The part where Mark talks about talking to the character, and engaging the character, and disengaging the actor.... I have no interest in directing, but it was fascinating, and makes so much sense. They say when you're learning a foreign language that you should not translate native language to foreign language. Just directly engage the foreign language It's the same thought process in what he's saying... Not "I am an actor, now I will do this, and this will help portray this character." But instead "I am this character, so I will automatically portray this character"
This is so good. Such a great interviewer, first of all. Great questions! I love Michael Hauge and Mark's description of his directing style is fascinating. They both have so much wisdom. Thanks for the great work you do here, Film Courage!
This was encouraging to hear from these professionals in the film industry. I am both a director and writer and the information involving characters in the story and acting has helped me immensely. I am truly inspired. Thank you.
Thanks for commenting Andrew. We are in the process of finishing up a new series that features quite a bit from this interview. Here is the Sneak Preview - ua-cam.com/video/o34jtgg2jKU/v-deo.html We hope to have it online in less than a week. We believe it is our most helpful video to date.
Every time I watch one of these big interviews I feel like I won the lottery. I get so much out of it and so much re-inforced. Love this. Thank youuuu! PS. If you guys/gals could get an interview with Tarantino that would be THE best. I'm sure you have a wish list of your own that you're chipping away at too.
you know when sometimes you feel that you need to hear a great advice from a great guy to elevate you on higher level in filmmaking. you guys made it possible for me today. A huge Thank You to the crew of Film Courage. you guys did a very great job and enlighten me in so many ways. I feel more confidant, knowledgeable and smarter than I had been before watching this amazing interview.
This was soooo helpful and ensuring to hear as we start collaborating to develop our first web series. We are a four person team that has been collaborative from the beginning. As our sphere of influence continues to expand, collaborating with others is crucial to learning and pushing ideas forward. Directors must be great leaders and great leaders surround themselves with people that are smarter than they are.
Bonabellfilms Thanks, crazy to think this is half of our interview with Mark & Michael. We haven't had enough time to work on Part 2. Look forward to sharing that one as soon as we can.
In some ways, the idea that Mark's talking about - writer's collaborating with actors - isn't that new, it's just never been widely taken up, unfortunately. Mike Leigh's method - at least in his present-day set stuff - is to get the actors to develop the characters based on people they've met. Then they do scenes together and he writes the script based on their improvisations. Eric Rohmer, as I said below another of Mark's videos, would interview the actors extensively about themselves and then base the characters on that. I'm not sure to what extent Cassavetes did this kind of thing, but Mark's remarks on how actors are undervalued also make me think of what Ray Carney says about Cassavetes: that this was an actor's cinema. Specifically, he means that where other directors convey emotion using what he calls metaphor - mood lighting, cuts, music, framing, angles etc. - with the actor sitting there in the middle of it embodying the Kulashov effect (i.e. not doing much), Cassavetes largely left it up to the actors. Also, there's an interesting quote from the making of Husbands where Cassavetes said to Peter Falk that they should just try to portray themselves as honestly as possible, even if it was boring (which it wasn't), which suggests to me that his actors had a lot of input into character creation. I've done a little dramatic improv - some comedic too, but that's way less interesting - and, though writing is my focus, there's no ignoring the power of improv. You can be utterly blocked or bored with your writing sitting at home at your desk, but when you're actually being the character, undreamt of depth and emotional richness emerge.
A commenter asked Why should I liste to this guy who only has 1 bomb to his credit? I looked up Travis' bio and indeed, he doesn't have much of a track record. Then I looked up Hague and he has even less of a resume. He seemed to have capitalized on a book he wrote 30 years ago . This is not to say I didn't value his insights and pov. I also saw a FC interview by a very twitchy guy who teaches at UCLA (!) whose only credit is Battlefield Earth. What does this mean? I'm not sure. Apparently, Hollywood values these men's theories and opinions to have allowed them to have careers. It appears that there may be a valid dichotomy of value - or recognition of value- between, I'll say coaches and players. To call it theorists and empiricists seemed too lofty. I don't think it's a those who cant do, teach -- thing. It may be just may be different skillsets or mindsets. I'm noticing this is a commonality among those who write,teach, and consult on the story arts ---- very little background, either academic or works e.g. McKee. I'm also surprised more formally trained MFA's PhD's etc. aren't more known. A cynical take might be that if you're well read in the field, have a certain pluck, are articulate, persuasive, and presentable, you too can be a story whisperer.
