Tuesday, February 17, 2009

Shakespeare : film

I have finally had a dvd made for my Santa Cruz Shakes audition.  It will go into the mail and land on distant shore before the end of the week (promise!)  Also, I finally got hold of the talented dp who knows my film work far better than I  know it (considering how much of my face he's seen--up close, personal--these last couple of years) to edit together a reel for film and other camera work.  As Jack says, this is the "push" period for us, actors hitting the market with freshly minted MFAs.  I probably have summer work lined up, but one summer does not make a career.  I need to start hawking myself.

All this time spent training for stage and working on stage makes me both forget and underestimate my interest in film.  Shooting the dvd audition, I  immediately fell into a relationship with the camera--to a problematic degree, in fact, because I has hard pressed to crank up my theater audition big enough for a 'theater' audition, rather than for camera.  I like putting a performance into that black eye.  I like eyebrow and mouth acting.  I seem to relax there.  At least, as of now.

I want to do Shakespeare on camera.  I get that.  I get the marriage of theatricality to naturalism on camera.  Actually, it's the kind of acting that works best for certain kinds of feature film action dramas:  space operas, westerns, international spy thrillers.  Lines need to be delivered with full value to 'information' and larger-than-life dramatic details while remaining in a believable naturalistic framework.  These performances rarely transpire to be truly naturalistic, when examined for half a second, but they work.  Watch Daniel Day Lewis in Their Will Be Blood (he acts big; supporting players around him act filmic-small, providing the velvet backdrop to the jewels he drops.)  

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