Small class rock. Lots of takes. Time to play. Lots of progress on the scenes. Fun.
Aaron bringing back the paralegal for the last time…..I’ll be sad to see her go. Gaby the sexy reporter looking for a piece of pie from the senator. This was a scene for her reel based on House of Cards. Tracy the “old dog” detective with the rookie partner. This was a movie scene for an audition. Aiman auditing.
Gaby… Congrats on the work ! and wonderful that they let you play on the set. Here tonight….You started out pure nitro injected bitch…. maybe that’s a tough word… Maybe that’s spot on. And that tough chick is certainly a character you should be able to play. But given what you know about the show and these parallel characters we took a more seductive but still tough approach. We did a Southern accent to sweeten her up and we heard you do it too in Tracy’s scene…. and you do it quite believably. Watch Bull Durham… it’s a lesson. We played with blocking… tried several different approaches….. it was apparent that big physical moves can change the feeling of a scene. From sitting on a desk to just leaning back on a specific line you can tell the story with your body, You have to tell me what happened when you taped. If you went back to doing it “Bitchy”? I wonder how much of the sex stayed ? Would love to see it.
Tracy…. This was way early in your process, almost a cold read. We were just hunting for places to assert character and relationship. Pace was the recurring theme…. and that’s a challenge when you’re this early in your process but it is also an ongoing issue for you. When you do a character like this that you’ve played a dozen times you must be careful that you don’t just phone in the feel of the guy. You’ve got this cop in your bones…. but we were trying to bring him into the scene and find those moments of listening that feed you impulses. No question you have this guy in your body…. we were trying to connect him to the life of the scene. We pushed you to change some dialogue and expand on some moments that would work on set but fall flat in an audition. I look at this as part of our obligation as actors. If we find a moment that doesn’t work it’s our responsibility to bring it to life. When you work with an accent… also experiment with other accents. You’ll find interesting patterns. If you use an accent early in your scene work….in this case because you’re so comfortable with the character…. it’s all to easy to get stuck in a vocal pattern. Accents are great but they have to be used and pushed and pulled or they just produce a tone,
Aaron…. We worked on little beats. Moments of connection, thought, desire, anger…. and they all seemed to come from a more active listening. We found lots of switches…. How like comedy is love ! And here those switches allowed us into her feelings. He’d say something nice and she’d be vulnerable and then he’d say something stupid and she’d switch. Love makes fools of us all… even when we’re unaware of it. Remember you can’t do it perfectly. You can’t do the scene just the way you want to. Planning like that steals your spontaneity and really prevents active listening cause you’re so busy trying to do it right. Structured play solves that problem…. adjustments are our most creative tool. I gave you too many notes. Three is usually the max an actor can absorb. BUT you took the all too numerous notes with ease…. very impressive handling all those beats well. And a general note…. When in doubt…. add sex. It’s always at least a subtext…. when you are a young attractive woman as you are. It’s OK to be funny in a a scene like this. Dramedy!!!!!
Good workout. Everybody working on different issues. Effective commentary…. girl talk too.