Junior Rodriguez Molina comments on Action/ReAction

Wow! This is the word that comes to my mind every time I think about Stephen Mitchell's  "Action/ReAction" classes. What a wonderful way of teaching! What patience! Every minute, every second is enjoyable and gives you confidence. Really wonderful techniques. Stephen helps you to discover your brand and how to work with it. You've got to take these classes; you won't regret it, believe me.  Stephen is bringing to the table something different and I assure you, it works, "no doubt, no doubt" like Key & Peele say!

Viva Stephen Mitchell! Viva Action Reaction!

Thank you very,very much,

Junior Rodriguez Molina

Michelle learns about the 'Earring'

In this Skype lesson, Michelle has just learned about the 'Earring', something to accessorize a scene with a display of emotion played in four stages that goes unexplained and makes an impact on a scene...

Why Action/ReAction?

Q: Why do you think it is important that actors learn your technique and put it to use?

Stephen: What an actor learns in the six-week course comes from over twenty years of my developing and refining the technique. Those attending the most recent class learned an element of Action/ReAction that was entirely new--no one had ever heard it before--which gave them something even long-time students of mine haven't received.

Perhaps the most important reason to take the course is that you cannot make up time lost in creating your career. It took me ten years from the time I knew I wanted to make films until I finally made my first film in Paris. That's just too long to wait for something that is so important. The most frequent feedback I get from actors about the course is that it is the best class they have ever taken.

http://www.amazon.com/Action-ReAction-innovative-technique-history/dp/1477513051
(Artwork by Tom Gurnee)

I've been taking Stephen Mitchell's 6 week Action/Reaction course...

I've been taking Stephen Mitchell's 6 week Action/Reaction course. Four weeks into the course I had an audition for a short film. In the workshop we were working on performing emotions and using them as interstitials. We had also just talked about using an emotion as an "earring", an emotional show-stopper, to make a point. When I was in a cold read for the short film, I used these techniques and they worked great. In the script, one of my directions was to laugh. So instead of just laughing, I used grief as an interstitial and enthusiasm (laughing) as the earring. Because I did this, it changed the performance and added a deeper meaning to my emotion. Because of this, at the end of my audition the director told me what a powerful performance I gave and I ended up getting the part.

Charles Gilbert

Another comment about the 6-week course

Stephen Mitchell taught us so much about branding, actions/reactions, emotions and how to work through even impromptu auditions. He has a way of explaining things that even someone new to the business would be able to learn from these techniques.

My daughter now has a monologue, a brand statement, a brand style, she has learned the things she needs to do to make herself a more memorable actor/model. I feel that she can now take charge and have strong audition, with or without my presence.

I recommend this course for anyone that is in the business or is thinking of going in the business, that wants to succeed. You will not find a better teacher than Stephen Mitchell. He is honest, understanding, will take the time to make sure that you are learning what he is teaching you. You will have the opportunity to practice with him and with the other students that are taking the course. If you miss a class, he will make sure that it is made up. He actually works with you, until you get it right for you.

Sarah and Barbara-Hope James

I have just completed Stephen Mitchell's six-week Branding Seminar...

I have just completed Stephen Mitchell's six-week Branding Seminar. I would be remiss if I did not share with you the following:

Stephen Mitchell's Branding Seminar is phenomenal. If you are serious about putting yourself in the position to get noticed by the people in the film making business, you need to take this seminar, period. In this seminar, Mr. Mitchell will completely change your paradigm about auditions. He will work with you on monologues, using the "Action/ReAction" technique. This technique will truly enlighten and amaze you. Moreover, Mr. Mitchell's smooth and relaxed delivery providing you this essential acting and audition information, removes knee-knocking intimidation and instills you with new confidence. You'll see! It doesn't matter if you have been an actor for 10 years or 10 minutes, you WILL benefit from this seminar. Do yourself and your career a BIG favor, take this seminar. Thank You again Mr. Mitchell.

Todd Risby

The 'earring' of Action/ReAction

This is an exercise from a Skype lesson in which Judy practices the 'earring'--an action that accessorizes a performance and makes an actor's nonverbal communication the most memorable aspect of the scene. "Silence and stillness are my two major currencies...” Ben Kingsley

Stephen Mitchell discusses Action/ReAction

After conducting a class in his Action/ReAction technique at the Stella Adler facility in Hollywood, Stephen summarizes aspects of the technique for the students.

Interstitial reactions

‘Interstitial’ simply means something existing or placed between two other things. Therefore, an interstitial reaction is a reaction you perform between your phrase groupings of dialogue.

