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Industry • Directing

Working with Actors: Getting the Right Performance

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In this intensive 5-day workshop, director Udayan Prasad (THE TUNNEL, THE YELLOW HANDKERCHIEF, MY SON THE FANATIC) guides participants through the fundamental techniques for working with actors.

Course Info

Times:
09:30 – 17:30
Duration:
5 days
Fee:
£850
Capacity:
9 participants

In this intensive 5-day workshop, director Udayan Prasad (THE TUNNEL, THE YELLOW HANDKERCHIEF, MY SON THE FANATIC) guides participants through the fundamental techniques for working with actors. Designed for directors with some filmmaking experience, but little or no involvement in the performing arts, the course looks at how actors are trained and the methods they use in order to inhabit their characters and bring them vividly to life. What directors far too often lack is an understanding of the specific needs actors have in their efforts to help the director achieve her/his vision and a vocabulary with which to communicate effectively with their cast.

This workshop aims to address that deficiency by helping participants to develop means of communications that are both concise and effective.

In order to have as clear an understanding of what actors require from their director, participants will fulfil the roles of both actor and director during the workshop, reversing roles with their fellow participants.

Course Outline

This exploration of the actor/director relationship will include:

  • What is ‘acting’? Participants will take part in practical acting exercises.
  • The actor/director relationship. Trust, Collaboration, Delegation.
  • The dangers of preconceived performance. Choreographing every single aspect of an actor’s performance versus the value of stimulating the actors’ imaginations in their efforts to bring their characters to life.
  • The actor’s toolbox. What’s in it? And how do you ensure that the actor can use these tools effectively?
  • Actor’s Methodologies. Participants examine some of the different methodologies that actors use when preparing to inhabit their characters.
  • Giving notes to actors. The need for clarity and simplicity. How much information? When and how to give notes? Playable notes and the need for verbs.
  • The importance of the story. Everything begins and ends with the story: the imperative of seeing the world through the eyes of the character. What are the character’s objectives and needs? What are the given facts about the character in the screenplay?

The third and fourth days of the course will be spent in rehearse/readings with professional actors in order to learn about their methodologies; how and to what detail they mine text for information that is essential in order to truthfully play any scene. This will be done with detailed analyses of scenes from existing feature films. On the final day participants will have the chance to put into practice all that they have learned in the course of the previous four days by directing professional actors in a substantial monologue. In addition, time will always be set aside for Q&A sessions during which participants will have the opportunity to ask actors about their individual working practices; what makes for a truly productive environment as well as discussions on casting sessions which mark the beginning of the actor/director working relationship.

By the end of the course participants should have acquired a richer, more informed understanding of how to communicate and collaborate with actors.

Udayan's Introduction

““In all the years I have been directing fiction films I have rarely come across an actor who genuinely didn’t want to help me to achieve my vision. That they sometimes failed was as much to do with my failure to help them inhabit their characters as any inability or lack of talent on their part. So from where does this difficulty in communication come? "The answer, I suspect, is rather simple. Those of us who have not taken the route to film making through the performing arts tend to take a lot of time and trouble dealing with and getting to know the hardware – the camera. We do this because, in order to learn the language of the cinema, it seems self-evident we should concentrate on mastering the principal tool of that language. Then there is sound, the sets, the colours, the costumes, make-up, prosthetics - explosions! – not to mention editing. All such incredibly technical and complicated stuff. "And as for the actors, well, just what is the problem with being angry or sad, cool, happy or mad just like it says in the script? Why can’t they simply say the lines and move from one mark to the next without making a huge fuss?” "That’s what this course will try to find out.””
Udayan

Testimonials from Winter 2024:

“The workshop was truly enlightening. As someone who comes from a nonfiction background and is currently developing a first narrative feature film, the collaboration with an actor was the biggest blindspot in my prior experience. I found that the workshop content and structure, as well as Udayan’s engaging manner and talent for teaching, opened the door to a completely new way of working with and thinking about film. The two days we spent directing each other was really illuminating with regards the type of information an actor needs to make their choices, and the few days we had working with professional actors both challenged us to apply our new knowledge and showed what is possible to achieve by doing so.” – Sasha, 2024

“Udayan was the most excellent course leader. I was nervous going into it, but Udayan started with the basics and built from there. He challenged us to ask questions, and fostered a great environment I learned a lot, which gives me great confidence.” Rian, 2024

“It surpassed my expectations. Udayan is a brilliant teacher and I feel like I’ve learned something important about acting and story. The scenes were well chosen too and the whole course has made me realise the level of detail required at the top level. I enjoyed the practical elements, there was a lot of doing. I feel like it gave me a great framework for analysing scripts going forward, both for directing actors and generally looking at story.” – Robert, 2024

Tutor

Udayan Prasad

Director

Udayan Prasad

Director

Udayan Prasad is a multi-award-winning director whose earlier films include the MY SON THE FANATIC by Hanif Kureishi and BROTHERS IN TROUBLE, winner of the Golden Alexander Award at the Thessaloniki Film Festival. He also directed THE YELLOW HANDKERCHIEF starring William Hurt, Maria Bello, Kristin Stewart, and Eddie Redmayne, which premiered at the Sundance Film Festival and was released in the US by Goldwyn Films.

Television projects includes several with the British writer Simon Gray including RUNNING LATE, winner of the Gold Gate Award for Best Television Feature. And two BAFTA-nominated collaborations with Alan Bennett: TALKING HEADS 2: PLAYING SANDWICHES and 102 BOULEVARD HAUSSMANN, winner of a second Gold Gate Award.

Recent work comprises of BECOMING ELIZABETH and SELECTION DAY, an adaptation of Aravind Adiga’s Booker prize-winning novel for Seven Stories and Netflix, on which Udayan was lead director and executive producer. He also helmed the closing episodes of BBC TV’s THE MUSKETEERS.

When not in production, he runs workshops on directing and screenwriting at several film schools including The London Film School, The Wajda School in Warsaw and the National Film Television and Theatre School in Łódź, Poland. He is also an advisor and mentor on various international directing and screenwriting workshops.

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