 Welcome back to our acting analysis and tips for animators and today I'm going to take a look at the movie Spectre, the James Bond classic, I say classic I like all the Daniel Craig James Bond and today we're going to take a look at character personality we're going to take a look at status and hierarchy character focus and importance and a bunch of stuff more it's going to be awesome so let's go. This was one of those where I had actually only two notes and I went through the movie and I saw a bunch of other things I think generally as a animator you should always look at a movie at any scene and take out what you could use for your shot not copying you don't want to be a ripoff but you can look at an idea of staging of a camera of a character movie personality trade usage with the prop there's so much where you can go into any movie and grab a moment and go that would be kind of neat to add to my shot in a different way tweak it to make your shot more original and this is what this whole series is about and speak of which if you're new to this channel hi this is an acting analysis clip and I also do animation analysis clips I do animation lectures I do a bunch of stuff on this channel most all animation related with the odd every now and then different thing like in monkey island unboxing but that's what it is check it out if you like it you can subscribe if you want if not maybe do it later I know totally up to you but let's get to the sequences and the first sequence is of course a classic James Bond mayhem bunch of stuff this is conveniently here for him to hold on to doesn't fall off either and then after all of this in the scrap for a little bit he falls that's pretty high look at this I mean he will be falling on his butt if this couch wasn't there this would be pretty painful but you have a bit of a comedic moment and he looks at this here and then the classic moment of I gotta adjust my nice suits even though there's full of mayhem and dust and carnage if I'm wondering this because this a besides being a cool mechanic shot where you have someone jumping from an elevated position to a lower position with interesting you know kind of a prop piece to hang on to potentially for asymmetry or just a different type of mechanic I think that as an action shot is already cool or something where someone falls a bit out of control and lands on something cushiony again this because couch is slightly like that you're going to have a bit of a bounce this way this is great for asymmetry and just a change of direction it's also a fluffy a fluffy it's kind of a bouncy soft you can see this here the impact you're gonna have the compression down going this way there's a lot of cool stuff that you can take from this where what if my character lands on something bouncy soft icy wood old wood wet wood like there's all kind of stuff you can do and then on top of that this is really why I'm showing you this because you can have all of this you can have all the action moments of him jumping and letting all really cool but after all of this how does a character react this is very James Bond like there's another one here where he's on a train and jumps down and adjusts his cuffs classic it's there are many many scenes like this in James Bond movies but that's what I would take out of that if you have a character face something pretty incredible in terms of action mechanic something potentially dangerous what will happen after that what is their reaction to something to this and I think this will really show a character's personality and I think an add a little extra level you know after all of this you adjust this you're like okay I'm gonna walk out how does that kind of bookend almost in a way gives a little extra button at the end of your shot where you go this was cool cool mechanics oh this person can animate oh and then at the end it was a really fun character trait that gives that extra layer of character animation so it's not just movement but there's more character to it next one is one that's I mean you can find is in any movie people talking and then some person gets up and then it continues but I wanted to pick this out again just because it's fairly general so I don't feel bad of in terms of taking this and saying hey copy this it's it's really everywhere but you can see this with a slight raise here he is not happy if you watch a sequence he's lecturing him and telling him you can't do this you know you really messed up and instead of apologizing or anything it's typical James Bond fashion he has a kind of a funny quip like whatever but you can see here the height if I go onion skinning here back to this let's go crazy let's draw an arrow this is the height and this is the height you can see they're pretty much on the same level he might be a bit higher but doesn't really matter right but that's kind of they're on the same level and now that he has this somewhat disrespectful tone and joke you can see this here how he says it and he has that slight pause and then says something one more time then he gets up and now of course it all changes now he is higher he talks down to the person and again visually you can see this here if I put this and it's an onion skinning and move over to Bond here and there you go see Island actually matches really well but he is higher now you might argue okay they're kind of the same height yes but technically he is talking down to the character you assume the higher position this is now more about hierarchy and status and also love that we cut from if you look at this here that's the size of his head here and then we cut to this look at how much bigger it is and the reason why I'm putting this out is because of animation you can go a bit broader right you can see more of the body you can have more movement in the body they can lean in they can have gestures all kind of stuff same with him and then when you do have a big reaction it goes how dare you talk to me I'm going to stand up and talk down to you now you zoom in and now you can really focus on the facial expressions and what is his reaction to the character now potentially threatening him you can see this here there's no looking at this full intensity he locks here and goes whatever he says here and again it's more about taking the idea and not copying it and ripping it off but the idea of they are somewhat on the same level visually here and then after that we have character getting up and it's also mechanically interesting for you to show how our character is sitting and then getting up this goes purely into body mechanics but in service of a character assuming a new emotional position like whatever you want to do with your shot and then cutting to a close up or can really play with all the little shapes that you might have on your rig anything here where you can really push the emotion and have something in response to this next up is this one and you can see how he has a bit of a look he knows that she is coming but you can take this in terms of what if you have a character this is a lot of work because it's character walking but the character walks another character comes in and has to catch up there's more effort she has to run and he's just walking and she even calls him Mr. Bond and he doesn't stop he has a bit of a smirk you know they have a fun interplay here but she says a bunch of stuff and he still doesn't look he doesn't stop until he asks what's going on and she tells him there's something here he finally looks but then doesn't care and keeps on walking and so on and so on and i'm showing you this is because if you are walking and someone walks up to you and calls your name in a normal situation you would stop turn around and maybe look in and they might start talking so just the fact that someone is trying to catch up and it's more effort and that person does not stop and does not acknowledge by either stopping or looking at the character tells us something and that's the general thing i'm taking out of this scene is that if you have two characters think about that interplay if someone is calling someone else or i've shown this in other clips here and someone puts out the hand to say hi and shake and someone just kind of looks at the hand it doesn't do anything that tells us i don't like you i don't want to shake your hand your hand