Amitabh Bachchan's Hollywood Debut in 'The Great Gatsby' Revealed

Amitabh Bachchan's Hollywood Debut with leonardo de caprio and  Tobey Maguire, in 'The Great Gatsby' Revealed

The world is your stage..... Advice from Johnny Depp

BECOME AN ACTOR

If you're wondering what it takes to make it in the acting field, you need to ask yourself one very important question before you begin: Why do you want to become an actor? If you answer is that you want to be rich and famous, you should stop right now. Like any art, acting takes hard work and passion for the craft. The business can be gruelling and almost always involves a lot of rejection. There are thousands of actors who work constantly, but are never known by name. They keep at their art because they love it. If you are going to become an actor, so should you.

The World is a Stage!
Any kind of life experience can benefit your acting talent as long as you learn from it. While you need solid, tangible roles and training to build your resume, any project that you undertake that helps you reflect on yourself can be considered a victory. There's no substitute for work experience and training, but life experience adds the seasoning that makes a better actor. Pay attention to all that happens in your life -- good and bad. Living your life fully and with open eyes will make any role you play richer and more real.

Acting information can be acquired in several different ways. You can speak with your peers and people you are connected to who have previous industry experience. For training information check out classes offered at local acting schools. You can find lists of these online. Information on casting directors and agents can be found readily in industry publications such as Ross Reports. You may wish to gain experience by acting in studnet films. Try calling the film departments of schools of the arts in your area.

SCREEN ACTING TIPS

I. Basic Screen Acting Etiquette:

1. Always keep going until the director shouts “Cut!” and then keep on acting for a bit.

2. If you mess up a line, keep going until the director call a halt to the take. Let it be HIS decision.

3. Do not stop a take for any reason, except for possible injury or death.

4. Never look directly into the camera lens unless specifically requested to do so.

5. Never ask the director what size of shot it is – ask the camera operator.

6. Hit your mark! Being in the right place is often more important than saying the right line.

7. Maintain your concentration and eyelines all through the tedium of lineup and rehearsal; it helps both
your fellow actors and the crew.

8. An actor only has status between “Action!” and “Cut!” Exception: A star may have it all the time.

9. Never say you do not want to play a role; say that you are unavailable. Never say “No,” say
“Maybe” instead.

II. The Camera Lens:

1. Generally, ignore the camera lens; let it “find and reveal” you.

2. Don’t merely cheat an eyeline, motivate it.

3. If both your eyes cannot “see” the camera lens, your face will appear to be obscured.

4. Keep on an imaginary narrow path that stretches out from the front of the camera. Remember that
shots are composed in depth, not width.

5. In a 3-shot, put the lens in the middle of the gap, not yourself.

6. If you have trouble hitting a mark, line up 2 objects at the final position you have to hit. Establish a
“web.”

7. Shoulders angled toward the camera often look better than straight-on ones.



1. When doing commercials, cheat all business, hands (gestures), and important props (product) up
into the “hot” area in closeups.

2. Adjust your acting style within the frame according to the size of shot:
a. Long Shot = large gestures/scale – back of the house (theatre)
b. Medium Shot = smaller scale, intimate arena theatre, theatrical reality.
c. Medium Close Up = Actual reality; the real thing
d. Extreme Close Up = Very intimate; think it, put all concentration/energy into your face.

3. Be prepared to stand embarrassing close when acting and speaking with other characters.

4. There is no reality outside the frame; time and/or distance outside the frame may be expanded or
contracted.

1. Project only as far as your fellow actor(s).

2. Intensity can be created by increasing enunciation and pace, not volume.

3. When the camera is moving with you (tracking), talk fast but move slow.

4. If you are told to tone it all down, try reducing only your volume but keeping the scale of your
gestures (such notes usually refer to the voice).

5. Be aware that when speaking with a strong accent there is a tendency to speak louder – don’t.

6. With a studio audience, if they can hear you without the benefit of microphones, you are probably
speaking too loudly.

