Good Acting vs GREAT Acting

Summary

The script delves into the subjective nature of what makes an accent or a performance great in acting. It emphasizes the extensive preparation actors undertake, including psychology, backstory development, and working with coaches. The importance of being in the moment, vulnerability, and trust in directors is highlighted. The script also touches on the actor's instrument, the power of listening, and the collaborative aspect of film-making. It concludes by acknowledging the difficulty of acting and the personal nature of what constitutes a great performance.

Takeaways

• 🎭 The greatness of an accent is subjective and varies from person to person.
• 🏆 The difference between good and great acting is nuanced and often lies in the preparation and delivery within a short time frame.
• 🎬 Understanding the craft of acting involves realizing the extensive preparation that goes into a performance.
• 🕰 Preparation for a role can be extensive, sometimes taking months, including building the character's psychology and backstory.
• 😢 The ability to cry on cue is not a definitive measure of great acting and can be challenging for some actors.
• 🎭 Acting is about being in the moment and focusing on intentions rather than trying to force emotions.
• 🤔 The misconception that great acting is about subtlety and censoring oneself is debunked by the importance of being authentic and vulnerable.
• 👥 Trust between an actor and director is crucial for vulnerability and the ability to take risks in a performance.
• 📝 The quality of writing an actor is working with greatly impacts the potential for a great performance.
• 👀 Listening is a fundamental part of acting, with great actors focusing on responding authentically to their scene partners.
• 👥 Acting is a collaborative effort, with the success of a performance depending on the entire team's contribution.

Q & A

What is the speaker's view on what constitutes a great accent?

The speaker believes that a great accent is very subjective and varies from person to person, much like the judgment of the Oscars.

How does the speaker describe the difference between good acting and great acting?

The speaker suggests that good acting versus great acting is differentiated by the level of preparation and the ability to deliver emotionally moving performances within a short time frame.

What does the speaker emphasize as an important part of an actor's preparation?

The speaker emphasizes the importance of building the psychology of the character, doing extensive preparation, and working with various coaches before arriving on set.

Why does the speaker mention spending time on 47th Street with gamblers?

The speaker mentions this to illustrate the level of research and immersion in a character's world that an actor might undertake to prepare for a role.

What does the speaker reveal about their personal experience with crying on cue in acting?

The speaker reveals that crying on cue is not easy for them and they do not consider themselves a 'tear performer', indicating that it's a skill that not all actors possess naturally.

How does the speaker view the role of intention in acting?

The speaker believes that focusing on intention and engagement rather than the result can lead to a deeper and more authentic performance.

What lesson did the speaker learn from a scene with Walkin?

The speaker learned to be flexible and adaptable in acting, as having a fixed idea of how a scene should go can hinder the performance if the scene does not unfold as expected.

What does the speaker mean by 'moment-by-moment acting'?

Moment-by-moment acting refers to the ability of an actor to be completely present and responsive in each moment, allowing for authentic and spontaneous reactions.

How does the speaker define a great actor according to the script?

A great actor, according to the speaker, is someone who can be vulnerable, unselfconscious, and is not afraid to take risks in their choices, serving the role with their full instrument.

What misconception does the speaker address about actors censoring themselves for subtlety?

The speaker addresses the misconception that great acting is about self-censorship for the sake of subtlety, suggesting instead that great acting is about being in the moment and making bold choices.

How does the speaker describe the collaborative aspect of acting?

The speaker describes acting as a collaborative sport, where everyone on set contributes to the final product, and the goal is for all components to fit perfectly into the overall production.

What does the speaker say about the importance of listening in acting?

The speaker emphasizes that listening is crucial in acting, as it allows for authentic reactions and a deeper level of engagement with the scene and other actors.

Outlines

00:00

🎭 The Art of Acting: Preparation and Emotional Depth

The first paragraph delves into the subjective nature of what makes a great acting performance, highlighting the extensive preparation actors undertake to deliver emotionally impactful performances. It discusses the misconception that acting is effortless and the reality of the hard work involved, including building character psychology, working with coaches, and the importance of being able to 'throw out' the preparation on set to respond authentically in the moment. The paragraph also touches on the challenge of crying on cue and the importance of intention and engagement over forcing a specific emotional result.

05:02

🌟 The Essence of Great Acting: Trust and Vulnerability

The second paragraph focuses on the elements that contribute to a great acting performance, emphasizing the importance of being in the moment and the vulnerability required to deliver authentic emotions. It discusses the trust built between actors and directors, the role of good writing and direction in enabling actors to take risks, and the collaborative nature of filmmaking. The paragraph also explores the idea that great acting involves active choices and the use of one's body and voice as an instrument to serve the role, with examples from performances by Michelle Williams and others.

