Re: Ed Hooks, Acting for animators

  • From: "James" <james@xxxxxxxxxxxxx>
  • To: bohmation@xxxxxxxxxxxxx
  • Date: Thu, 12 Aug 2010 19:06:54 +0200

Låter klockrent! Ska bara skrapa fram pengarna :)

> Jag e självklart med! Fan vad fett! :D
>
> /Kribba
>
> On Thu, Aug 12, 2010 at 3:27 PM, Stefan Andersson <stefan@xxxxxxxxxx>
> wrote:
>
>>
>> Har ar lite av det som ed skickade till mig som han kommer att ga
>> igenom.
>>
>>
>>
>> Acting Theory:
>> 1) Thinking tends to lead to conclusions; emotion tends to lead to
>> action. We must establish the relationship between thinking and
>> emotion in order to grasp this concept.
>> 2) Audiences empathize ONLY with emotion. They will put up with
>> thinking to get to the emotion.
>> 3) Scenes begin in the middle, not at the beginning (moment before and
>> moment after)
>> 4) Your character should play an action in pursuit of an objective
>> while overcoming an obstacle.
>> 5) There are only three kinds of obstacles/conflict: (A) Conflict
>> with self, (B) Conflict with situation and (C) Conflict with another
>> character.
>> 6) Acting requires action, but the actual movement can be minimal.
>> In other words, if you are multiplying 365 x 1245 in your head, that
>> is an action even if you are very physically still. The problem
>>
>> animators get into is when their characters aren't doing anything.
>> 7) Emotion in and of itself carries no theatrical currency. It must
>> be action. Emotion tends to lead to action. Just because you can
>> make a character look sad or happy, that does not equate to good
>> acting. It is better described as an illustration of an emotion.
>> Illustration is not acting.
>> 8. Acting has almost nothing to do with words. It is all about
>> action, intention, emotion.
>> 9. A scene is a negotiation.
>>
>> Eye Movement
>> Weak eye movement is a primary reason we are still in the Uncanny
>> Valley. Blinking, for example, is very important to the way we
>> Communicate with one another. That is why the experience of
>> conversation with a blind
>> person feels somewhat different.
>>
>> Performance Capture
>> We'll talk about this, but we won?t be teaching anybody how to get in
>> the rubber suit and
>> do it. I have conducted entire workshops for directors of performance
>> capture. Many of
>> them know a lot about animation and computers, but they do not know
>> enough about how
>> to direct actors. I can help with that.
>>
>> Listening
>> Active listening versus passive listening is important. It is always
>> easier to animate the character that is talking, but the audience
>> tends to watch the one who is listening. It works backwards than it
>> does in a stage play, where the focus is on the person talking.
>>
>> Power Centers
>> You can move a character's power centers all over her body and achieve
>> different effects. A nosey librarian, for example, may have a power
>> center in her nose. The old lady in "The Triplets of Belleville" had
>> a power center in her club foot. We work on this with a couple of
>> volunteers from the class.
>>
>> Status Transactions
>> All of us, all day and every day, are engaged in status transactions.
>> You can negotiate status transactions. Again, we work on this with
>> simple
>> improvisations involving volunteers from the class.
>>
>> Paul Ekman
>> Professor Ekman is an expert on the expression of emotion in the human
>> face. His
>> work was used by the animators who created Gollum in ?The Lord of the
>> Rings?. In
>> the workshop, I show a inter-active CD-ROM that identifies and
>> demonstrates the seven
>> basic emotions.
>>
>> Comedy
>> Discussion of how comedy works, as opposed to drama. Drama has to do
>> with
>> man?s
>> potential. Comedy has to do with his limitations.
>>
>> Charlie Chaplin.
>> Chaplin brought empathy to comedy. I explain his approach and screen
>> several scenes
>> from his movies, followed by discussion.
>>
>> Heros and Villains
>> We discuss the definition of each.
>>
>> Psychological Gesture
>> A gesture does not have to be an illustration of the spoken word,
>> although it frequently is.
>> It can speak of a deeper emotional truth. We discuss and demonstrate
>> the psychological
