Natalie Portman on the Audition Tip She used to Ignore || MasterClass

I think if you have the luxury of doing multiple takes, you kind of want to start with the right way that your character would behave in the scene. Once you get there, that you feel like that is kind of in place, then you can start playing with unexpected ideas. You know, you're playing the barista at the coffee shop, but you hate being there and you are just annoyed. Even though all you have to say is, here's your change, but you're like, here's your change. And then you have a point of view, you have a character, you have an idea about it, even if it's one line. And then if the director's like, you know what? That doesn't really make sense here. Let's just do it. Let's just do it a little more standard that you're flexible and will change. As an actor, it's not your job to think about the editing, but there are certain things that you have to do that will give the director and the editor the option to cut pieces together if you're shooting things in a multiple shot kind of way. You need to do the same thing every time so that when you're talking, you're grabbing the glass of water at the same moment in each scene. So if they want to change from one shot to another, the movement matches. You might be kicked in a scene on one day and then get up from the ground from being kicked another day. And you need to remember that emotionally and physically, you're having that moment of pain, you're having that moment of getting back to your senses and you need to track yourself emotionally that that allows the emotional continuity of the editing, obviously. You also want to be respectful of how you change things because, for example, if you are shooting in a traditional way where you're shooting sort of one actor and then the other actor, you don't want to do something when it's on you that's very different from how it is when the camera's on them because they need to react to what you were doing when the camera was on you. So you need to be able to at least match the different options. If you do three or four different things, you need to match that when it's on them as it is when it's on you. As a general rule, you are always there for your co-star. You're always present. And you always are checking in with each other about how comfortable you are around certain things. We often have to do physical things with each other, whether it's love scenes, whether it's action scenes, where you could potentially hurt somebody, where you could potentially make someone uncomfortable. And you always need to check in with each other. And also, you need to give each other space. If you see that your co-star needs silence to get their concentration, stop talking. Don't make noise around them. Give them that space and time. If you see that your actor needs an emotional connection, is having a hard time, you can sit with them and give them your hand and look into their eyes and have kind of a connective moment. If they ask you for something, if they want to be more improvisational or stick to the script more or let's step on each other's lines so that it feels more like conversation or let's not talk on each other's lines because it distracts me or whatever, you need to be flexible and open to other people's way of working and help them with their process because it's not going to be the same as yours. When auditioning, there are a few things that I think are helpful. One is something that I thought was really embarrassing when I was a kid. They would tell you to kind of dress in character or look in character and I always kind of rolled my eyes about it because I thought that was embarrassing and presumptuous almost, like show up like in a 40s dress or something. But when I was directing and choosing my actors, it helped so much to just kind of see people as the part already. And sometimes someone would come in and you'd just be like, oh, you don't even have to do anything. They're ready to shoot and it helps your imagination. So it's not a bad idea. I mean, I wouldn't go overboard. I wouldn't go spend money that you don't have getting a costume perm for something. But, you know, if you can fix your hair a certain way, if you're auditioning for a period film, not wear your nose ring, it's going to help the director imagine you in the role. The thing a director wants to see most is that they can direct you, that they can get a different performance by what they tell you. So if you get feedback to try and really listen and do it differently, not be stuck in one way of doing it. Otherwise, just to be direct, look people in the eyes and kind. You want to be kind to your fellow actors who are in the waiting room with you. You want to be kind to the people you meet and respectful. And it's important, I think, for everyone to know that when you come in, you're going to be professional, on time and prepared and a kind person to work with. Because you'd be surprised how many people come in, whether it's their insecurity or whatever, that makes them be a little abrasive. It's just not helpful, of course.