Getting into Your Character

Transcript [edited]

Hello, Everyone! I am Michala Woodruff on behalf of Production Insight’s blog. I’m so happy you’ve joined me today. In the next few moments, we’re going to be covering how to get into character whether that be for film or in the theatre.

Actors and actresses must dismantle a script. Why? Because when we break down a script, we see the messages, purposes, characters, and so much more.

Think of it like unwrapping a present. My sister is great at wrapping presents. She’ll tie Walmart bags around the gift, then shriek wrap it, stick that in a box, duct tape it, and finally put some wrapping paper to finish off the gift. In my house, we call it sea-worthy.

All this to say, there is so much in a story. To understand the different parts, we must unwrap each layer to get to the heart of the story and to the heart of the characters.  

This is why actors and actresses usually read through the whole script. This gives them the whole picture. Then, they will begin dicing up the character they play by asking:

o   How old is he or she?

o   What does he or she look like?

o   Where do they live and work?

o   What is relaxing to them?

o   What is disgusting to them?

All these questions are basic facts about the character. In Brandilyn Collins’ Getting into Character: Seven Secrets a Novelist can Learn from Actors, these questions are in the level A category. Level B takes those questions and makes them more specific. Collins explains that you must keep asking questions over and over until you reach the “so what?” question. Now, is when you discover the character’s beliefs and values. Level C asks questions such as “What was your childhood like?” and “Why? Why? And . . . why?”

But what if the script does not give your character a lot of background? What if you don’t know if their childhood was happy or sad? Here comes the fun part. Actors and actresses fill in those gaps by making the parts up.

However, it is key that the backstory you create matches up with who they are today. For instance, your role is sassy. You ask that character, “Why are you so sassy?” Now, you make up the reason for that character being sassy. Perhaps the character was bossed around as a child or the belief—even if it is a lie—is “being sassy is the only way people will take me seriously.”

As an actor or actress, you must know the beliefs, values, and background of a character because all that will contribute to how the character acts emotionally and expresses gestures. For instance, someone with a past of being bullied in school is going to walk through a school in a certain way. Maybe he walks through the school with his head down and shoulders slumped while he’s walking fast or perhaps he carries his head high and takes long strides. Each of these body languages sends a different vibe.

So, how does an actor or actress know which body language to choose? It depends on the inside of the character—the inner values, the lies and truths believed, and the desire and passion within the character.

An important aspect actors and actresses look to is the desire of a character. First, what does the character want throughout the story? Then, what does the character want right now in this scene?

Say your character just wants to relax and be alone. If there is conflict in this scene, things or other characters will be popping in to stop your desire from happening because they have their own set of desires and needs. Does this interruption annoy your character? If it does, how will you as an actor or actress show that annoyance?

Sometimes we need help. Our brains are fried from thinking. You don’t want to use the same gestures continually and your character role is not helping you.

Something I like to use is a book called The Emotion Thesaurus: A Writer’s Guide to Character Expression. I know the book is technically for authors. However, both authors and actors/actresses need to get into characters. So, I highly recommend it.

Another way to look for gestures or expressions is by looking at your own experiences. If you’re playing a robber, there might never been a time you stole. However, you can take feelings related to stealing such as a time someone stole from you. It does not have to be an actual object. It could be that someone stole your time, your trust, or your words.

Also, look around you. That runner in the park. That co-worker with a lollipop. That grandpa in the diner. Everybody has a way that they carry themselves and that speaks an impression before we even meet them.

You see, the goal of actors and actresses is to be so invested into their character that the audience feels the feeling that they are feeling. To get those feelings across, the performer and the audience must both be invested into the character.

For the audience to be invested into a character, they must feel empathy for that character and it helps if the audience understands why the scenes are happening.

You might be thinking, “Michala, what do you mean the audience should understand the reason behind the scene? Shouldn’t scenes build on each other and create surprise for the audience?”

Of course, scenes should not be predictable. What I mean is that scenes should be about the character growing. Remember, a story is not events happening to a certain character but a certain character that is being formed through a course of events.

So, the audience should know why another battle occurs, why the character is taking another nap, why the antagonist is so evil. I’m not saying give the audience a background dump and then show the story, but I am saying that there needs to be clues or some sort of event that happens early in the story where the audience feels empathy for the character.

This all can happen with a good storyline and persuasive acting.

At some point, however, actors and actresses must memorize their lines. There really is no right or wrong way. Sometimes they work on expressions first. Other times, they’ll focus on just the memorizing side first.

Personally, I usually start by reading through the script and then sit back to pick apart this role. Then, I will memorize by using gestures, tones, pitches, singing, repeating, and even accents that my character might not have but simply helps me say the lines in different ways to drill it into my mind.

I also look in the mirror to see if my expressions are the right ones I want to get across.

Some tips that help actors and actresses get into character are simple things like a song, a scent, attire (such as a necklace, sweater, watch, etc.), and phrases.

I will give you a warning though, you don’t want to rely too heavily on a song or scents because you might not always have the time or ability to use them. Phrases can work well because you can take those thought processes anywhere with you. You probably could do this with the song too.

Different things work for different people. So, explore and try to use as many senses as you can to help you get into character faster.

In conclusion, let me leave you with one more question to ask your character:

o   What does he or she think of God?

You see, what we think of God—whether it is true of Him or not—directs our actions,

thoughts, feelings, gestures, expressions, and words. For instance, if my character thought God was always in a church, would my character pray outside of church? Probably not. What if my character thought God didn’t exist, my character’s reasons for living would be to make a mark on the world for fellow humans. My character might be helpless or mad when bad events take place.

All right, well, that wraps it up for today. Thank you again for joining me. If you have any questions or want to learn more, please check out https://michalawoodruff.wixsite.com/production-insights. Happy acting!

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