Ana Carril (Master 09-10) has given an interview in which we discover some secrets of his job as coach in "Protected" Central film: Could you explain what is your job?
Ana Carril: First, get the script and the preparation process is the same as you would take if you were to play one of the characters. That is, you read it, you analyze it, study each sequence to know where it comes from the character, where it goes and I scored very well the goals and emotional raccord. The difference is that instead of doing this work with a character, you do with all those who require coaching, thus training is enormous. This is the part of the work you do at home.
After that you will set and, according to the sequence you have to record that day, you'll meeting with stakeholders to move the text with them, review the raccord emotional, and other targets. Then the text is passed to the director, who then will explain how the sequence is raised at the technical level.
And finally, during the recording you make the more detailed work because you stay in combo with the director and you're looking shot to shot, making suggestions to improve the acting of the actors.
CDC Ever thought to work as a coach?
AC: The truth is I've never thought about working as a coach and I think is a great way of contact with the world of acting, but from another point of view.
CDC: What you see in the work of your colleagues who can help you as an actress?
AC: Every day you learn something new or reinforce what we already knew. The importance of a look or a small gesture, you know what you're working flat value, the relevance of the merger because it usually takes a long time between takes and easy deconcentrated or downloaded if the stream is strong emotionally. All this and I had taught at the Central in the Masters and now I have the opportunity to verify this. Above all, I think most importantly I'm learning at acting is how essential it is that an actor carries his homework done, you have made your previous analysis to be clear about what you want her character at all times. This greatly facilitates the work of all and also gives safety to the actor.
CDC: What's it like to work with a cast of actors as you have in the series?
AC: It's great because they are hard working and even though media as they are, do not lose the desire and enthusiasm for the job. They are concerned that your decision is well and that is fundamental for the series to go away and can provide quality offered.
CDC: What has brought your way through the Central?
AC: Plenty! And now more aware of it when I'm doing. First, the terminology, of course, that seems to fall drawer but it is not. You arrive the first day on set and may seem like you're in another galaxy if you know what a combo, or the naming of the levels of plans, or wildtrack, or a steady, imagine.
On the other hand, the analysis we did in the Central are the basis of my work today without them, I could not help the actors nor do my job. In the Central I learned to look at the work of an actor for camera, playing with my classmates in the Masters, and now that is what I apply daily in the shooting.
The truth is that everything I learned in the Master is present in my daily life: the importance of the gaze, the emotional and technical raccord, the search for the backbone of character to create consistent, which requires each sequence depending what kind of answer in the series, it is imperative to have a clear line of thought, how useful it is to know at what level you're working plan and know what things can be arranged in assembly but you're wrong during a take, knowing how to be in your plane and partner, working with the script with freedom and consistency, to value the task of each team member .... In short, a ton of things and all I have to thank the Central. Thanks! A big kiss, Ana Carril.
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