| Author |
Message |
|
| Tom Wagner |
 Posted: Sun Oct 09, 2011 5:37 pm |
 |
|
|
Joined: 14 Dec 2007
Posts: 597
Location: Long Island, NY
|
How difficult is it to be objective about your own work? How critical do you want to be about your performances? I would say you don't want to be overly positive or negative so where/how do you find the "happy balance"? How important is it to be objective about your performances?
Thank you. |
_________________
~ There's a Great, Big Beautiful Tomorrow...~ |
|
| Back to top |
 
|
| CB |
| Posted: Tue Oct 11, 2011 9:52 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 905
Location: HERE!
|
Tom Wagner wrote: How difficult is it to be objective about your own work? Quote: How critical do you want to be about your performances? I would say you don't want to be overly positive or negative so where/how do you find the "happy balance"? Quote: How important is it to be objective about your performances? |
|
|
| Back to top |
|
| Tom Wagner |
| Posted: Wed Oct 12, 2011 3:27 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 597
Location: Long Island, NY
|
CB wrote: Unforgivingly critical self-scrutiny is "death" to any performer. And no performer should take any criticism - positive OR negative - personally. It's all about The Characters.
Thank you. |
|
|
| Back to top |
|
| CB |
| Posted: Wed Oct 12, 2011 6:09 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 905
Location: HERE!
|
Tom Wagner wrote: But what if the criticism is with The Character? Can/should you take criticism and apply it to your performance or is that "death" as well? |
|
|
| Back to top |
|
| Lucien |
| Posted: Thu Oct 13, 2011 2:47 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 182
Location: Los Angeles
|
| What about the factor of which take was used during the session? If a line falls flat or shrill on your ear, are you able to remember if it was "That one take I didn't care for"? |
_________________
~Can't I Scream in Peace?~ |
|
| Back to top |
|
| CB |
| Posted: Fri Oct 14, 2011 10:50 pm |
|
|
|
Joined: 14 Dec 2007
Posts: 905
Location: HERE!
|
Lucien wrote: ...are you able to remember if it was "That one take I didn't care for"?
But yes - unless you've got a fiercely independent director/producer with a preference for those unexpected "Road Less Travelled" moments of freewheeling inspiration at the microphone, you can pretty much count on what Daws called "the safe, predictable cosmetic read" being selected to "print"*. The trick is to hold back on giving any line that kind of "safe on the nose" delivery in the first place, until your most inventive angles have been explored and considered; before finally offering something conventional for the director to have as a default they won't have trouble "selling" to the executive committee later. Then, as the character eventually takes on a life of its own, the more creative and expressively satisfying impulses slowly established over several sessions become comfortably familiar to the ears of the production staff, and it's no longer so imperative to "play it safe" from then on.
Of course, if your creative impulses misfire, and you feel you've "hit a clinker", you can always plant a seed of doubt before it leaves the recording studio, and re-deliver it in a more pleasing way; and if you notice it "goes wrong" before the line fully concludes, there's always the old character actor's "wild card" trick of sabotaging or bailing-out of the take - which naturally forces a (hopefully improved) re-take. …Just try to limit such antics to a minimum, or risk becoming a tiresome session-dragging source of disruptions wherever you show up to perform.
(*an archane reference to the days when optical soundtrack recording was done directly onto unexposed motion picture film stock, with only selected takes sent to the lab for processing and duplication). |
|
|
| Back to top |
|
|
|
