 Welcome back it is Thursday and that means acting analysis for animators and today I'm going to take a look at the movie vice So today's clips are going to cover contrast imposing when someone moves a lot doesn't move a lot Eyeblings usage with props, you know my love of props. So lots of things to cover. So let's go straight to the clips First one we have here is an argument between these two main characters and a couple things to look at There are a lot of little things here, too So first I love this that little moment of putting his lips together and squishing this It's kind of a gesture of shame. You can see this. There's some photos floating around of people It's usually people caught doing bad things and I like that in there consciously or not It's kind of interesting gesture So she was on and tells them you got to get your life together because all that stuff reminds him of Past moments when she was witnessing her parents falling apart And I like that thing of that character is her younger looking at this and when we cut to this She is also looking here as if it's been happening. It's a small thing, but I like that I will edit and that'll I direction but anyway She gets back to him and this is interesting not that a fly is potentially a prop But if you look at that fly on his face, and he's not moving. He's probably hung over Beaten up. He's just tired and doesn't know what to do But you can technically say well if there is a fly going around your face and you're not moving This could be that your character is so exhausted and tired that they don't care or they're so angry that they're just focused And whatever is on their face doesn't even face them So you could use something like this and this could be a fly Maybe there's something flying into their face could be winds could be rain Your people can maybe cover their eyes or cover their face And they don't really care about the harsh outside elements And that could be an additional indicator of what the character feels or what they feel towards another person So continuing on she tells him after all this time you got to find a way to get your stuff together So continues with all those traumatizing memories and she tells her okay This is it you got to do this you got to make a choice And one of the main reasons why I'm showing you this sequence is his reaction So she says you got to get your stuff together, and he then has a reaction by just doing this and I love that It's not a big explosion in his face saying something. There's no audio. It's just Technically the animation terms you're just gonna rotate up with a little bit of obviously side-to-side some more complexity So it's not just one axis, but I like this. It's just a simple thing of yes I have changed my ways. I am now making a decision This is the time and it's all through a simple move up with the head Just like when I had a clip way way back of true blood Where the grandmother of Sookie says I can count on you isn't that right? And it's not isn't that right? It's not a question by going isn't that right by lifting the head? It's a command. It's not a question anymore, and I love that stuff It doesn't always have to be crazy arm gestures Sometimes just a simple tilt in the face or there's something in illusionist I want to do in the future where not a main character yells at the other main character and instead of her matching the outrage and yell and confrontation. She just does a little bit of a simple head tilt like oh, you poor thing You don't understand anything and it's such a great moment of contrast in that scene But in general I would encourage you to find moments where as a character You don't rely on arms and you don't do any big wild gestures unless it's really called for but sometimes less is more and sometimes just doing a bit of a change or So whatever you want to do right something like that. I'm just the big fan So next up is this little thing here where he is finally in this beautiful building Lights and paintings and nice and colors and I love this too This is not something you can technically do in terms of you know acting choices and stuff But I like this I like that it's dark We don't know what's going on as the audience you wonder what is going to happen and then you got the Reveal oh, okay, totally change of color where this is warmer and more inviting This is icky and and just you know safely green But it is his first office and he's happy about this and the reason I was showing you this are his Finger moves right there all of that. I love all that stuff. It's his desk. You might argue. This is not nice He also liked the framing that we're looking inside which also covers more of his office It makes it even smaller. It's just it reinforces the the crappiness of his office But if you look at him how he does that little of yeah, cool sturdy. Yeah, nice. Yes I like this obviously it's helped by his his expression that he's not crying or anything Like he's happy and you know He goes straight to work, but I love this. I love that that little thing and it's not much It's a tiny thing of a pump and That and again, it's something that you would not be able to do if your character was in an empty environment So props again use them to your advantage to show how a character feels Or so that we learn something more about the character It's not just to add props because you don't want an empty scene There are many many acting shots where the character is in empty room and they're great A great test animation is great. Totally fine for them rules. It's awesome at the same time Why not if you have props and you have good ideas? It might help you Come up with different ideas and make something a bit more original or something a bit more creative with your character and acting choices and staying in this room It's a bit later in the movie And staying in this room. He's still in there. He had his phone call on this little thing here When he goes back watch how he hits the wall and And all of that that little gesture here that moment that is a gesture But this that will change that trying to hold on again. He's still happy, but it's still slightly awkward, right? He's not completely at ease But again, it's usage of a chair table and a wall to do something like this Which actually reminds me of the shot in a simple favor There's a very