How to Break Down a Script to Discover Your Character

[Music] how do we explore this text how do we get through it I'll go through the different headings and I'll remind you as we go if you're making notes but research I think is a really important part of the actors process so now at this point you've read it three times so you have a good grasp of the story and what's happening why do we need to research if I was cast in a movie set in London in the 1950s amazing I now have to go research that time period so what was the fashion like what was the political climate who was in power what was it like in the country at the time what job did I do how did that affect me psychologically and you can get so much information from the research that you do and research it doesn't have to be academic you know it can be it can be creative like we said before about the sketchbook you know if you want to use YouTube for example a fantastic resource that we've got as actors we're so lucky to have so much at our disposal and go on there and research your time period find examples of people who lives then you can listen to different accents and study different characters on YouTube think it's a fascinating results for us as actors the next thing I should mention in terms of your research you can collect images so as I said before if you're a visual person and I'm quite visual I would like to collect images that inspire me about the world so I might collect images of the fashion or people at the time and make a mood board and keep that in my in my book if you're someone who really loves music can you respond to music find music of the time period and play that or songs that inspire you for a particular character because you've read it so many times now you have a grasp of that world what's what's coming up for you what what's inspiring you also quotes ideas real people who you could base your character on so many things that you could collect and if you're someone who sketches or scribbles you can you can do that but that's the first thing I think you need to do is your research secondly a map I think we need to make a map quite early on of the relationships between the different characters in the story so I'm go back to the beginning fourth reading now and now draw for yourself as you're reading the relationships of the people I've got an example to show you I'm sorry if it's backwards but it doesn't matter because it's just circles this is a very basic idea of what a character map could look like say this is the main character you're not playing that character but they get the biggest circle because they are the main protagonists your characters here I would still put them in the middle of the map because we're all the leader of our own story you know we're all there the main character in our own narrative but you will go here and then mark out where the relationships link if you don't particularly care for this character if they make it a small circle especially food to influence you very much but you can be as creative and as detailed or as plain as you like with it but it's just for you to make sense of what's going on and who who everybody is to everyone so we've got research and we've got a Mac of our relationships the next thing I think we need to do is create a timeline now I think the timeline is super useful because it's a timeline of events that have happened in the story now you'll hear the words event band is about quite a lot in acting especially in acting classes and lots of people have different ideas about what that means but for me an event is simply a moment it's a moment it could be somebody entering a room or it could be a whole party that lasts hours depending on how detailed you want to be about the event and when you mix your timeline it might look something like this you will create the chronology of the timeline so from where it starts to when it finishes now why have I started it halfway I think it's because we have to always consider that every story doesn't start at the start in fact it starts in the middle of something always so what came before the story started and then for yourself just kind of make a summary a very brief summary of what these events might be throughout the timeline and as you can see I've got a red line as well going through there this is your characters individual journey in the story and maybe they leave the main action for a while and come back what were they doing when they were not the main character in the story when they were not in the main action find what was happening for you then and I keep a chronology of that this would be particularly useful if you're doing a film because often you're not going to shoot in sequence so for example if on the first day of shooting you're doing a car accident you know your characters then been in a car accident and then the next day the director has decided for whatever reason it might be something to do with money or or daylight or whatever that you have to shoot a scene from before the car accident so here the actor need to know where you are emotionally physically psychologically in that story and be ready for it because there's no good coming into the story and acting as if you've been in a car accident because that scene hasn't happened yet so a timeline super useful for an actor and you can make notes as well about the shooting dates so I'm shooting that on that date I'm down on that date so you can keep a track of it so what we covered with covered research we've covered map of relationships and we've covered a timeline of the story and your characters individual personal journey next you're going to make three lists now this might not work for everybody because it is very time-consuming