7. Never project louder than the star (or regulars on a series). They set the style for the program.

8. When speaking at low levels, all other sounds seem too loud, so take care with all footsteps,
clattering cups, newspaper rustling – even breathing.

9. When speaking at low levels, do not lose energy or adopt a slower pace.

10. As the scene builds, you would expect the voices to rise, but since the shots are liable to get
tighter, you have to square the circle by getting more intense – and quieter – at the same time.

11. Gently ask if you are going to be in a contained 2-shot, or if they are going to cross-cut with
reverses, in which case be prepared to not overlap dialogue.



V. Acting for the Camera:

1. Your main acting note is the you were given the part, so work your looks, personality, and
background into your performance. Use yourself. That is what they purchased.

2. The shots the director chooses are in themselves acting notes, so obey their implicit instructions:
a. Long Shot = allow your body to do the talking. (Be bigger).
b. Reaction shot = do a reaction (even if you feel you are “pulling faces”).
c. Two-shot + react as you listen to the other actor.
d. Close-up = put your thoughts onto your face.
e. Close-up of your hand holding a prop = channel your acting and thoughts into that.

3. Do all your acting to an Audience of One – the other player (the camera will pick you up).

4. Create good acting reasons for all your pieces of business (including camera-motivating ones).

5. Learn your lines well. They should fit you like a glove. If they don’t, and you don’t have the
rehearsal time to create the character who would say those lines, then ask to change them.

6. Find positive ways of communicating negative thoughts.

7. Give yourself something to do after a shot ends!!! This will keep your face alive right to the end of
the take.

8. Let your inner voice give you those continuous instructions that silent movie actors got from their
directors’ megaphones.

9. Let an acting impulse that would lead to a move on stage lead to a gesture or look on the screen.

10. When the camera is on you in a single shot, it is as if you were alone on a stage and ll the other
performers were in the wings: now how do you act?

1. The better your continuity, the easier it is for the editor to cut to you for your best moments.

2. Editors like to cut on movements, so put some in before one of your important bits of acting.

3. Mark changes of thought with appropriate pieces of business.

4. During a speech, look at the other characters. The editor needs your “eyeflashes” to motivate cuts.

5. Reactions don’t have to be logical or consistent. The editor is only looking for a slice of a good
reaction, and several different ones give him/her a better choice (to cut to you!).



VII. Reactions and Business:

1. React before you speak, and react to the upcoming thought. This is best done on the intake of
breath before the line.

2. React while others are speaking – on screen we watch the listening character.

3. The best moments are nonverbal ones – so give yourself time.

4. Learn all your lines and business in advance of the shoot very very well. During the shoot you will
be concentrating on all the new things, such as remembering camera angles and hitting marks.
But also be prepared to change lines and business at the very last moment – be flexible in a very
cooperative way.

5. Pace consists of continuous events, not continuous speaking.

6. Fully motivate any large reactions. Don’t reduce your size, increase your believability.

7. Remember the camera cannot follow fast movements, so lift that cup slowly, gently rise up out of
that chair.

8. In a multicamera studio a red light means the camera is on, so keep a reaction on your face until it
has been sampled by that camera.

9. Eyes can be very effective. Try looking up as well as down, especially when “listening” to another
character. Some try looking from one eye to the other.

10. At an interview and reading, plan at least one major reaction in the middle of a reading. Remember
to react during the “feed” lines, and to keep your eyes up.

VIII. Some Final Thoughts:

1. To come across as truthful and believable needs both talent, technique, and brains.

2. Don’t panic over any problem. There has never been a trouble-free shoot, and anyway tomorrow’s
problem is already in the mail.

3. Don’t do today’s job as an audition for tomorrow’s. Do it because this is what you want to do
today. Play for the moment at hand. Concentrate on today’s acting.

