 Welcome back to another acting analysis for animators and today. I'm gonna take a look at a movie with Michael Keaton called The Founder So the sequences I want to take a look at there are two that kind of show a different take on a weight assignment Because in class a lot of times you do a weight assignment lifting a box lifting something heavy or pulling and pushing Well, there's an interesting way of how Michael Keaton lifts an object So I want to talk about the poses and kind of a different take on a weight assignment And then there are two sequences where he does a lot of twinning and usually twinning is kind of a no-no thing In animation other interesting ways of how he does it an interesting staging of him between two different characters where you can Kind of use the left and right aspect of different poses different looks and different gestures So I want to start with the weight assignments first So let's take a look at what he does here and of course I'm gonna put the movies on a different upload and that's going to be a link in the description Because of all the sound and the copyright issues. So this will be an unlisted clip here But this is the sequence. So I'm looking at Something where a he holds it on to the side. I like how he has that arm here to the side It's not right in front of him. So I've kind of a sideways look I like that re grabs one of the cool things that you can do by an assignment where you show the complexity So he has kind of a re grab with the arm. He does a bit of a lift with that leg Just something that feels a bit asymmetrical. So I think having this to the side Adds an interesting shape a cool silhouette to that moment there and something like this here I like that you have, you know, these little pieces here. You got this big shape here You got this here that he can that is flat that he can Push against himself and you got that little lip out here. So this is kind of how he has to hold it I guess he could potentially hold it around here But then these pieces would be in the way So you could almost have something where he would hold it here on the side And maybe another hand here I mean there are different ways and I think because that object is so different in its shape and with the cables hanging here It kind of forces the character to hold in a different way But it gives you a good opportunity to do different things and what I love is stuff like this here You can see how you got the thumb out here just for a different pose How that hand has to be over this hand and you can see the adjustments here All those little things. I like that little tiny adjustments You got little finger changes here and holding on to this lifting that thumb a bit so that this hand can come out and Then opening this section here to put this in So it's not only a weight assignment where you have an object that has a kind of an odd shape and again It forces the character to hold this in an interesting and asymmetrical way, but then you add conflict So every time there's a problem with the character It's interesting to see how that character fixes this and I like this too I like that this is shaped this way. That's right where his face is So he can't really lean underneath and would be kind of a pain is to kind of have his face out there Kind of lean off to the side and then he has to go underneath So I think overall and after that he's down to his moment here I think overall it's a really cool take on a weight assignment So instead of just having this your scene you got your box and you got your character These are my drawing skills and then he just gets down and lifts the box Which I told you did when I was at school That was absolutely my assignment you could do something like this where the shape is different and again it forces Interesting poses and you have the other thing of what I got to put this in here So I got open open this with one arm one hand and then that shape Forces me to put this in like this You get a nice C curve with the head out there and then I got to go underneath and put that in there So all in all I thought that's a really cool take just because the object and the situation and the objective and where he has to Put this in it's a cool idea for a weight assignment So not that you have to knock this off exactly like that, but imagine in your next assignment It's a weight assignment think about the object Well, maybe the shape is just super weird and that will force me to act things out differently and make it more original Asymmetrical in the posing and so on and there's another clip where he does kind of the same thing So in here he has the same off to the side here He has to go back to the car and you can see kind of the weight of it He got that lean over in the body So it's also cool with that object to this side forces the character to lean over to this side You can see how heavy it gets and how in technical terms the route up and down get smaller and smaller You can see how he starts to kind of go down. It's a bit more squatty and here readjusted already to then open The car again the hood like this and you can see kind of a nicer View to his face right so you can see this the view on his face there We have said I looked there and he uses that elbow here, which is really neat Puts that in there and again what I was talking about where he can't put the face closer to this and it's kind of a different view Of I got a hold on to this and bring this inside. I'm leaning in In order to put this object into the trunk And then he's done closes it and this could be actually a cool reveal if you think about it You got this hidden Closes it but you could do it where it reveals the face and it's got a tired sweating and elbows up and Maybe has a towel and washes the sweat off his face Whatever you want to do, but this could be a cool moment for a cut And then you got that reveal for a close-up or whatever you want to do there as a reveal That could be funny and again the scene continues But it's the same object and it's the same objective with the trunk But what's cool to me is that it starts off as a way to Simon's and you can argue that well I could show this with potentially Framing like this, right? So there's more space here because the character goes this way and you have this thing of well I'm showing full-body mechanics. I'm showing weight. I'm showing different ways of how the character walks You could argue that the shop could start here If it changed there an adjustment and then you cut it here And the cool thing to me is that now it turns from a way to Simon right from before here You can see this is all about the weight and it turns into more of an acting piece So this could be full-on