The purpose of an interstitial reaction is to resonate one of the specific groups in the audience. Since there are groups of sad, anxious, angry and happy people in the audience, we will resonate each group one at a time. I’ve seen Marlon Brando string 3 or 4 different interstitials together thus telling a story about his character. Try it.

http://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=action%2Freaction+stephen+mitchell

The Action/Reaction technique

It was never my intention to become an acting coach but, as a filmmaker, I delved into the complexities of an actor’s performance as a quality control measure to ensure that the films and television shows I produced would be salable and effective in engaging the audience. The result of my studies and observations is the Action/ReAction technique. It is designed to develop an actor quickly to the point where he or she can perform like a seasoned professional. It also enables the actor to express his or her personal brand signature and to create a fan base by resonating and connecting with all of the constituent groups in the audience instead of just one or two. More on this later.

The first practical application of Action/ReAction came about in 1985 when I was shooting a scene for my movie Woman on the Beach. We were shooting a dinner party scene in a hillside house in Malibu with a half dozen people sitting around the table enjoying some post-art exhibition, intellectual banter. The dialogue was well performed by all the actors but I felt something was missing.

Before wrapping for the evening, I held everyone in place and went around the table filming each actor in turn instructing them to react to the other actors at the table. “Look at him as though he hasn’t a clue”, “Give her a look as though she said something very astute”, “Look at the actor next to you as though he had just ‘bested’ another at the table”, “Give me an ‘uh-oh, this is going to be trouble’ reaction”, and on and on. By the time I covered all of the actors, I had much more than I needed. A month later in the editing room, I cut this scene together using many though not all of the reactions and it was the most entertaining scene in the movie—a visual ping-pong that made the dialogue more potent than it ever could have been without the reactions. I recognized these reactions had become a very powerful tool.

The Action/ReAction technique puts this tool into the hands of the actor.

http://www.amazon.com/Action-ReAction-innovative-technique-history/dp/1477513051

Why Action/ReAction can save a performance

Many actors wonder why they need to go to the trouble of orchestrating their performances as the Action/ReAction technique demands. They have been taught to be 'in the moment' and feel that what they are feeling, if authentic, should be sufficient.

Unfortunately, film imposes certain technological problems with this. Note that Wendy is in one moment in the two-shot and yet another moment in her close-up. The two takes don't match when you try to edit them together. I can't tell you how many actors have complained that their scene was cut from a movie on which they had worked. I just assume it has to do with their takes not matching thus making the scene difficult or impossible to edit.

With a well choreographed performance that is consistent from take to take, the actor becomes an editor's dream--just one of the benefits of Action/ReAction.

Incorporating resolution into Action/ReAction

The best way to describe the Action/ReAction technique that I created is 'orchestrated'. In doing the work on a scene, an actor must chart the phrasing of the dialogue, designate the interstitial reactions that can have a duration of a split second or several beats and author the unspoken thoughts that come as reactions to what another character says or does. In all the ways, it is like a composer orchestrating a symphony.

The technique calls for an exacting precision for two reasons; it is designed to produce performances that are the same and equally compelling on each of the takes (master, medium, 2-shot, close-up, etc.) that will be used to cut together a scene so as to match and, secondly, to achieve the most important goal of any performance--to put the audience in the moment.

In speaking with a fellow writer, I mentioned that a story must have a universal truth at its core without which it becomes a story of plot. In the same manner, I think it is important for a character to have his or her own universal truth that is discovered during the course of a play or film. Usually this would occur at the resolution of the story (assuming that the character is resolved, which is not always the case--witness Lawrence in Lawrence of Arabia). As Peter O'Toole's character in The Stuntman said, "It's not what he's eating, but what's eating him that makes it... sort of interesting."

In the accompanying clip, I asked Wendy to find a moment in a monologue I had written for her at which point her epiphany would occur. After she decided on the place, I asked what interstitial was being performed there. Low volume anger was the answer. I then asked her to choose an emotion contradictory to the anger (or irritation) she had chosen and perform it after the interstitial anger and prolong it--four whole notes rather than a sixteenth, for example--in order to underscore the moment of realization the character was experiencing.

This was the first time Wendy has performed this exercise and I think she did a very good job of it.

Rachael monologue segment

This clip is from an Action/ReAction lesson I did with Rachael on Skype. It amazes me how we can use this technology to interact between Australia and America as effortlessly as though we were in the same room. For this exercise, I had asked Rachael to apply what she has learned to date about Action/ReAction to a monologue she had previously performed and taped in order to see how the performance had changed.

Here, we are working on interstitial reactions. Interstitial simply means something placed between two other things--in this case, a reaction placed between her dialogue phrases.

