Chapter Six Key Light—Film Acting There Are a Number of Important

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Chapter Six Key Light—Film Acting There are a number of important points to keep in mind about acting in film: a film performance is not a performance in the conventional sense because it is done in fits and starts, bits and pieces, usually out of sequence. Beyond dialogue, film acting is dependent on the gaze—the ways in which characters look or do not look at one another or at objects. There seem to be a set number of facial expressions and ways of holding the body that instantly communicate emotional states. A few actors are responsive to one director, giving that director their best performance. Robert De Niro, for example, did his best work with Martin Scorsese, in films such as Taxi Driver (1976) and Raging Bull (1980). His later work without Scorsese—especially those films in which he attempts a comic performance—are not very good. Meet the Fockers (Jay Roach, 2004) is not a memorable film or a stellar job of acting on De Niro’s part. It is not that De Niro can’t do comedy. Scorsese’s The Kind of Comedy (1982) proves that he can take the psychopathic character of Travis Bickle from Taxi Driver and turn it upside down for comic effect. John Wayne, an actor who has moved from his role in films to become a cultural icon long after his death, is another case in point. Wayne was not a very good actor unless he was being directed by John Ford, which he was in more than twenty films, or by Howard Hawks, for whom he made three. Compare his performance in non-Ford Westerns like The Alamo (1960), which he directed himself, with Ford’s The Searchers (1956). In Chapter 6, we saw a number of stock poses and gazes that are repeated from film to film, by actor to actor. Continue this database with other examples of facial expressions and body language. How do these conventional acting gestures and looks compare with how we act in everyday life? Once you can establish the way film characters look, can you still hold that film acting is realistic? .

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. '• ohlvpc Kennedy vows EOP support by FRANK ALDERETE of. the Mexican American; rTrviouHiyIKuaHAUAUi •kAutMDoui me only--- s— way— —a in 196*70 kicked te Staff Wrttar monetary and educational x person- could get himself Into a MO,000. SAC State students gave Noting that “success of the deprivations In the case of other college was to excell In athletics. $90,000 which enabled 07 more program la related to financial minorities such as Afro- "But now, Kennedy said, "we students to enroll In classes, support,Prei. Robert E. American and American Indian. can admit 2 per cent of minority Kennedy said that "he would Kennedy announced h^ ad The ability of an Individual to „ groups Into our campus. Now like to see the EOP program vocacy for the support of the rise up out of the ghetto quagmire they have a chance." expand." but that he would Economic Opportunity Program and to make himself a success is Tomorrow students will vote In rather see "a good program for a In an Interview yeeterday. a problem that has faced the a special election to determine few students than a mediocre one The problem of a lack of underprlvillged for years. whether or not ASI funds could be for a lot." motivation of an Individual Kennedy said that the "EOP used to support the EOP. Kennedy said that the program toward echolaetlc achievement la offers a minority lndivudual the Currently eight state colleges use oould and should utilise any funds ceueed by aeveral reasons— chance to make himself good and ASI funds to support their It could get.
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