pantomime huffing and puffing doing things like when he has that face right there Stuff like this and more interesting ways of holding the hood up here So there's just a lot of stuff you can do acting wise with the face all pantomime And then instead of tilting down to show this it would all be here Maybe you actually tilt up and it's all about the face Dealing with how he puts the objects in there because if you do this let's go back here And let's pretend you would elongate elongate you would lengthen the shop so that the arm goes to the trunk here And he opens it maybe like a third You know opening here you would already establish that what this is the object that has to go into this trunk It's almost looking back to the innkeepers where she would hold the bag and then open up or put the hand on the What was it called the garbage object there the garbage container and it would really show well I got to put that in there so the same idea as here and because you've established that This is the object and I'm putting my hand here opening this it has to go in here in the next shot You don't have to show any of this so that's why I mean what I mean like you can do your shot That's fantastic framing here. You can do it like this so everything that you're doing in this shot Now is basically framed like that and it's all about the acting the pantomime about the struggle and the pain Maybe this is maybe it's a hot day and this surface is really hot And that's why he uses the elbow and not his hand so all kinds of things you can do but this Leaning, you know down and having you know so much trouble putting this in this would just be implied by having framing I will go above here, but it will continue up here and you just see arms moving But you know what the character is doing all of this make all that movement that twisting around here All that would be implied, but you would technically stay within this framing So again same idea weight lift the same object asymmetrical stuff But you can again show and and break up your your shot into maybe two shots for a little tiny sequence We have full body mechanics showing the complexities and showing off You know full body of weight shifts and all that stuff and then because you've established the objective The character has to take this to put that into this object You can now focus on a close-up and show off your pantomime skills Now the other two sequences are about him Michael Keaton talking to two other characters And I like that setup of having two characters and you don't have to really animate them Maybe they don't have anything to say the lip sync would just be on the main character But because they are left and right you in the middle like your character can point to one person Address another person say something and think about and then do them to both There's so many things you can do them when you have two characters left and right So I'm gonna show you those two sequences that kind of established that you don't really need to know what they're saying again I'm linking the full sequence below in the description so you can watch this whole thing with sound So as we're going through this and I can scrub through this you don't really need to see it again It's established and if you want to do this in your sequence that here's a character This character one and this is character two character three is the main character in the middle I mean you can do this as an establishing shot to show this is the relationship And again, you can show off maybe with this pose a bit more open He's a bit more open to his arguments arms crossed not so open to arguments So maybe from the very beginning you can show the relationship between these three characters makes his arguments lots of cuts and different ways Of acting things out and he talks about I came here saw this sign and I'm thinking about Franchise he says you're franchise franchise franchise what I like about this here is stuff like this where you would say Well, it's technically twinning, but I like it where it's he's a salesman and he's kind of exact And he has got he's got his suit on and there's something about him. It's actually okay to do this It's okay to be in that twins Pose but to me is also the contrast of he can be like this It's always like he's equally open to both characters is trying to convince both of them But then you can see the posing difference in these two and that's the contrast Maybe that's why this you can get away with this obviously in live action You can do things like that and it doesn't quite feel like twinning and animation is it's a bit more complicated You got to push the asymmetry bit more, but he does it here. So in purely, you know asymmetry terms here He's got that change. He's got this. I like that. I like that changing how he dresses character one and character two He's got this and talks about franchise franchise franchise. What I love about this too is that's the end of the sequence So he has this he goes right franchise and I like how he holds The hands and his arms up there Holds that looks at looks at the guy and he looks at him because he's a bit more open and They say well, we've done this before we tried and then he has this I really like this here This section where he's still in that same pose. It realizes Hmm, I guess I got to move on to something else and he does that and then moves on to his next point but I like that moment of holding that pose and Instead of going hmm, I guess I was wrong or hmm. This is awkward. I don't know what to do It's kind of shown in just that change with the fingers and in this and Then continues on again, you might argue that animation You might be forced to potentially not go so twins but every now and then why not? I think it's very justified It's very valid to go into a twin pose just for Exaggeration just to make a point but also visually can be interesting because again to me It feels like well, I want to dress both of these and that's why I at least to me. I'm reading into this I'm doing something like that and then you can still address person like that, right with this first And that what I like is I like having a character off-screen here character off-screen here And it gives you the license to do stuff like this because it's implied We know that they're left and right because we are starting the shop like this Now the next sequence is very similar again He talks to those two people and is in the middle and is addressing them left and right and lots of he talks about Arches the McDonald's arches a lot of twinning because that's kind of the pose It's an arch but it's the same idea of if you have a scene with three characters and your characters in