Rachael is combining two interstitial reactions back-to-back to reveal something of the internal conflict of the character and her complex make-up. Her sudden and involuntary laugh shows us who she used to be before she was stricken with her illness. Just as suddenly, she is stopped by the realization that she will never again be that carefree person and that her future will only worsen as time goes by. It is a moment of raw truth for the character.

While interstitial reactions are meant to look as though they are related to the inner workings of the character's emotions and inner thoughts, their primary function is something completely different and has more to do with building an audience among the constituent groups in the audience. In other words, building the market--growing the audience--for her brand.

Rachael's monologue

This is a monologue that I wrote for Rachael to incorporate her brand facets. She uses interstitials and the reveal of a universal truth for the character from the Action/ReAction technique to orchestrate the performance. This video was recorded from a computer screen during a Skype lesson.

An Action/ReAction lesson on Skype

This is a Skype lesson with Rachael in progress. In this clip, Rachael is composing a sequence of two emotional responses to dialogue spoken to her by me. She decides how much time and importance to give to the two emotions. This is part of a Skype lesson as we are in opposite hemispheres.

Wendy performing her 'audition set'

Wendy is performing the 'audition set' portion of my Action/ReAction technique.

Personal Branding

When one assesses the need for an application of brand management strategies, it requires the existence of a brand and a contemplation of its characteristics. What does the brand stand for? What are its signature 'deliverables'? Most importantly, what can it offer to the marketplace or an audience that cannot be acquired elsewhere and which imbues the brand with exclusivity?

It is incumbent upon a brand to author and issue its own definition.

Every one of us has been branded to some degree by friends, associates and even people with only a passing acquaintance of us. It is incumbent upon a brand to author and issue its own definition. Otherwise, it may suffer from a seventieth percentile perception of it. At the seventieth percentile one sees a canvas and spilled paint; at the ninetieth one sees a Jackson Pollack rendering of a seasonal upstate New York. Both perceptions are accurate as far as they go. Through which filter do you want your brand perceived?

The strategic management of a personal brand can accomplish many things. The most notable is that it places control of its future in the hands of the brand. Since the goal of personal branding is to maximize the yield from an individual's signature skills it is important that one not leave too much of the branding process to chance.

Yesterday, I conducted a seminar/workshop in which actors had to present their brand in the context of a cold reading in which they had only one line of dialogue. It was fascinating because every actor had the same line to read but each performance was unique and each actor presented the 'sharp end of the stick' of their brand making for an forgettable reading.

An exercise in Action/ReAction

Wendy doing well with an exercise I gave her.

Branding & The Question-Asker Chronicles

I have been involved with branding since the early eighties when I founded my film and TV repertory company. Patterning it after the old Hollywood studio system as I did, the process was to brand the talent and then produce material--movies and television shows--to monetize the brand by selling the products we produced in addition to marketing the talent to others in the industry who would to want to use them as well.

Recently, I've been working with my friend Tom Gurnee with his brand and promotion, which has been easy for me to do inasmuch as his brand is easily defined; he is best at playing characters who are quietly menacing, driven and determined. The articulation of his brand is as easy to understand as is the brand slogan "The ultimate driving machine". What is more, when you have Tom in front of you, that definition is what is looking you in the face.

As part of our work, I wrote a monologue for Tom to play with and use whenever he would be asked to do something that could show his skills. I dictated it to him in about three minutes and thought no more of it until Tom suggested we tape it. I had forgotten what I had written, so he kindly sent me a copy of it. Reading it anew, it occurred to me that we should do more than tape it. I felt we should promote the character and idea as the starting concept for a series--whether a series of short, interstitial programs or longer more conventional half-hour or hour long programs didn't matter. I saw the character and the dynamic of his involvement with the unseen recipient of his "question" to be both enigmatic and foreboding. Thoughts of the old Twilight Zone and Dexter came to mind.

We'll see where this goes.

Action/ReAction: Before & After

When I begin an acting lesson for the first time with an actor, I write a few lines of dialogue and ask them to use the technique with which they are most comfortable. I tell them to pretend they are auditioning for Steven Spielberg and take all the time they need. When they are ready for Mr. Spielberg, we tape it. Then, I give them about 10-15 minutes of instruction in my Action/ReAction technique and tape the same dialogue again and compare the two versions. The two takes seen here were taped 15 minutes apart and show the immediate difference in the performance. Within six weeks of private sessions, the actor is transformed into a seasoned performer.

Because of time and distance considerations, most of my private sessions are conducted via Skype and FaceTime, but in-person sessions can also be arranged. If you know someone who might be interested, please forward the link to this blog post to them.