Acting : Ask Me Anything (AMA) 11/22 to 11/23 by Zuzana Fort

Thank you for sharing this. As someone who wants to start acting, where would you say I should start?

Great question. I am a strong believer in studying, in actually finding a school/course that will give you the tools. It does not have to be a university. I know we have jobs and family commitments, but I believe it is essential to study technique (breathing, vocal, physical) as well as styles and a bit of history. One should know the masters, including Stanislavski, Micheal Chekhov, Meisner and many others, as well as the type of performance and the practitioners. I fell in love with Absurd Theatre but am a fan of Theatre of Cruelty, Commedia dell'arte and authors such as Ionesco, Sartre, Chekhov, Fugard, Shakespeare, Havel and ... gosh, there are too many to mention.) The idea is to be exposed to a smorgasbord of styles and techniques, try them out and choose those that work for you. Study the conventions so you can break them.

Another great thing about acting schools is the opportunity to perform regularly, to be bold and take risks, and to create a network that feeds your creative cravings. I still do as many masterclasses and workshops as I can, it keeps me focused, sharp and inspired.

I'd look at places near you or even online options. Once you are comfortable, I'd try auditioning for semi-professional productions or professional ones and if you score a role, invite agents to come along (make sure you give them a free ticket). You can also get a showreel with three different monologues (you can use actors from your course, so another reason to enrol in a school). And then you just have to keep trying and networking (places such as stage32, StarNow, and Casting Networks - where you also create a profile)... Hope that helps... and "break a leg!"

Thanks for taking the time to do an AMA, Zuzana Fort. What's something that writers do (in their scripts) that frustrates you as an actor?

Zuzi I am so excited and thankful that you’re doing this AMA! I’m curious how you approach a character that you’re doing stunts for and sharing the role with another performer? Actors often do research and backgrounds and histories ti understand the emotions of a character. Do you do the same? Or do you work with the other actor and follow their lead? Does the other actor’s emotional “take” impact the emotions you out into the stunts?

Thank you for sharing your knowledge with the community. When you write, do you still approach dialogue and character from an actor-centric viewpoint or does your writer self become the driving force?

Hi Zuzana Fort - you have such wonderful experience working in the industry. Thank you for doing this AMA! When you direct something, how much to draw on all of these various experiences like writing, acting, hosting, stunts and even clowning? Do those skills help you work with other performers to achieve your vision?

Hi Emily,

Fantastic question. In fact, I will be addressing that in more depth in my upcoming blog. However, to answer your question, I approach any role – be it an acting one, doubling or a stunt role the same way. I read the script in its entirety whenever possible. If I don’t have access to the script, then I go over the scene, analyze it in depth, go over everything and when possible, I talk to the director, the 1st AD and the stunt coordinators and other actors. I find out where in the script the scene is, where it is taking place, what happened before and even where it is heading. This has a direct impact on the action performed and how it is performed.

Let’s say my character has been on the run for days and has not slept or eaten for hours; then my movements will be different to someone who’s rested and at top form. If I am hurt, then I need to make sure how and for how long and how the character works around the injury, how it impacts the character's and, therefore, my actions and emotional state. I must make sure I maintain the injury during the scene. Does the injury prevent me from performing the actions properly? How does the character work around it and compensate for it? If I fail to be consistent, then I might break the illusion.

I further find out as much detail about the character as understanding who they are is vital. If I am playing someone who is underhanded, a villain of the piece, then my actions, the way I fight, for example, would be underhanded too. I’d fight dirty. If I am playing someone who has no physical skills, no fighting skills, or someone who is clumsy and not fit, then that has to reflect in the way I move and perform my stunts and how I react to others and to their actions.

When I am doubling, I study not only the character but also the actor and the way she plays that character. I attempt to mimic her movements, including gestures, ways of walking, and ways of responding to stimuli. I talk to the actor whenever possible and find out their take on the role and what their motivation is in the scene so I can contribute to that objective rather than hinder it.

Communication and in-depth analyses are essential. I always consult the actors to find out their take on the scene and the characters, and the emotional state they are in.

Amazing, thanks for such a detailed response! Can't wait to hear more about your process in your next piece.

Stunt actions in movies leave the audience excited. And sometimes out of breath like in the exploding airborne vehicle scene in the storm cloud in FURY ROAD. Your article is very instructive and even gives a glimpse of the smoke and crackling behind the world of STUNTS. Martial Artist, race car driver, Swimmer, Animal Lover, and Parachutist? Unsung? Maybe. But Heroes, yes!

Hi Sam, thanks for joining the conversation. And another fabulous question!

I believe things happen for a reason, and I believe every experience and every job we do contributes to who we are. I am truly grateful for everything that happened in my life, including going through a refugee camp, suffering from a mental illness, working with abused women, refugees, children at risk, and people with special needs and, of course, having my wonderful daughters and so on.

Therefore, everything I’ve experienced and all that I am help me in being a better director. When I direct, I find that I try and put myself in the place of the person I’m talking to.

