Jennifer Connolly Shelly Winters Meryl Streep
Jane Fonda J ebbie Reynolds Jennifer Jason Leigh
Female method actresses
Robert DeNiro wanted to really feel the weight LaMotta had put on over the years so rather than wear a fat suit so he went on an eating binge in Italy. According to Scorsese, production of the film was then closed down for around four months with the entire crew being paid,. When he did come back to the United States, his weight increased from 145 to 215 pounds (66 to 97 kg), or about five stones. The scenes with the heftier Jake LaMotta â€” which include announcing his retirement from boxing and LaMotta ending up in a Florida cell â€” were completed within seven to eight weeks so as not to aggravate the health issues which were already affecting De Niro's posture, breathing, and talking. The final sequence where Jake LaMotta is sitting in front of his mirror was filmed on the last day of shooting taking 19 takes, with only the thirteenth one being used for the film
Christian Bale After a year's hiatus, Bale returned in 2004 to play Trevor Reznik, the title character in the psychological thriller The Machinist. Bale gained attention for his devotion to the role and for the lengths to which he went to achieve Reznik's emaciated, skeletal appearance. He went without proper rest for prolonged periods, and placed himself on a crash diet of generally
coffee and apples, which reduced his weight by 63 pounds (4 st 4 lb/27 kg) in a matter of months.[ By the end of filming Bale weighed only 121 pounds (8 st 9 lb/55 kg) a transformation he described as "very calming mentally". Bale claimed that he had not worked for a period of time before he was cast in the film. "...I just hadn't found scripts that I'd really been interested in. So I was really dying for something to arrive. Then when this one did, I just didn't want to put it down
Stanislavski's System is an approach to acting developed by Konstantin Stanislavski, a Russian actor, director, and theatre administrator at the Moscow Art Theatre (founded 1897). The system is the result of Stanislavski's many years of efforts to determine how a human being can control in performance the most intangible and uncontrollable aspects of human behavior, such as emotions and artistic inspiration. The most influential acting teachers in America, including Lee Strasberg, Stella Adler, Harold Clurman, Robert Lewis, Sanford Meisner and Uta Hagen all traced their pedigrees to Stanislavsky, his theories and/or his disciples. The system is based around an actor being "in the moment" but always staying one step away from complete belief. He felt that it is important that, whilst the actor should experience and show the emotions of the character, it is very important the actor still stay detached. The system was made as a flexible structure, a thing that actors may use as much or as little as they please in their rehearsals, and was intended to be modified for the individual. Techniques involve a "Round the table analysis" - a process in which the actor/s and director literally sit around a table and put forward their thoughts on the script and the characters until a clear understanding is formed. His "homework" involved breaking the script into sections of different "objectives." This would be different for each actor involved. The structure of the entire script would be roughly as follows : •
Objective : the final goal a character wants to achieve. (Often worded as "What do I want?" Note: Does not have to be achieved and can be as simple as you wish.
E.g. : To pour a mug of tea. •
Obstacle : aspects that will stop or hinder that character achieving his or her objective.
E.g. : There are no teabags in the tin. •
Tools/Method (has many different names) : the different techniques that a character is going to use to achieve his objective.
E.g. : Search around the kitchen, walk to the shops, call on the neighbour.
Units/bits : the division of the script into smaller objectives or methods.
E.g. : The entire section during which the character searches for a tea bag would be a unit. When he decides to call on a neighbour is called a bit. •
Actions : how he is going to say or do something. Think of it as an objective for each line. Normally used with a verb.
E.g. : The line may be (whilst on the phone) "Hello, Sally. It's Bill from next door. You wouldn't happen to have any spare tea bags, would you? I know how well-organized you are." The objective for this line may be "to flatter." This will be different for every single actor. Stanislavski believed that if one completes this homework, the desired emotion should be created and experienced
Lee Strasberg – The Method School of Acting Method acting – being the character not acting the character In describing his teaching philosophy, Strasberg wrote, "The two areas of discovery that were of primary importance in my work at the Actors Studio and in my private classes were improvisation and affective memory. It is finally by using these techniques that the actor can express the appropriate emotions demanded of the character".
Methods of teaching Strasberg demanded great discipline of his actors as well as great depths of psychological truthfulness. He once explained his approach in this way: The human being who acts is the human being who lives. That is a terrifying circumstance. Essentially the actor acts a fiction, a dream; in life the stimuli to which we respond are always real. The actor must constantly respond to stimuli that are imaginary. And yet this must happen not only just as it happens in life, but actually more fully and more expressively. Although the actor can do things in life quite easily, when he has to do the same thing on the stage under fictitious conditions he has difficulty because he is not equipped as a human being merely to playact at imitating life. He must somehow believe. He must somehow be able to convince himself of the rightness of what he is doing in order to do things fully on the stage.