 Welcome back to the acting analysis and tips for animators and today I'm going to take a look at Barry season two and I'm going to cover things like body mechanics, acting out words and dissipation, subtext and a lot more. So let's go. I'm going to cover the whole season, not only spoiling specific things but still covering the whole season two. So if you haven't watched it, watch out, spoil it potentially. But even if you haven't seen it, you should watch it. It's really a good show. But before I start and use this channel, hi, my name is JD and I do acting analysis clips like these. I do animation analysis clips, I do review reviews, product reviews, animation lectures, news, feedback, all kinds of stuff. This is basically the page at the beginning. This is what the channel is about. Browse around. If you like it, you can subscribe. That'd be awesome. And if not, that's fine too. You can watch this to see if there's something you want to follow. But that's the page at the beginning. And that's that. Let's get to the sequences. And the first sequence I want to talk about is in relation to prop acting. You know, if you watch my channel, I love props, but this whole thing is just fantastic in terms of this setup. So we have one character with a fairly prominent cocaine. This is the setup. And you have the other characters coming in again with a specific glove and that it's very clear in terms of setup and silhouette and who the characters are and what they need, which is awesome. He waits for them. And actually, before I'm going to talk about this, this whole sequence is so good. So I'm going to talk about the whole thing here. So they come in here. And he already recognizes what this is. And that's what he does here. It's like, wait, wait, wait, I know what this is. Again, super clear in direction. And he basically tells the audience that, yeah, this is a DNA kit, and I'm not going to do this. But he's not exactly the smartest guy around here. So as he continues to talk about, he says, I'm not going to give you the DNA. And he says, well, you know, you need a court order. And there's a little subtle reactions of, well, do you have one? And you can see his reaction here going, hmm, just a little slight adjustment of like, okay, well, we don't have it, but we can do maybe other things. But it continues with, well, I'm not going to give you my DNA voluntarily. And this is the main reason I'm going to show you this is because how he takes this. And he goes, yeah, and that's why I love this. It's a subtle thing. Because you don't always have to do the pointing, right? This is done in many student shots, kind of a default thing of pointing at people. And this could be one arm, this could be the dreaded W pose with two arms. But with the added twist of this, you can really go with a slight variation of the point. And this is why I like it. Also want to continue because as he says this, it makes it very clear that this is an important part. And as he keeps talking, he also drinks, which now has DNA on the can. And their reaction is great. They're going, yeah, well, that's exactly what we wanted here. And the timing of this is great too. This is why I'm showing this as well, staging and timing as well. He puts this down at the moment he does it, he picks it up. And he doesn't get it because he says, thank you. It's like, oh, thanks. Disposing of the garb. He doesn't get it. And after that, I love the staging of this. He goes back there. He says his lines, he's in focus. And he talks and talks and talks and talks. And when he's done with the line, you can see this here. He looks and looks and looks and looks. And we're hanging on to this because in the background, this is happening. Ready? Very clear in terms of staging, two characters, the glove, the envelope, the can, putting it in. And he's not moving so that he's not distracting from this. So I just absolutely love this whole setup. These little acting moments to just him as a character throughout the whole show. It's just so good. The second sequence is about anticipation. He is about to go on stage and he wants to tell people, well, you know, we're going to do something. It's going to be great, but he's not really good at doing his speech here. So it's about him. It's mostly about his expressions here in the upper part with the eyebrows and the folding here and the mouth. By that, I mean, you see the squinting. And as he wants to say lessons, he says a lot of lessons here a lot of times. And you can see he opens the mouth. He wants to say something, but he doesn't quite know what it is. And it's almost like shaking like, I don't know what to say. And you can see he's forming other words, but then he still goes and says lessons. So the main thing is that when you have your your lip sync, right, whatever lines you have, you might have a line pause, a line pause, whatever it is. And during that pause, you can either anticipate that first shape, you can bring in another shape. So the audience thinks he's going to say one thing, but then he goes back into saying something else. So those gaps, I would use those really for your own creativity to change certain moments or, you know, take the whole scene to your own hands. Also, as he's not able to pronounce, not pronounce, but to say the right thing, it's also cool how we cut to her. And she realizes, oh, this is not going well. And this goes back to what I'm saying a lot is that when you have lip sync, and they say this is the line, you don't have to stick to the line all the time, right? So if this is your line, blah, blah, blah, blah, blah, it doesn't have to be this character throughout the whole thing, we can cut to another person reacting, which is happening right here. And this goes on with other characters as well. So as we continue here, he continues to struggle, you can see this here, lessons. And again, and he's mirror the lessons. And he has that woman again here where he goes, it's so good. All those moments, there's gold. I love it. Also, as he's not really getting to a point, you can cut to the reaction of the characters going, and especially her, I love her, how she leans forward with the head going, what are you trying to say? So that's something else you can do in your shot. So you might have a line, and as in order to going, what are you trying to say? What is going on? And sometimes it's fun to cut to other characters, basically replicating what the audience right now is thinking of what they're going