Film Workshop – Improv + Working With Actors
Film WorkshopTo introduce us to the module, we were presented with a new approach to directing – the method of improvisation. We were given two examples of films that used improv in pre-production to inform acting performance and the script for production.
Secrets and Lies (1996, Mike Leigh)
In Secrets and Lies, a key element of the performance achieved by Brenda Blethyn and Marianne Jean-Baptiste was the improv in the first rehearsal of the meeting scene. Without knowing who was playing the other actor in the scene – and who were merely supporting artists – Blethyn and Jean-Baptiste recreated the same feelings their characters would be experiencing – the uncertainty, nervousness and hesitation. This improv added additional context and subtext to the scene, as Blethyn’s character does not know her long-lost daughter is a black woman, and presumes it cannot be her she is waiting for. The shock of realisation is almost palpable due to the work done through improvisation.
Improvisation adds a greater depth and fluidity to an actor’s performance and enhances the character they are acting as through more realistic embodiment of the role. Actors understand their characters better as the set-up of improvisation requires them to act and think as though they truly were the same person.
Aftersun (2022, Charlotte Wells)
Wells approached the rehearsal stage with such consideration, empathy, and sensitivity towards Frankie Corio (Sophie), a first-time actress who was 11 years old during the time of production. Due to the familial intimacy and vulnerability of the film, Wells allowed Frankie to explore her character and to mess up and make mistakes to alleviate any additional pressure when shooting approached.
In order to cultivate an authentic and natural relationship between Frankie and Paul Mescal (playing Sophie’s Dad, Calum), both actors spent two weeks together hanging out in a non-film context in order to develop a sense of friendship and comfortability with each other.
The most interesting aspect of Wells directorial approach is the choice not to give Corio the full script with Mescal’s scenes. This mimicked Corio’s character Sophie’s lack of awareness towards what her dad Calum would be experiencing in the film, and maintained her childlike innocence, candour, and wonder. The choice to withhold an aspect of the script from an actor regarding another actor paid off, as it creates a bittersweet duality in their scenes together – Sophie is blissfully unaware of her father’s struggles, as a lot of people can relate to in childhood.
Class Exercise – Improv (Week 2)
In the second week we met with the cohort of MA Acting students who we will collaborate with this semester. Catriona organised an exercise in class in which actors in pairs had to improvise a scene based on a prompt and knowledge of their dynamic and relationship to each other. The results were great, and exemplified how beneficial it can be to introduce improv into the rehearsal process of any production. Catriona would review their performances by discussing strengths and weaknesses, refine aspects of it, and would then repeat the process until there was new and interesting material to work with.
Improv has become something I want to explore in my directorial approach and skillset this semester, and will be something I incorporate into future sessions with our actors to develop our script.
We were divided into groups of 6 film students and 2 actors and given four lines of dialogue to interpret, improv, and work with. Our task was to create a scene out of the four lines in 30 minutes and also build repertoire with the actors. It was a fun task and allowed for creativity and spontaneity.
“Have you been waiting long?” – “Ages.” – “Really?” – “Yeah.”
Below are the two shots of our actors completing the exercise. We went with the scenario that the second character was a patient in a hospital waiting for medical attention, which I think worked quite well.