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Embodiment (the actor’s work)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Actors are what most people ‘see’ in a film. Audiences don’t look at the camera-work, the sets, the lighting, the design, the structure of the story – any of the multiple cinematic choices that the writer, the director and his or her team...

Rehearsals (why, not how)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...In film-making a formal rehearsal period is a luxury (unlike theatre, where it is thought of as an absolute necessity). In some cases the first time you work with an actor may be on the set. And some directors may favour this way...

Performing being a director (your work goes public)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...A lot of directors – even quite experienced ones – are secretly afraid of how they will appear to the crew and to the actors. They walk onto the set anxious that their own performance – that of being a director – is not going to be up...

Afterword

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Talking with the actors I have worked with on such different films felt like bringing them together into one space, a space flooded with the strong working memories that lead to a very particular form of mutual affection. I relished...

Rewrites during pre-production (and beyond)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

Search for publications

Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...If you are a writer/ director you have – at least – one enormous advantage: you can change things when they don’t work without referring to anyone else. You don’t have to turn to a writer, either in rehearsal or on the set, and say...

The art of collaboration (being inclusive, taking responsibility)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Film-making is always a collaborative art-form, but if you are the director you can’t remind yourself too often that it is your responsibility – and yours alone – to keep in mind the vision of the film as a whole. You really are the only...

Acting for the camera (from stage to screen)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Acting for the cinema and acting for the theatre are parallel but subtly different arts. Actors who are magnificent on stage can somehow ‘disappear’ on screen. The reverse is also true. A charismatic screen actor can seem very ordinary...

Shooting out of sequence (how to survive it)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...It’s extremely rare to be able to shoot a film in story sequence. If you are shooting on location and have several scenes in the same place at different moments in the story, for example, it will make sense to shoot them directly one after...

Framing the actor (light and lenses)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

Search for publications

Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...When you look at an actor through a lens, whether the camera is basic or sophisticated, you discover information that you cannot always see with your naked eye. The act of framing an actor’s face seems to activate a narrative, not one...

Finding the character (secret key or red herring?)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

Search for publications

Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Often finding a ‘character’ is not so much a matter of building something up, as trying to strip parts of the apparent ‘self’ of the actor away. What we call ‘character’ (or sometimes personality or identity) in daily life is often a series...