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Screenplays

One of the best ways to learn about acting is by reading scripts from movies that have actually been produced. The actual script (screenplay.) This way you can see how a screenplay is written and follow along as each actor delivers their lines.

What are your interests? Comedy, Drama, Action/Adventure, Thriller or Horror? Screenplays in all of these genres can all be found online. And in most cases, the script can be found available upon release of the movie.

Here are several sites which offer complete screenplays.

IMSDB – Internet Movie Screenplay Database

Go Into the Story

Drew’s Script-o-Rama

Simply Scripts

AwesomeFilm

Screenplays For You

The Daily Script

The Screenplay Database

The Script Lab

Movie Scripts and Screenplays

The next time you see a movie that you really like, see as if you can find the screenplay and follow along.

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Method

Strasberg stressed that during this part of the exploration, the actor should avoid "going for the emotion",  by trying to "will" it to come on its own accord.  He recommended the actor simply concentrate his full attention on the sensory aspects of the various elements of the actual memory:  Where did the "event" take place?  If in a room, describe the room in as much sensory detail as possible.  Try to remember what you may have been wearing that moment, then sensorally recreate the clothing.   What color was it?  What material? Feel the material.  Describe the patterns on the clothing. What season was it?  What time of day?  What objects are in the room with you.  Touch them, see them, hear them, smell them or taste them. If the actor dedicates his sensory apparatus fully to exploring these sensory memories, without regard to the resulting emotion, he may find at any point during the exploration, the reliving of the event, with the associated emotional experience is, without warning, triggered. It also happens that the actor may be expecting to relive an emotion associated with a specific event from his life, and a quite different emotion is produced than expected.  Something which might have been very  painful in childhood, might cause us to laugh hysterically now. When the resulting emotion is not as expected, the actor notes the result of the exercise to use for reference in other scenework that may call for that particular response.  Then he tries once again to find the object that will appropriately affect him for the work in which he is presently involved. For most actors, simply recalling a past event will not produce an honest and intense emotional response.  Relaxation and Sense Memory is the "combination to the safe", where personal treasures of the actor's memories are stored away for the lifetime of the actor. On one occasion at the Actors Studio-West, I remarked to Shelley that it is my own personal belief that some actors, herself included, had a special ability to execute an Affective Memory by instinct, and such ability was bestowed upon only a very special and gifted few in our profession.   I continued with the premise that although many can be trained or guided to use the Affective Memory successfully, there will always be those who will never respond effectively to it. She disagreed with me.  But I am still convinced, and accept her argument as her acknowledgment that she doesn't accept herself as the genius she was.