Brian Timoney’s World of Acting

Transcription of podcast:

How to Rehearse like a Pro

Brian Timoney with Joe Ferrera

June 2016

Scripts and Rehearsals: Insights and Advice on Getting it Right

In this episode, Brian and Joe sit down to chat about honing your rehearsal skills, with tips and guidance based on their own personal experiences – from the first read of a new script, to the read- through with the cast, through to the rehearsals – to make sure you rehearse like a pro.

11 things you will learn about:

• The script: What to look for when you first read it through • Understanding your character’s journey • Get scribbling: The importance of making notes on the script • Gut reaction – Why that first script read is so important • Lessons from the Greats: How De Niro and Hopkins do it • The read-through – Why you shouldn’t over-prepare • Permission to develop: Taking your hands off the flight controls • Explore, Investigate, Create: Bringing a little flavour • The impact of the “hidden culture” in a cast • The rehearsal: Adding subtlety and colour – Layers • The next level: Method Acting and sensorial improvisation

Full Transcript

One man – One mission: To rid the world of low-standard and mediocre acting, once and for all.

Brian Timoney, the world’s leading authority on Method Acting, brings you powerful, impactful, volcanic acting and ‘business of acting’ techniques in his special Acting Podcasts.

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Brian: Hi everyone, it’s Brian Timoney here, and I’m joined with Joe Ferrera – welcome, Joe. Joe: Thank you very much for having me. Hello everyone out there. Brian: So, today, Joe, we’re going to talk about how to rehearse like a pro – because here’s the thing: there is a big difference between the way professional actors rehearse and I guess the way that an amateur would rehearse, or anybody else that’s kind of come into acting in whatever means that might be. But professionals have a certain way of doing things and operating, so I think that is worth chatting about really. Joe: Yes, I think so, yes – and if it can help our listeners out there and if it can help any budding actors, and even if you’re already up there and running, you may be able to use some of these tools just to enhance your professionalism – absolutely. Brian: Yes, absolutely. So, here’s the first thing: I guess what would be good, Joe, is we can chat through our approach… Joe: Yes. Brian: …each of us, the way that we do things. I think the way, when I’m working on a script, the first thing that I would do is read the full script if I’ve got it. Joe: Yes. Brian: And sometimes in TV and film you don’t always get it. Joe: No, you don’t. Brian: You may just get some synopsis… Joe: Yes – some slides, a synopsis, yes. Brian: But let’s assume that you’ve got the role. So, we’re talking about rehearsal and you’ve got the script: so, the first thing I do is I go through the script and read, obviously, the whole script, not just the parts that I’m in – the whole script. And when I’m reading through that script, I’m also looking for a couple of things: I’m looking for what I say as a character but also what other people say about me as a character. Joe: Yes, absolutely. Brian: I’m trying to build up an overall picture of what my character is like. And the other part of reading the whole script for me as well is trying to understand what the overall message of the piece is: Why did the writer write this particular piece? What are they driving at? And within the character, looking at what is their overall journey within the piece: What is it they need? What is it they want? What are they trying to achieve overall within the piece? So, that’s where I start, Joe – how about you? Joe: Not too dissimilar, to be honest, Brian. I think we’re well grilled and well trained in that. I would pick the piece; I would look at the script; I would certainly look for any clues about what anybody else says – because invariably, very often, I’ve already read like most of the lines that I may have been given, depending on how big the role is. I also try and, if I’m reading something for the first time – and this is something that, you know, you never get a second chance to read something for the first time – so if I’m reading something for the first time, I always have a pen or a pencil at hand and I just, if something strikes me at page 12, I circle it, I make a note, I scribble something down – you know, saying, ‘This feels the character has a certain inner this/that/an outer’. So if I get anything that’s happening that I get instinctively in that moment, I just make a note and then I carry on reading. I mean, that came from having read things and then having always a predetermined idea, so this sort of sheds me of that. You know, it’s like I’m reading this for the very first time; I’m going to have an instant reaction to it – because, you know, you pick up a book and you have a reaction to that book. Page 3

