Acting for Animators

ISBN-10: 0415580242

ISBN-13: 9780415580243

Edition: 3rd 2012

Authors: Ed Hooks

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Description:

Ed Hooks' indispensable acting guidebook for animators returns. Ed uses basic acting theory to explain everything from character movement and facial expressions to interaction and scene construction. Just as acting on film and on stage are very different disciplines, so is the use of acting theory in creating an animated character, scene or story. New to this Routledge edition: - illustrated, scene-by-scene analyses of six films, including Up, Coralineand Kung Fu Panda - an expanded chapter on video game animation - all-new illustrations - a history of acting in 500 words
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Book details

Edition: 3rd
Copyright year: 2012
Publisher: Taylor & Francis Group
Publication date: 9/19/2011
Binding: Paperback
Pages: 192
Size: 6.25" wide x 9.25" long x 0.50" tall
Weight: 0.880
Language: English

Ed Hooks is a professional actor, acting coach, and writer, whose past students include Heather Locklear and Teri Hatcher. As an actor, he has appeared in numerous commercials and television shows including Murder, She Wrote, Home Improvement, and Golden Girls. He has taught a class on acting for animators, including the animators for the hit film Antz. Hooks's works include The Audition Book; for the beginning and experienced actor, it explains how to give winning auditions for stage, film, commercials, or television shows. Each type of audition is thoroughly outlined and includes strategies for handling stage fright and locating an agent. His other books include The Ultimate Scene & Monologue Sourcebook, which references more than 1,000 scenes from hundreds of plays. Anyone interested in acting can benefit from the decades of experience Ed Hooks shares with the readers.

Acknowledgements
Foreword
Introduction
A 500-word history of acting
Stage actor versus animator - vive la difference!
The illusion of life versus "moving illustrations"
Seven essential acting principles
Thinking tends to lead to conclusions, and emotion tends to lead to action
We humans empathize only with emotion
Theatrical reality is not the same thing as regular reality
Acting is doing; acting is also reacting
Your character should play an action until something happens to make him play a different action
Scenes begin in the middle, not at the beginning
A scene is a negotiation
Insights, perspectives and suggestions
Animating dialogue
Power centers
Status transactions
The psychological gesture and atmosphere
The adrenaline moment
"Ma"
Animating force versus animating form
Character performance fits the audience
Heroes and villains
Movement and body language
Acting is a process of exposing, not hiding
Active listening
Live-action reference and mirrors
Character tempo/rhythm
Character analysis
Pantomime
The expression of emotion in the human face
Suspension of disbelief and animation
Photo real and the uncanny valley
Videogames
Laban Movement theory
Comedy
Farce
Caricature
Television commercials
Short animation guidelines
Introduction to film analysis
Film analysis
Coraline
The Princess and the Frog
Kung Fu Panda
Ponyo
Up
The Iron Giant
A few classroom exercises
"What is my profession? What is my age?"
Given circumstances game
Gibberish exercise
Boss and workers game
"What kind of animal am I?
Reading lists and additional study
Index
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