10:06

👂 Listening: The Core of Powerful Performances

The third paragraph emphasizes listening as a crucial component of powerful acting, explaining how a great performance is not just about delivering lines but about responding to the other actors and the evolving mood on set. It discusses the social and collaborative aspect of acting as a team sport, where each actor's contribution is essential to the overall success of the production. The paragraph also touches on the subjectivity of what constitutes a great performance and the inherent difficulty of the craft, concluding with a celebration of the hard work and dedication of actors.

Keywords

💡Accent

An accent refers to the distinctive way of pronunciation associated with a particular geographical location or social group. In the context of acting, a great accent can enhance the authenticity of a character. The script discusses the subjectivity of what makes a great accent, suggesting that it's not just about mimicking but also about the emotional and psychological connection to the character's background.

💡Oscar

The Oscar is an award presented by the Academy of Motion Picture Arts and Sciences, symbolizing recognition of excellence in the film industry. The script mentions the Oscar to illustrate the competitive and subjective nature of evaluating 'great' acting, as it is often associated with prestigious awards.

💡Preparation

Preparation in acting involves the extensive work an actor does before stepping onto the set, including developing the character's psychology, backstory, and physical attributes. The script emphasizes the importance of preparation in delivering a convincing performance, with examples of the speaker's own experiences and the amount of time spent on understanding the character's world.

💡Emotion

Emotion in acting refers to the ability to convey genuine feelings and reactions that resonate with the audience. The script discusses how preparation and the actor's intention can lead to a more emotionally moving performance, rather than simply indicating emotions or aiming for a specific result.

💡Vulnerability

Vulnerability in acting is the willingness to expose one's emotions and personal experiences without reservation. The script highlights the importance of vulnerability for an actor to deliver a performance that feels authentic and emotionally impactful, such as Michelle Williams' performance in 'Blue Valentine'.

💡Trust

Trust in acting, particularly between an actor and a director, is crucial for creating a safe space where the actor can take risks and be emotionally open. The script mentions trust as a factor that allows actors to be vulnerable and make bold choices, which can lead to great performances.

💡Dialect Coach

A dialect coach is a professional who helps actors perfect the accent and speech patterns of their characters. The script mentions working with a dialect coach as part of the preparation process, emphasizing the importance of accurate and believable speech in character portrayal.

💡Objective

In acting, an objective refers to the character's goal or intention in a given scene. The script discusses how focusing on an actable objective rather than an emotion can lead to a more natural and engaging performance, as it allows the actor to be proactive in their scene work.

💡Subtlety

Subtlety in acting is the art of conveying emotions and intentions in a restrained and nuanced manner. The script challenges the notion that great acting is always about being subtle, suggesting that great performances can come from a range of acting styles, including those that are more overt.

💡Risk

Risk in acting involves making bold choices that may not always work but can lead to memorable and impactful performances. The script encourages actors to take risks, as these choices can result in unique and powerful portrayals that stand out.

💡Listening

Listening in acting is the practice of being attentive to one's scene partners, allowing for spontaneous and authentic reactions. The script emphasizes the importance of listening as a key component of great acting, as it enables the actor to respond genuinely and in the moment.

💡Collaboration

Collaboration in acting refers to the teamwork between actors, directors, and crew to create a cohesive and compelling performance. The script highlights the collaborative nature of filmmaking, where each person's contribution is essential to the overall success of the project.

Highlights

A great accent is subjective and varies from person to person.

Preparation is crucial for delivering a performance in a short time on set.

Good acting involves understanding the psychology and getting ready for the role.

Crying on cue is challenging for actors and feels forced at times.

Actors should focus on their intentions and engagement rather than the result.

Vulnerability is key for an actor to deliver a great performance.

Trust between an actor and director is essential for vulnerability.

Great writing and direction lay the foundation for great acting.

Actors should take risks and make interesting choices in their performances.

Listening is an important part of acting and reacting to other actors.

Actors should use their body and voice to serve the role effectively.

Accents and dialects play a significant role in character development.

Great acting comes from being in the moment and responding authentically.

Acting is a collaborative sport and requires teamwork on set.

Great performances are subjective and differ from person to person.

Acting is a difficult job that requires dedication and hard work.

