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What to do with a diva (what it means when an actor ‘acts out’)

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

...I have learned over the years to recognise signs of apparent ‘breakdown’ in actors (i.e. tears, rage, etc.) as the necessary consequence of an attempt to move beyond personal limits. By shedding the defence mechanisms that contribute...

Finding the ‘look’ (hair, make-up and costume)

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

...Appearance is mysterious. In the surface of things we can find both truth and lies; appearance can reveal or it can camouflage. The way someone looks, including what they wear, contains a wealth of detailed information that cannot...

Looking for happiness on set (an unreliable goal?)

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 film shoot, however exhilarating it may be, is often also a stressful, exhausting process for everyone concerned. The constant pressure of time – as time costs money – means little sleep and no rest. What I’ve come to realise...

Money (and other exchanges)

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

...Once the casting choices have been made in principle, the producers start to work on the deals with the actors’ agents. At this point, the distorting demon of money starts to come into play, too. Money is a live issue at every stage...

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.

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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...

Casting (crossing the magic line)

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

...Here, and throughout this book, I am assuming that the choice of cast (and all other ‘creative’ decisions) ultimately rests with the director. This assumption is based on the largely European tradition of director-driven film-making...

Improvisation (finding freedom?)

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

...Improvisation as a way of arriving at character and dialogue has a long and respected history in cinema. John Cassavetes’ hugely influential Shadows (1959) drew on the spirit of improvisation in jazz. The work of Mike Leigh is another...

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...