so it depends how much time you've got with the script but for me I think this is a really useful way of making things clear for me as an actor about the characters in the story the three lists have these headings the first one is what does my character say about everyone else so all the other characters in the story what does my what do the other characters say about my character and what does my character say about themselves so I'll repeat that what does my character say about other people what do other people say about my character and what does my character say about themselves you will go back to the beginning of the story and you will read it again this time you're combing the text so you're going through each line and finding out everything that people have said about you as the character so if somebody mentions you you must write out the whole line so this is very good time consuming and then reference the page number who said it and the line it was said on by the end of the script you will have a full list in front of you and you need to do that for all three scripts and so you go through it three times but all three lists when you have those lists you will have a clear image in front of you of patterns and inconsistencies in the dialogue so if people constantly say my character is a bully and my character says that they think that they're not a bully you will see clearly there is opposition of opinion now you might have got that just from reading it but sometimes we miss those things and it's nice to see how clear it is and how often it comes up for some characters they seem to really have it in for you sometimes and so that's a good way to get those images in your head clearly and then you have those lists and you can stick them again in your actors notebook so what have we covered we've covered research map of the relationships the timeline of events and direct quotes from the story which in the form of three lists the next thing I think you could try and do is hot seating now some of you who've done high school or a GCSE drama will know what hot seating is and it cares quite bit in drama school as well but it's just improvising with your character and responding and responding in the moment but now that you've done this these lists and you've you've read it quite a few times you're in the position where you could probably do that now how do you do that alone at home there's a couple of ways of getting around this I think if you ask yourself questions you the actor asking the character the question it might be it might take the form of a practical or an abstract question so a practical question could be simply where did you grow up who are your parents what's your favorite food did you go to university do you have any children practical questions or more abstract questions like if you were a perfume what would you be if you were a city what would you be if you were an animal or a musical instrument or a season what would you be now this might open up some ideas about who this person is for you if that's not useful to you just don't do it but for me I find that really opens up my imagination when I ask myself abstract questions like that and try it on yourself as well if you was an actor I'm filling that out how would you how would you respond to those questions which also brings me on to journaling so journaling when you're hot seating yourselves is if you'd ever kept a journal you will write about your day and things that are going on in your life do that as the character now don't write my character thinks this right in the first person which just means I feel this now a word on that in journaling you have to honor what the writer has given you so you can invent up to a point you can't if you if the writer says that your character is a veg you're probably not gonna write a journal entry entry about a hamburger that you had for lunch because it's not truthful to the circumstances that you've been given so that's one way another way let's recap that we've got research we've got a map of relationships we've got the timeline that the story is happening in we've got direct quotes your three lists we've got another set of list which is just questions you can ask your character practical or abstract and we've got journaling if you're all sort of person who doesn't like journaling and doesn't like writing things down that's okay you could do a stream of consciousness if you like where you get your phone or a recording device and you record a free-flowing thought in character and don't limit yourself don't censor yourself just let yourself speak as the character and see what comes out of it you might be surprised by some of the discoveries that you make when you attempt a stream of consciousness so that's another thing you could try what's next yeah so backstory let's talk about backstory that's another word that gets bunged about in our line of work all that means to me is history what is the history of your character so the writer in my mind has given you the skeleton of the the character and I think your job as the actor is to add the flesh and the breath and the life force into the character because you the actor are a vessel for the character and I think so long as we honor what the writer has told us like I mentioned before you can be as inventive as you like with your backstory and make it details I think that's our job you know to add the detail to add the layers of performance it's the same with giving your character secrets you know or hidden meaning you just got to you've got to do that for yourself and you don't necessarily have to share it with anyone you need to share it with the director or all the other actors I mean unless they ask and if that's