#TakeNatinTo

🗣 “Ready, let's take this!" 🎬

Anthony's flavorful take on acting, professional or artistic, that he hopes can be a good takeaway for you. Dive into his unique artistic vision and creative approach to the craft.

Anthony Falcon as A/Ken in Roy Modina's A.

How can I cry on cue?

Let me start by saying that crying is a cinematic spectacle. A bravura moment - like a ballerina's grand jeté or a singer's high-note belt. Dancers and singers would agree that splits and high notes won't cut it to be part of the league. There are details, dynamics, scoring, and finesse that go into the work rather than reducing the artistry to "virtuosity" alone.

Simply put, there's much more to Acting than crying. Don't train your instrument to be a machine that will deliver tears on cue. You are human - flawed, imperfect, & destructible - and so should every character you portray!

I wanna affirm, crying is not easy. There's generational conditioning ingrained in my subconscious, which still takes a lot of work to unlearn. From manipulation "Bakla ka ata, bakit ka na-iyak!?" ("Are you gay, why are you crying?") to minimization as noise "Ingay niyo!" ("Watch your noise!")

To add to the mix, there's the industry's unspoken expectation of an actor to cry effortlessly. A legendary anecdote of a superhuman actress asks, "sa kanan o sa kaliwa?" ("Where do you want the tears, right eye or left eye?") - tears as an extension of the body that can be commanded at will. Some teleserye ADs feel entitled to side coach mid-cry, "andito po yung camera, patulo po sa kanan." ("the camera is here, tear to your right eye.") A benchmark that's alienating & inhumane.

A colossal pressure to deliver, insecurities of inadequacies, fear of failure, desire to please, unforgiving working environment, an instrument that operates on autopilot - is a barren ground to be emotionally available.

Be aware of how this societal conditioning affects your instrument's openness or rigidness. The characters you portray can only be as free & vulnerable as your instrument can allow.

Let me pacify you, you're allowed to use mint. It's not cheating! Give yourself permission to use all the resources available to produce that cinematic spectacle. After all, it's just that - a spectacle. Don't let it define, inform & command your artistry.

Luis Alandy (L) and Anthony Falcon (R) in a scene in Jun Lana's Anino Sa Likod Ng Buwan.

Find the chaotic harmony between inner monologue and objective

An Objective is a desired change from another character. In classes or rehearsals, we are probed, “What do you want from the other character?” or "What's your verb?" Often phrased with, To + Transitive Verb, ie To ridicule. A very helpful technique since it’s actionable and measurable. You can either fuel the same Objective or abandon and pursue another Objective. But this tends to be hyper-focused on the outside. On the other hand, too much reliance on inner monologue or subtext can be self-indulged - unresponsive to external stimulus.

Give and take. In our lives, we often move back and forth between our relationships with others and our relationship with ourselves. One moment we want to make others do our will or feel a certain way, and another we are self-critical.

In this scene in Anino sa Likod ng Buwan, your Objective is to win Joel’s (the soldier's) trust and empathy for your ulterior motive. The line goes, “Kakatapos lang niya makunan nung dumating kami dito.” ("She just had a miscarriage whe we got here.") This is a lie. Inner monologue can be, “Nagsisinungaling ako, anong pinagkaiba ko sa kanya?” ("I'm no better than him, lying like this.") Brush it off and justify, “Ginagawa ko ‘to para sa ikabubuti ng nakararami.” (I am doing this for the greater good.") [This inner world is articulated for illustration only. It should be abstract and incoherent, most importantly, it should happen in the now not in your memory.] Your inner world should propel you to say or behave in a certain manner. The next line goes, “Kaso nagkaroon ng opersayong militar. Ayun, tuluyang nalaglag ang anak namin.” ("Then, there was a military operation, our son ended up miscarrying.") This cements the blame on the military, justifies your moral dilemma of deceit, and intensifies your resentment.

Churn the drama in and out, out and in. Rapidly switch between the other and the self. Pull and stretch the tension, when it snaps it will hit you hard on the face. Make it messy! - That’s when it’s more human and relatable.

Anthony Falcon in a scene for Dwein Baltazar's Oda Sa Wala

Playing secondary character

You’re not playing the lead, and you have one to three scenes. Secondary characters are there to behave in a certain way that moves the story forward. A supporting character propels the central character from point A to point B. Build your character’s history and physicality, which only helps your dramatic function. Anything short or excess in fulfilling these conditions means you aren’t doing your job.

