On Screen Acting

An Introduction to the Art of Acting for the Screen

Edward Dmytryk, Jean Porter Dmytryk

• Publisher: Routledge
• Year: 2018
• eBook ISBN: 9780429000713
• Topic: Media & Performing Arts
• Subtopic: Film & Video

With On Screen Acting, director Edward Dmytryk and actress Jean Porter Dmytryk offer a lively dialogue between director and actress about the principles and practice of screen acting for film and television. Informal and anecdotal in style, the book spans auditioning, casting, rehearsal, and on-set techniques, and will be of interest to both aspiring and working actors and directors.

Originally published in 1984, this reissue of Dmytryk's classic acting book includes a new critical introduction by Paul Thompson, as well as chapter lessons, discussion questions, and exercises.

1
The Interview

Interviews—what budding artist can avoid them? No director will risk using an untried actor, * even one with some professional experience, without first interviewing him. Even if there is existing material that can be viewed—a test or a bit of some previously shot film—a personal interview is desirable, if not mandatory.

The interview is probably the first contact between actor and director, and first impressions are important. Quite obviously, since the director is "bestowing" and the actor is "receiving," it is the impression the actor makes on the director that is important, not vice versa.

Every director has his own prejudices, his own way of making judgments, but there are a number of factors with nearly universal application. Any young actor who neglects to consider such factors is not giving himself half a fair chance. For instance, if possible (and it usually is), he should get as much information as he can about the director in question. He should then be able, well short of obvious flattery or downright boot licking, to present the side of his personality that will most positively impress his interlocutor. It's fine to be youself, but don't let it all come out in a brief interview; the "self" you present may not be the "self" he will want to see on the screen or work with on the set. And for God's sake don't, in an effort at ego establishment, pontificate on the low quality of films in general. He may consider your remarks as youthful impertinence rather than as mature, valid judgments of his profession.

Let us now get to specifics. Let us assume a young actress has stepped into my office for her first interview. I know that her knees are a bit wobbly and her palms are sweating, and I will do everything I can to make her feel at ease. This is not a purely unselfish exercise—I must judge her under the most nearly normal conditions possible, not as a person trying to behave naturally while suffering from almost unbearable stress.

But to repeat, first impressions do count, and I will waste no time, for example, on an actress who enters my office wearing "shades" and showing some reluctance to taking them off. If her eyes show the results of a sleepless night, that is her misfortune. If I am not to be deprived of most of my basis for proper judgment, I must be able to see her eyes at all times. The eyes are probably the most important single feature of any actor's presence or personality (have you ever seen a dull-eyed movie star?), and unless I can see them as we talk I cannot properly judge whether or not they can bring life to a character on the screen.

I do have my prejudices, and one of them is sloppy dress. Sloppiness may be chic in your environment; it isn't in mine. An actress' manner of dressing gives me some sense of her consideration for others, as well as offering a healthy hint concerning her level of taste. Overdressing for the occasion is as bad as sloppiness; and though taste in clothing does not necessarily guarantee taste in character portrayal, more often than not it does help to make a decent impression.

The same, of course, can be said for make-up and hair styling. "Punk" hair-dos maybe "in" in your set. I find them distasteful. Something attractive but not too startling is unquestionably safer and probably better. Remember, at this point we are discussing impressions, not ability. You may have no opportunity to show your wares if my first impression discourages a favorable assessment of your personality.

As always, however, there is an exception. If some inside source (most probably your agent) has given you an accurate tip on the character up for grabs, by all means dress the part. If an accent is required, use it, but only if you are very, very good at accents. However, this can be a make-or-break situation, so be careful. If your information has been inaccurate and you dress as a street walker when the director is looking for a Bryn Mawr co-ed, you can blow the whole deal. So be quite sure of what you are doing, or play it safe and be yourself.

Given a positive first impression, I usually spend a few minutes in casual conversation about anything but the purpose of the interview. Some lessening of tension is the first order of business, and it gives me the opportunity to gather at least a slight impression of the actor's character. For it is that character I must deal with before we can arrive at a character on the screen, and some knowledge of his personality is needed before I can assume that there will be a good working relationship on the set.