useful or great but it's for you to add those layers to your performance oh yeah so another thing I'd like to mention is gifts giving another character a gift from your character I think that's a really generous lovely way to build the world together now maybe you you're working with someone who doesn't like to work that way and that's okay I think you've got to respect other people's processes and allow another actor to reject a gift and the point of giving so many gifts it could be say a letter from your character to their character it's not to manipulate them in any way or manipulate the story it's to help build the story and supplement the world that you've created outside of the script and I think that's a nice generous thing to do but it's up to you try it you might want somebody who really responds to that and then you've got this peaceful thing together particularly if you were working on film and you just met enables you the scene if the only thing that you can do if you even if you don't have time to rehearse the lines is give them a gift you've built something with them so gifts so let's recap because I know I've thrown a lot at you and don't worry if you've got questions about this stuff because I I can I'm on social media so I can talk to you about it so let's recap research a map of the relationship timeline of events what's happened the direct quotes are your three lists the given circumstances oh no I haven't mentioned that have I I'll come back to that hot seating so you're practical and abstract lists journaling in the first person or stream of consciousness creating a backstory giving your character secrets or hidden messages or gifts for other actors and let me just quickly come back though because given circumstances that's another Terminix founded about what is that I think it's just the parameters that the writer has given you to play in it's what is actually happening in the moment and what is the information that we've got to go on so that sounds quite complicated so how do we break that down I have some questions you can ask yourself in every single scene that you're in and if you're writing this down it goes like this Who am I and that's in relation to others plus my age name etc where am I so what country what address the exact location what room where when is it so what year what season what time of day minute it will affect the way you perform something believe it or not what do I want we're going to come back to wants later when I show you this table what do I need now in need is different to a want I worked with a fantastic acting coach called Bridget Pinet she wrote a book called essential acting and she introduced me to list called the universal needs you can google universal needs and this will come up but it's everything that a human being needs to be happy and to survive and often a character wants something but they don't necessarily need so the character might want to be listened to and so they're angry I want you to listen to me but actually what they need might be comfort so it simplifies everything and I think that's a really useful thing to consider for actors and then finally in your giving circumstances what has happened in the last 24 hours for your character you need to consider that in every single scene that you are in because otherwise you come in and it's like you just start acting you need to be acting way before you come in you need to be thinking about what's just happening where am i coming from how am I feeling bring all that in with you that's your job so okay I'll recap that one more time before we move on to this table so research map of the relationships timeline direct quote so three lists the given circumstances hot seating which can take the form of practical and abstract questions journaling backstory stream-of-consciousness giving your character secrets and hidden meanings and giving gifts to other characters so now we've covered the first part of the session just check yes I've got time now let's move on to the second stage let's talk about objectives and super objectives which is what the character wants I said I would return remember I mentioned about your script and you've broken it you've broken it up and you've left a page on this page I would like you to write four columns with these headings if you can't read them I'll read them out so what is your motivation or objective that just means what do you want so what my character wants in that moment the action now actioning is something that actors come across a lot and that is just what do you do what is the verb that you can play and the verb is just a doing word so what the character does to get what they want the means how they play their action so that's the adjective that's the describing word how am i doing but action and then the obstacle what is in the way of them getting what they want so I'll give you an example now if my line was stop it and I'm talking to my child the objective is to be listening to I want to be listening to the action I command you if I choose that action maybe I'd do it firmly so it comes out as a firm command stop it yeah and then the obstacle well what's in the way the child is crying because they want their toy and it's dinner time and they can't have so they're not listening to me now I might make that choice at home but be prepared for you may get on set or get in rehearsal and the director says huh can you do it differently can you give me another action they might separate can you can you control the child so that would change the meaning and I could still do it firmly so I I could roll you firmly stop it or I warned you firmly stop it so you're changing the way you're saying it now this might not work for