We still have a good number of videos with Michael and Mark to post. And when they're all up, we'll post the full version of the second half of their interview.
Yeah. Homer said it all. I mean, not Homer Simpson. If every script has to conform to Hauge's character arc, we're just going to end up hating films, because of the monotony. No?
When someone says "a story should be like this", they should say "a type of story should be like this", meaning they are talking about one type of story. There are types of stories with one kind of arc and other types of stores with different arcs.
![The Director's Director Mark W. Travis on Creating Authentic Acting Performances [FULL INTERVIEW]](http://i.ytimg.com/vi/lg4yPWan1j4/mqdefault.jpg)
Thank you Michael Hauge and Mark W. Travis! And thank you "Film Courage" for sharing this video!
Another master class by Film Courage...
The part where Mark talks about talking to the character, and engaging the character, and disengaging the actor....
I have no interest in directing, but it was fascinating, and makes so much sense.
They say when you're learning a foreign language that you should not translate native language to foreign language. Just directly engage the foreign language
It's the same thought process in what he's saying... Not "I am an actor, now I will do this, and this will help portray this character."
But instead "I am this character, so I will automatically portray this character"
This is so good. Such a great interviewer, first of all. Great questions! I love Michael Hauge and Mark's description of his directing style is fascinating. They both have so much wisdom. Thanks for the great work you do here, Film Courage!
This was encouraging to hear from these professionals in the film industry. I am both a director and writer and the information involving characters in the story and acting has helped me immensely. I am truly inspired. Thank you.
Thanks for commenting Andrew. We are in the process of finishing up a new series that features quite a bit from this interview. Here is the Sneak Preview - ua-cam.com/video/o34jtgg2jKU/v-deo.html We hope to have it online in less than a week. We believe it is our most helpful video to date.
Every time I watch one of these big interviews I feel like I won the lottery. I get so much out of it and so much re-inforced. Love this. Thank youuuu! PS. If you guys/gals could get an interview with Tarantino that would be THE best. I'm sure you have a wish list of your own that you're chipping away at too.
loving it when mark says ALTZO for also :)
😊
This was like watching Gandalf and Obi Wan Kenobi talking, so wise :D
you know when sometimes you feel that you need to hear a great advice from a great guy to elevate you on higher level in filmmaking. you guys made it possible for me today.
A huge Thank You to the crew of Film Courage. you guys did a very great job and enlighten me in so many ways. I feel more confidant, knowledgeable and smarter than I had been before watching this amazing interview.
I LOVE these videos!
+trettfilms Thanks! We love that you love them.
This was soooo helpful and ensuring to hear as we start collaborating to develop our first web series. We are a four person team that has been collaborative from the beginning. As our sphere of influence continues to expand, collaborating with others is crucial to learning and pushing ideas forward. Directors must be great leaders and great leaders surround themselves with people that are smarter than they are.
Karen should have been a Filmmaker by now. I'm little jealous of her as she has got so many artists to learn from. Great work.
Amazing interview. One of the best!
I found the advice about working with actors very helpful. I plan to make a short film eventually. I will try that approach.
Did you ever get that short film made?
I just had my masters in filmmaking in 1 hour....
Bonabellfilms Thanks, crazy to think this is half of our interview with Mark & Michael. We haven't had enough time to work on Part 2. Look forward to sharing that one as soon as we can.