4. All rules are made to be broken – so know which rules you are breaking! And have a good reason
for doing so.

5. If screen acting is going to be a very important part of your career, find out how to enjoy and relish
it all. If you allow it, it can (and should) be a lot of fun.

* Adapted from “The Famous Screen Acting Checklist” in SECRETS OF SCREEN ACTING, by
Patrick Tucker, Routledge, 1994.

reference : https://docs.google.com/viewer?a=v&q=cache:vWRM-2DkyuEJ:www.egusd.net/franklinhs/MediaCom/video1/second_term/acting_tips.pdf+tips+for+camera+acting&hl=en&gl=in&pid=bl&srcid=ADGEESioIM20ZPBD04RArw2mliySTqAnbtkK-Cnf6xbd1GjMwgvmN01N7GwzynoB6aYJLD5XN8_Eo9R6gjWKoQjEAavFbZPC2lgjQU3l4bZD2FVUnT44wqFj3SFgvargr2gstoc6ARvP&sig=AHIEtbSU-51YxHuSliW6ZVqnIuzOgT3VSQ&pli=1

How to act in front of the camera

Some important tips for Camera acting:

When you're acting for the camera, there are many things that you must remember to do. Throughout the multitude of duties a film actor must carry out, the main responsibility is giving a believable performance. For anyone who has acted in film and then on stage, there is a completely difference between the two. When you are on stage, you are animated, loud, boisterous and then when you're performing on camera, everything is brought down to a more - natural - level. This is the main point I'm trying to get at, acting for the camera requires one thing, natural acting styles. However, how do you keep it natural?

Well, I have asked countless acting coaches out there how you can keep your acting styles natural. Even though most of them worded their answers differently, they all had the same points to get at. Acting for the camera is a completely unique and extraordinary experience, however, if you don't know how to perform in such a fashion, than don't be surprised if you can't book too many film gigs. Below you will find the top four tips I have gathered throughout my years of film acting.

1. Listen to yourself. Now, I could easily turn this section into a very new age and spiritually awakening paragraph. However, when I say "listen to yourself," I'm not talking about in a spiritual self, I literally mean, listen to the way you sound when you are talking with your friends or co-workers in a casual atmosphere. Take note the volume of your voice compared to your surroundings. What inflections are you using on what words? How is your body language? In order to gain a true perspective of "acting naturally" you must first examine, "what is natural?" After doing this, you will have a complete understanding of creating a natural character that is believable and interesting.

2. Understand what your body is doing. This second tip stems from the first one. As you are listening to your voice and the way you are "acting" around your friends, pay attention to your body. Did you know that body language can tell you more about a person that anything else? If you are sitting in a room of friends, and strangers, and you begin conversing with someone, note their body. Note where their knees are points, see if their feet are pointing towards you.

Are their shoulders square with your shoulders? These are all things that our bodies do subconsciously in order to quietly inform someone that we are interested in them. That we actually are interested in what they are talking about. Once you grasp the entire concept of true body movement, than your characters won't be dull and stagnant, but you can add a genuine "body language" along with your dialogue.

3. Observe all those around you. I love this part of character "research." Whenever I land a new role, or even if I am up for a major audition, I seek out individuals that resemble what I think the character would be like if they were real. When you're at the mall, take note of everyone around you. Watch, observe and ultimately mimic. This world is full of every type of personality, voice strength and overall presence. And when you start focusing on an individuals "presence" than you will be able to grasp something that is completely outside of yourself.

A great actor can completely disconnect every "tick" and "characteristic" that belongs to him or her. They become completely engrossed in a new person. However, this doesn't happen overnight, and usually takes weeks, if not months, of just observing and taking note - and, of course, practicing your new walks, voices, conversational exchanges and eye glances.

When you're looking at people, don't only focus on the outward characteristics, but also delve as deep as you can into their personality by just watching them. What do you think their insecurities are? What are their secret goals? What is something they are keeping from someone they love? When you create a "character" from this stranger in the mall, you will be helping your ability to create strong and interesting characters quickly, which is great if you're into performing improv.