through. Like, I'm basically are going, what, what are you trying to say? Love this whole moment here. This is awesome in terms of their relationship. He's the teaching master basically, right? And he has no real idea about acting and what's going on here. So you have to think in terms of, this is almost like a parent talking to a child. He's talking down, and maybe that's also a bit of a hierarchy thing. And in this case, he has the freedom to overact. So as he's really explaining things like, okay, well, this, I think that's what I thought so too. It really doesn't get it. We get this right off the bat as the sequence starts. So there's a lot of, oh, look, now you are saying the line. So there's a lot of overacting on purpose. So here says trying to give you the view from 10,000 feet before we dive in and break it down scene by scene. So there it is. I played with the sound. So it says here, 10,000, he goes up high. So really acting out, I am up high before we dive in. And he has the whole diving, maybe like a fish going in there and break it down scene by scene. So generally, you don't want to act out words, but every now and then there's a situation where the character's relationship, it makes sense that one character or whatever, maybe both can. So that's also really fun to find an audio piece to go with that and have some really funny original ways of really acting out those words. This I'm actually going to talk about because it's really, really long and you really need to listen to what she's saying. But I'm going to post this on my Twitter account. So feel free to check it out there because what she does over two minutes, the back and forth, you can see with the changes in posture, the energy in the voices, the stairs, the pleading, the emotional roller coaster is so good. I'm going to leave it at that. Check out my Twitter account. I'm going to post it this morning. So make sure you listen to the whole thing there. This one is more about subtext. She has kind of potential worries about what she is going to do. And what I love about this is that she is kind of pretending that everything is okay while really holding on tightly to this piece of paper. So there's some moments of, yeah, it's going to be okay. And you got that nervous touching and then staring and then so she realizes, are we going to be okay? Should we really be doing this? And this is the part that I love here. She just basically has this whole thing of it's going to be great with the subtext of it's not going to be great. And every time she pretends there's more ripping of paper. And this is why I love props. Again, you can do something where you can act in a certain way with the face, then you can have a certain acting with the body and then you can do something else where maybe use props to really tell the truth. So it's in a way the face is telling the lie and the body is telling the truth. And on top of that, with a little bit of help of a prop. Love that. This is absolutely what I love here because if you've been watching my channel, you know, I love entrances. This is kind of neat. You can act potentially, you know, on whatever background color, empty color, black, whatever, your character animator, demoreal, the year, all that good stuff. And then the background fades in. And it's nicely symmetrical like that stuff. And then the character comes in. I just kind of like that as an idea. What I especially like is this is that he is fleeing from someone I'm going to spoil too much here. And it freaks out. And as he goes back, every now and then he checks. And that's kind of that for this, right? He goes into this and tries to get somewhere. But what I like about this is the idea in terms of animation. A, you have an interesting entrance where it's complicated mechanics, because you're walking, stumbling or running one way. And then doing a 180. And then you have facial acting, this could be pantomime, this could be with lip sync. And then you can do another turn, sideways stumble, turn again, touching for interaction, maybe there's a lead, maybe there's like a fall into the wall. This can be really, really complex in terms of body mechanics, while still having a big focus on pantomime. And the reason why I like this at the beginning too, is because you can have him be even closer. So you can have a really big change of close up pantomime with some body mechanics. And as he goes away from the camera and recedes into the background here, you can see now full body mechanics. So you can go from facial to full body mechanics in one shot, while covering pantomime and body acting, right? You have body language there, but also through the face, while making it potentially interesting with things he could interact. And again, opening doors, it could be almost a weight assignment of pushing or pulling with the doorknob, or like here as he kicks the door and hurts himself. So there's so much you can put into this shot. And I thought this is a really cool way for you as an exercise, right? It doesn't have to be for a demo reel. It could just be for you to do an exercise for body mechanics. But the idea I think is really, really cool. All the things you can pack into this one shot. And overall, season one and season two are just absolutely fantastic. Just going through this again and picking out some of the scenes, it's just such a good show. So for character development and contrast and overacting, because it's part of an acting school that we're not so good actors. And it's just there's so much you can pick up from in terms of audio, lines to animate to, and reference like that that I just showed you for mechanics and acting. It's just a really, really great show. And I love it. And speaking of loving it, if you love this and you want me to help you with your shots to make your shots even more awesome, I have workshops so you can sign up at any time in the description with all the information. So if you want me to apply all those ideas and help you with your shots, you can sign up and let's do it. Well, it's mostly you doing all the work. I'm just hopefully helping them. Well, that's that. Thank you for watching. And if you thought this was helpful, then you haven't subscribed yet and you think that's actually cool. I want to miss any of those future uploads. Subscribe and hit the bell button. And that is that. This is the end speak of time as always. Thank you for watching till the very end. I appreciate it. And that's that. So I'll see you in my next upload.