Interview: D.W. Brown, Acting Coach to Stars and Future Stars

Interview: D.W. Brown, Acting Coach to Stars and Future Stars

Posted on July 8, 2009 at 3:59 pm

D.W. Brown has trained, directed, and coached hundreds of actors and is co-artistic head of the distinguished and successful Joanne Baron/D.W. Brown Studio. His new book, You Can Act!: A Complete Guide for Actors is both practical and inspiring with tips, diagnostics, and reference material that guides newcomers and professional actors to everything from the classics to a shoot-’em up. He took the time to answer my questions about the book and his work.

On “Inside the Actor’s Studio,” I heard Alec Baldwin talk about the difference between an actor and a movie star. What do you think the difference is? Can you be both?

You certainly can be both because the ability to act is actually one of the traits that results in success for an actor. Imagine that. But there truly are other factors involved in being a star. Those would include the type you are, your basic physical attributes and your essential nature and how this present society responds to that type. There have always been femme fatale types like Angelina Jolie (Lauren Bacall), and the decent man like Tom Hanks (Henry Fonda); but we don’t seem to have much use for John Wayne types right now. There’s also the buzz factor. The industry feels a trend for certain people and their fame, a fame not necessarily related to their acting, and then it builds on itself.

I was surprised to see you say that “as long as you’re committing to the truth of your Action, you can pretty much be oblivious to whatever you’re saying and it will come off just fine.” How do you suggest an actor treat the words in the script?

Yes, I know it is heretical in some quarters to discount the text, but I’m only saying that an actor should do their job, trusting the writer has done theirs. It’s Shakespeare’s advice to actors when he said (through Hamlet’s mouth): “Suit the action to the word and the word to the action.” You use the words only as a blueprint to determine what you should be doing and, once that’s decided, you make the words total slaves to the thrust of your Action. Our society makes such a big deal out of the use of language and how you present yourself intelligently, an obligation to the words and their ideas is a curse. All these reasonable minds talking to reasonable minds. An actor needs to aim for gut.

Many actors are fine when they are speaking but get lost when another character is speaking. How do you teach them to maintain concentration?

We train the concentration of an actor so that they put their attention on what’s really going on, not just the words and how they themselves are coming across. The Meisner technique we teach at our school (The Joanne Baron/D.W. Brown Studio) is a brilliant method for getting an actor to habituate playing moments and working off their environment, mainly the subtextual interaction with other human beings.

What is the best way to prepare for a role set in another era?

Whatever the environment your character inhabits you have to examined the culture and its values, and then bring that to your performance; it may be by relating to events through the use of particularizations, which is saying to yourself: “This thing is to this character as blank would be if it happened to me.” By this I mean, if your character is discovered to be pregnant out of wedlock in the 60s, it might be for you as if you’d been discovered prostituting yourself. To play something set in a different era you might also have to alter how you carry yourself physically.

What is the best way to think about a character’s past? About the character’s goals?

The past may be hugely influential or barely at all. Although it’s often an interesting plot point, I think well-meaning actors tend to get too hung up on back story, whereas your character might simply have been born a shark or a saint. I do think connecting to a past can be very powerful if you think of the character as motivated for a larger purpose because of it. This might be the case with someone who, because of the sacrifices made by others to get them through college, strives passionately to succeed so as to honor them, or a person having been bullied taking revenge for all who have been bullied. I think a great way to think of a character’s goals is to imagine how it is that they want to be praised. Everyone wants to be praised. If not by the entire population, at least by that certain like-minded soul. Even a self-hater loves themselves as a self-hater.