Well, there’s no difference to a play or a script; you’re going to pick that up and read it for the first time and it’s going to have an effect on you. You know, I remember when – I’m not going to talk too much about myself – but I remember when I read Peter Morgan’s script for Rush, the Ron Howard film that I’m in. when I first picked that up and read it, I was astounded at the brilliant of the pace and the energy and just the sheer amount of excitement surrounding how he’d written that – and I never forgot that. You know, when we spoke – because I did speak to Peter Morgan who also wrote The Devil’s Whore and Frost and Nixon amongst many other brilliant plays and scripts – and I was like, ‘Peter, man, how did you do that?’ And he went, ‘Yes – I’m glad, because people comment on that, and it’s in the rhythm; I’ve set a rhythm up that’s matching these Formula One drivers, and the pace and the adrenaline.’ So, you know, you have a reaction to something. So, the first thing in rehearsal is make a note; make notes about what the characters are saying about you and how you feel at that moment when you read something for the first time. That’s that part. Brian: It’s interesting; it reminds me of the story about Robert De Niro. He did this film called Jacknife… Joe: Oh, yes – he’s terrific in that. Brian: He’s brilliant. Joe: It’s a very, very – not underrated but not sort of off the… Brian: Below the radar, yes. Joe: Below the radar, yes. Brian: Because the fact is he wasn’t actually first choice for that film; the director wanted Ed Harris to play that role, and Ed Harris ended up playing his friend in it. Joe: That’s right. Brian: But anyway, Robert De Niro said, ‘I really want to do this part,’ and he ended up doing it. And the director said, ‘When we were rehearsing, Robert De Niro got his script out and I couldn’t take my eyes off it; I was astounded by the amount of notes that had been made on the script.’ He said, ‘Pages and pages of notes.’ And it reminds me of what you were saying about making notes in the script; it’s a good thing because it reminds you – you’re right, you have a gut reaction… Joe: You’ve got a gut reaction to something, yes. Brian: And you don’t have it sometimes a second or third time you read it. Joe: That's right. You may have forgotten that gut reaction – you might have gone more sophisticated in your choice, or the rawness may have come off the script for the first time. Again, same thing: Emma Thompson reading Remains of the Day with Anthony Hopkins; she was astounded. There’s the script page, and on the opposite page (which is usually a blank page if you guys haven’t seen a script or a scripted screenplay on the opposite page there’s usually a blank page) and she said, ‘It was full of notes – like just full. Not just like a little note – like full; the whole A4 page was full of Anthony Hopkins’s notes on the character and on the work.’ So, there you go. Brian: Yes, so obviously the script, that’s where it begins. That’s where it starts. Joe: Yes. Brian: And then I guess we progress to the read-through, the first read-through. The cast get together and you do a read-through from beginning to end of the script. I actually think this is kind of a tricky moment because there’s a lot of things that are going on in a read-through, which is the first time the cast and the first time the director has heard the whole thing come to life. Page 4

Joe: Yes. Brian: And there’s a fine line between turning up and giving/showing that you’ve made some choices, and turning up and just doing a full performance on day one, because really you want to let the character grow over time and your understanding of the character grow over time. I’ve seen this happen – and I’m sure you have as well, Joe – where an actor turns up and they’ve got the full thing; it’s like they have created the performance before they’ve even started rehearsals – right? Joe: Right – before the rehearsal. Brian: I remember there was one time that that happened and I’m going, ‘Oh, my God – this person’s turned up as if the whole thing is ready to go.’ Joe: Yes – it’s mapped out in front of them. Brian: And then we got into rehearsal and it was very interesting to watch because while everybody else was getting better and better and evolving and the subtlety coming out and all different kind of things, that person’s performance didn’t change from the first day. It remained exactly the same day one as it did to the last day of rehearsal. And I thought, ‘That’s really interesting.’ That was very early on in my career and I said, ‘That’s interesting because actually, as an actor as well, apart from actually what you present finally, you want to be taken on a journey with the character.’ Joe: Yes. Brian: The idea that you come up with all your ideas and all your choices day one I think makes it very boring as well, as an actor. Joe: I think it stems from the fact (this is just my idea) that it’s the fear; it’s like I’m fearful of getting it wrong so I’m going to bring, day one, I’m going to have it down – as opposed to, you know, day one is just a rehearsed reading, which I would also do – a rehearsed reading in the room, everybody on either side…

And cut! Okay, take five, people. Listen; if you want to get the transcript for today’s show and free access to Brian Timoney’s Online Method Acting Course, then go to worldofacting.com and get your free gifts.

