How Understanding Writer’s Intent and Story Enhance Your Script Analysis Skills
January 17, 2024
If you were given the instruction manual for a new product but the manual was meant for a different product, do you think you’d have much success properly operating that product?
Not likely.
Holding a script that you haven’t correctly analyzed is like holding the wrong instruction manual or trying to navigate with the wrong map.
Imagine being handed a script for one scene in an audition but after reading it you deliver a read that’s different from the scene as it’s written. You wouldn’t purposely do that, but it happens all the time. Right now, there are actors all over the world misreading their copy, blowing their reads and as their chances of winning their auditions.
Here’s how to prevent this chronic actor ailment.
Writer’s Intent: The Blueprint
Let’s cut to the core of script analysis to get you the tools for understanding copy as the writer had intended it. We call this “writer’s intent” or “given set of circumstances.”
Writer’s intent is similar to the blueprint for a building project. If you don’t follow the blueprint during construction, the result won’t be what the designer envisioned. When telling a story on film, it’s the writer’s job to provide the roadmap or blueprint. It’s the actor’s job to stick to that blueprint, assuming you intend to bring the story to life according to the writer’s original vision.
Actors are always looking for ways to make strong and interesting choices to stand out. Making interesting choices is not a bad thing. However, it’s important to remember that interesting choices can’t conflict with the given circumstances and must line up with the story’s original intent. If these choices stray too far, they will prevent you from getting called back.
Remember: It’s not the job of the actor to change the blueprint, even if you think you’ve come up with something better. You must first understand what’s on the page before you can nuance it.
Audition Tip: Don’t Be a Critic
Never criticize or insult the writing during an audition (the writer could be in the room).
If you feel the writing is subpar and you’re still willing to audition for the project, then prepare something nice to say about the script ahead of time, such as “I’m excited to be working on this material right now.”
I often remind actors in my studio to consider the writer as the smartest person on the project.
More often than not, writers have worked hard and labored long hours over word choice, syntax, grammar and placement of punctuations. It’s out of this general respect for all the hard work committed that the actor should seek to honor the writer’s intent.
If you feel judgmental over the quality of the writing, you’re building up obstacles that can prevent you from analyzing the script and digging out all the nuggets.
Sometimes just believing that the writer is the smartest person on the project will open your eyes to things in the script that you hadn’t seen before. When that happens, you’ll end up elevating the writing through your performance. Just as bringing the character to life is your performance art, the writer’s art are the words on the page.
Script Analysis
Now that we’ve established that the script is the blueprint for an actor’s performance, let’s try reading this blueprint. In other words, we know that it’s the job of the actor to understand the writer’s intent, but how do we know what the intent is?
The process of figuring out a writer’s intent is called script analysis.
As actors, we need to be able to read a script and understand its ins and outs, its literal and suggested content, its text, subtext and detail. It’s our job as actors to decipher and relay to the audience what the writer wants to communicate through the story.
This is a tall order. For some actors, decoding and analyzing the story is intimidating. If this applies to you, don’t worry. We’ll take it step by step to help you become a better interpreter of copy, script and story. As a result, you’ll become a better actor.
Analysis Begins With Story
Any actor who’s studied with me knows that I reinforce that everything has always been and will be about story. Think about how we communicate in everyday life. “What’s your story?” “Would you like to hear a story?” “What’s the latest news story?” “Let me tell you what happened.” “Look at this picture.” “Check me out on Facebook and Instagram.” “Look at all of my photos, videos, blogs, and status updates.” It’s all story!
That’s how we’ve been constructed. We’re built to respond to story. Keeping this in mind, can you see how having a better understanding of story will empower you in your ability as an actor to tell stories? It should.
Let’s talk story.
There’s a general agreement amongst writers that there are a small handful of basic plot structures that always get reinvented. Some believe that there are only seven basic stories, others say it’s 12. Director Ron Howard states that there might only be one. Regardless of the number you come to, the bottom line is that there aren’t that many.
As an actor, it would greatly benefit you to learn these stories and become proficient at recognizing their patterns and identifying their structures. Doing so will help you with script analysis.
If you’re serious about diving deeper into this topic, read Damien Walter’s post titled Two. Four. Seven. More. How Many Stories Are There? Walter also provides resources for the monomyth theory (the argument that there may only be one type of story).
The more you dive into the research, the more you’ll find there is contention over the number of different stories there may be. Knowing the number doesn’t matter. Being educated in story structure is what matters. Take some time, do the research and learn the difference between a story that’s about overcoming a monster and a story about a journey. Having this knowledge will benefit you as you journey through the analysis of scripts.