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Interview: Ellen Besen on Visual Literacy

Interview: Ellen Besen on Visual Literacy

Posted on July 6, 2009 at 3:58 pm

The average American child watches two to three hours of TV a day, according to the American Association of Pediatrics. And that doesn’t include the time they spend playing video games, sitting in front of the computer, and watching movies. Yet, few children are taught how to decode the messages that come wrapped in visual media. Ellen Besen, an acclaimed animator, author, and teacher who’s worked with students from pre-school to college level says that visual literacy is a skill that every child should be taught. “Because of technology our kids have near-constant access to visual media, yet we’ve done very little to teach them how to really understand what they’re seeing,” says Besen. She is the author of Animation Unleashed: 100 Principles Every Animator, Comic Book Writers, Filmmakers, Video Artist, and Game Developer Should Know and she answered my questions about what parents should know about visual literacy.

How do you define visual literacy?

It’s the ability to watch visual media with awareness of exactly what is being communicated (including less obvious messages and intents) and how that communication is being achieved.
How do you turn children from passive viewers to active, engaged viewers of television and film?

The first step involves introducing the idea that media can be questioned instead of just being accepted carte blanche. By its very nature, media seems authoritative — if something is on TV, for example, it must not only be true but also important. Left unquestioned, media can become established in a child’s mind as the ultimate authority. So you need to sit down with your children and watch things with them and discuss what you are watching. This way you maintain (or re-establish) the role as the main authority in your child’s life. Media may then raise interesting questions but the final answers to those questions come from you.

What can preschoolers learn about visual media? Elementary school kids? Middle and high schoolers?

Recognition that everything we see in media was put there by choice is key to developing visual and media literacy. This recognition leads to three big questions which can be adapted for children of different ages:

What choices did the creators make? Why did they make those choices? What else could they have chosen to do?

Again I must emphasis here that for kids of all ages, you need to watch the shows and movies they watch, preferably with them — you can’t be a credible authority (especially with older kids)unless you know the material! This allows you to see how your children react to specific elements — both positively and negatively — which will open doors for conversation with them. It also helps you observe your children’s overall reaction to media. What kind of watchers are they? Some kids get taken right in and once there, are hard to peel away. Other kids treat TV as a background element to which they give some of their attention while also carrying on with other activities. These different styles of watching offer clues to what your child might need to understand about media.

Since preschool programming is already quite regulated, efforts with very young children can mostly be focused on laying the foundation for visual literacy. Watch a favorite show with them and ask what they like best about it and what they like least. What would they change, if they could — show more of a favorite character, perhaps, or add a new character? Put the stories in a new setting or have more stories in a favorite one? This encourages active watching and helps create the groundwork for critical thinking by stimulating the child’s ability to form an opinion. Older preschoolers can also begin to consider the difference between real and not real — at this age, it might only be the broadest of distinctions: live action actors — real, animated characters — not real, for example.

With elementary school kids and preteens, you can try a more sophisticated version of the same exercises. Here along with encouraging active watching towards forming an opinion about the content, you can also begin to foster an awareness of the various elements through which different media communicate. Have them watch for changes in camera angles or the use of camera moves. Once they’ve identified that the angles often change, you can have them think about why they change: has the camera just cut closer to showcase a tiny detail which would otherwise be hard to see, such as something a character is taking out of her pocket? Has the camera started to move way back from the scene because the show is over and we are now saying good bye?

At this age, the “real/not real” discussion can also become more sophisticated. And it definitely becomes more important. Kids can watch TV ads aimed at them and look for false information — camera angles which make a toy look bigger than it really is; favorite cereals which look more brightly colored and more appetizing on TV than the real thing because the food has been doctored. They can also watch action sequences or fight sequences and begin to understand that the actors are not actually fighting.

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Books Interview Parenting
The Parents We Mean to Be:  How Well-Intentioned Parents Undermine Children’s Moral and Emotional Development

The Parents We Mean to Be: How Well-Intentioned Parents Undermine Children’s Moral and Emotional Development

Posted on June 25, 2009 at 8:00 am

Many thanks to Richard Weissbourd, author of The Parents We Mean To Be: How Well-Intentioned Adults Undermine Children’s Moral and Emotional Development, for giving me permission to post this thoughtful conversation about parents, children, and what does and does not work in teaching integrity, judgment, and compassion. I especially appreciate his insights into the way that loving and devoted parents sometimes unintentionally send mixed signals that undermine the messages we most want to communicate.