Being an actor helps me understand how to talk to actors and how to get the best out of them. Being a life coach or a mentor helps me when trying to describe something or share ideas. Being a stunt actor makes me aware of the difficulties of physical performance or the effects of physical or mental fatigue on the overall performance. When dealing with writers, I understand how sensitive we are, how attached to a plot structure or characters or even to a single line we can be. Being a mum certainly helps too when dealing with children or those childlike.

If I am talking to an actor, I try I put myself in that person’s position. How would I want to be talked to, and what would I want to know? I ask myself what questions would I be asking the director at this point. What would be the information I would want to best perform my role? I use language the actors use, their ‘lingo’ and I provide the desired information. I also make sure I ask questions that I, as an actor, would want to be asked.

When I’m talking to a stunt performer, again, I ask myself what things I would want to know and, in this case, also need to know to perform the stunt safely and convincingly. Again, I put myself in the stunt person’s position. I also try and talk to them the way I would want to be talked to. I’m not the boss. I am their champion.

I believe you cannot produce a great movie without the entire cast and crew on board. I am a people person. I try to be approachable and open to suggestions even though, ultimately, I must make the decision. That said, I listen to the ideas of others, and if they are good and contribute to the project, then I acknowledge the person. I don’t hog ideas. I make sure everybody knows who had that brilliant epiphany.

This is where being a mother helps me. I try to create a nurturing environment. I want to be open and approachable and make sure that everybody feels comfortable in my presence and talking to me about their problems. Issues relating to production can often be of a personal nature. Actors or any performance or production practitioners are sensitive individuals. They are creative, and in their work, they have to deal with emotions. A lot of the time, they have to tap into those deep sentiments, and that is why I try and create a very supportive environment on set.

That is where my clowning comes in. I am a believer in humour and having fun at work. Working in film and TV or in theatre is fun, but it is a lot of hard work, and laughter helps with that. I also find that clowning and mime have improved my ability to understand humour, comedy, and the importance of a setup, timing, delivery and, of course, punchline.

Ultimately, having all that diverse experience under my belt allows me to talk to everyone on their level, not as someone who is better than them because I’m not. We are all equal. We are all sharing our opinion. Brainstorming is the best possible outcome for our project - I think that is the vital element. It is our project - not just mine or theirs.

Hi Maurice, thanks for all the feedback. To answer your question, as an actor, I get frustrated when writers provide the minutest details that do not add to the story and that do not move the plot forward at all. In fact, they distract from the overall flow of the piece.

I believe that any script is a collaborative project. I don’t need to know the colour of my character’s underwear unless it is a vital piece of information. I am happy as a writer to have the director of photography come in and give me their take on the script and their vision because, most likely, they will have a better eye than me. So, as an actor, I focus on the things that are vital for me and the story.

As an actor, I am interested in the objectives of the characters and the plot. I believe that when reading a script for the first time, you get to experience it as the audience. It is the only time that you can savour the action and the character's journey. You get to be surprised, shocked, relieved or awed just as if you were watching the movie. As an actor, I always take note of my initial reaction to the script. After that, I know I read it as an actor with an actor’s mindset. Having too much detail distracts from that experience.

Too many directions and detail interrupt the flow. As an actor, I want to know how the story develops and flows. I want to know the hooks, the through-lines, I want to know the different acts and their reveals and the rising action.

That said, sometimes details are obviously essential to the storyline, and that is that moment when they need to stay.

I also hate when there are obvious continuity problems and when something just does not make sense. When characters make unbelievable leaps and when they are not researched enough and believable. I look for truthfulness even in unbelievable other-worldly characters. It bothers me when I don’t find it. When I don’t have enough to work with as an actor.

Another thing that really annoys me as an actor is when a writer overstates everything. I believe words are important, but they’re not the most important element, and of course, they don’t necessarily convey the meaning. It is what we mean by the words, the subtext. I believe saying less is more. I understand the importance of brevity and subtext. As a writer, I, too, am guilty of the occasional verbal diarrhoea, but I am learning.

I use my writer’s hat to draft my script and then my actor’s hat to trim it down.

I hate it when writers underestimate the audience.

Hi Rosemound, do I approach dialogue and character from an actor-centric viewpoint or does my writer self become the driving force?

What a great question! Yes, when does my job as a writer and my job as an actor begin? Do I write as the omnipresent writer, or do I write from an actor’s perspective?

Hard to say. And is there much of a difference? Many writers will tell you they picture themselves in the roles. They embody the different characters and essentially always invest a part of themselves in each part. Some even go so far as to hire actors to go through their drafts and see how it flows.

Essentially for me, it is about characters. And yes, I do envision myself in each role. And yes, I always write a role for myself in each script (even if I don’t end up playing that part).

That said, I do thorough research, and I create all the different characters from scratch. I’m a strong believer in creating rich, vibrant, believable, and three-dimensional characters. That is why I always create a history for all my characters. Just as if I were preparing for one role as an actor, as a writer, I have pages of notes on each of my characters. I create their family history, education history, social status, beliefs, likes, dislikes, strengths, weaknesses, and motivations.

I also create a relationship map. I make sure I know how each character feels about the others, about themselves and what they want from themselves and from the other characters.