There’s more to understanding story for effective auditioning. For now, the first step is to raise your awareness of script analysis and the writer’s intent. Don’t miss this because you want to focus on memorizing your lines.
Develop proper cold reading skills you can count on. Spend the little time you have before your audition on the understanding of the scene story as well as the character’s story. Doing so will take you much further than giving a memorized read. Take your time, put in the work and you won’t be that actor who doesn’t know what they’re talking about.
Clay Banks is a former Fortune 500 Business & Life Empowerment Coach, a Motivational Speaker and Consultant. After a successful eighteen year acting career, he founded Clay Banks Productions & Studio International (CBSI) where he’s the Head Coach offering ongoing on-camera acting classes. He’s presently a recurring Master Coach at SAG-AFTRA Headquarters as well as a regular-guest Master Class Auditioning Coach with the American Academy of Dramatic Arts, Hollywood.
Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!
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Three Tips to Succeed This Episodic Season
July 17, 2017
Episodic season is the time of year when the episodes of many TV shows are being cast. With TV pilots now sold and the leading actors hired, the casting of recurring roles, guest stars and co-stars begins. This is when working actors have a chance to get really busy. This is the time when you want to prepare to get into the audition room and nail it.
But how exactly does one do that?
Here are three tips that can help. Let’s start with:
1) RESEARCH.
When researching an already existing show you can watch the show to see what its style and characters are like. Sometimes, as in the case of new series, the shows haven’t yet aired. Here you are tasked to figure out what the tone of the show is, what the world is, and what the style will be like just from a few script pages. This is where you can make a huge mistake, simply because you can’t get familiar with the specifics of a show that doesn’t exist yet. It’s like getting an invitation to a party, without telling you what kind of party it is.
Where do you start?
Look at the Script. Gather as much information as you can from your script. You can ask your agent or manager for any additional information, or to get you a copy of the entire script so you can read it and find out how and where your scenes fit in to the overall story. But if you can’t get the whole script, work with what you have. Pretty common sense, but what else can you do?
Be a detective. One way to gather a lot of good “intel” on a role is to look up the show creator and his/her style in the present or past projects. Watch their shows. What is the style of portrayal– realistic, low-key, stylized, quite broad or theatrical? What sorts of characters do they place in their worlds?
If the show is a comedy, can you get a clue as to their sense of humor?
Consider if any of the style points you have noted will translate to this project and see if you can find a way to integrate that into your audition. You will stand a better chance of fitting into this new story if you are able to operate within the same basic creative approach.
2) CREATE A UNIQUE CHARACTER
Strive to make an interesting choice. You will have much more impact if you present a role in your own unique way, different from what anyone else might bring. Your audition will stick out from the crowd if it is unique, not a cookie cutter duplicate that others are also likely to present.
Ask yourself what about the role interests YOU and what can you bring to it that no one else would. That’s what casting agents mean when they ask you to “make bold choices.”
Be specific with your character. What do they like, don’t like, what is their viewpoint on things? Create a real person with a life and then live that life in the script.
3) BE READY FOR ANYTHING
Take the stress out of it. Leave plenty of time to get to the audition, to park and prepare yourself to go in—so you are not feeling rushed. Often at an audition, unusual things will happen that you couldn’t have predicted at home; script changes, last minute character adjustments, phones going off in the room. Be ready for what may come up.
Have confidence in what you are doing. Through research and drilling, be so ready with your choices that nothing can shake you. If you are prepared, and understand the world of the show as much as possible, even if they don’t cast you for this one, you will stick out in their minds for the next project.
Present yourself as a professional, they will at the very least come away knowing that, and that’s the kind of impression you want to make on casting agents in this, and every season of your career.
The Acting Center helps actors to gain control over their work, teaching them to rely on their own instincts, imagination and choices. Our scene study and improv classes produce confident actors who bring an original voice to every production.
In fact, the most distinctive thing about an Acting Center student is how different each one is. We train actors to speak in their own artistic voice—producing characters that are rich and layered. They become the artist they always wanted to be.
Theater, television and film are all collaborative mediums, so an actor must work well with other actors, directors, casting directors and many more. Our technique trains them to do just that! That’s why directors love to work with Acting Center students.
Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!
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The Callback vs. The Shoot
The Callback vs. The Shoot
August 16, 2023
I have been teaching commercial acting for over 20 years and auditioning for over 40 and have never figured out a way to teach actors how to work on set.
