Cartoon narrators do it all the time and no one criticizes them for that. Yet, when you watch the film, he certainly does a great job of playing the father of one of the greatest superheroes ever invented.Īnd keep in mind that reciting from a script does not equal bad writing. The people who worked with him were not pleased by his lack of professionalism. If you like, go back to the station itself and put some motion into your “act of recall.” If you’ve struggled with decoding associative-imagery before, this simple exercise in acting may be the breakthrough you need. Then, looking back, see or reconstruct your associative-imagery using words and decode it. Create associative-imagery for the first line and with eyes both open and closed, burn that imagery into place.ĭo this with a couple of lines, physically moving from station to station. Take lyrics from a song or a poem and stand at or beside or on a station. Try using your home as a Memory Palace sometime. And you don’t have to go to your high school or college examination room to get results with real location projection. Those are the three main ways actors remember their lines and they can all add something to your practice as a memorizer. They hunt for that same spike in feeling in real life that people use to win arguments and memorizers use to make information more memorable. And it’s this power of supercharged emotions that actors use to help them remember their lines. Maybe you’ve experienced arguments so intense that you can still remember things you’ve heard and said. And theoretically, by making oneself feel the emotions in a genuine way, the lines should be more memorable.Īnd if you think about it, you’ve probably had more than one experience in your life where you could remember parts of an argument word for word. The idea here is that the more you read the lines, the more dimensions of the character in the context of their narrative world you’ll understand.īut the actor also needs to feel those emotions at a legitimate level. We’ve already talked about emotions in the first part about mentally processing the lines of a play again and again. But instead of using a familiar home as a Memory Palace, the film set or theater stage becomes a specific-purpose Memory Palace designed to accomplish a specific task. This cool technique resembles Memory Palace work in many ways. Knowing where a character says something, in which emotional condition and in response to what context all provide powerful cues. It is an art of change, and as Plato and Aristotle pointed out about memory, change is always movement.Īnd just as actors link their lines to emotional states, they also link them to movement. Use Location and MovementĪcting takes place in time and space. And it’s the smallest twitch of a facial muscle that can make the difference between a blockbuster flop and an Oscar-winning movie. The smallest detail in the dialog can make the lines much more memorable to the emotional being of the actor who must react from feeling just as much as from memory. In sum, all of this repetitive reading builds associations at a microscopic level. As we know from mnemonics, emotions are very memorable and build a lot of connections.Īnd if you think about it, the most memorable scenes from movies all feature hugely exaggerated reactions based on emotional states. Motivations and the emotional experiences their characters go through. It’s because they’re looking for intentions. Anthony Hopkins, for example, talks about reading his scripts several hundred times.īut if they’re not memorizing the lines, why all the repetition? Instead, they read their scripts again and again. The acting they do for free.īut many actors forgo memorization, at least at first. Sounds weird, right? After all, Peter O’Toole famously said that he and most of his colleagues get paid to memorize lines. > Click Here For This Special Free Offer. Yours Free: A Private Course With Cheat Sheets For Becoming A Memory Master, Starting From Scratch. And yet not all actors use straight-up mnemonics, making each of these memory tips interesting in their own right. Doing my research, I was quite surprised by the range of activities actors use. Unless of course you’ve got top-notch memory techniques. It must be mentally and physically draining. But just imagine the pressure one tiny slip up must bring!Īnd think of how much energy it must take to hold all those lines in the mind, sometimes for months if it’s for a play. In this case, it was due to multiple dialog changes shortly before the performance. For example, Matthew Broderick once had to call for his lines many times during a play.
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