NOTE: A portion of this interview appeared first on the Harvard Graduate School of Education’s website.

Tell us about the title of your book. Why should we be concerned about the well-intentioned parents?

We often focus on the small number of parents who have clearly lost their moral compass. But the problem is much larger. Lots of us, in ways that we tend not to be aware of, can imperil our kids’ moral development. Our research uncovered, for example, that many parents are narrowly focused on their children’s happiness and believe that happiness and self-esteem are at the root of morality. We may be the first generation of parents in history who hold that belief. We think that a child who feels good–and who feels good about herself–is more likely to be good. Historically, parents have thought that suffering, burdens, and sacrifices were an important basis of morality–that through suffering children learned empathy. And in many day-to-day ways, we as parents place our children’s happiness above their caring about others. We are too quick to let our kids write off friends they find annoying. We fail to insist that they return phone calls from friends, or give credit to other children for their achievements, or reach out to friendless children at the playground. Or we fail to interrupt our children when they talk too much when they’re around other kids or adults.

You explore in your book how the pressure to achieve can damage moral development. How so?

We’ve all heard stories about out-of-control parents driving their children to achieve. We interviewed the parents of one high school junior in a school outside New York City who had set up a vocational school in South America so that their daughter could write in her college application that she had started a school in a developing country. But the bigger problem is more subtle. Many of us have unacknowledged fears about our children not achieving at a high level. And because of these unrecognized fears, many of us are quietly organizing our children’s lives around achievement and sending inconsistent and hypocritical messages to our kids. The kids we interviewed talked about these hypocrisies. Kids would point out, for instance, that their parents would tell them they don’t care how much they achieve and then pay jaw-dropping amounts of money for SAT-prep courses. When parents tell teenagers to achieve at a high level so they “can have options,” teenagers sniff out that their parents are talking only about certain options–it’s not really okay for them to be beauticians or firefighters, for example. These hypocrisies undermine us as moral mentors. We should make achievement for our children one theme in the larger composition of a life, and we need to understand our own feelings better so we can have more authentic conversations with our children about their achievements.

You write that parenting should be more public. What do you mean by “public parenting”?

When it comes to what is arguably the most important thing we do–raising moral children–American parents tend to be isolated and dangerously insulated from the feedback of people who may see their parenting most clearly: other parents. Parents are reluctant to interfere in the lives of other families, even when they suspect a neighbor of actually abusing a child. (And of course the wrong kind of feedback can simply anger and humiliate another parent.) But what to do when a friend or sibling is clearly spoiling a child, or making him or her miserable by being crazed about the child’s achievement? In some countries it is routine for parents to give each other feedback. The challenge is to change the culture of parenting so this kind of feedback is expected and the norm. One way to change the culture is for us as parents to invite this feedback. Every parent should, for example, create a kind of “contract” with at least one other trusted parent outside the family–a promise to provide feedback if they are concerned about a parenting practice that might be harmful.

You have a hopeful message about adults’ moral development. What’s that message based on?

In the United States we tend to think that our moral qualities and values are fully formed as adults. Yet the reality is that every stage of adult life can bring new moral strengths and weaknesses, and that these changes have profound consequences for children’s moral growth. “There is nothing noble in being superior to somebody else,” the civil rights leader Whitney Young said. “The only real nobility is in being superior to your former self.” Parenting can spur either great moral growth or regression–think of the large number of fathers who abandon their children. We send a smug and false message to our children when we suggest that morality simply arrives with adulthood and that all they have to do is imitate our moral qualities and values. If we parents work at it, we can greatly increase our own capacity for fairness, caring, and idealism, and our developing morality will be deeply interwoven with our children’s developing morality.

You talk about the perils of parents’ being too close to their children. Why is this risky?

