Next week along with the regular fare on GITS, we’ll be having a special 5-part series: “What the acting craft can teach writers about the writing craft.” I was inspired to pursue this recently when I posted “27 Golden Rules of Writing”, found on the “The Dialogue” series site — advice from working screenwriters. Here are three gems right in a row:
5. “The most valuable thing I did as a writer was to take an acting class. And once you understand what the actors are looking for, that’s how you write.” -Paul Attanasio
6. “Everybody wants to say cool dialogue. That’s all there is to it.” -Sheldon Turner
7. “When I’m writing, I think, ‘I want an actor to read this and say, “I have to be the person who gets to say this out loud.” -Callie Khouri
You’re unlikely to find three screenwriters with more talent than this group. And what is the not so subtle subtext of their message: Writers need to know and understand how actors think!
I approached two friends who know something about this subject: Joshua James, who studied acting, worked as a playwright, and now focuses on screenwriting and lives in NYC, and Shea Vitartis, an actor, writer, and director who lives and works in LA. Both Josh and Shea have done Meisner training (named after renowned acting teacher Sandy Meisner) and their responses to a series of questions I put to them should prove to be both informational and provocative, and a great jumping off point for discussion.
Any of you GITS followers who are actors or have studied acting, I really hope to hear from you Monday-Friday. The whole concept here is to help writers grasp fundamentals about acting that have a direct relationship on what we do as writers – and I welcome your comments in that regard. Also we’ll be exploring what options exist for writers to learn more about acting, everything from acting classes to online resources to books to whatever. Again your suggestions welcome.
We launch the series Monday, March 1 at 4PM EST / 1PM PST (U.S.) with this introductory question: Why is it important for a screenwriter to understand an actor’s mindset (i.e., how an actor approaches their craft)?
Should be an insightful and instructive series.
Even better is understanding the director's needs. He has to have something he can elicit images and emotion with.
This is great. My writing partner and I have spoken about taking an acting class together. I hope one of the parts addresses how each of the different training methods is specifically useful for writers.
Looking forward to Joshua and Shea's comments. I was 'reading' once for an audition and my mind popped out of the moment, and I said to myself "that actor is so Meisner trained". And sure enough – she was. There's something special about that process.
I studied acting at NZ Drama School/Toi Whakaari (where B-listers Cliff Curtis, Kerry Fox, Marton Csokas studied. Yeah, yeah, so shoot me for name dropping. But I had to otherwise you guys wouldn't have a clue what I'm on about.) That was years ago and I still remember everything I learnt…what's my objective, where's the conflict, what do I really want…right down to 'this line is just too hard to say and I know the actor will hate my guts – so I better change it'.
Would love to know if any of the writers out there have studied under Jeremiah Comey or one of his disciples. That's another fascinating organic process which I love – the strength lying in the emotional connection between the actors rather than the script. I know some writers who don't like this though…