A Matter of Perspective By Steven Michael Witt

     The Magic of Television. A phrase with which even the most jaded and disconnected members of Generation X-box will have some passing familiarity, and one that has been around now for over half a century. Prior to the advent of television, the same moniker was applied to motion pictures. But exactly what does it mean?

     Perhaps it has something to do with the medium itself. For example, even though the screen is a two dimensional expanse, we perceive movies and television shows as taking place in three dimensional environments. We see depth and breadth within a flat screen, even though both the screen and the image that is being projected upon it are paper thin and featureless. Even more intriguing is the phenomenon known as ‘persistence of vision.’ The human eye experiences the world at a rate of seventy-two frames per second. And yet, most films and TV shows are recorded at anywhere between twenty-four to thirty-two frames per second, leaving behind what should be a noticeable gap in our awareness. But the human mind bridges these lapses in continuity, and, through some unknown process of mental legerdemain, is able to convince us instead that what we are actually seeing is continuous, realistic motion. Scientists have also noted that viewers seem to be in a semi hypnotic state while watching the myriad plays of light and shadow that flicker across their screens. This last could be one of the reasons why we like films and television so much-they’re easy on the brain! But, is the sum of all these various aspects of our mental acuity really what is meant by the phrase, ‘the magic of television?’

     Maybe it’s just a matter of perspective. You already know what things look like from this side of the screen, so let’s step through the looking glass and try to see the world of film and television from an actor’s point of view.

     An actor's association with a project usually starts with the audition. This process can occur in one of two ways. Each week, the studios publish a list of available roles. After perusing these lists, agents and managers then offer clients who they think would best suit the studios needs. Casting directors for individual shows and movies will then sort through these submissions, and choose those actors which they deem to be best able to fill the role. However, when it comes to casting the main roles, such as the star and co-star, or major supporting roles, another method of selection is often employed. All stars are rated as to their overall audience appeal. They are considered to be A List, B List, or C list stars. These lists are in a constant state of flux. A string of box office flops, or an unexpected runaway hit, can alter the status of an actor overnight. Additionally, no matter what particular category they currently occupy, each star will still bring with them a certain built-in audience and this is always a primary consideration when selecting an actor for a role. Having a high profile and a strong core following will often translate into a greater overall profit margin, or a higher Nielsen rating. Those actors best suited to a particular role are chosen from each list, and then solicited for the part, starting with the A List first, and then working down from there. When doing this, casting directors not only have to balance the appeal and notoriety of each star, but also have to take into consideration whether or not that particular star and director will work well together. And then there is the actor’s side of the equation. When contemplating a role that they have been offered, the nature of the part can often be a major determining factor for the actor, as well. Will the role that they are being asked to play increase or reinforce their standing on the lists? Will the role allow them to broaden or refine their acting skills? Is the role one which they can identify with and one in which they can truly excel? All of these are important considerations, especially for the A List stars. But the process doesn’t end there. Even if the star and director gel, and the star is comfortable with the part, if the money isn’t right, then it’s still a no go. Because of this, Hollywood has often been described as a clash of egos and bankrolls. Whichever way it plays out, eventually the casting director will have narrowed down the list of actors to those who are available, amenable, and who also meet all the above criteria and these will then be asked to come in to read for the part. Often, this first reading will be done in front of the casting director, although the director and/or the producers may also be present at this or any subsequent readings. As with so many other facets of the Hollywood creative process, when it comes to choosing an actor for a part, it is a collaborative effort; the casting director, the director, and the producers will all have some input. While the “discovered in a dime store” mythos is still perpetuated in the land of dreams, reality often proves to be a bit more complicated.

     The process really begins when an actor is selected for a role. A number of things will occur at that point, although they may not occur in exactly the same order in which they have been listed here.

     Often, one of the first things an actor does is to go to the wardrobe department. It is here that the costumes they will wear in each of their upcoming scenes are selected and fitted. The amount of time required for these fittings varies, since some actors will wear the same outfit throughout the entire production, while others will be wearing something different in each and every scene. The head of the Wardrobe Department will be present for these fittings, along with his or her assistants, and the director and/or some of the producers may also be there, as well.