everyone actioning isn't for everyone I've got lots of actor friends who absolutely hate it but I really love it for me it's opened up the possibility for different ways of doing it and it gets me out of the habit of learning something by rote so you know when you learn it and you can't say it any other way if you apply an action you constantly got in the back of your head that that action is changeable and also that's what I mentioned not yet I'll mention that in a minute so let's talk about the want so what I want in this moment also an objective might not be something that I want long-term so there's a difference there's different types of objectives if you have a super objective a main objective that means something that you really want in life your --day fix it's the main thing in your life so maybe I want my character a really big family but my objective in this moment might be I really want cup of tea that's a smaller objective and it's not it's not the same as the main trajectory so just saw Thank You Stuart that's so nice okay you throw me up now where am I going yes objectives so we've got our objectives we've got our table don't worry if this doesn't make sense to you right now it took me a really long time to get my head around it and it's not simple it's a it's a process it's not when we talked about my process it's a work in progress if you've got any questions about it and happy to talk to you about my understanding of it but as I say it's not for everyone and it's not the only way to investigate text there's lots of ways to do it but this isn't the way I like to do it let's quickly move on now to part three so we've done all of this fabulous script work we've read it hundreds of times we've investigated every line every possible meaning behind it but it's all no good if you can't embody all that detail because acting isn't an academic exercise it's it's a physical doing actors do we perform so you need to be able to embody that so I'm going to mention that now at this stage of the process so part three for those who are still keeping notes I think it falls into two categories so how do I close my character and how do I vocalize my character a good start would be to consider the habits and the tics that you might have as an actor so how do you move how do you walk for example about myself I know that when I'm I get really passionate about something my chin comes out and I'm like oh please understand and listen and I know that that might not be appropriate for every character that I wish to play so it's a habit I need to notice don't judge it it's okay to have habits it's how you've survived this long than how you've gotten to this point in your life and your body has coped just notice it and allow that to be something that you can consider whether you want to add that to the character or not and then when you've identified the habit think about the psychology behind it you know since you know the psychology of your character now you might be able to decide on a habit that they might have that isn't one that comes natural to you but beware this might be rejected by other directors of stay flexible Amanda Brennan is an acting teacher and coach who works at the world Central School of Speech and Drama and she wrote a fantastic book called the energetic performer now I'm not a movement teacher and I don't know that much about my own body yet I'm still learning so if you're interested in this stuff and you want to learn more about the anatomy of an actor I would highly recommend this book then if you're interested in looking more about the physicality of actors into character I'll give you a reading list at the end is on the next thing to consider the voice so a voice coach is a wonderful resource for an actor but I think you can start to think about what your character's accent or dialect or languages before you engage with a voice coach study people who are native to the accent or language that your character is in and if possible get them to record the lines for you so you can listen and you can mimic and try and make those sounds someone gave me a really good tip about accents they said don't choose a generic accent and try and learn that pick on one person and learn their accents I think that makes it really specific and I think it's a good way to try and engage with accents so working with a voice coach you'll be able to locate where your accent resonates in your vocal anatomy so that means that where does it sit in your body and I think okay so why would we work on an accent that is a question I am from the northwest in in the UK and I've lived in London for ten years so it's become a bit of a hybrid accent but it's not going to be appropriate for every character that I would like to play so I think studying accents is a really important thing for an actor to do whether you have a script or not you know get out there and look it what could I do convincingly I don't like to be boxed in so once you've started to explore the physicality of the character and the voice of the character you've got all this lovely knowledge now and detailed from the script analysis that you've done you can start to have a think about the behavior so lots of actors are really scared of the word improvisation it's scary words but I think you know because you've done all this wonderful word on the text it means now that you have the freedom to play you know who this person is so try existing for a while in the character not necessarily saying the lines I think a good way to experiment with that is to improvise at home at first with if you're nervous with it why not try to complete everyday mundane tasks in character so take a shower make a cup of tea make the dinner take out the rubbish