《选角过程》课件(V. CASTING)
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五、选角
V. CASTING
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选角导演
The Casting Director
选角导演并不负责选角。
The casting director does not cast the film.
选角是你的工作。
It is your job to cast the film.
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选角导演
The Casting Director
优秀选角导演的特质
Attributes of a good casting director
1. 讲故事的能力
Storytelling ability
2. 传达你的愿景的能力
The ability to convey your vision
3. 对待演员的态度
Attitude toward actors
4. 接触人才的渠道
Access to talent
5. 谈判能力
Negotiating ability
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试镜准备
Preparation for Auditions
角色工作
Character work
1. 检视既定情境
Examine the given circumstances
2. 创建背景故事
Create a backstory
3. 与角色的个人联系
Personal connection with a character
4. 角色档案
The character dossier
5. 角色目标
Character objectives
6. 角色障碍
Character obstacles
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角色画像
Character Profiles
练习：为每个角色写一个画像。
Exercise: Write a profile for each character.
超越外貌。尝试深入角色的核心。
Go beyond the physical. Try to go to the very core of the character.
定义你需要从演员身上得到什么来实现这个角色。
Define what you are going to need from the actor to realize this character.
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演员画像
Actor Profiles
练习：为你正在寻找来扮演每个角色的演员写一个画像。
Exercise: Write a profile of the actor you are seeking to fill each role.
这两个画像（角色和演员）最终可能并不相同。
These two profiles (character and actor) may not end up being identical.
没关系。你可能需要从演员身上得到的东西，与你可能需要从角色身上得到的东西不同。
This is okay. What you may need from the actor is not the same as what you may need from the character.
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选择试镜片段
Selecting Sides
“试镜片段”是为演员试镜选择的场景。
"Sides" are the scenes chosen for actors to audition.
你要选择那些有发展的场景，让演员做出一些转变。
You want to pick scenes that go somewhere, where the actor makes some transitions.
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选角方法
Casting Approaches
为知名演员选角时的两个考虑因素：
Two considerations when casting name actors
1. 这位演员带来的角色属性是什么？
What are the character attributes that the actor brings with them?
2. 基于这位演员以前的作品，观众对他的期望是什么？
What is the audience's expectation of this actor based on the actor's previous work?
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“角色人格”演员
"Persona" Actors
角色人格演员在有限的范围内工作，但能够动态地塑造某些角色。
Persona actors work within a limited range in which they are able to dynamically portray certain characters
· 西尔维斯特·史泰龙
Sylvester Stallone
· 克林特·伊斯特伍德
Clint Eastwood
· 朱莉娅·罗伯茨
Julia Roberts
· 戈尔迪·霍恩
Goldie Hawn
· 阿诺德·施瓦辛格
Arnold Schwarzenegger
观众的忠诚度更在于演员不断塑造的角色人格，而不是演员本人。
The audience's loyalty is to the persona the actor keeps portraying more than to the actor himself.
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“性格”演员
“Character” Actors
· 达斯汀·霍夫曼
Dustin Hoffman
· 梅丽尔·斯特里普
Meryl Streep
· 汤姆·汉克斯
Tom Hanks
· 西恩·潘
Sean Penn
性格演员有更广的范围，这建立在他们塑造各种角色的能力之上。
Character actors have a wider range established by their ability to portray an eclectic array of characters.
观众的忠诚度在于演员本人，而不是任何特定的角色人格。
The audience has a loyalty to the actor and not any particular persona.
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类型化选角
Typecasting
传统的类型化选角是根据外貌、年龄、种族、表演能力或表演经验选角。
Traditional typecasting is casting by look, age, ethnicity, acting ability or acting experience.
根据生活经历类型化选角，考虑的是演员自然会为角色带来什么。
Typecasting by life experience takes into consideration what the actor or actress is naturally going to bring to the role.
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反类型选角
Casting Against Type
成功的反类型选角是对演员秘密灵魂的一种直觉。
Successful casting against type is a hunch about the actor's secret soul.
当它奏效时，你在解放演员隐藏的真实自我。
When it works, you are liberating the actor's hidden real self.
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演员/角色的融合
The Actor/Character Meld
演员的主要目标之一，是以这样一种方式将自己与角色对齐，使得在任何给定时刻，他们能够并且将会像角色一样做出反应。
One of the actor's main objectives is to align themselves with the character in such a way that at any given moment, they can and will react just as the character does.
当这种情况发生时，演员的过程就被抛在身后了。
When this happens, the process of the actor is left behind.
这就是融合。
This is the meld.
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演员/角色的分离
The Actor/Character Split
演员会达到一个比角色自己更了解角色的程度。
The actor will get to a point of knowing more about the character than the character does himself.
例子：《雨人》中的查理
Example: Charlie in Rainman
· 意识目标——拿到钱
Conscious objective - get the money
· 潜意识总体目标——与雷蒙德重新建立联系
Subconscious overall objective - reconnect with Raymond
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演员/角色的分离
The Actor/Character Split
例子：《阿甘正传》中的珍妮
Example: Jenny in Forrest Gump
· 意识目标——改变世界
Conscious objective - to change the world
· 潜意识总体目标——驱除她的父亲
Subconscious overall objective - exorcise her father
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两种试镜方法
Two Approaches to Auditions
第一种是撒大网，选择脱颖而出的演员。
The first involves casting the net very wide and choosing the actor who stands out.