     During this pre-production period, an actor will also receive a first copy of the script. Depending on the circumstances, he or she may get an entire copy, or just the pages that pertain directly to their part. In television, actors are often given a copy of the full script, since this helps to provide them with some context for their roles. In movies, though, this is not always the case. Some film makers are very secretive with their projects, especially if the motion picture already has a high profile, with lots of publicity surrounding it. This can lead to an actor receiving only partial, and occasionally inaccurate, portions of the script. And, since each production is a collaborative effort, which incorporates feedback from the writers, producers, directors, and even the studio, the script itself is constantly evolving. Each alteration spawns a new copy of the script, and these are denoted by various colors. A script can go through a veritable rainbow of colors before reaching its final form. Even then, the script is not set in stone. Lines can be changed or deleted just prior to the shooting of a scene, or they may be added in the post production phase, as well. Because of this, many actors won’t even begin to familiarize themselves with their lines until they receive their fourth or fifth copy of the script.

     The actor is also given a call sheet. This describes when they need to be on the set, and what scenes they’ll be shooting. When it comes to the call sheet, scheduling really is everything. Some actors require very sophisticated makeup for their roles, and so have to arrive at the studio many hours before the actual shoot begins. Or, the actor may already have made previous commitments, which could mean that they’ll not be available on certain days. If any of the actors are children, then allotting time for onset tutors can become an issue, too.

     At some point prior to filming the cast will be brought in for a read through. Usually the actors, director, and producers will be present. The actors will read the entire script, as their characters, although they will not actually be standing and acting out their roles while they do so. Because the main function of this first rehearsal is to acquaint the actors with their roles, as well as with the other actors that they will be working with during the production, the atmosphere is, for the most part, relaxed and informal.

     Once the costumes have been made, the sets have been constructed, and the actor has received any specialized training required for their role, then it is time to begin the phase that is known as principal photography.

     When it comes down to the actual filming, most actors arrive at the set early in the morning. Sometimes, this can be very early, especially if the crew has to go on location. The first hour or two after sunrise provide the best natural lighting, and, because of this, many outdoor scenes are shot during this brief window.

     Before filming each shot, the director takes a few moments to walk the actor through the scene. This is called blocking. Some directors will show the actor exactly where they want them to be, and how they want them to react. Others tend to work with the actor, allowing them to interpret the scene themselves, intruding only if they want the actor to move to other areas within the set; in essence, opening up the shot. And some directors will even go so far as to solicit comments and suggestions from the entire cast and crew. This is yet another facet of the Hollywood creative process. A good idea is a good idea, whether it comes from the director, one of the major stars, or from a lowly production assistant. If the shot in question requires the camera to be moving, or hand held, then the director will also use this time to rehearse and coordinate the camera’s movements, as well.

     Of course, before any actor can go in front of the cameras, they must first visit the wardrobe and makeup departments. As with so many other facets of movie and television production, there are no hard and fast rules here as to which comes first. If makeup is full, then the actor will go to the wardrobe department, and vice versa. While the actor is in wardrobe and makeup, the crew will be busy lighting the scene and getting the cameras and sound equipment into place.

    Once the actor has returned from makeup and wardrobe, the director will usually run through the scene again, to make sure the lighting, blocking, and camera angles are all in sync. Marks will be made on the floor of the set so that the actor will know exactly where they need to be to make the best use of the lighting and the camera. A sound check is then made, and the cameras starts to roll. For editing purposes a clapboard, which has the production’s title, scene, and take number, is briefly held up in front of the camera and then removed, and the director says, “Action.”

     Most scenes are filmed from three different points of view. There is the master shot, also referred to as the wide shot, which usually encompasses a large part of the set and all of the actors who are appearing in the scene. In the early days of movie making, and later in television, entire scenes were often shot as masters. Nowadays, most directors only use masters at the opening and closing of a scene. After the masters have been completed, the next shots to be done are the over the shoulder, or medium shots. One actor stands with their back to the camera while one or more actors are positioned opposite of the first, facing the camera, so that the shot is literally framed over the shoulder of the first actor. Medium shots can also be used, minus the over the shoulder angle, to focus attention on the broader actions of one or more actors. Finally, there are the close-ups. In these shots individual actors are responding or reacting to something which they can see, but which is off screen for the viewer. If the actor is supposed to be responding to another actor, then that other actor may also be present to read his or her lines. But, as often as not, the script girl or guy, or some other crew member, will end up reading the lines that the actor is supposed to be reacting to.

     Standard practice is to film all of the above at least twice, to give the director a couple of different takes to work with, although some directors will insist on more shots.