similar moment where someone sits down and wants to lean back and the wall is too far And then it kind of shows the clumsiness Link somewhere up here to a simple favor. So watch that for something very similar to that Next up is a conversation between these two characters and I like the contrast again. He's very loose Does a lot with his hands bobble with the head licking of fingers There's a lot of movement there and he's just much more relaxed versus you got the very Rigid. Oh, I I got one more thing and it's kind of interesting adding to that. Here's the bait The bait for the character, but anyway, you know disagree or agree with the topic or the we whatever But I want to look at this where it's very steadfast and he has that bam It's almost like I'm ready to punch you not that he is but I mean, it's just very so rock solid in a way he's not wavering and there are a lot of Looks even if he changes the head orientation It's just always a straight look not that many blinks and reinforces kind of the clumsiness of the character again for contrast But look at this. It's constantly like this And what I like about that is that you can continue this with other gestures So as he says go on and tell me more things you can see how he just Observes and studies him there no blinks. What is he going to say realizes? All right And I like this here. That's just a little anticipation before he continues All right So I got one more thing to say and again he continues. Oh, yeah, tell me more Tell me more and you can see this much looser with the gestures and just the way he leans And then keeps on eating He makes me hungry actually and then I like this here. This is moment where I well I got some other things to tell you and there's a list of things and I look at even the economy of gestures Right just a little bit of a And then back It's very measured and then you have this watch how he does this with his hand on table one two three four It's like, okay Well, I got an idea for this this this and this and it's very It's very rigid and I don't know if it's methodical, but it's very all right I got this and that that that he's very proper and it's not like oh, well, we could do this We could do that. So it's a very specific way of Nothing's acting out the words like you want to be careful that you don't go well I got one idea. Well, now I got two ideas. You gotta be careful about that But there's always a time and place for that, but I like that. It's very So if you are arm gestures not saying you should never use any gestures be mindful of well How and is the gesture fitting the characters the character loose and tired or excited or angry or tense Then make sure that those gestures really Supplement and and help reinforce the current mood of the character or whatever emotion a character has at that point And last up speaking of pose. I love this here. So he has this He's trying to show something to his granddaughters. This is the daughter. This is the father He might argue not very appropriate at a funeral So she was all right. Well, this is not the right place and he's very clumsy. He was always kind of drunk He's not a good character in the movie and then you have him coming in and then at this point He's much more comfortable. He's much more I want to arrogant, but he's much more confident And at this point, he's much more confident coming in you can see this with the slow walk And kind of all right, well, it's time to go and I'm going to tell him what's going on And what I love here is this a it's already in the framing Just the I'm taller than you. Not that he looks down. He actually doesn't really acknowledge him Doesn't look at him But it's already the contrast of the change of status the differences of status I mean that kind of helps even if that character If they were the same height you can put someone on an apple box and put them higher But you know for you in mind just just cheat the height obviously, right? But that's already interesting But what always this right he just tells him later on like don't go near my family But it's just this long stare and he realizes all right Well, there's nothing I can do here and I love this he has that Slight lean forward, right? It's almost like I am Somewhat threatening you but not completely my arms are still my hands are still in the pockets But I still I'm steadfast. I'm not moving. I'm not wavering, but I'm still leaning towards you I'm slightly confrontational and you can see the way you know the suit falls It was nice and clean versus you got lots of lines the pants don't really fit well The jacket here is unbuttoned and you got his arms out. It's just all kind of And I love that I love that contrast and actually you can see here They're not They're kind of similar in height. So maybe the other shot was slightly cheated, but I love this I love that on a wide shot. This is all body posture So when you do something be mindful that if you do a close-up Then think about the subtleties of the face But if you do a wider shot where you see the full body Maybe spend less time on the face, but it's all about the body pose and the body language and maybe if you know the character How will they be different if you look at them and you freeze frame? Oh, this is the pose This is the pose I know exactly how he feels and how she feels and how it was their relationship So think about that in terms of how far are the characters away from your camera? And use that to advantage and then push the poses push to pose in the body or push to pose in the face Boom, that's it for vice lots of things lots of interesting acting You're also editing parts in this movie. So if you haven't seen this maybe you've seen this already and you got some Comments as always comments are open. Let me know what you thought about any of this If you've watched this whole thing till the very end as always Thank you so much for your patience and for your time. If you haven't subscribed yet. Why not? I do a lot of things almost every day So if you want to get notified hit that bell button as well And if you feel like all of this is helpful and you want to apply this to your shots and you want more help I do have workshops sign up for my workshops if you want to and I can help you with your animation shots And that's it for now. I will see you tomorrow again on this channel