What the acting craft can teach writers about the writing craft: Part 2
Here’s where we start:
“When I’m writing, I think, ‘I want an actor to read this and say, “I have to be the person who gets to say this out loud.” -Callie Khouri
Callie Khouri’s writing credits include Thelma & Louise (1991), Something to Talk About (1995), and Divine Secrets of the Ya-Ya Sisterhood (2002).
Moreover Thelma & Louise sold as a spec script — which I know is the dream of most of us who frequent this blog. So when Callie speaks, we listen.
Today is Part 2 of our 5-part series on what we as writers can learn about our craft from the craft of acting. In particular, I’m hopeful that between what gets posted here and what gets posted in comments — especially by those GITS readers who are actors or have taken acting classes — we can all learn something about the mind of an actor. How do they approach a part? What are they looking for? What do they think makes a great character? And so forth.
I’ve asked two professionals with acting backgrounds to provide their take on a series of questions, one each day. They are Joshua James and Shea Vitartis (their bios are at the end of this post).
Today’s question: What key lessons from the craft of acting can be applied to screenwriting?
Shea Vitartis:
This is a GREAT question. With the training and experience I’ve been lucky to have with a couple of amazing teachers (Peter Haskell and Bill Alderson, whom I will address in a later question). My understanding of characters and the process cleared the way for writing stronger characters.
Sandy Meisner had many sayings that were handed down to me through Bill Alderson’s acting class. (Bill Alderson is about as close and true to the Meisner technique one can get). When I walked into the Meisner program, the theatre wall had a couple of quotes that were short yet probably the most effective quotes I have heard for creating great art.
While these quotes were originally from Sandy to his actors they transfer over to writers just as well.
The first quote was “Be Specific.”
That is a note I am sure we have all heard when others look at our work. Readers have a good sense when a writer is general or specific and that can be the difference between a pass or consider.
The second was “Act before you think.”
In my writer’s hat, it changes to “Write before you think.” How many times have we not gotten something on paper because we got in our heads and started criticizing and tearing it apart before it even hit the paper?
As I write this I’m going to type out the “Write before you think,” quote in big bold letters and tape it right next to my computer. Sandy Meisner’s studies have showed him that you ALWAYS go with the impulse that comes the split second before we think. I believe it is that split second where all great works of art are conceived. We can always come back to what we wrote later, but whatever you do, if you get anything from this series, try writing before you think. At least that way you’ll at least get more scripts written!
One of the first lessons a new actor learns when bringing a character to life is “what does he / she want?”
What’s my motivation, in other words (an old actor trope but still applicable) in this scene, in this play, in this movie?
Same holds true for the writer, establishing realistic motivations for characters is essential for writing specs … what do they desire, what’s keeping them from it (obstacles) and what are the stakes involved?
It’s a close parallel to the writer’s process of creating characters, I think.
A number of key points:
* “Be specific.” This applies to scene description — instead of writing “he drinks a beer,” why not “he slams down a Guinness.” The specificity of the object not only creates more of a visual for a reader, it also helps to define the character: The guy likes Guinness, maybe he’s been to the U.K., or perhaps he’s a poser. Instead of writing “he walks across the room, “ why not “he slumps across the room” or “he skips across the room.” Again creates more of a visual, but also suggestive of a character’s state of emotion.
* “Write before you think.” On one level what Shea is talking about is to avoid what I call pre-editing — editing what you write before you write it. That is a surefire way to get nothing done. But “go with the impulse the split second before we think” is also about going deeper into our creative process, moving beyond our rationality and tapping into that roiling area between our conscious and subconscious state. If Carl Jung is right and there is a collective subconscious, then we have a whole world of raw inspiration — images, themes, archetypes — into which we can dip .
* “What’s my motivation?” As Josh notes, it’s an “old actor trope,” but it goes to the core of a writer’s understanding of their characters. This is where I love the distinction of what a character wants, something they are conscious of, and what a character needs, something they are unconscious of — because it provides greater depth to their motivation. They may actively want this, but their need may be pulling them in another direction. Or redoubling their want-desire. Or any shading of emotion and intent in between. Moreover some characters’ motivation will change and so the relationship between want and need can shift over the course of a script. Therefore it’s imperative that for a writer to be in touch with where their characters are in their psychological connection to events in the story as they unfold.
In December, 2008, the NY Times Sunday magazine had a great feature on actor Philip Seymour Hoffman. In it Hoffman said this:
“In my mid-20s, an actor told me, ‘Acting ain’t no puzzle,’ ” Hoffman said, after returning to his seat. “I thought: ‘Ain’t no puzzle?!?’ You must be bad!” He laughed. “You must be really bad, because it is a puzzle. Creating anything is hard. It’s a cliché thing to say, but every time you start a job, you just don’t know anything. I mean, I can break something down, but ultimately I don’t know anything when I start work on a new movie. You start stabbing out, and you make a mistake, and it’s not right, and then you try again and again. The key is you have to commit. And that’s hard because you have to find what it is you are committing to.”
That is another way of saying, “What’s my motivation?” How can an actor commit to a character if they don’t know or can’t find that character’s core essence?
A good writer will do that with their characters: A character may and should have multiple layers of being and doing, a variety of ‘masks’ they wear from one social circumstance to the next, but an actor should be able to drill down into a character and find their essence — “What am I committing to?” — and as writers we should be able to do the same.
I invite everyone to add their thoughts in comments. Also if you have any questions about writing and acting, feel free to post them as well — Shea is checking with two veteran acting instructors to see if they’ll be up to field some questions.
And again any actors or people who have taken acting classes, I look forward to seeing what your reactions and thoughts are re the importance of a writer knowing the mindset of an actor.
About Shea Vitartis:
Shea Patrick Vitartas was born and raised in Los Angeles. The son of a set designer, he got a taste of the “business” at a very young age. At the age of 18, he joined the lighting union. Not long after his first day on the job, he caught the eye of an acting manager who took Shea on as a new client. It was at this time that Shea’s journey into the craft of acting began. He trained at various studios and learned from the top acting coaches in Los Angeles. Throughout his journey, Shea has met many unforgettable people who have inspired him. Two of the biggest influences on his acting career have been Peter Haskell and William Alderson, both of whom approach the technique of teaching acting from a place of imagination and truth. While he continues to pursue his passion for acting, Shea has also recently completed the UCLA Certificate in Feature Film Writing. Never one to let his creative mind rest, he continues to write and direct projects, some of which have been shown at various festivals throughout the U.S. Shea is currently working on his third script, which he plans to shoot in the latter part of 2010. He is also assembling a web series that he will be writing, producing, directing and acting in.
About Joshua James:
Josh James adapted Peter Biskind’s book Down and Dirty Pictures (2010) into a screenplay now in pre-production as is his dark comedy The Jones Party.
He also wrote the thriller Block Island for Adler-Gray Productions and did a production polish on Roadkill (2010) directed by John Stockwell, which completed principal photography in January 2010. In addition, his scripts A Natural High and Pound of Flesh, were optioned in 2009.
Josh has a blog on writing here.
Thanks to Josh and Shea. More from them on Day 2 of this 5-part series tomorrow at 4PM EST / 1PM PST (U.S.).
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