Week 3
1. Imagery and associations can be used as a tool for transitions by giving the actor a reference point for the emotional shift they need to portray. It’s difficult to think “happy to sad” and then act that out effectively—but recalling a time when that emotional shift took place or invoking that emotion in some other way can be effective. For the performance to be believable, there needs to be a certain level of authenticity.
2. Verbs can be used very effectively for transitions, for example, by telling the actor to “lose control” when a fit of rage is called for in the story. This gives the actor an action to have in mind when the emotional shift takes place.
3. Obstacles are important to determine blocking because they have a direct effect on what ways actors will convey their emotions. For example, if the parent of a character’s significant other says something that deeply offends them during their first dinner, the actor would need to convey an anxious, uncomfortable version of anger or disgust rather than being outward about it (unless of course, the character has shown to have little restraint and always stand their ground).
4. High status / low status are important for blocking because like all power dynamics, it affects the body language of people in real life, meaning it should on screen, too. If a character in a position of power is speaking with a character of low status, that should be clear through their actions and body language, not just in their words.
In this brilliantly blocked scene from Andor, Director Krennic displays higher status and his position of power (especially given the context of the interrogation) in many ways, including standing while Dedra remains seated, speaking to her from behind, placing his finger on the top of her head, and leaning in close when he raises his voice.
5. In “Learning How To Block,” Weston gives helpful advice on getting better at blocking. First, it’s important to visualize what the blocking could look like in multiple different ways—this can be achieved with small dolls or minifigures—so you have options for how the scene could play out if one version isn’t working. The ‘best’ version should be used to create the shot list. She also emphasizes that blocking in dialogue doesn’t need to be boring, which seems to be the trend for modern filmmakers. Unique camera angles (or at least not a back and forth over the shoulder) can add to the story by emphasizing the power dynamic, emotions, actions, or otherwise molding the mise en scène to better push the narrative. It’s also important to study some of the best blocking directors’ work and learn from their techniques.