Unless the actor has a super-clever agent, he is probably in the dark about the nature of the part for which he is being considered. When it is time to get down to business I will disclose the role I have in mind, its purpose and its character. If my impression is positive up to this point I will probably let him read (to himself) a scene from the script. But at this point I will never ask for a "cold" reading. Some actors are quite adept at sight readings, while others find them difficult, and ability to sight-read is not an accurate measure of acting talent. Montgomery Clift read like a rank illiterate, yet few would question the brilliance of his final characterizations.

The interview draws to a close, and if I consider the actor a promising candidate I will ask if he has any film he considers a good showcase for his ability. Film is always the easiest, and usually the best, source of such information, and if the answer is positive I will make arrangements to view it, using it as a basis for my final decision. If, on the other hand, the actor has no film or considers what he has to be inadequate or inappropriate, I ask him to prepare a scene for a live reading.

Some actors already have such scenes in their repertoire, usually something they have worked on in an acting class, something in which they feel secure. But such scenes, as a rule, bear no relationship to the character in question, and the performance may be too practiced, so they do not always serve the director's purpose. In my experience, it does no good, and it can work active harm, to play Ophelia when the character the director wants to see is a "hip" kid in the 1980s. That is why I usually ask the candidate to study a scene from my script as the best material for the test reading.

If the scene requires a second actor (and it usually does), I ask the actor to bring along the other reader. This might be the actor's coach (if he attends acting classes) or it might be the most suitable member of his circle of acting friends.

In any case, no sensible director ever takes an active part in such a reading. One cannot be a competent participant and an honest observer at the same time, and here objective observation is all important.

At such a reading I look for a number of things: How well has the actor learned his lines in the time available? Does he know them well enough to be able to be "with" his acting partner as he reads? Does he listen to him? Does he look directly at him to make his points? Can he "throw away" a casual line and still maintain his vitality? Does he have vitality? Are his reactions spontaneous or contrived? If the scene calls for laughter, does he laugh easily and well? If it calls for tears, can he manufacture his own? If the scene demands anger, does he maintain control of his voice? Can I see the "acting wheels" turning in his brain?

I do not expect perfection in any of these areas, but if the actor can get a B + across most of the board he will probably get the job. Then the real work starts, for that series of questions relates to a good deal of what acting for the screen is all about. In the succeeding chapters we discuss them in detail.

* * *

The actress speaks:

When called for an interview, the first thing I do is ask my agent, or whoever, "What's the part, and what's the story like?" I will be given either very little or quite a bit of information. It's whatever he knows. It could be only, "They want a prostitute"; but on the other hand, he might say, "They need a darling girl to play opposite John Travolta." And just hope he says, "They're looking for someone different." That's what you must keep in mind. With all the copying done today, too many people look alike, sound alike, and act alike. Be an individual. Believe me, it is someone different, with something new to flash, who will get the part.

If you're given a clue as to the kind of part you're going for, set that deep in your mind and start preparing to be just that. Dress for it, make up (or down) for it, and actually take the character apart and build your own background for her. If you're fortunate enough to have been told what the whole story is about, that makes it easier. You know then how and why your character "is there," and what happens to her.

At this point, let me say that rarely is an actor called for a part that doesn't suit. The casting office and/or the director have seen photos or perhaps your work, and what they have seen fits what they have in mind. Above all, don't ever go after a part you don't feel is right for you. But if you sincerely want it, and you're given the opportunity to show what you can do—go get it!

From the moment you are called you think of nothing else. You don't go out, you picture yourself as the character, and you live with it as much as you can until the actual interview. Then you walk into the director's office with as much self-assuiance as you can muster.

You are introduced by the secretary, and you will usually find several people in the room; perhaps the producer, the writer, and sometimes a dialogue director to read lines with you. A first-class director never reads with you—he needs to watch every move you make, every expression, every reaction. He must watch you as you hear the dialogue being spoken as though you've never seen or heard it before. Often, it is what's in between the lines that proves to be most important.

The director is cordial and tries to make you feel at ease with a little small talk. Try your best to make him think you are at ease so you can get on with it.

The moment comes for the reading. If you have been sent the script, know it. Have it memorized. Know all the lines—his and hers and yours. Know the scene so perfectly that it seems a part of your life that you are allowing them to look in on. If you have been handed the scene in the outer office just a half-hour before, do your best to learn it well enough to look up from the pages as often as possible, especially at crucial points, to show that you have a clear understanding and feel for the character.

