From Jodie Foster's MasterClass

The Acting Process

Drawing from her own acting process, Jodie teaches you how to inspire a powerful and honest performance from an actor.

Topics include: The Actor-Director Collaboration · Acting Case Study: Nell · Using Structure to Support Freedom · Creating a Supportive Environment · Face Your Fears Head-On

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Drawing from her own acting process, Jodie teaches you how to inspire a powerful and honest performance from an actor.

Topics include: The Actor-Director Collaboration · Acting Case Study: Nell · Using Structure to Support Freedom · Creating a Supportive Environment · Face Your Fears Head-On

Jodie Foster

Teaches Filmmaking

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I think, you know, the biggest problem that directors have with actors is that they just don't understand what acting is. And so they're intimidated by it. And they try all of these other ways to either prove that they are-- have power over you or that they know what they're doing, when the truth is they're just kind of intimidated by the process of what acting is. There's really three parts to acting. There's three layers. There's the part that the character is showing you, the part that they're communicating. There is the part that they're hiding. And there's the part that's completely unconscious, that they don't really realize is a part of their story. We're always working juggling those three different layers of meaning. In some characters, like Nell, you know, those layers are less severe. She's not hiding as much. She doesn't know that she's supposed to hide. The character like Clarice Starling in "Silence of the Lambs," you have somebody who's very aware that her words have effect. And she is presenting an image for Dr. Lecter to-- basically, to manipulate him, to get him to do what the FBI wants her to do. At the same time, she is begrudgingly revealing sides of herself. And at the same time, she's naive enough and young enough in some ways to not really 100% understand why she is on this mission, that there is a whole part of her story that's not understood even to her. I don't like preciousness. I don't like to be approached in a precious way. So I prefer somebody to be incredibly blunt and honest and tell me exactly what they mean. If they'd like me to be faster, I like to hear faster. If they'd like me to be slower, I like to hear slower. I tend to feel manipulated if somebody-- I can see somebody or notice that somebody is either trying to change the way they would speak in order to get a result from me. Actors tend to not like to be forced into result. They like to find the way themselves. I personally like directors to be prepared. I love them to be open to chance and open to spontaneity. But I want them to have a Plan A. There are too many things that can go wrong. And there's too many people's times that can be wasted. An actor's energy is important. The crew's energy is important. And so if somehow you're doing 25 takes for no reason, except that the director is unprepared, then there is a-- oh, you lose respect for the director. I don't like direction that's result-oriented, where the director tells you where he wants to get emotionally. You know, I'd like you to cry at the end, or I'd like you to laugh on this line. Or I'd like the audience to feel such and such. I want the audience to be sad or the audience to be happy. If you start making decisions-- if an actor starts making a decision about result, they'll immediately be blocked and never be able to get there. So that's an important one. Mostly, I like a director to include me in the process. I've been an actor for a really long time. I love-- ...

Storytelling in action

Go behind the scenes with two-time Oscar-winner Jodie Foster, star of Silence of the Lambs and director of Little Man Tate. In her first online film class, she’ll teach you how to bring your vision to life. Jodie discusses her experience on both sides of the camera to guide you through every step of the filmmaking process, from storyboarding to casting and camera coverage. Everyone has a story. Learn how to tell yours.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Jodie delivered. She provided a great advice and examples, both as a director and as an actress, that can be applied practically. I did appreciated to see her working together with her writer, since she pointed out numerous times that this is a highly collaborative environment. This is on par with Ron Howard.

What a great class with practical lessons including very intersting and insightful material next to the course book. Thank you!

Helped me think of the greater journey as I'm a writer which can be quite insular.

that masterclass was great! thank you very much!

Comments

Razemi M.

How do I direct with a gameplan but not be goal oriented when the scene needs a proper moment for the forward progress of the story? Such as the actor needs to cry for the proper reason to set up a story arch?

Mike S.

Wow! So far, this is the best course on Masterclass I've seen yet. Jodie is simply exceptional.

piankhi I.

Wonderful lesson, allowing the actor space supporting their process is very important.

J'nee H.

I wasn't expecting her Nell performance! What a tough role and she could just go there brilliantly. Interesting that she see's the actor/director relationship as parent/child like. I don't think that is true for a lot of other actors and actresses though but trust is big.

Alonna S.

Avoid making decisions about a result. How to get blocked: try to force a result like "I want the audience to feel sad." To discover character: go into the discomfort within "misunderstanding." To feel comfortable on set, normalize and become part of that family. Discover a physical/emotional gesture that moves you (like "longing" in Jodie's example from Nell). Focusing on that "personal resonance" will keep you connected to the character.

Luc S.

As a newby, I would be an easy target for any actor with the wrong attitude. I hear stories of actors changing lines and questioning the director's vision. My natural way of being is candid and friendly... how much (fabricated) authority should there be on the set... if any. What I realize watching your video Ms Foster is your level of humanity and hopefully, it is not as scarce as I fear it is. Thanks so much :)

Tess G.

I hope instead of laughing, her kids understand what a brilliant woman she is and admire her as much as we do.

Vivian

LOVE this lesson on ACTING. Thanks for sharing all the tips as a Director & Actress.

Vartan N.

Loved this Lesson!!! Jodie Foster is so giving, open, and real. To sit on a floor and speak candidly to the camera and invoke the character of Nell on the spot for the sake of inspiring actors to take risks is absolutely beautiful, loving, and heroic. I Love Jodie Foster!!! :)

PoojithaReddy G.

I am in this acting, directing and writing business for a while now. May be what is shared by Jodie works for her in this class and may be not with all actors and directors. When a writer turns into director, she/he goes through certain emotion while developing a scene or story and while creating the whole characterization of characters. Technically and emotionally, director kind of want to demand certain things from actors. Because director sees the film in entirety not just from actor's perspective. Also, there a whole lot of actors, who expect inputs from directors to know the kind of emotion that works the best for the scene leading to the complete film in entirety. I would like to make difference with Jodie that not every director is an actor but a sensible director knows acting. Of course, we give the actors their space to evolve and express through the role but when we don't get what is needed we explain or we act and show. So, not every director is intimidated. :)