Okay, let’s get back on set. Lights. Camera. And... Action.

Joe: …and just letting something breathe a little bit in you – going, ‘Okay, I hadn’t heard this,’ or if somebody does something that I didn’t see, like they read a line from a character that sparks something in me that I feel is so funny or so touching. And if you’re coming in with just that set idea – and it’s happened a lot of times, Brian – and you’re like, ‘I’ve seen it’ – like you have, you know, the actor comes in and they’ve already got the set plan and nothing changes. And that’s actually quite boring really, because you’re like, ‘Well, nothing’s changed.’ And by its nature, it has to evolve – and that can be very, very scary because you’re flying a little bit, you know, you’re flying a plane and you’ve taken the hands off: you know what you need to do and where you need to go, but you’re just like finding the route a little bit more. And if you can allow that, if you can give yourself permission to be able to say, ‘This is the first read-through. I’m just going to let this breathe and then we’ll see where it takes us.’ And then, again, it allows for the director to give you notes, to help you explore, for the other characters to grow around you as well. Brian: I totally agree. I think you’re right about the fear thing, because that first day people are thinking, ‘What are the other actors like? Are they any good? Is this a good cast?’ Joe: Yes. Page 5

Brian: And even, ‘I want to show the director that I’m on it and that I can do this…’ Joe: Competitive, yes. Brian: So I think the best way to do it is the way you’ve described, really, Joe: let it breathe – but also maybe come with a flavour; come with some choices. Joe: Yes – just something, yes. Brian: You don’t need to give the full thing; come with a flavour, an idea of what you want to play with. And I think that’s enough at that stage. Joe: Absolutely, yes. Brian: And then let it evolve over time. Joe: Come with a flavour, some simple choices – absolutely, yes. Brian: So, the next thing will be interesting to talk about Joe, because I think this is important – and it kind of leads on from what we talked about: the fear thing and how, when you’re in a cast, the concern sometimes that can be there about how you’re being perceived by cast members and directors is that it can make people fearful of making bold choices and being brave. It can distract them away from the fact that they’re there to explore, investigate and create rather than trying just to please the cast members or a director. Joe: Yes. Brian: I remember very early on in my career there was a part that I played from Twelfth Night and it was playing the jester in Twelfth Night, which is quite a challenging role – it was for me, anyway, because I thought, ‘Is it automatic casting for me in that role?’ I don't think it probably was. But it was an interesting challenge. So I went into it and I thought, ‘If I’m going to play this role, he’s a jester – I can’t come into this and play it safe.’ Joe: Right. Brian: You know, ‘I’ve basically got to come in here and really play with it, attack it – not be afraid to fail.’ Joe: Yes. Brian: ‘Because as soon as I get afraid to fail, it kind of goes against what the whole character is about.’ So I had to kind of get my whole ego aside, to do it. And I remember going into many rehearsals during those rehearsals and just thinking, ‘What the hell am I doing?’ – right? It was all over the place for a while. But what I also did was I gave myself permission, because after the first couple of days people were seeing what I was doing; anything after that, people were just going, ‘Oh, he’s…’ Joe: Yes – ‘It’s Brian doing his thing!’ Brian: ‘He’s trying stuff out’ – right? So I gave myself permission just to keep playing with it and be bold with it. Joe: And it’s also important that – you know, it’s such a good example, Brian, in that you come in; you’ve been cast in it for a certain reason, and the fact that you may start to think, ‘Oh, well, they just want me for this – because I’m a certain type of thing or…’ – you know, like if you don’t know me, I’m a tall guy so I can be quite imposing. So the essence of then is like, ‘What’s my journey in the rehearsal process, as I’m coming in?’ I know I’m a big guy; I know I can impose myself. But then that’s just, ‘What challenge is there for me as the artist?’ So, in all of those characters that I’ve played that have that kind of essence of being an imposing character, I try to then evolve that to something more interesting, like intensely vulnerable or very chaotic, or using humour to dissipate his ferocious intensity as a person. So you develop and you’ve got to have an ear and an eye and sheer just determination, Page 6

