Re: Ed Hooks, Acting for animators

  • From: mathias.thuren@xxxxxxxxxxxxxxxxxx
  • To: bohmation@xxxxxxxxxxxxx
  • Date: Tue, 17 Aug 2010 15:38:20 +0200

>Vi är 7-8 styckna här på Avlanache som är intresserade att gå.
/mathias
> 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.
>

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