Bonabellfilms Part 2 is now available - ua-cam.com/video/mfZv4O2PyZE/v-deo.html
In some ways, the idea that Mark's talking about - writer's collaborating with actors - isn't that new, it's just never been widely taken up, unfortunately. Mike Leigh's method - at least in his present-day set stuff - is to get the actors to develop the characters based on people they've met. Then they do scenes together and he writes the script based on their improvisations. Eric Rohmer, as I said below another of Mark's videos, would interview the actors extensively about themselves and then base the characters on that.
I'm not sure to what extent Cassavetes did this kind of thing, but Mark's remarks on how actors are undervalued also make me think of what Ray Carney says about Cassavetes: that this was an actor's cinema. Specifically, he means that where other directors convey emotion using what he calls metaphor - mood lighting, cuts, music, framing, angles etc. - with the actor sitting there in the middle of it embodying the Kulashov effect (i.e. not doing much), Cassavetes largely left it up to the actors. Also, there's an interesting quote from the making of Husbands where Cassavetes said to Peter Falk that they should just try to portray themselves as honestly as possible, even if it was boring (which it wasn't), which suggests to me that his actors had a lot of input into character creation.
I've done a little dramatic improv - some comedic too, but that's way less interesting - and, though writing is my focus, there's no ignoring the power of improv. You can be utterly blocked or bored with your writing sitting at home at your desk, but when you're actually being the character, undreamt of depth and emotional richness emerge.
So these professions are mainly pshychology in disguise.
great advice, thank you
very good and wise conversation
Sensational interview
This is really superb.
A commenter asked Why should I liste to this guy who only has 1 bomb to his credit? I looked up Travis' bio and indeed, he doesn't have much of a track record. Then I looked up Hague and he has even less of a resume. He seemed to have capitalized on a book he wrote 30 years ago . This is not to say I didn't value his insights and pov.
I also saw a FC interview by a very twitchy guy who teaches at UCLA (!) whose only credit is Battlefield Earth.
What does this mean? I'm not sure. Apparently, Hollywood values these men's theories and opinions to have allowed them to have careers. It appears that there may be a valid dichotomy of value - or recognition of value- between, I'll say coaches and players. To call it theorists and empiricists seemed too lofty.
I don't think it's a those who cant do, teach -- thing. It may be just may be different skillsets or mindsets. I'm noticing this is a commonality among those who write,teach, and consult on the story arts ---- very little background, either academic or works e.g. McKee. I'm also surprised more formally trained MFA's PhD's etc. aren't more known.
A cynical take might be that if you're well read in the field, have a certain pluck, are articulate, persuasive, and presentable, you too can be a story whisperer.
ThAaank YOU, Film courage!
pachecoking100 . We appreciate you spending a little time on our channel.
A lottle
pachecoking100 . Even better
No one ever in life starts a sentence with "damn it". Damn it man I'm a doctor not a (insert other profession here). 😊
They've never spent time with my family. NYers start most sentences with an expletive, teehee.
...proctor.
Fear = Ego.
100% truth.
❤❤
The good writers (writing) created great character inside of story?
The good film maker need a good director?
this helps alot
We still have a good number of videos with Michael and Mark to post. And when they're all up, we'll post the full version of the second half of their interview.
Yeah. Homer said it all. I mean, not Homer Simpson. If every script has to conform to Hauge's character arc, we're just going to end up hating films, because of the monotony. No?
Do you hate every human just because they have the same skeleton? Or the same brain structure?
When someone says "a story should be like this", they should say "a type of story should be like this", meaning they are talking about one type of story. There are types of stories with one kind of arc and other types of stores with different arcs.
he uses plenty of qualifiers in his presentations
1:07:40 Mark sounds like a blow hard for the most part but this is a great example of good directing.
送れてしまいました。どうも、すみませんでした。これからは、きをつけます。そして、また、よいのが見つけたら、送ります。
That grammarly girl is cute.
What is it really about?
Why should I listen to directing advice from a guy whose sole feature film credit is the 1990 bomb "Going under"?