Most of the moments of sheer bliss in my
life have happened while working in the movies. I remember, early in
my career, standing on a plateau near St. George, Utah, on the first
day of location for a Universal western called "Gunpoint." It
was early on a chilly morning as I stood with the producer, Gordon
Kay, watching the sun rise and the mists clear over the multi-hued
splendor of the rocky valley far below. I inhaled the crisp air,
mingled with the tantalizing aromas of breakfast being prepared in the
chuck wagon, and whispered to myself, Wow...
and I'm getting paid for this? Mr. Kay, a veteran
filmmaker, smiled and said, I know. I never
get over it. We're getting paid to play Cowboys and Indians.
Many other exquisite moments fill my
memory. Like standing on a venerable old sound stage before my call
... alone except for the prop man making coffee. Sensing the history
and romance of the place and feeling somehow connected to it all.
Or falling, exhausted, into a chair
with my name on it, feeling I had done something good and that it was
preserved on film forever.
Or standing before the camera with
Loretta Young, looking into her beautiful eyes with tears in my own.
Or laughing with Jack Klugman 'til
tears came, because his hairpiece kept falling in front of his face
during an active piece of comedy business.
Or getting applause on the set from an
audience of professionals.
I could go on about that side of the
coin and truly it is a shiny one. However, there is a darker side to a
career in the movies. We will attempt to cover both.
As a survivor of the many yins
and yangs of this career, I hope to share with you some of what
I know now and didn't know then ... not only about acting for the
camera but also how to act in this business. I will try to do
this in a way that will cause you to absorb the information and, at
the same time, enjoy the process.
You may ask why another book on acting
in the movies? First, I believe there can never be too many books on
such a vast and variable subject. Secondly, I humbly submit that among
the many I've read, I haven't found one that I feel is completely
right. Not that such a book exists, including this one. However, I
hope that you will find it helpful in the personal, eclectic,
un-dogmatic way that I have tried to present it.
I believe that, in most cases,
producers should produce, casting directors should cast and acting
should be taught and written about by actors. I have come to believe,
after over forty years as an actor, that actors are the ones who truly
know what an actor does and goes through.
Some books on acting have been
presented to us from the lofty position of the Star. However, if a
beginning or working actor were to practice some of the advice offered
in those, he wouldn't last five minutes in this most competitive of
businesses. for example, Michael Cain, one of my favorite actors,
tells us in his book and video, that if he sees the slightest motion
in his sight line during a take he will abort the take immediately. He
feels that ... even if no one else sees it ... his concentration has
been interrupted and it will show up on the screen. He may be right
and wouldn't we all like to have that kind of power... but you have to
get there first! One wonders if he allowed his concentration to be so
easily interrupted before he became a star.
Other books on motion picture acting
tend to be verbose and/or esoteric, complicated, and --to put it
colloquially -- too damned arty smarty. Sometimes it seems that
the author is deliberate confounding things so that the sanctity and
mystery of his position and a guru would not be compromised.
Some books are too un-realistic, simplistic and Pollyannaish in
Often books on acting are written from
a narrow, idiosyncratic point of view. The only dogma I present to you
is that in the art of acting, there is no dogma. There is no
single method or one uniquely valid approach. there is no acting
pill and any teacher or writer who give you the impression that
his is the only way is either deluded, a charlatan ... or both.
Too often students have come to me
with what they thought was good background in training for acting in
cinema. Unfortunately, too many times, when we started working on or
recording their performances, they had to admit that they were
unprepared. They didn't get what they needed from these studies. Often
what they got was either wrong, misunderstood, or misinterpreted.
I have attempted to write a book that
offers to my students, any actor and anyone who works in or just loves
the movies, a realistic, candid, un-dogmatic, eclectic, problem
solving, sometimes inspiring and fun, compilation of ideas,
methods, opinions and insights encountered during forty plus years as
an actor and over fifteen years as a director and coach. The thoughts,
experiences and opinions of many other members of the profession are
offered herein in direct quotations. Some I agree with ... some I
offer as counterpoint. I hope that many of these quotes will stay with
you long after you have read this book as they have with me.
At some point while studying this book
you may find yourself saying, I don't need to
know about that, or him, or her. I'm an actor and if it doesn't
pertain to acting I don't need to know about it. NOT! I
believe that an actor should strive to know at least something about
everyone and everything involved in making a motion picture. If you
can develop an appreciation for what others in the company are trying
to accomplish and express it through your work, you will get that
appreciation and cooperation back in spades.
It is my hope that if you seriously
consider what is offered herein and determine, by practice, what works
for you, this book will help you dodge some of the slings and arrows
and pitfalls you will undoubtedly encounter on your way to a career in
I have tired to offer you, among other
things, a charismatic overview of this very complicated art and
business. I have endeavored to be as specific and orderly as possible
without destroying, as a publisher's reviewer said, is its immediacy,
spontaneity and palpable West Coast flavor, while including
enough step by step, pragmatic, technical, brass tacks advice
that should keep you involved throughout your career , if you really
dig into it all.
Regarding all the other books, I say
read as many as practical. As I said, there are many vantage points
and variables involved in each aspect of this industry. I advise, that
in reading any of them, you keep your mind open and receptive. Don't
let any Guru's or Svengali's mold you to their purpose. Let it in and
let it out ... find what works consistently for you.
In this effort there are a certain
amount of anecdotes ... war stories ... and photographs that I offer,
hopefully, as illustration of information and points I am presenting.
Well, I must admit, some are for my baby boomer fans and my ego ...
forgive me already.
So read on, enjoy, experience, work
and learn. Keep on keeping on. Maybe your journey will take you
not only to success and/or stardom but, at its end, you will find that
you have also become a mensche.
I love film. I love watching movies and
I love everything it takes to make a movie. I am fascinated by
the process on every end, from the technician on set to the
sound recording to the cinematographer. And I love acting,
putting myself into different characters and exploring different
people who can learn not only about themselves but about life.
- Elijah Wood