I always try to imagine myself as an actor reading the script and asking myself what I want to know about this character and why would I want to play this character. That way, I create characters that are not small but are an essential part of the storyline. In my mind, all great epics are made up of small stories of individuals. Like a huge edifice, each character is an essential building block and removing one of these characters would then crumble the whole building.

I then provide a playing field. I place my characters in impossible (yet believable in the given context) situations. I give them life, and then as a puppeteer, I simply guide them by pulling the strings.

When I write, I want to make sure that if I were an actor, I would be dying to be involved in the production.

I guess that is one difference between the actor and the writer. As a writer, I also have to take into consideration the grand scheme of things and the overall impact of the film/play. I have to be disciplined to be able to cut characters I might have invested a lot in but who may not contribute to the overall script and who may even be detrimental to it, who may dilute the message.

Ultimately my belief is that it is characters that people come and watch. It is the characters that drive the stories. It is these characters that we want to learn about .

That is essentially what I start off with – I use my acting training to create the characters, and I use my writing training to place them in carefully constructed storylines.

Thanks for the detailed answer, Zuzana Fort! I used to overwrite my scenes and overstate things, but I've learned to cut back a lot. Doing this has really helped my scripts and there's so much more white space. :)

You said, "I also hate when there are obvious continuity problems and when something just does not make sense." I like to do a separate rewrite where I go through a script, making sure there's continuity. For example, in your reply to Emily, you said, "Let’s say my character has been on the run for days and has not slept or eaten for hours; then my movements will be different to someone who’s rested and at top form." If I was writing that script, I would go through all of her scenes, making sure her actions match someone who's exhausted and hungry.

Hi Zuzana! Thanks so much for doing this AMA. Would love to know what the most challenging stunt was that you've faced and how did you successfully overcome it?

Hi Zuzana Fort! Great AMA! I'm getting back into training at 52, (with previous injuries), because I can still do a lot with martial arts movements (with precautions). My intentions are to inspire and give inspiration in my film, as it will include many subjects of "Creativity", this being one of them "A story or techniques of recouperation", all part of subjects to captivate an audience, l will appreciate whatever inspirational support "despite some local humor", (with admiration). Also of course keeping In mind, as I have mentioned before to appeal to the hearing impaired (generally differently abled) All part of captivating and motivating an audience. Thank you!

What has been the most challenging stunt I’ve had to perform?

It is not easy to answer. Some have been challenging physically, others mentally. In terms of risk, I think the most dangerous stunt so far has been a high fall from a watch tower into a water tank. It involved a fight scene in the tower, being thrown against the tower gate and swinging out over the water tank and falling in. It doesn’t sound too bad, and it was not even that high, not even two stories. However, the risk was in not getting my head or ankles smashed on the rim of the water tank. This was also a live show which means no wires, no special effects, no masterful camera angles or editing or second takes. With the adrenalin pumping, the audiences watching, and all sorts of weather, this was quite a challenge. And did I mention there was no water in the water tank but pretty hard mats? Oh, and we had to do three shows a day, seven days a week?

There was also a rap jump that involved running down the face of the Crown Plaza building (facing down) at night with minimal visibility while trying to avoid the hotel’s large windows and hotel guests.

But to be honest, the scariest job was something most of you probably find relaxing. It involved simply floating in the ocean. Well, there was an explosion or two and some burning debris and a pretty strong current. All that would be OK unless, like me, you have a shark phobia. I mean, I even check my bathtub before I get in. And did I mention that we were shooting in waters known to be a favourite spot for sharks?

How did I overcome those challenges? In the first instance, I trusted my team, I trusted the hours of rehearsal we put in, and I trusted myself. I made sure before each show that everything was set. I triple-checked the mats and the swinging gate, and I walked through the stunt step by step. And then, I made sure I committed to the action on the day. Being afraid is the worst thing you can do. Fear holds you back, and fear gets you hurt. Commit to the action! I suppose that works in all aspects of our lives. Commit to your goal.

As for how I overcame my fear of sharks. I did not. I simply put it aside. I also trusted the shark rappelers and the divers nearby. I also pictured every shark like Lenny, the vegetarian shark from Shark Tale ... And I trusted the pod of dolphins who kept us company (and to be honest, I also imagined dollar signs and the gifts I could buy for my kids.)

Wow, Zuzana Fort! Those stunt stories sound wild and scary! "also pictured every shark like Lenny, the vegetarian shark from Shark Tale." :D

ok Zuzana. Who sends contract? Screenwriter/selle ror producer/buyer?

Zuzana Fort thank you so much for the detailed answer! Great advice, I will follow this!

Hi Jed, apologies for not responding sooner. To be honest, I am not the right person to ask about contracts. It also depends on the project and the people involved. Are we talking contract for stunt or acting work or for a script? Generally, a literary manager offers your script or you to production companies or producers and then, as far as I know, literally agent ensures the contract is OK. But as I said, there are always variables. It really depends on the project, and the people involved.

Incredible! Thanks for your response Zuzana!

It has been a real pleasure to be here... Thanks for having me.