>> gesture.
>>
>> Movie Clips
>> In this workshop, numerous clips from animated and live action movies
>> are screened and
>> deconstructed to illustrate acting principles. The precise clips I
>> screen really depend
>> upon my sense of what a particular group of students needs to see.
>>
>> A Character Template
>> In this workshop, I show animators how to construct a character
>> biography, the type of
>> thing that might go into a studio?s ?character bible?.
>>
>> Q&A
>> I make certain that time is allowed for any questions. In fact, I
>> invite debate particularly
>> if an animator were to disagree with something I teach.
>>
>>
>>
>>
>> 2010/8/12 Alli Sadegiani <alli@xxxxxxxxx>:
>> >
>> > såg honom på fjolårets fmx oxo.. intressant man, men kommer nog oxo
>> > vara på vift tyvärr!
>> > hoppas ni får tillfället att se honom
>> >
>> > Best regards,
>> > Alli
>> >
>> > ????????????????????????
>> >
>> >  Alli Sadegiani       +1 310 - 774 18 94
>> >  www.embrya.se    +46 70 - 409 11 77
>> >
>> >
>> >
>> >
>> > Den 12 augusti 2010 12:50 skrev  <info@xxxxxxxxxxxxxxxx>:
>> >>
>> >> Såg honom som sagt i Tyskland på FMX han var riktigt bra. Väldigt
>> >> inspirerande att se. Kan varmt rekommenderas. Skulle varit kul att se
>> men
>> >> jag befinner mig nog i Australien.
>> >>
>> >> /Jonas Forsman
>> >>
>> >> 12 aug 2010 kl. 09.51 skrev Stefan Andersson <stefan@xxxxxxxxxx>:
>> >>
>> >>>
>> >>> Nu ni jävlar. Jag har fått Mr Hooks on my hook! :)
>> >>>
>> >>> Jag skulle vilja veta hur många från Bohmation som skulle vilja gå
>> på
>> >>> en 2 dagars workshop med Ed Hooks? Just nu så sitter jag och bollar
>> >>> lite priser (eftersom det kostar en del att ta hit honom). Så jag
>> vill
>> >>> veta hur många som skulle kunna tänkas komma.
>> >>>
>> >>> Dagarna är mella 10-15 med lunchpaus.
>> >>>
>> >>> Som det ser ut nu, men mycket kan ändras, så kommer priset ligga
>> runt
>> >>> 5000-7000 per person. Ed Hooks kan också tänka sig att köra detta
>> >>> under en helg, men det kan då bli svårare med lokal för oss. Jag
>> >>> kollar runt lite och ser vad som finns och vad det skulle kosta.
>> >>>
>> >>> Jag tänkte någonstans i slutet av November.
>> >>>
>> >>> vad tror ni? hur många blir vi? hur många kommer från olika företag?
>> >>>
>> >>> tjopp!
>> >>>
>> >>> -stefan
>> >>>
>> >>>
>> >>>
>> >>> --
>> >>> Stefan Andersson
>> >>> Creative
>> >>>
>> >>> Mad Crew
>> >>> Roddargatan 8
>> >>> 116 20  Stockholm
>> >>> SWEDEN
>> >>>
>> >>> mail: stefan@xxxxxxxxxx
>> >>> phone: +46 (0)8 668 27 13
>> >>> cell: +46 (0)73 626 8850
>> >>> web: http://www.madcrew.se
>> >>>
>> >>> CONFIDENTIALITY NOTICE: This e-mail message is intended only for the
>> >>> above-mentioned recipient(s). Its content is confidential. If you
>> have
>> >>> received this e-mail by error, please notify us immediately and
>> delete
>> >>> it without making a copy, nor disclosing its content, nor taking any
>> >>> action based thereon. Thank you.
>> >>
>> >
>> >
>>
>>
>>
>> --
>> Stefan Andersson
>> Creative
>>
>> Mad Crew
>> Roddargatan 8
>> 116 20  Stockholm
>> SWEDEN
>>
>> mail: stefan@xxxxxxxxxx
>> phone: +46 (0)8 668 27 13
>> cell: +46 (0)73 626 8850
>> web: http://www.madcrew.se
>>
>> CONFIDENTIALITY NOTICE: This e-mail message is intended only for the
>> above-mentioned recipient(s). Its content is confidential. If you have
>> received this e-mail by error, please notify us immediately and delete
>> it without making a copy, nor disclosing its content, nor taking any
>> action based thereon. Thank you.
>>
>>
>
>
> --
>
> Kristian Ström
> ---------------------------------------
> Animator
>
> Mad Crew
> Roddargatan 8
> 116 20  Stockholm
> SWEDEN
>
> mail: kristian@xxxxxxxxxx
> phone: +46 (0)8 668 27 13
> web: http://www.madcrew.se
> blog: http://blog.madcrew.se
>
> CONFIDENTIALITY NOTICE: This e-mail message is intended only for the
> above-mentioned recipient(s). Its content is confidential. If you have
> received this e-mail by error, please notify us immediately and delete it
> without making a copy, nor disclosing its content, nor taking any action
> based thereon. Thank you.
>

Other related posts:

  1. Home
  2. bohmation
  3. Archive
  4. 08-2010