I have found numerous techniques to hone their skills in the audition room. I have created techniques on how to stand out and be noticed for good solid work. I have even found ways to recreate a callback setting so actors can deal with the nerves when a job is at stake.
But being on set is its own beast. I am going to give my sage advice on things to do and things to avoid once you have booked the elusive job.
Let’s start with the fitting
I strongly suggest you come dressed as an option for the role. If they ask you to bring some wardrobe choices to the fitting, bring a few. You don’t need to bring your entire closet, just one or two strong choices, and wear one of them to the fitting.
Make sure your hair is washed and you wear makeup or come as if you were going to the callback. I have seen people lose the job after being cast because they are so casual or unkempt and that is not how the CLIENT sees the character. You should always present your most cast-able self anytime you are around those hiring you.
Often what I wear to the fitting is selected for the job. Make sure you wear nude underwear or things that will not detract from the outfits you will be trying on. I suggest pantyhose for women because they may have you change behind the clothes rack or some other makeshift dressing area.
Great! On to the shoot day..
First: Get to the set at least a half hour early. Walk around and say hello to people. Introduce yourself. Have a bite to eat and relax in the setting. Find a place to drop your things in your room. Note that often nowadays there are rarely separate trailers for actors —especially on commercials. Budget cuts and the like have impacted this. So find a spot where you can put your stuff down and travel light. Bring a phone, a book and maybe some comfy shoes… that is it.
Second, Get to know the names of the AD (assistant director) or second AD who will be signing you in and monitoring your whereabouts. Let them know where you are so they can find you. Nothing irritates them more than looking for you when they need you in makeup or on set. The more you can know the names of the folks working on the shoot, the better and the more comfortable you will be.
In all likelihood, one of the first things you will do is sign your contract. ALWAYS SNAP A PHOTO OF IT and send a copy to your agent even if you think it is fine. Should there be any discrepancies, you’ll want your agent to work them out. You are there to act, to create and to be of service. Let the agents negotiate on your behalf.
Be kind, respectful and professional. Have your photo ID, passport or social security card handy for them and any other paperwork you need. Know the address of your agency. You can always download contracts online and practice filling them out so you look like a pro.
SIT AROUND AND WAIT
Yes, they called you at 6:00 a.m. but don’t get around to shooting you till 3:00 in the afternoon. It does happen. This is where your patience and professionalism must come into play. You CANNOT complain. They are paying you for the day and you are to be ready and energetic when they call you to the set. Do whatever you have to do to stay focused.
SHOOTING
When the 2nd AD calls you to the set, be ready to go. First, they will do a rehearsal with the director and the DP (Director of Photography) to see how they are going to shoot the scene. Give your all in the rehearsal. This is where they can see what will work and what won’t.
Don’t hold it back for the actual shoot as they may not know how to cover it. Drop the ego and listen to what all of the moving parts are. They may need to make changes because of lighting, or cast, or angles. This has nothing to do with you, but it will affect what you do in the scene.
LISTEN.
Then they may ask you to step away while they light or set up the scene.
Stay close by and make sure they know where you are. Keep your energy up and pleasant and be respectful of the others doing their equally important work.
They usually start with a wide shot, covering the whole scene. Still, give it your all in every take. Be open and available for notes from the director.
Be open to listening to the assistant director as well because the director will frequently tell the AD what they want from you in the shot.
After they have THE WIDE…
Then they will come in closer, for perhaps a two-shot or just another angle. Things may adjust. They might pull out the table that you had in the scene because they need to get in closer with the equipment. People are all around sticking things in your face, light meters, make-up people with powder puffs or maybe you are sweating and the makeup person is nowhere to be found. Don’t be afraid to quietly ask the AD if the makeup person is close by because you feel shiny.
Be open to the notes, because if and when they do several or many takes, it is often other factors such as lighting, camera or focus that are causing them to do so many takes to achieve the desired effect. You want to keep it fresh and new as if it was the first time you said it, but unless they suggest it, keep doing what they asked for.
If the director seems to be reaching for something in your performance, try it. Repeat what the director said in a playable action. If the director says, “Let’s speed it up.”, you can ask, “So more urgency?” Or if the director says to take more time, you can ask, “So languish in the moment?” This way, you are collaborating with the director and giving yourself something playable to do.
Often the producer or clients will have a way they want to try and it doesn’t mean what you were doing was wrong; they just want to have options to look at in order to pick the right one for the spot, film or episode.