4. Take what you learned in stage performing and minimize it. Whenever you are acting for the stage, you will more than likely hear your director say this once or twice, "Bigger, I need you to go bigger." Well, this is fantastic when you are on stage. The bigger the better, usually. However, when you are on film, you must understand that minimalistic acting is key. You can't go on film and make your movements larger than life, your voice louder than normal and your body in that "theater" stance.

Film is imitating real life, not imitating farce life. And since you will be imitating life, you must act like you act in real situations. There are times for BIG and LOUD, however, those times come few and far between. Learning how to separate parts of your theater training that will hinder your film acting is key to becoming a multi-dimensional actor. You can learn some amazing things when you act for the stage, however, don't get stuck in the "stage rut." You'll soon be regretting it.

reference: http://voices.yahoo.com/acting-camera-keeping-natural-507647.html?cat=3 

Al pacino

Al pacino one of my favourites

1. Films I like to name a few.....
2. 
   
3. 
   
4. The Pianist (2002)
5. Babel (2006)
6. Lost in Translation (2003)
7. Restrepo (2010)
8. The Machinist (2004)
9. American Psycho (2000)
10. The Godfather (1972)
    
11. The Godfather Part II (1974)
    
12. Star Wars Original Trilogy (1977-1983)
13. No Country For Old Men (2007)
    
14. Blood Simple (1984)
    
15. Fargo (1996)
    
16. The Man Who Wasn’t There (2001)
    
17. Barton Fink (1991)
    
18. The Hudsucker Proxy (1994)
    
19. O’ Brother, Where Art Thou? (2000)
    
20. Miller’s Crossing (1990)
    
21. A Serious Man (2009)
    
22. Burn After Reading (2008)
    
23. The Big Lebowski (1998)
    
24. Catch Me If You Can (2002)
    
25. The Lives of Others (2006)
    
26. Pulp Fiction (1994)
    
27. Silence of the Lambs (1991)
    
28. Taxi Driver (1976)
    
29. Rear Window (1954)
    
30. Raging Bull (1980)
    
31. Mean Streets (1973)
    
32. American Beauty (1999)
    
33. There Will Be Blood (2007)
    
34. Being John Malkovich (1999)
    
35. The Royal Tenenbaums (2001)
36. The Life Aquatic with Steve Zissou (2004)
37. The Darjeeling Limited (2007)
38. Ônibus 174 (Bus 174)(2002)
39. Happiness (1998)
    
