Re: Ed Hooks, Acting for animators

  • From: Stefan Andersson <stefan@xxxxxxxxxx>
  • To: bohmation@xxxxxxxxxxxxx
  • Date: Tue, 17 Aug 2010 15:52:44 +0200

faan va grymt! Min rädsla över att det inte ska gå ihop börjar lägga
sig. Morgan (som var med o anordnade Jason Ryan) och jag ska iväg o
kolla lite ställen snart. Så det är på "G".

-s



On Tue, Aug 17, 2010 at 3:38 PM,  <mathias.thuren@xxxxxxxxxxxxxxxxxx> wrote:
>
>>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.
>>
>
>
>
>



-- 
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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