and would your character do that why wouldn't they do that how do they feel about having to do that start to experiment with your voice and your physicality and bring that to life and all those details are going to be there under the surface and you might make discoveries about your character that you hadn't expected if you're interested in that sort of stuff there's two books I could recommend to you by Luther Hagen and they are called a challenge for the actor and respect for acting you work through daily activities and improvisation in a group in great detail and I think that's really good homework for actors to do now we're starting to move around in the character now and we've considered the physicality and the voice but another element which i think is endlessly fun to play with our clothes and shoes and enterin makeup now if you're lucky enough to be in a professional production you will have a costume designer and an artist to collaborate with and make your character but I see no harm in starting to experiment with that at home with your script in fact I think it's really important because imagine if you have to work in a corset or a pair of high heels for example and you wait until the day of shooting or the day rehearsal to do that well you're going to find not just physically and vocally that things have changed but also psychologically and emotionally maybe you got enough to remember so rehearsing that corset rehearse in those heels if that's what you need it will affect everything about the performance a good place to find things charity shops or thrift stores markets the wardrobes of family and friends yeah but don't choose anything from your own wardrobe because you already have a relationship with that item find something new that you can learn that you can try on okay yeah I wanted to share this quote with you RuPaul he says he they say you Archie it's a sheep right is she you are born naked and the rest is drag I absolutely love that and you know why because it's true I love I love that you know you're creating an audience impression of your character through codes and signals in the choices that you've made so it's a subconscious but it's an effective way of telling the story it doesn't just apply to a character but to life you know everything that you choose to wear and how you choose to present yourself it reveals something about you psychologically that whether you like it or not really it's a narrative in your clothes so a note on costume as well I think the word costume it's a little bit it takes the magic out of being the character for an actor I think the word costume it belongs to directors and stage managers and crew and that's great it's it's the way we describe it but for an actor I think it stops you from taking over the ship to force yourself to take on the ship of the character if you call it clothes they're your clothes and same with props if that that's not that's not a prop mug that's my mug it's your characters mug it will force you into that ownership and get you to stop thinking differently about your character to realize it so I hope you found these things useful even if you've heard some things that you think don't work for you that's okay disregard it I'd encourage you to just experiment and you know try and create detail and meaning for yourself for your characterizations a dear friend of mine at least 15 her name's Jerry MacAlpine she she introduced me to the iceberg idea you've probably heard this but they already ensue this much the top of the iceberg that's the performance but all the work underneath is the rest of the iceberg that's that's that's all the text work for me that's the script analysis you know and I love that analogy it sticks in my head now before we go to questions I just want to throw in some extra things here I think it's very important to say that acting is a collaborative process and you can't do it alone but but the things that you can do alone I think make you a more valuable member of the team and of the thing that you're trying to create so I think be generous with that you know and be generous with your time if another actor wants to rehearse the script then then do that if they want to run lines give them your time you know they're you're there to support each other even if you feel like you know your lines already that doesn't matter you you should support each other and always be there for each other well should I mention oh yeah if you have the luxury of time and of rehearsal I think it would be great if you could improvise the events the moments in the script that are mentioned but are not explicit so if a party or a conversation is mentioned in the scripture that hasn't actually happened improvise that conversation with the other actor it will give you a shared memory and help you create a world and stay flexible remember that this work you know it can change even if you've made all these wonderful decisions at home in the moment fundamentally you have to listen and you have to respond and acting is reacting so give them your full attention and give give back what they give you throw the ball pass the ball back and forth and just trust that the work that you've done all of this amazing detail it's going to just sit under the surface and it will simmer under this earth and you all know who that person is and how they would respond great so the books that I wanted to recommend to you or if you're writing this down still actions the actors asaurus it looks like this you can use any to Saurus by the way but this one's nice and small and a challenge for the actor into Hagen respect for acting looser Hagen tacking text and subtext Barbara Hausman the actor speaks Patsy Rosenberg essential acting