第二种选角方法要求导演在开始试镜之前，对想要如何选角有清晰的概念。
The second approach to auditions requires directors to have a clear notion of the way they want to cast before starting auditions.
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两种试镜方法
Two Approaches to Auditions
第二种方法的优势：
Advantages of the second method
1. 它在从一开始就缩小了范围，使试镜期不那么漫长。
It narrows the field at the outset and makes for a less protracted audition period.
2. 更集中的方法意味着你给选角导演一个非常具体的工作方向。
A more focused approach means that you are giving the casting director a very specific direction in which to work.
3. 符合坚定导演愿景的选角通常会产生更强的角色选择。
Casting in line with a firm directorial vision often produces stronger character choices.
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1. 关于项目的一段话
A paragraph on the project
2. 关于项目的一段话
A paragraph on the project
3. 关于项目的一段话
A paragraph on the project
4. 关于项目的一段话
A paragraph on the project
（注：原文此处重复四次，照实翻译。）
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进行试镜
Conducting an Audition
试镜不是表演。有些演员试镜好但工作不好。另一些演员工作好，表演很棒，但试镜不好。
An audition is not a performance. There are actors who audition well and don't work well. There are other actors who work well and are great in performance, but don't audition well.
——摘自朱迪丝·韦斯顿《指导演员》
From Directing Actors by Judith Weston
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进行试镜
Conducting an Audition
环境
The Environment
排练空间是试镜的理想场所。
A rehearsal space is an ideal location for an audition.
如果你在办公室或客厅（不是理想场所但经常使用），把家具往后移，为演员创造空间。
If you are in an office or a living room (not ideal locations but frequently used) move the furniture back to create a space for the actors.
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对手演员
The Reader
对手演员是你雇来与试镜演员对戏的演员。
A reader is an actor you hire to play opposite the actors auditioning for a role.
雇佣对手演员的三个原因：
Three reasons for hiring a reader
1. 给他们一个专业的演员对读只会提升他们的表演。
Giving them a professional actor to read with will only enhance their performance.
2. 对手演员是一个常量。
The reader is a constant.
3. 你的对手演员的反馈是你评估的重要部分。
Your reader's feedback is an important part of your assessment.
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第一次朗读
The First Reading
第一次朗读是关于演员的诠释和想象力。
The first reading is about an actor's interpretation and imagination.
他们的诠释是否接近你的诠释并不重要。
It is not important that they come anywhere near your interpretation.
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第一次朗读
The First Reading
朗读期间要注意什么：
What to watch for during a reading
1. 剧本理解力
Script comprehension
2. 直觉能力
Intuitive ability
3. 表演技巧
Acting skill
4. 身体能力
Physical abilities
5. 勇气或内心
Courage or heart
6. 无私
Selflessness
7. 诚实
Honesty
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第二次朗读
The Second Reading
如果你对一位演员感兴趣并且想进一步探索，你可以：
If you are interested in an actor and want to explore further, you can:
1. 让他再次读同一个场景，并做一个轻微（但重要）的调整。
Have him read the scene again with a slight (but significant) adjustment.
2. 让他读一个不同的场景。
Have him read a different scene.
3. 花几分钟讨论角色、项目、表演或其他——过渡到面试。
Take a few moments to discuss the character, project, acting or whatever - segue to an interview.
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手段
Means
角色/演员试图实现其目标的方式。
The ways in which the character/actor attempts to achieve their objective.
· 目标通常表达为动词
Objectives are often expressed as verbs
· 手段表达为副词
Means are expressed as adverbs
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行动
Actions
手段的实际身体和行为表现。
The actual physical and behavioral manifestation of the means.
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调整是手段和/或行动的改变。
Adjustments are a change of means and/or action.
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调整
Adjustment
丈夫和妻子试图说服对方某事。
Husband and wife are trying to convince each other of something.
1. 妻子最初选择一种冷静理性的方式来说服丈夫。
Wife initially chooses a calm and rational manner (means) to convince her husband.
2. 场景进行到一半时，很明显她没有说服他。
Partway through the scene it becomes clear she is not getting through to him.
3. 她改变了方法（调整）。
She changes her approach (adjustment).
4. 她采取严厉、更苛刻的攻击方式（新手段）。
She takes a stern, more demanding approach (new means).
5. 她发现这种方法适得其反，因为她的丈夫变得更加好斗（他的调整）。
She finds this approach counterproductive because her husband is becoming more belligerent (his adjustment).
6. 她变得不耐烦和疏远（她的第二次调整）。
She becomes impatient and distant (her second adjustment).
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复试
Callbacks
习惯上，在做出最终决定之前，会把你感兴趣的演员“叫回来”第二次。
It is customary to "call back" the actors you are interested in before making a final decision.
你想达到什么目的？
What do you want to achieve?
1. 创造一个整体演员阵容
Create an ensemble
2. 指导演员
Direct the actors
3. 进一步探索原始材料
Further exploration of original material
4. 探索新材料
Explore new material
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1. 面试
Interviews
2. 录像
Videotaping
3. 试镜（屏幕测试）
Screen tests
4. 观看过去作品
Viewing past work
5. 联系推荐人
Contacting references