Know (1) who is the protagonist, (2) what's your relationship with the protagonist, (3) what is the theme of the script, (4) what's your character's dramatic function?

Let's say that the protagonist is (1) an old maiden who is crucified on a mechanical loop and routine. You are the (2) taho vendor that will spice up her life's monotony. The theme of the film (3) toys with the literal and metaphorical concepts and definitions of what it is to feel alive and what it is to be dead. The dramatic function of your character is (4) to give color to the muted life of the protagonist <point A> that when you die, she'll be shaken <point B>.

All of your acting choices (physical, psychological, behavioral), should serve your dramatic function. If it doesn’t, it’s extra work, and it’s not helpful to the theme or the story.

Anthony Falcon in a scene for Dwein Baltazar's Gusto Kita with All My Hypothalamus

Don't fall for the one-take-actor trap

You might have heard of an actor revered as, “Take 1 lang yan!” ("He's a one-take-actor!"") and other iterations which magnifies this importance. Being able to nail the scene in the first take seems to be a measurement of how good of an actor you are. Don’t fall for it!

When you focus your energy on nailing it at the first take, you will plan every detail that should be right, betraying your spontaneity. You’ll protect yourself from failing at the expense of openness and sincerity. The ego will take center stage, and you’ll deprive your character of the fluidity it needs to breathe life.

Instead of aiming for the elusive take-1, be present with your scene partner(s). Every take is an opportunity to offer something new. Allow the scene to brew. Explore, fail, discover, and surprise yourself. Let go of this unnecessary pressure and you will free yourself and your character of any limitation. And yes, you can definitely request, “Isa pa ako.” ("Could we please do one more take for me?")

Anthony Falcon in a scene for Giselle Cavaneyro's Ang Kwentong Nagsimula sa Ending

Trust your instinct

Trust your instincts! You only have split second to listen to your impulse. How bizarre and how ilogical it may seem to you, grant it! If it doesn’t work, there’s always next take, next rehearsal, next performance.

Instinct is the springboard of nuanced gestures and beats. It takes being sensitive to internal and external stimulus to acknowledge it. Self-criticism, fear of the director and co-actor prevent us from trusting our instincts.

The actor not brave enough to grant impulse is seldom surprising and engaging. You got more to loose in impeding it than allowing it. Remember those times you felt awkward and stiff? That’s because you didn’t trust your instincts. Feel it. Listen to it. Commit to it. Trust it!

Anthony Falcon in a scene for Gerardo Calagui's Mga gabing Kasing Haba ng Hair Ko

Don't judge your character

Don’t judge your character. It’s human nature to label and make measurement, that’s how we make sense of the world. But judgment is a measurement so strong, it overshadow what it actually is.

Practice acknowledging your judgment in everyday situation. Every time you acknowledge your judgment, you’re bringing light and awareness to it - lessening the frequency and intensity when it happens.

So when you approach a script, you become critical when your moral and ethical judgment is on the way of your understanding of the character. Acting from a place of judgment gives you a cold, flat, stereotypical and one dimensional portrayal.

Play the action not your moral or political position. Play the character’s point of view, not the society’s or the church’s. It’s your job to give voice to what the character represents in a society, make it count.

Anthony Falcon as Obeng in Dwein Baltazar's Gusto Kita with All My Hypothalamus

Never direct your co-actors

Never direct your co-actors. That’s the director’s job! When you direct your co-actor(s), you become an spectator. “He’s not doing it right,” “He’s not giving me enough,” etc. You lose your capacity to be responsive. Let go of control. Always be open to where the scene might take you. Dive in to the unknown. Respect and trust your co-actor and your director: stop 👏🏽 directing 👏🏽 your 👏🏽 co-actors!

Director Roy Modina (L) and Anthony Falcon (R) collaborating on attacking the character and scenes.

Collaborate and communicate with your director

Collaborate and communicate with your director.

Train hard and sharpen your facility so you can contribute better. Take ownership of the character and let your voice be heard. Your perspective cannot be replicated.

Unlock Your Acting Potential!

Teacher Anthony offers expert guidance in:

Script & Text Analysis: Gain a deeper understanding of your material.
On-Site Acting Coaching: Receive personalized feedback and refine your performance.
Dynamic Talks or Workshops: Explore acting techniques and enhance your skills.

Book Teacher Anthony at anthonypfalcon@yahoo.com to take your acting to the next level.