is dirty maybe my hands are dirty i don't want to shake your hands there are many many things so again if you have multiple characters as i always say think about how far are they from each other is someone getting closer will you then remove the other one to keep a personal space will they get even closer to the show they can they can be intimate is one person getting close and talking is the other person not acknowledging and turning away or maybe turning away and then talking so much you can do so really if you do have two characters in your scene think about the staging and the composition where are they placed how close do they get how to interact what is the eye contact how long is the eye contact and so on that way you will go beyond just moving beyond just lip sync where you move your character and the joy is moving all that stuff but it's how do they relate and how we're supposed to feel about this character encountering the other character i think that to me is really cool i think will elevate your scene and then this one i think is it's a cool camera move and i'm hesitant in saying you should add a camera move to your scene because as an animator when you learn especially something like this like this is just the basic walk this is already going to be pretty difficult but i like this where there are a couple things here you have mechanics which is pretty cool because you can show off a personality walk all kinds of walks right and then imagine we're really focusing on a face he might have a really surprised face at one point or he's serious and then suddenly has a curious face or he's laughing and you're wondering what is he looking at what is he laughing at what is he gasping at there's so many different things and then you can introduce that by bringing it into the foreground which is cool camera move and kind of obscures this a little bit and you can play even more if you want to where you can have a reaction here and then a bigger reaction there for contrast and surprise but i like the idea here of a walk and a specific look we're wondering what is he looking at then we can see this here and he continues on and the sequence continues on with a bunch of stuff here but then you have a change of focus and then she talks so again you could have something where he's talking he could be reacting in pantomime and then we change this again body mechanics in terms of a sit-down then we can change to a full close-up of her or whoever is reacting to whatever he did that whole interplay back and forth i think it could be really cool with something like this and this type of camera move and actually if you continue forward what i like is her handling of the prop this is her job she is dictating stuff about patience so when she does this she doesn't really have to look maybe she looks at how much time did it take to record maybe where's the button and to me like this is a familiar prop that is part of her job she would use this blindly but the reason why i like this is that if you are using something all the time and you're super familiar and then you do this and you actually look to me it adds also a certain amount of importance this could be something where maybe the actor didn't really think about how familiar this should be or it could be i am so deep in my thoughts i'm looking at this waiting a bit before i turn over and you know put my attention to something else so for me it's not just handling of a prop that's cool but in terms of showing how familiar something can be but how you look at it how you use it i think there's there's just a lot more to props of course it's a pain because of constraints and stuff but i think there's a lot more to it than i think animators or at least students think this is cool as we continue on here in terms of a character is talking and a character is listening and reacting you know i've said this many many times i've brought up many examples here and this could be something where you have it even like this where you have lip sync all that is moving right jaw and lips and that's the primary sound you're hearing but all your animation focus is on this character listening and reacting now in this case he is saying stuff so i mean this could also be something you can do so you could have a two person dialogue with this kind of a sloppy dialogue you don't want to really animate but it's okay because it's all blurry but it's mostly there as a cue for him to respond and react and process and all that good stuff i don't know that to me is a cool setup and something you could probably use generally to me this is a general enough setup that you could use in your scene without feeling like a ginormous ripoff and staying with props he is drinking beer here he saw a mouse before hiding and going through a hole of a wall and here he does this it's kind of a dart but he puts down the liquid and that goes through the cracks here actually there's a bit of a slant so the water or the beer goes through that and it tells them oh this is maybe a fake wall this is not quite what i imagined there must be something behind it let me punch through it and see what's going on and i like this again because it's usage of prop but it's usage of prop to further a scene there's something interesting that you can do with the bottle that you know it's kind of a clue giver i don't know there's something that's interesting to me again in terms of one thing leads to the next you have this with that that leads up to this and then then is full on mechanics and showing force and mechanics and pole and weight and all that good stuff and actually within the same scene there's this the classic i'm entering a room that i am not familiar with so i'm going to look around first i've never been here i gotta look around is there a light i gotta look for it and then use it and the light is on so that's the big difference here it would be really weird for him to walk in then blindly move that arm up here and then switch on the light and then oh i can see what's going on here because he has never been in here that would be supernatural not interest of time he only looks over there he knows exactly where it is in your animations even you could have a look more here maybe up not that the light switches up here but you can just kind of push that moment of where are things and maybe maybe what he could do is look a bit and then bring up that arm here and tap it so it's kind of blindly tapping looking for something until he feels it then he looks over and then it switches on the light so many many you know ways you can do this but i do like the idea and as always this is a big thing in animation which i think is criminally underused is that if you put your character in environments could be one two three whatever how many characters you have but wherever they are consider have they been there before or not is this the first time in a hotel in a secret room at home like where we are and it's going to change your choices is it going to look around more is it going to tap and feel that they're going to go exactly are they going to blindly throw their jacket onto a chair and so on it will completely change your scene just based on yes or no in terms of familiarity and consider that in your scenes now speaking of being familiar if you want me to be familiar with your scenes you can send them to me through my workshop i don't know that was that was uh that was um yeah no but anyway i do have workshops and we can talk about exactly this we can talk about acting choices animation choices and just a bunch of stuff to make your shots even more awesome you can sign up at any time click the description with all information from my workshop you can email me let's chat all those idea finding moments are not part of submissions we can talk forever about layout and planning until it's actually a video submission and that is a submission you got 16 of those this is a long page for something that you can look up and read for yourself anyway that's it for me thank you for watching if you're still watching thank you so much for your patience and maybe you'll like this and you don't want to miss any of those analysis clips so subscribe if you want that would be awesome helps my channel grow and that's it for me thank you for watching and i'll see you in my next upload