Monsters and Critics.com

One of the most influential drama coaches of the latter 20th Century.  This is a great film…  A must-see for acting students everywhere.

 Though he has acting credits on television, feature films, and in the theater and directed a handful of films, Roy London is best known for his work as an acting coach.  This film is an intimate look inside the heads of some very famous talent as they describe the world of acting according to London.  One of the most influential drama coaches of the latter 20th Century, London helped stars such as Patrick Swayze, Jeff Goldblum, Michelle Pfeiffer and Geena Davis come to grips with themselves and the camera.

… this film includes London’s direct advice as well as his teachings through the eyes of some fifty former students.  The man’s approach was direct and common-sense and led to immediate results, one way or another.  Although filled with heart-felt appreciation for the man who took them over the top, London’s former students mainly discuss the philosophy he brought to the craft of acting.  The film will have the most appeal for those with a keen curiosity about the mental game behind an actors work.  It documents London’s contribution to the tool box of self-image and role identification methods actors can use to control their performances.  It is mostly composed of a variety of perspectives about how London helped talented stars get into their heads and confront the devils that prevented them from taking their work to the next level.

Other advice includes an interesting take on rehearsal vs. spontaneity.  As London puts it, there are two ways to look at preparing oneself for a part.  The first is what most of us know as rehearsal.  We study the part, we visit places and people that reflect the part, we learn accents and behavior patterns and we use these to act like the character.  London’s take on this situation is quite different.  He emphasizes that we are all actors all the time.  The best approach for an actor is not to clear the mind and recite the part, but to transform one’s own feelings into those of the character.  Although conventional wisdom might dictate leaving one’s attitude at the door, London would argue to integrate the attitude with the part.  Great examples of famous stars in famous parts illustrate his points.

Whereas successful actors chant the mantra of “rehearse, rehearse, rehearse...” London’s point of view is more like Neil Young’s.  In his biography, Young recounts how he became famous, or infamous, among his sidemen for cutting records of absolute first takes.  Frequently band members old and new alike would do a first run-through of a song to tune instruments and finish a sound check only to find out that the recording session was over.  That was the take.  It was only by such extreme methods that Young was able to get the spontaneity and feeling he wanted.

Perhaps something in the same vein was in the works in the teaching of Roy London.  But he consistently taught methods that emphasized self-empowerment and consistently used praise over punishment to gain his ends.  Nothing was ever wrong with his students, but they all needed help in translating their own feelings into those of their parts.  This is a great film…  A must-see for acting students everywhere.

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