Transcripts

what makes a great accent I think it's a

very subjective thing right who's great

who's not and the Oscar goes to and the

Oscar goes too and the Oscar goes too

what differentiates good acting from

great acting Brad Pit Brendan faser the

whale I think it is interesting because

I think if you if you don't understand

acting then you also think that you kind

of just turn up and just do

it what so you go and raise my son

now

huh you going to raise my son there's so

much work you do beforehand so that you

can arrive on set you're so prepared

that you can deliver that work in a very

short space of time the very subjective

nature of this question makes it hard to

pin down why certain performances make

you feel emotionally moved While others

feel well stilted but I think people

don't understand that preparation can

take up to four five sometimes even six

M but the building the psychology and

getting ready for the piece itself the

working on yourself getting to act is is

so it it's it's such a minuscule part of

the experience that you have to love it

that much I spent a lot of time on 47th

Street so I spent a lot of time with a

lot of gamblers who had bad problems and

lost a lot of things and lost their

lives because of it and uh it's good to

learn something I walked away thinking I

know everything right now it's a year

later I'm like I I I forgot so much prep

I do I do timelines and Back stories and

I work with a dialect coach and a

movement coach and an acting coach and I

just yeah I need to do a lot before I

show up to set so I can throw it all out

the window when I get on

set is a great actor just someone who

can cry on Q

I sometimes cry a lot you're not a softy

though you don't cry easily do you I get

teads yes my kids always say I never

seen you cry I want to see what you look

like when you cry they scream that

please cry you don't cry I don't cry

that much no you've had to cry a movie

though haven't you yes a lot I've done

like five times where I had to go fullon

crying and it's not easy for

me crying on cues it's something you can

do it's it's always like stifling for an

actor when it's written in the scene

like they begin to cry or they cry and

then you're like yeah this is the scene

where I'm going to like I'm going to

lose it like snot's going to come out of

my nose

freak out I'm not some I'm not like a

tear performer I spent my life growing

up like trying to make myself cry I

can't do that I can't do can you do that

I can't do that no I kind of give myself

a little bit of a safety that where I

say to the director beforehand I be like

I might cry but I might

I steing that I am totally stealing that

because you can't control everything so

you can only control your intention and

your uh degree of Engagement in fact if

when you're free of the idea of the

result sometimes the engagement can run

so much deeper focusing on being sad or

angry often leads to indicating that

emotion and aiming for a result leads to

a performance that feels forced there

was a scene in the master I shot with

Walkin I I had in my head how the scene

was going to go and you had the before

exactly Freddy wake up he was not waking

up I was supposed to wake him up and he

wasn't waking up and I was like I

freaked out because I was like no here's

how the go see I go over I shake him I

didn't roll with it and I learned a

lesson from that though I mean

eventually we got there but I I had in

my head how the scene was going to

go wake up wake up acting is active and

therefore an actor's focus is often on

an actable objective or goal rather than

an emotion if you can walk into an actor

and say just crowd the other guy

crowding that's such an active thing

that the actor can do you you don't want

to give like I mean you can give faster

slower but that's usually not useful

things like and the goal in this scene

is make yourself

understood or something like that like

change their objective like redirect

their objective because then you get to

see their wheels turn about how do they

do that you're not giving them the

results you're giving them like an

intention this is this is the intention

and there's often a temptation to

believe a great actor is someone who

censors themselves aiming for subtlety

and the most emotional of scenes I

showed up on set I said I'm going to do

my work as an actress and I'm going to

make it real small Denzel but this too

is a false notion and he was like what

are you doing and I said well I'm doing

a small for the screen he said why and I

said because it's too big it's big he

said well do what you think is too big

and I remember I did I've been standing

with

you I've been right here with you Troy

and he said I don't think that's that's

too big Great Performances don't hinge

on an actor choosing when to hesitate

stutter wink or Grimace but rather being

in the moment Michelle Williams in in

Blue Valentine like that vulnerability

and that's and you get that feeling of

um of I guess it's cathartic in some

ways moment by- moment acting is what

allows a small flicker of emotion to

cross an actor's face in between the

lines in order to do this they must be

free completely unselfconscious and

vulnerable which as human beings is EAS

said than done we're so conditioned not

to play and we're so conditioned not to

you know to be loose and we're so

conditioned

to we're so conditioned to having stuff

mean we're not we're not comfortable

with things that we can't quite explain

a big part of an actor's ability to be

vulnerable relies on the trust they

build with a director an actor is laying

an awful lot of this deep intimate

personal stuff out there and a good

director it seems to me is both U the

third eye but also a comforter I think I

hear more often that directors don't

communicate I think that's probably the

complaint i' I've heard from crew and

cast there are very few directors who

have that language you've had a thought

you've been working on these lines

you've done all of your research you've

built your backstory as an actor and