Bridget Pinet acting Stanislavski John Gillette and actors work and creating a character Constantin Stanislavski to the actor Michael Chekov and the energetic performer Amanda Brennan and I think I'll throw in once the good measure just because they're all over certain thoughts true and false David Mamet and that's the end of my my session with you and other any questions I was amazing I was so good and so I think thank you so much right in a way and we haven't managed to write down quickly and we will be posting them again so don't worry we'll send them and I've got quite a few people asking you can share the book list so I'm wondering maybe you could do that on got to meet you somewhere can do that okay okay it's well and let's do that Fitness so what's your social media handle freshmen at Sophie meant sense that's SOP h IEM en Sh so that's on Twitter so give Sophia Fano and she'll post up those that book pissed and and then and so I'll do the the handout that I've created for you which is just a summary of everything that I fumbled today and I'll do a books list for you and if you've got any questions feel free to tweet me amazing that's great so I'm gonna come to a few questions we've had so we've got Leila who's asked should a child actor use this process or do you recommend efforts for child I've never worked with children I think it's very complicated for a little one it depends on the age I think it's fine for teenagers to start thinking about process but I think when you're a child there's a lot of natural clay involved and I think they do what's best for them I'm not sure script analysis would work because I'm not sure what their level of comprehension would be it depends on the child yeah [Music] and who was that because I think you mentioned yes so there's an Italian actress called Eleanor ADIZ a I hope I'm pronouncing that right but she was born 58 and she was known for being able to blush on stage she didn't wear a lot of makeup on the stage because she could naturally blush so she was a silent film star before she became an actor and the quote I read from her was where is it she said he who claims to teach art understands nothing whatsoever about it say again and what advice have you got for staying calm for keeping your nerves at bay my I think we all have nerves I mean I and I'm nervous now with you guys watching me and I think take a breath is always a good thing I text my mom all the time before I'm about to do I think coping mechanisms are really individual you know and it's up to you to know what you need before you go any back to all you needs sheets they apply to life as well you know if you need certain things before an audition make sure you've got them in place and remember just take your time everyone wants you to do well I learned really late on I wish I'd known when I was 21 everyone's on my side when I go in like I was trying to get a job you know and it's not about they they want you to be to do it and they want you in the room yeah you being yourself michael has asked which of these techniques would you use if you only had 24 hours to practicing or soft a person sighs well it depends on how much you yeah if you've only got sides you haven't got a full idea of the character which you don't have the whole script which happens often but you're in you've been selected for a reason so the casting director will know more than you do at this stage so what you have to do I think is trust that they they've brought you in because something about your characterization of you as an actor that they like that they respond to that's good that character so learn the line and I would still action them so I would still work out I do that table you know how can i how can I say that line and try and give it a bit of detail but just be off-book and I really really know how you want to say it and if they ask you to change it maybe it's a good idea to do a few extra actions so that you can be a little bit more free with it and take direction yes Stephanie I think it's really good when you're trying to prepare friends you a page size to compare it the way that you want you to be but then also try a few different ways with a little bit of a difference cadence in the wording or different tone and just so that you can because you'll get you know straight away basically so okay for musical theater scripts how would you analyze what a song means take our exam well I think songs are even more generous with characterization they give you so much information in the lyrics so I would action this this song like it's a monologue you know I would take each line and find out what my intention is and obviously it will change because you're singing it so there's different techniques that you have to use but at least your thoughts about the story that you're going to tell with the song I mean I don't call myself a singer I'm an actor who attempts to sing but you you know you're aching you're making sense of the story and the detail yeah okay MGM is asked what were the headings for the table table I will put this up online as well this is going to be on your summary but they are what you want so your motivation our objective what your what the character wants in that moment the action is what the character does to get what they want the means how they play their action and the obstacle what is in the way of them getting what they want great perfect jeff has asked and this was the best best meeting and is there a difference between Cynthia Spontini I think he should approach it however works for you it's gonna change every time with different scripts notes are going to be this but I would always cherry-pick what I think might work and it's changing all the time I mean if you guys