When the reading is over, you are never sure whether they liked it or not. Even if you feel you have made a good presentation—even if the director says, "Very good!"—don't believe him. You are rarely told, "The part is yours," right there on the spot.

You thank them all, with charm and poise, and if you can remember their names (especially the director's) it's a point in your favor to say goodbye to each one personally.

As you close the door behind you, your hands trembling unnoticeably, you say goodbye cheerily to the secretary, take a quick count and account of the waiting actresses (if there are any), and out you go.

You can't think of anything else. You aren't hungry. You call your agent as soon as you get home to report your views on how it went. If you don't hear something before bedtime you try to eat a little and you try, unsuccessfully, to sleep. You imagine many things . . . your hair was wrong . . . you should have stood instead of sat. . . they didn't like you. Then you question it all. Are you right for the part? Is there someone better? You toss and turn and finally drop off just before you must get up. Every actor has a full day. As soon as you know your agent is in the office you call to let him know where you'll be throughout the day.

You barely make it through the aerobics class, and stumble to the health bar for a snack. If you have an answering service you check that out. Nothing. You go for your voice lesson and have never felt less like singing; but you sing. The show must go on, and all that. After all, if you don't get this part there will be another one to audition for, and you must work to be at your best. But here's the secret. If you're going to get the part, you really feel it, deep down. Of course, this is where some of the greatest disappointments occur. A person knows she's done a good job, and feels she's clinched the part. But what has happened during that endless time between the interview and the decision? It may have ended with the part being given to a better-known name, or to someone whose appearance fits more readily with the rest of the cast, or—God forbid, for this is hard to take—to the girlfriend of one of the executives.

You're home at last, still able to function, but barely. You make yourself a cup of herb tea, and the phone rings.

You've got the part!

You thought you were excited before, but now all hell breaks loose! You scream with delight—the dog howls with you. You're on the phone to all your friends, and finally to your mother.

The agent has told you the script would be sent over by special messenger, so you don't dare go out. Pizza is delivered. The script hasn't arrived and it's bedtime. You call your agent. He calls you a pest, but you know he loves you. You've just made him a few bucks. He promises to check with the studio tomorrow.

The doorbell rings, and it's the script. "Hello, script! Oh, you marvelous thing, you!" You devour it. Up all night. Great. Great. Even though you're not the lead, you can make this part important. You turn off the phone and sleep late the next morning.

As you plug in the phone, it rings. Your agent is mad. He's been trying to reach you to tell you the script has been sent and that you are to report to the studio for wardrobe fittings in one hour.

You make it, of course. You find that the director has already okayed suggestions made by the wardrobe designer for the character you are playing. All she (or he) has to do is choose a color that suits you, one that will blend with colors worn by other actors you will be playing scenes with. Wardrobe departments do a good job preparing far ahead of time for the whole film. By the time shooting starts you know what you'll be wearing in every scene.

If required at this time, you may be sent to the makeup and hairdressing department. The makeup man (or lady) likes to see, well ahead of time, the people who are to play key characters. He has read the script, knows the characters and the scenes, and has in mind what they should look like. Hair styles are suggested and agreed upon between you and the department heads, subject, of course, to the director's approval.

You go home after a very full and exciting day, chat with your friends on the phone, assure your mom that everything is perfect, play with the dog, do a few (neglected) exercises. Then you pick up the script and get serious.

Your call is to be on the set, ready to shoot, at 9:00 AM, Monday. This means a 7 o'clock makeup call, and that means getting up at 6:00. You will not go out all weekend. You will study the scene (or scenes) to be played on Mond...

Table of contents

• Cover
• Title
• Copyright
• Contents
• Edward Dmytryk: A Short Biography
• Jean Porter Dmytryk: A Short Biography
• Introduction
• 1 The Interview
• 2 The Reading
• 3 The Rehearsal
• 4 Where Did Everyone Go?
• 5 Make a Face
• 6 What Did He Say?
• 7 Who Do You Think You Are?
• 8 The Magic Formula
• 9 Help Is on the Way
• 10 Keep It Alive!
• 11 Don't Be With It
• Postscript
• Filmography of the Authors
• Chapter Notes
• Index