40. Munich (2005)
    
41. Grizzly Man (2005)
    
42. Collateral (2004)
    
43. Step Brothers (2008)
    
44. Anchorman (2004)
    
45. Capturing The Friedmans (2003)
    
46. Super Troopers (2001)
    
47. Generation Kill (HBO mini series)(2008)
48. GasLand (2010)
    
49. Tyson (2008)
    
50. Memento (2000)
    
51. The Devil and Daniel Johnston (2005)
    
52. Casino Jack (2010)
53. Casino Jack and the United States of Money (2010)
54. Mugabe and the White African (2009)
    
55. Shutter Island (2010)
    
56. Catfish (2010)
    
57. Cold Souls (2009)
    
58. Syriana (2005)
    
59. Mance II Society (1993)
    
60. Do The Right Thing (1989)
    
61. Man on the Moon (1999)
    
62. Jesus Camp (2006)
    
63. Iraq In Fragments (2006)
    
64. FUBAR (2002)
    
65. En Ganske Snill Mann (A Somewhat Gentle Man)(2010)
66. Collapse (2009)
    
67. Le Locataire (The Tenant)(1976)
68. 8½ (1963)
69. American Splendor (2003)
    
70. Sen to Chihiro no kamikakushi (Spirited Away)(2001)
71. 12 Angry Men (1957)
    
72. Repulsion (1965)
    
73. Rosemary’s Baby (1968)
    
74. Shichinin no samurai (The Seven Samurai)(1954)
75. 500 Days of Summer (2009)
    
76. Nuit et brouillard (Night and Fog)(1955)
77. Metropolis (1927)
    
78. Boogie Nights (1997)
    
79. Transcendent Man (2009)
    
80. The Fog of War (2003)
    
81. Nóz w wodzie (Knife in the Water)(1962)
82. 25th Hour (2002)
    
83. A Single Man (2009)
    
84. Easy Rider (1969)
    
85. The Terminator (1984)
86. Terminator 2: Judgement Day (1991)
87. Psycho (1960)
    
88. Get Low (2009)
    
89. Scarface (1983)
    
90. Casablanca (1942)
    
91. L’homme du train (Man on the Train)(2002)
92. Citizen Kane (1941)
    
93. Incendies (2010)
    
94. True Romance (1993)
    
95. Reservoir Dogs (1992)
    
96. Inglorious Basterds (2009)
97. Death Proof (2007)
98. Trolljegeren (The Troll Hunter)(2010)
99. Examined Life (2008)
    
100. The American Dreamer (1971)
     
101. The Good, the Bad and the Ugly (1966)
     
102. Planet of the Apes (1968)
     
103. Irréversible (2002)
     
104. Enter The Void (2009)
     
105. Carne (1991)
     
106. Seul Contre Tous (1998)
     
107. Eternal Sunshine of the Spotless Mind (2004)
     
108. Apocalypse Now (1979)
     
109. Saving Private Ryan (1998)
     
110. Goodfellas (1990)
     
111. The Untouchables (1987)
     
112. Se7en (1995)
     
113. Chinatown (1974)
     
114. On The Waterfront (1954)
     
115. The Deer Hunter (1978)
     
116. The Apartment (1960)
     
117. The Departed (2006)
     
118. Schindler’s List (1993)
     
119. Inception (2010)
     
120. The War Tapes (2006)
     
121. Fantastic Mr. Fox (2009)
     
122. Adaptation. (2002)
     
123. Ambushed: Shooting the War (2010)
124. La Haine (1995)
     
125. Kiss Kiss Bang Bang (2005)
     
126. The Birth of Big Air (2010)
     
127. Midnight in Paris (2011)
     
128. The Manchurian Candidate (1962)
     
129. Vicky Cristina Barcelona (2008)
     
130. Ghost World (2001)
131. The Endless Summer (1966)
132. Scent of a Woman (1992)
     
133. Almost Famous (2000)
134. One Flew Over the Cuckoo’s Nest (1975)
     
135. Life in a Day (2011)
     
136. Match Point (2005)
     
137. Crimes and Misdemeanors (1989)
     
138. Capote (2005)
139. American Movie (1999)
140. Big River Man (2009)
141. Weekend (2011)
142. Foo Fighters: Back and Forth (2011)
143. When We Were Kings (1996)
144. Woodstock (1970)
145. The Endless Summer (1966)
146. Midnight Cowboy (1969)
147. Seven Chances (1925)
148. The French Connection (1971)
149. Annie Hall (1977)
150. A Decade Under the Influence (2003)
151. Hoop Dreams (1994)
152. Once Upon a Time in the West (1968)
153. Letters From Iwo Jima (2006)
154. North By Northwest (1959)
155. Paradise Lost (1996)
156. Hearts and Minds (1974)
157. Hearts of Darkness: A Filmmaker’s Apocalypse (1991)
158. Lake of Fire (2006)
159. Home (2009)
160. Trouble in The Water (2008)
161. Shotgun Stories (2007)
162. Take Shelter (2011)
163. Hell and Back Again (2011)
164. The Last Detail (1973)
165. Lift (2001)
166. Being Elmo (2011)
167. Carnage (2011)
168. Shame (2011)