want to share tips with me about how you do it I'm happy to steal from you as well and add to my comment Chris Christmas asked are these techniques for TV not like a five five lines or less pass one of those things do you yeah yeah I think look like what we said with the the map the relationship map you are the main character in your story so I think even if you only have a couple of lions you know still think about who you're who you are and what your ears even if nobody knows about it it will add a layer to your your performance and your characterization great so I've got a multiple question from Peter I'm just going to read the whole thing out and then you can say from that so before the story starts how can we fill that in is that imaginatively and how do we know if that's particularly any infamous though it can be as detailed or as plain as you like I think it's just a summary for you of what happened in the story if we did Goldilocks and the three bears it could be as simple as the Bears came no sorry Goldilocks came and then the Bears less it can be really plain or it could be Goldilocks turned and looked at the door so you can really go into detail and but it's up to you and how much time you have and if you want to make a huge detailed one that's fine but what works for you I think is important and in terms of the director I think with stories it is their baby so you always have if they don't necessarily want to engage with that stuff I wouldn't push it they will always come to you if they if they are that kind of director and they like to work that way I would just I'm sorry I've got them that second part of the question with the but the second part was and yeah if they're not very communicative they probably trust you to do it and to bring the character if they're not asking many questions so it's for you isn't it it's your it's for your rosacea n-- they don't need to know the ins and outs or have their they just want the performance and that they want to see that yo you're being truthful and so keep it for yourself it's nice to have secrets and eva has art do I need a degree or to attend film school to make it in the end no you don't yeah well I miss school i I've got loads of degree but I've been lucky and privileged enough to work in my life and get those get those degrees but you don't need to train you can learn at home how to be an actor it's about human human life it's about the human condition and I think that's you can never learn that I'm gonna learn hopefully until the day I die about acting I think you never stop learning how to be a person yeah that's such a great answer Joseph has asked and how can you how to get comfortable with your voice and bodies and you feel self-conscious of your acting mm-hmm it's like juggling isn't it you know am i doing the voice am i doing this the physicality and my hopefully with enough rehearsal for you I don't just mean in the room with a director I mean being character with the details that we talked about with script analysis hopefully it sets in and you feel that juggling act that we all feel you find a happy medium and oft when you're not thinking about that when you're performing you're just trying to communicate and listen to the actor and hopefully that stuff some of it will remain like residue you know and what advice would you give to somebody who was starting out a little bit later in life I actually think you might be at an advantage because you know you've got those that life experience and you've got years I mean when I first auditioned at drama school I auditioned everywhere and I didn't get in anywhere and that was because I didn't have enough life experience I didn't know enough about myself even to handle that coming and I think if you're approaching this later on in life you've got a lot to offer the industry and I and the script and I would just trust that you're an artist in your own right and don't need you don't need equality and you don't need to be a young base you can be we there's all sorts of characters out there that can make a world and the industry needs that to tell stories yeah and also I would just say that stories and how much that's likely to be young to lead in the story we are seeing a lot more which is very Universal so I think that is also an advantage because when people come out drama school and at a young age he crowns in terms of the amount of talent happen is just so much and then as you get older and older and older as you work in process pisode the options do seem to get a little bit thinner so I think if you commit yourself to it and you are developing your talent coming into it later just for my custom perspective exactly crying great so yeah okay hey thank you so much just remind everyone what your Twitter on Twitter I'm Sophie Mensa which is spelled SOP hie and en SAH and on Instagram I'm I am Sophie Mensa great and if you backstage we're at backstage and we're at backstage custom I am at Hannah caste on twitter and if you guys enjoyed today I'd really love it if you could tag us and let us know what you got out of there and we've got so much on the backstage at the moment it's exciting so and even though it's bit bleak outside you've got all of those bring in a lot of inspiration to make episodes you keep them right and as you'll see yeah that's it thank you so much thank you Thank You Hannah

Channel: Backstage

Views: 8,176

Rating: 4.9546485 out of 5

Keywords: actor, actress, castings, auditions, backstage, back stage, acting coach, East15 Acting School, the Royal Central School of Speech and Drama, ALRA, St. Mary’s University, drama school, United Kingdom, UK, Script, Quarantine

Id: 8EStxNdg4XU

Length: 50min 1sec (3001 seconds)

Published: Mon Jun 01 2020