those directors that can still come and

tell you something and you go oh wow

that helps help yeah let me try it that

way yeah that rarely

happens like do you know that when a

director comes in and you can tell that

you haven't gotten it and they're like

we got it we got it we got to move on

and then you're like can I go for one

more it's like no no no we got it I'd

love to go for one more and then they go

okay if you're going to go for one more

do this like and then I think trust is

just destroyed often times what

differentiates a good performance from a

great one is the quality of writing an

actor is working with and I think that

my first job is to be a really good

writer writer to the to the actors so

many times you see so much description

of what the character is supposed to be

feeling and stuff in in screenplays and

it's just a big mistake it has to be

done through dialogue and and and what

they do what are they going to are they

going to walk across the street you know

then that is a that that's a character

trait you know they're making that

decision I think a lot of the time I

don't know if you found this as an actor

but you read scripts and they describe

characters as being that but then the

character isn't that in in the dialogue

or the text the directions when writing

is not good you have to fill in the

blanks and I always say the actors who

should get the awards are the actors who

have to make bad work good however when

great writing and great directional line

action it lays the foundation for great

acting and this frees up actors to make

interesting choices you have multiple

different ideas which you just think

would be kind of fun and also sometimes

you think about things which should be

exciting for the other actor so it gives

them something to react to when I read

it I just I wanted to do it because the

greatest thing as an actor that you can

lean into in film is a trust in your

director you know trust in their choices

not that you always go with them but

that you trust in their single-minded

approach and and their

perspective make a strong choice you

know whatever it is like I saw you make

choices and do things that would I could

just see that you were just your head

were going oh I'll do that now I that

you it's just the most Exquisite thing

I've ever seen great acting often comes

as the result of actors who aren't

afraid to take big risks in the choices

they make she walks and then she almost

staggers and then she tiptoes and it's

extraordinary choice that kind of detail

that she's aware of and the way she uses

her body to express the character even

with her back to camera that to me

should be a master class for anybody

that wants to be an actor and an

important part of the choices an actor

can make is knowing how to use your

instrument to serve the role I think

Phil just intuitively knew that this

person should be light on his feet I

certainly never thought I'd look at

Walken standing like that from how they

walk one thing can give it to you a walk

can give it to you Wen is so specific in

the way Arthur's run looked I thought it

was really um something you watch her

walk she was watching The Searchers and

uh yeah and she was doing John Wayne

she's doing John Wayne the whole time to

how they talk I know a lot of British

people like can do excellent American

accents yes me too and

pool is a little bit

small when I read a script the first

thing that comes into my head before the

visuals or anything is what is this

person going to sound like getting all

of those like cadences and pauses and

the strong elongated words it really got

me into the whole voice and and

everything you and the Johnson have

already done so much I just sort of had

to lean into the sounds and go they're

going to come they're going to come and

just listen to her listen to her listen

listen to her listen to her and slowly

it would wash into my mouth my body my

my brain my psyche and then suddenly she

was there Jim let's go it's not going to

get better than this copy that and a big

part of what makes performance great is

listening do I make myself

clear I'm sorry I wasn't listening

ow always make sure that you're

listening because your reactions will be

different if you're listening to the

other person properly what was

that the misconception that exists

somehow is that a great actor delivers

great lines but a great actor listens to

Great lines just listening is my

favorite acting to do I I think it's

it's it's listening to to to the way

what the other actors are offering or

maybe the the mood they're in that day

cuz for me acting is really just um

being in the moment as well as I can and

then I just listen and I just answer but

a great performance rests on more than

just the actor alone and that's kind of

partly what what I love about this there

is a kind of social aspect to it you're

part of a team you know on set what's

rarely talked about is is what we do as

a collaborative sport we're part of a

collage man we have nothing to do you

know even so much much is wanting your

component of that collage to fit

perfectly into the collage you really

yeah really have to kind of give it it

give it all up it's not just you doing a

thing it's the community doing the thing

everybody wants to it's not everybody

wants you to do great or you to win it's

everybody wants to do well by this this

um this offering that we have to give

deciphering a good performance from a

great one is personal there's no truly

objective way to judge his criteria but

I don't know it's it's very subjective

somebody a great actor than somebody

might not be to somebody else it's not

like a two and two or four thing as

humans we see great performances in

actors that move us and that differs

from person to person acting is hard no

matter what you're doing and it's it's

hard to make a movie it's hard to act

I'm so in all of what they do and acting

is such a hard job I mean it's really

really hard and I'm a really big fan

first and foremost I'm just the fan

who's kind of excited to watch them be

[Music]

great