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  1. The art of acting
  2. The importance of acting
  3. The goal of the actor
  4. Becoming the character
  5. Empathy: a day in the life of a famous actor

Welcome to the Actor Channel on Blasting News. This channel is dedicated to focus entirely on Hollywood's top 100 actors following their recent activities. This page will contain updates on the happenings with the actors in movies, radio, theatre, voice over, and the prayer movement for actors in Hollywood. On top of that, this will update all fans and professionals of actors on the biography, awards announcements, and social media updates.

This channel will serve as a go-to source for getting "the skinny" on everything that's concerning the actors of Hollywood along from the art of acting, television appearances, behind-the-scenes at the movies, interviews, star photos, Hollywood prayer networks, conspiracies, articles, commentary, life before the actor was famous, movie scavenger hunts, casting calls, motivational quotes from actors, educational videos on the business of acting by the SAG-AFTRA Foundation, and other opportunities. Overall, this page will regularly update you with the latest news related the actors who are on Hollywood's top-100 list - all in one channel.

The art of acting

"An audience identifies with the actors of flesh and blood and heartbeat, as no reader or beholder can identify with even the most artful paragraphs in books or the most inspiring paintings. There, says the watcher, but for some small difference in time or costume or inflections or gait, go I...And so, the actor becomes a catalyst; he brings to bright ignition that spark in every human being that longs for the miracle of transformation." — Actor, Edward G. Robinson

The importance of acting

When we consider going to a movie, the first question we usually ask has to do not with the director or the cinematographer but with the actors: Who’s in it? This is a natural question because the art of the actor is so clearly visible. The actor’s work commands most of our attention, overshadowing the considerable contributions of the writer, director, cinematographer, editor, and composer of the score. As George Kernodle puts it, it is the star that draws the crowds. The audience may be amused, thrilled, or deeply moved by the story, fascinated by new plot devices, property gadgets, and camera angles, charmed by backgrounds that are exotic, or captivated by those that are familiar and real, but it is the people on the screen, and especially the faces, that command the center of attention. Because we naturally respond to film’s most human ingredient, the actor’s contribution is extremely important.

Yet despite our tendency to focus attention on the actor, there is general agreement among critics and directors that the actor’s role in a film should be a subordinate one, one of many important elements contributing to a greater aesthetic whole, the film itself. As Alfred Hitchcock states it, “Film work hasn’t much need for the virtuoso actor who gets his effects and climaxes himself, who plays directly to the audience with the force of his talent and personality. The screen actor has got to be much more plastic; he has to submit himself to be used by the director and the camera.”

The goal of the actor

The ultimate goal of any actor should be to make us believe completely in the reality of the character. If this goal is to be achieved, actors must either develop or be blessed with several talents. First of all, they must be able to project sincerity, truthfulness, and naturalness in such a way that we are never aware that they are acting a part. In a sense, good film acting must seem not to be acting at all.

Sometimes actors achieve a certain naturalness through tricks and gimmicks. Knowing that Ratso Rizzo, the character that Dustin Hoffman plays in Midnight Cowboy, had a distinct limp, a fellow actor advised Hoffman on how to make the limp consistent: “Once you get the limp right, why don’t you put rocks in your shoe? You’ll never have to think about limping. It will be there; you won’t have to worry about it.” Actors use similar tricks to create a trademark for their characters and to keep the characters consistent. But good acting demands much more than gimmicks. To project the sincerity that a really deep, complex, and demanding role requires, actors must be willing to draw on the deepest and most personal qualities of their inner being. As director Mark Rydell (a former actor himself) says, “I find that acting is one of the bravest professions of all. An actor has to remain vulnerable. I suspect that any time you see a great performance, it’s because some actor has been courageous enough to allow you to peek at a very personal, private secret of his.”

Actors must also possess the intelligence, imagination, sensitivity, and insight into human nature necessary to fully understand the characters they play—their inner thoughts, motivations, and emotions. Furthermore, actors must have the ability to express these things convincingly through voice, body movements, gestures, or facial expressions, so the qualities seem true to the characters portrayed and to the situation in which the characters find themselves. And actors must maintain the illusion of reality in their characters with complete consistency from beginning to end. It is also important for actors to keep their egos under control so that they can see their roles in proper perspective to the dramatic work as a whole. Veteran actor and Oscar winner Michael Caine offer this definition of the actor’s ultimate goal in playing a movie role: “If I’m really doing my job correctly you should sit there and say, “I’m involved with this person, and have no idea there’s an actor there.” So, really, I’m trying to defeat myself the entire time. You should never see the actor, never see the wheels going.”

Becoming the character

If an actor’s goal is to obscure his or her own personality and to become another person on the screen, the actor must learn to behave reflexively and naturally as this new character. Although there are many subtle variations in the way actors prepare for roles, they generally choose one of two techniques to develop well-rounded, believable characterizations: the inside approach or the outside approach. Actor Edward James Olmos describes the most basic elements of the two approaches:

The English form of study teaches you to go from the outside in. You do the behavior and it starts to seep inside. The Stanislavski method teaches you to go from the inside out. You begin with the feeling and memory, and those feelings begin to affect your behavior. In other words, some people will turn around and get a limp and then figure out where the limp came from. Other people have to figure out why they have to limp before they can do the limp.

Cliff Robertson, an Academy Award winner, believes that he must understand all facets of his character’s personality and thought processes. This inside method of preparation allows him to think and respond naturally in the role. For his performance in Charly, however, he used no immediate rehearsal; instead, he just tried “going with the instrument,” in a process of “osmosis,” because he had studied his character for seven years.

Source: Acting, Media Analysis 286-287

Empathy: a day in the life of a famous actor

Mindy Kaling (From her book Why Not Me?)

  • Wake up at 5 am
  • Shower, drive to Universal Studios
  • Report to hair and makeup by 6 am
  • Start shooting for The Mindy Project at 7:45 am
  • Break for lunch around noon
  • Drive to writers' room in production office to go over their work
  • Table read for next episode at 1 pm
  • Makeup again at 2 pm, back to shooting at 2:30 pm
  • Voice-over recording at 5:30 pm
  • Quick nap wherever at 6 pm
  • More shooting at 6:15 pm
  • Wrap by 8:15 pm, go to writers' dinner at 8:30 pm
  • Editing starting at 9:30 pm
  • Collapse in bed (possibly without putting on actual pajamas) at 12:30 am
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