     Usually, all the scenes which take place in one part of the set are shot there first, before moving on to the next set. This is especially true when the production company goes on location for a shoot. Most directors will try to film these scenes in the order in which they occur, to give the actors a sense of context. However, as previously noted, actors may have conflicting appointments, or, if the actors are children, then at some point during the day they may be required to take a break for onset tutoring. The bottom line is that the scenes which the viewer sees in the final version of a film or television show are rarely shot in the order in which they appear.

     Back in the day, most directors and producers would have to wait until the film was developed before they could get any real idea of how the shots looked. While a rush job might get the film back to them in one day, more often than not a period of two or three days would pass before they could peruse it. However, with the advent of HD cameras, and other advances in film photography, directors can now use monitors to watch the scene while it is being shot. This new form of instant feedback not only allows them to see how the shot is going to look onscreen, but also gives them the opportunity to tweak the scene while they are still in the process of shooting it.

     Even after principal photography wraps, the actor’s job isn’t over. This is especially true when the piece in question requires lots of exterior shots, which had to be filmed outside, in the real world. Sound stages are expressly built to block out noise from the street, while at the same time enhancing the interior acoustics. The real world, however, is modeled on a slightly more haphazard design. When reality refuses to cooperate with the land of dreams, then a compromise must be reached. And this compromise is called looping. When looping is required, actors are asked to return to the studio and re-record the same lines which they had previously done in the studio or on location. The shot in question is played on a monitor and the actors have to match their lines precisely with their onscreen image. The new soundtrack is then substituted for the original. Looping should not be confused with dubbing. Dubbing is most often used when translating foreign films for domestic consumption, although in certain circumstances it may be used in domestic films, too.

     During the post production phase it is possible that the actor will be asked to come back and film additional scenes and dialogue. Or they may even find themselves filming original scenes again; scenes that, for one reason or another, simply didn’t work the first time around.

     Eventually, though, the actor’s association with the production comes to an end. From there on, it’s up to the director and the film editors to complete the project. The film editors pick and choose from the best takes, and then assemble these into a coherent storyline. During this phase, sound effects and special effects scenes will also be added. Once the film editors are finished, the director and producers will view their work, and suggest any changes which they think will help bring the piece more closely into line with the original premise. Last, but not least, the film or television show is then given an appropriate musical score. If the project is a motion picture, the studio that is sponsoring the film’s release will screen the production, and will make any alterations that they deem necessary. By deleting specific scenes, the studio executives can not only shorten the length of a film, but can actually change both the pace and focus of the work. This is why some older films have an original theatrical release version, and a second, longer version, which is commonly referred to as the Special Edition or the Director’s cut. Sadly, back in the day, when scenes were cut from a production, they might end up being lost forever. Nowadays, though, most of these “lost” scenes are rarely set aside or discarded. Scenes which may have been cut from a film or TV show prior to its release will often then be reinserted for the DVD version, along with other scenes which were shot during the main or post production phase, but which were never intended to be part of the original release.

     It has been said that no great work of art is ever truly finished, only abandoned. Once a movie has reached the point of theatrical release, or a television show has aired, then it is considered done; at least until the DVD comes out. It is left to you, the viewers, to determine the level of success it has achieved.

     So the next time you catch an episode of BSG, see it twice. Once for the story, and once to see these people ply their craft. As you watch the actors hitting their marks and delivering their lines, try to take note of how the individual shots within each scene were framed and lighted, as well as how the soundtrack helps to set the mood and enhance the action. As you do, you’ll start to gain some appreciation of just how talented these people really are. And, as you wile away that second hour, perusing the various strips of film and snatches of dialogue that have been pieced together to form the latest epic chapter in the storyline, gradually, you’ll come to understand the true meaning behind the phrase ‘the magic of television,’ too.

     It’s all a matter of perspective.

     (This brief glimpse into the land of dreams would not have been possible without the help of Richard Hatch and Marc Scott Zicree. If, while reading this article, you’ve gained any new insights into the world of television and movies, then it is directly attributable to their contributions. My thanks go out to both of them.)

About & Contact Information

Steven Michael Witt has worked in both the film and television industries. He has also done some acting, and even a bit of standup comedy. Steve currently lives in the hills of northeast Tennessee, a region his ancestors have called home since a time prior to the American Revolution. Most of his free time is devoted either to preparing content for the Scifi Horizons' website, or putting the finishing touches on his first novel.

For more of Steve's musings check out Scifihorizons.com.