On the whole, I think it’s great that more parents want to be close to their kids. What concerns me is that some parents, based on their own needs, come to idealize their kids and their relationships with their kids. I have talked to parents who find in their relationships with young children exactly what they have always craved: another human being who gives them undivided attention, who overlooks or easily forgives their flaws, who is entirely reliable and trustworthy–and they come to worship and depend on their kids for emotional sustenance. But this kind of idealization makes it hard for parents to discipline their kids, and for kids to idealize their parents. Yet children idealizing parents is key to children adopting parents’ values. Such parents also have a great deal of trouble separating from their kids in adolescence and nurturing their children’s independence, with damaging consequences for children’s emotional and moral development.

You write that too many parents act like therapists. What does that mean?

Parents sometimes try to safeguard children’s well-being by closely monitoring feelings and moods. Some parents may repeatedly ask their children how they are feeling or remark on their moods: “You must be feeling tired,” “That must be frustrating for you,” “That must make you sad.” We rightly want our children to be able to understand and articulate their feelings. But this kind of constant monitoring can cause children to dramatize their feelings, and they often find it intrusive and alienating. It’s like pulling a bandage off a wound every five minutes to see if it is healing. Some parents also play the roles of parent and therapist at the same time. They tell their five-year-old child, for example, that it’s time to leave the playground, and then try to discuss the child’s angry feelings. But it’s confusing for children when a parent is being both a parent (a legitimate object of anger) and a therapist (someone who is “naming” or analyzing the feelings of anger), and it can prevent children from working through their anger toward us.

You write about the “morally mature” sports parent. Why do you think many parents are immature, and what can be done about it?

While a great deal of media attention has been trained on reckless parents and coaches at children’s sporting events, many of us as parents and coaches, if we are honest with ourselves, get far too wrapped up in these events and fail to model for children a basic respect and responsibility for others. I remember realizing that whether my child’s hit slipped by the shortstop or was caught might affect my mood for days, and being furious at a perfectly innocent eight-year-old child who kept striking out my son and his teammates. Sports consultant Greg Dale coaches parents to be alert to other classic signs of their overinvestment, such as saying “we” won or lost the game, regularly occupying dinner conversations with talk about children’s sports or planning family vacations around sports events. Some of us get bent out of shape at these games, of course, because we are looking to our kids to fulfill our fantasies, or because of our competitive feelings toward other parents. But there are many other reasons.

Children’s sports can stir up old childhood wounds and yank us back to old childhood battles–peer and sibling rivalries, difficulties with authority, painful experiences of unfairness and mistreatment, struggles with shyness and self-assertion. For some adults who experience their lives as monotonous, children’s sports can provide an eventful, compelling plot, with their own child as a central character.

You explore the moral strengths of black children and immigrant children. What are those strengths, and how do they differ from those of other children?

In the book I make two main points about race and ethnicity. First, there are great differences in parenting practices, as well as in the obstacles children face to becoming good people, across race, economic class, and culture. It’s vital to understand those differences, because for too long we have tried to apply the same solutions, the same generic prescriptions, to markedly different problems. The challenges to becoming a good person are not the same, for example, in the tony white suburbs of New York as they are in low-income black neighborhoods in Chicago or the Mexican barrios of Los Angeles. Second, popular images and stereotypes have obscured the strong or exemplary moral qualities of many poor children and of immigrant and African-American children across economic classes. Immigrant kids, in their first years in this country, are faring better than American-born kids on almost every moral and academic measure. Immigrant kids are not a threat to American culture, as many people argue. American culture is a threat to immigrant kids. Our research also suggests that African-American kids have moral strengths that have been obscured by the stereotypes. Many white children describe black children as more honest, less hypocritical, more independent-minded, more willing to assert their views, and as less concerned about popularity than about respect in comparison with their peers. Parents across race and class have a great deal to learn from each other about raising moral children.

So what should we do to raise moral children?

