The Actor's Survival Kit by Miriam Newhouse & Peter Messaline

Author:Miriam Newhouse & Peter Messaline
Language: eng
Format: epub
Publisher: Dundurn Press
Published: 2010-08-17T04:00:00+00:00

Eating

There will generally be coffee and doughnuts around somewhere all day, and meals every four or five hours. Try not to go overboard with food and drink. Most actors find it impossible to resist the lure of free food, and the food on film and television shoots is generally excellent. However, if after lunch you have a scene that needs energy, it would be as well to have the blood coursing through your veins rather than sitting in your gut, trying to digest the lasagna you have shovelled down.

On Set

The call comes at last and you head for the set, not forgetting your costume pieces and props and your own shoulder bag. In small projects, you may be able to discuss with the director, before you get onto the set, what the scene is about, any questions you may have, and any specific route he wants you to take through the role. Don’t expect this in mainstream media work: some directors do make a point of at least touching base with even the lowliest day player, but it’s rare. Normally, you will be expected to work it out for yourself. According to director Gail Singer, “Lots of new directors don’t know how to direct actors. They don’t understand the acting process. In their own training they tend to use fellow directing students as actors. Also, some directors haven’t worked on the text sufficiently to articulate to the actor what is needed.” In studio work, the director may stay up in the control room and communicate through his floor manager (or first AD).

Down in the studio or out on the location set, you will be appalled by the chaos. Cables in all directions, lights on and lights off, lights humming and occasionally smoking, men and women looking confident and competent, with titles like gaffer, craft services, focus puller, clapper loader. Dire warning: don’t touch the equipment. This is for your own protection. The equipment itself is rarely dangerous, but a glare from a union technician can kill at forty paces. Marc Green, sound recordist: “I can’t stand it when someone blows into the mike! It puts pressure on the mike it’s not built for and it puts moisture in it, which causes static. And it’s a great way to destroy my ears.”

It is likely they called you as they were finishing the previous shot, so that when you arrive they will be setting up the camera and lights for yours. They may have called you early and are still shooting. Obviously you won’t walk into a studio when the “recording” light is on, but you won’t get that warning on an outdoor set. Look for the cameras; catch an eye and ask where to wait. Wait there. Watch what’s happening. Learn what you can — just a basic understanding some idea of what and why. The chaos will begin to have a shape, and you will see that the director has many threads to keep an eye on. You are only one.

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