to acting school. Everything I’ve learned, I’ve learned from great directors and my co-stars. Acting is about honesty. When I began, I was trying to squeeze as much emotion out of roles as I could and get big laughs. Now it’s about doing less, cutting away the fat.”

(via)