to go, ‘I’m not going to just play this safe. I know I can come in, be strong and…’ – no; it’s got to be more interesting than that. And then the other actors accept that, and accept that you’re challenging yourself and therefore bringing the production up a level if necessary, you know? Brian: Yes, you’re right – because you actually give other people permission to do the same thing. Joe: Permission, yes. Brian: And that’s where it gets really creative, because in a way there’s this hidden culture that gets set up in a cast, and sometimes if the culture is, ‘You know what? We’re just going to play it safe and by the book,’ then that’s the culture of the cast. But if the culture is, ‘You know what? Let’s take risks. Let’s play with it. Let’s be bold with it,’ then that’s a different… Joe: Yes – and as an artist, and in your instrument, you grow much more than by playing it safe and looking for the kind of more what I call the more clichéd choice that you may have, because some choices may be clichéd but when you play them out through an expressive interpretation, through permission, it will be different. Brian: Yes. So, anything else, Joe, that you do? Joe: Yes; I mean, for me, definitely with the rehearsal process it’s layers. I’m looking to layer everything up as much as I can. So that then must mean that I have to – and let me tell you, guys: when you’re under the “professional” umbrella, people want results. You’ve got to understand that people are getting paid and payments are going out, and they’re expecting results. So you have to really be able to be as cool as a cucumber in terms of your search for layers, to bring the subtlety and behaviour that is absolutely compelling to watch. Now, that comes from what I would call taking a scene and just asking the director or just, even in my own time, looking at ways to improvise through the dialogue. If I don’t have an opportunity to say everything always out in my own words, I’m looking to see what the scene’s about, going out sensorially, going out in terms of my actions and activities and behaviour and seeing, ‘How can I use this opportunity, this rehearsal opportunity today to colour, to layer this character at this point right now?’ And I will go after that. The director may or may not be happy to work that way; if they are happy to work through improvisation and layering, they’ll set up a scenario to help you – if not, I’m doing it naturally; I’m doing it as the actor. So, how do I do that? I just put in an improvisation. I’m on the spot here, so if it would be to personalise the other character, then I would play the whole scene as if that person was maybe an ex-partner, and how I felt about that, or somebody that I was deeply in love with – even though the scene may not always… Brian: See, what you’re describing, I think this is really clever within Method Acting – this concept of sensorial improvisation. You’re right; sometimes you’re in situations where you can do traditional improvisation… Joe: Absolutely. Brian: …where you’re going to create the… Joe: The whole scenario. Brian: There’s a circumstance for you to come up with your own words. But what you’re describing is really a sensorial improvisation where you change what you’re thinking about in order to change how you feel, and then ultimately react. Joe: React – you know, it gives you a way of reacting. So, this is quite sophisticated work, guys, so you have to really hone your skills and practise and start to think or start to allow yourself a way of Page 7

working that is beyond the ordinary – and that will stand out for you in terms of work that you might receive for the future, because you’re developing your instrument in a way that is beyond the conventional. I don't know how you feel about that, Brian. Brian: Well, I totally agree with that, Joe, and that’s something that I pursue as well – the layering concept. Layering is so important because characters are not just one or two dimensions; they’re many different things. And scenes are the same: they’re not just one or two things – there’s lots of different things. And it’s like going after all of those different layers, so that unconsciously, eventually, in the performance, they just come out. But yes, I totally agree with you. Joe: And I also like the idea of, you know, when you say that, that is such a great example: the scene or the play has a certain way of being, and if your other characters are coming with their point of view, it can give you so much more for yourself because you have to respond and react in a different manner than you originally had planned, you know? And basically it’s planning and then letting go of the blueprint. Brian: Exactly, yes. Joe: That’s what we’re really discussing as well, in the long term, the whole scheme of things. Brian: Yes. Cool. So, I think we could have probably gone on longer with this one, but I think that gives people something to think about when it comes to the rehearsal process. Joe: Yes. Brian: So, that’s it – look forward to speaking to you on the next one. Joe: Thanks for your time.

And cut! Okay, guys, that’s a wrap. Hey – don’t forget, if you want to get a transcript of today’s show and free access to Brian Timoney’s Online Method Acting Course, then go to worldofacting.com and get your free gifts now.

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