I AM READY FOR MY CLOSEUP
This is where most actors fall apart. Something about the camera being up close and personal gets them all shook up. Remember who you are talking to and what you want and try to anchor yourself with something or someone.
You might be looking at a blue piece of tape when before in the wide shot you had an actual person or something real to look at. Now you have to have the same reaction with a piece of tape. Use your memory or emotional recall to capture the picture in your mind’s eye and make it as believable as you can.
Want to get your acting career started? Sign up or login to Casting Frontier and start auditioning today!
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About the author: Judy Kain is an actress who has been in over 400 commercials. Her television credits include recurring roles in The Odd Couple, Hand Of God and The Fosters. Judy owns Keep It Real Acting Studios in North Hollywood.
Listening is Key: What Directors Look for From Actors in Auditions
June 9, 2023
I was speaking with a group of television and film directors and asked them what are the top 3 things they look for when watching actors audition. One of those items we agreed was essential: “listening and reactions.” Here, we’ll dive in and discuss why that is.
The reason was explained this way: Scenes are put together in post-production. Until that time, it’s not entirely clear when the director is going to need a reaction shot from an actor to liven up or help explain a scene. So in the audition, they’re looking closely to make sure that the actor doesn’t go flat – even for a moment – because that may be precisely the moment that your reaction is needed when a scene is being constructed.
They tell me that if an actor gives a solid reading, it’s obvious they know the requirements of the material and are skilled at bringing the words to life – even if it’s not exactly what they envisioned. On top of that, the actor has reactions that spark with honest, energetic life.
They’ll hire that actor over the actor who came closer to their vision in the reading but didn’t listen and react as well.
They figure that you can always direct a good actor to say a line differently, but it’s not as possible to direct them to be more compelling in their reactions.
As one of the directors said, “It’s like telling someone to be more interesting – and we don’t have time for that.”
They also agreed that in an audition, the focus and stillness that deep listening brings draws them into the reading and allows them to become fully involved with the actor’s emotional life through the intensity of their reactions. This makes them feel that they are already working with the actor.
This is in stark contrast to the actor who isn’t as focused on listening and reacting. This actor not only doesn’t draw them in, but they also appear to be reading at them, not speaking and listening with them.
Another positive benefit of deep, revealing listening appears when/if the audition is being taped. When directors are watching taped auditions it’s a two-dimensional experience. The actors who become contenders for the role are the ones who feel as if they are actually in the room with them.
These are the actors whose listening is so specific and powerful and whose reactions are so alive and original that they bridge the distance that the technology creates so that even if the director is watching them on an iPad in New York, they feel the actors’ specific energy and spark.
In order to have these jobs getting moments of reaction, you need a way of working that allows you to have the confidence to take the moments and to live in them. Most actors speed through the piece believing that it’s only their words that matter, and yet any director will tell you that it’s the reactions that are the actions of the scene.
Watching someone talk is not half as interesting as watching how those words are affecting another human being. It takes awareness, skill and guts to work this way – but it’s the only way to work if you want to book the job.
In closing, it’s good to remember that strong listening and reacting are not things that you can just pull out of thin air. The body goes to what it’s used to – and if the body isn’t used to the stillness and focus of listening in your daily life, it won’t go there in your work.
Paying attention to someone to the degree that you take in their words and feel them on multiple levels is actually pretty rare. Most people have mastered the art of “half listening:” listening just hard enough to plan their response. That’s not the type of listening that prompts the reactions that get jobs.
Practice in your daily life. Make a commitment to take people in as deeply as possible. See if you can turn your brain off and listen from the neck down. Feel your reactions in your body and let them pierce your heart.
As you continue to do this, you’ll find that your body will start to relax into a still, focused and open-hearted place that you can now access not only in your life but in your work.
And when this happens in your work, the people in the room will not just hear you but see you.
Remember, it’s the eyes that are the windows to the soul – not the mouth.
As we were wrapping up the discussion, we decided to see if we could create one sentence to sum up the importance of listening and reacting in the audition. Here’s what we came up with:
What you do with the words will get the director’s attention – but it’s what happens in your reactions that will get you the job.
Craig Wallace’s background in script development combined with his 20+ years of coaching actors enables him to find the job getting moments that others miss. His expertise in breaking down text and years of coaching experience has made him “L.A.’s go to private coach.” Sign up for his group or private classes at wallaceauditiontechnique.com
Want to land your next great acting role? Sign up or log in to Casting Frontier and start auditioning today!
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