the middle It gives you the opportunity to address them left and right and it kind of change your posing and make it more interesting in How he addresses someone and it gives you if you act this out in reference It gives you the license to change and change your posing and give it This is a one way of doing your silhouette, then you change maybe you talk like this and you go What about this but you never really turn towards the other character? You always address this person say something like this and you go back so lots of opportunity for Different silhouette different poses and just how you can show how your character will address each other character Right the other dude you have in a different manner am I open to both of them? Am I opening myself up and engaging both of them or am I more like this and just kind of dressing that person like that? And the other person mainly like this because that's my main focus and so on lots of opportunities But let's take a look at the sequence this one is a longer one So again, I'm gonna scrub and the link is in the description So he has the same thing where he dresses one like that and I'm just gonna scrub through this so you can see The different poses and it's a lot of twinning now that I would probably Start giving notes of maybe that's a bit too much. You can do stuff like this where he lists things, but there's a lot of Go back a lot of this here But if this is just for one moment So most of the times it's like this and he wants to make a point and that's the contrast point of okay guys Both of you listen then I would say it would be okay I think that's that's an acceptable way of twinning there and he talks about again what he sees churches flags Arches It's awesome and he has done I like his little look around because he tries to convince both of them But the reason I'm also showing you this even though it's kind of a repeat of the previous sequence is that if you have something like this Your main animation is going to be here, but you can still have two characters here They don't have to do much they barely have to move All you have to do is animate the eyes to kind of follow the character, but the main different poses again This is a bit more you might argue. This is more engaged or it's more confrontational This is a bit more relaxed and maybe more open to arguments But this is I think something interesting and then when you come back and forth, you can see that here. Let's go back Psy Not quite there Not quite convinced and it continues on and you see more here where he realizes this is a really bad idea and It's cool It's not that much to do animation wise but for contrast for a little bit of a break between All the the monologuing that the character is doing will be interesting and again Just something like that where you can have a second character and it could be blurred out But the main animation is here He addresses and looks at this person all you have to do is a bit of a head turns not much to do Blur it out like that But it gives a foreground element interesting staging and that way you don't you're not stuck in this all the time And you don't have to do a shot where you always show both characters. Where are they somewhere here? There you go. You don't I'll always have to cut back to that. It can be something like this But again, you got that for So good that moment there and again you can cut to these kind of things just reactions and That's the end of sequence and so on so that's it I have actually never done a shot like this where you have three characters the character in the middle and two other characters left and right But I always like this approach and I think if I would ever do a shot I should probably start again doing my personal shots at home I would like to explore something where you don't even have to hear three people talking It could just be an audio piece with one person and just gotta find something where it's plausible that the character is talking to One or two other people, but I think it would be cool But then you can do all your acting and if you need a moment of a cool down or slow it out Or just a moment of contrast from one person gesturing all the time Then you can cut to another person who just sits there and listens and if it's two people you can do the listening and though Where he looks to his partner and then he or she might look at the character talking There and then they have that connection So I feel there's a lot you can do obviously this will stretch the shot into more than couple seconds It might be 10 15 20 second shot and it goes against what I'm saying of keep it short But if you have to freedom you can do something longer or it is something that you want to explore Which is like a sequence with different camera angles and even type of staging I think this could be an interesting approach and at the very beginning talked about weight assignments So if you do have a weight assignment It's a classic piece in school and I highly recommend that you're doing it think about the object So maybe the object is not just the box is not just the ball. It's something that's just oddly shaped I'm looking around if I see anything big. That's all the shape. I do not have that. I have a laundry basket Here this is not dirty. That's clean laundry, but maybe it's something where I mean, this is fairly symmetrically shaped But what if this will go down? Maybe there's a big handle here. These guys are broken So maybe something about this being squishy will be like the conflict in the shot where just holding that will be kind of odd and force you to Adjust, you know the grip and then if they have to transfer that object into another object Maybe then again forces a different approach to holding this and lifting it and so on and so on So if you do have a classic weight assignment think about that Think about what object could I use to make it a bit more original? And maybe that object will force me to change my posing and make my acting choice a bit more original instead of the classic box Standing going down lifting it and then that's it. There you go That's it for today as always if you have any questions concerns or whatever regarding the sequence Let me know in the comments if you like this a like would be highly appreciated if you have not subscribed yet I highly recommend that you do you will get all the notifications if you hit that bell button because I will upload almost every Day except weekends and I will see you tomorrow or in two days probably tomorrow for an FNA I will continue the blocking series with the next chapter Thanks for watching as always if you watch your whole thing till the very end. I highly appreciate it. Thank you