Morality is comprised of many attributes–courage, honesty, kindness, a sense of justice, moral reasoning, etc.–and there are many different ways that adults can promote these qualities. We can model appropriate moral behavior, help our children register kindness and unkindness in the world around them, define clearly their responsibilities toward others, listen responsively to their moral dilemmas and questions, hold them to high moral standards, and develop in them from an early age the habit of attending to and caring about others. We can do much more to emphasize kindness rather than happiness–rather than telling our kids all the time that the most important thing is that they’re happy, it wouldn’t hurt to tell them that the most important thing is that they’re kind.

But if I could give just one piece of advice to adults, it would be to focus not on children’s happiness or self-esteem but on their maturity. Maturity, including the ability to manage destructive feelings, to balance and coordinate our needs with those of others, to receive feedback constructively, to be reflective and self-critical–to fairly and generously assess our behavior– is the basis of both morality and lasting well-being. It is these capacities that enable children and adults to appreciate others despite conflicts of interest and differences in perspective, to adhere to important principles and to engage in sturdy, meaningful relationships and endeavors that create lasting self-worth.

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Nancy Drew: Sotomayor’s Childhood Influence

Nancy Drew: Sotomayor’s Childhood Influence

Posted on June 3, 2009 at 3:58 pm

Judge Sonia Sotomayor, like Justices Sandra Day O’Connor and Ruth Bader Ginsburg, was a big Nancy Drew fan when she was a young girl. I’ve been touched by the reports of Judge Sotomayor, growing up in a housing project, devouring books about the strong, capable, curious, honest, and courageous Nancy Drew. The Girl Sleuth is a fascinating book about Nancy Drew and other heroines of series books for girls, written by novelist Bobbie Ann Mason, who was also inspired by these feisty fictional heroines, a potent reminder of how important the media influences on our children can be.

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Books Tweens Understanding Media and Pop Culture
Interview: Paul Newman biographer Shawn Levy

Interview: Paul Newman biographer Shawn Levy

Posted on May 27, 2009 at 3:58 pm

Movie critic Shawn Levy, author of the superb books King of Comedy: The Life and Art of Jerry Lewis and Rat Pack Confidential: Frank, Dean, Sammy, Peter, Joey and the Last Great Show Biz Party, has a new book about one of the most accomplished and adored movie stars of all time, Paul Newman. He very kindly made time for an interview in the midst of his book tour.

Q: Newman was one of those rare performers who become icons of their eras. What was it about his style of acting and choices of scripts that seemed so particularly characteristic of the post-WWII years?

A: He often played younger than he really was, like many actors, but it was particularly his casting as the failed sons of strong fathers in such films as “The Rack,” “Cat on a Hot Tin Roof,” “Hud” and, in a sense, “The Long Hot Summer” and “The Hustler” that cemented him as an icon. He carried the sensitivity of James Dean into a new era when the promise of a film like “Rebel Without a Cause” bled into mainstream and prestige films. He easily segued into rebel/countercultural figures starting in the mid-’60s (“Harper,” “Hombre,” “Cool Hand Luke,” “Butch Cassidy”). And because he was older than the characters he was playing (he was 38 when he made “Hud”), he also carried a savor of mature authority. He played, in short, equally well to both the establishment and the kids who threw mudballs at it.

Q: Is there a performance of Newman’s that you think is particularly overlooked or underrated?

A: His turn as the stage manager in the Broadway production of “Our Town,” which is available on DVD, is a classic bit of Americana. In movies, “Hombre” is tough and sullen and cool in a way you’d associate more with, oh, Steve McQueen than Newman. Both excellent films.

Q: What did he consider his biggest failing?

A: In acting, he felt he was too mechanical and calculating for the first 25 years or so of his career, and I think I’d agree. You see him pulling poses and striking moods quite deliberately even in such fine films as “The Hustler” and “Hud.” But later in life he ratcheted back and produced some astonishing performances. In life, I think he felt he was a very remote and arbitrary father until he reevaluated himself after the death of his son, Scott, in 1978.

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Actors Books Interview
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