Tag Archives: Director

Dialect Myth du Jour- A Light Dialect Is Easier to Learn

MYTH: It’s easier to learn just the ‘flavor’ or ‘hint’ of a dialect than it is to learn the ‘real’ dialect.

I hear this from inexperienced directors all the time: “I am not too worried about the dialects for this production. I’m really just looking for the actors to capture the ‘flavor’ of the dialect…So if you could give the cast one or two pointers, maybe suggest some films they could watch…that’s all we really need.”

When I hear this, as a dialect consultant my heart hurts because I know from experience that every actor involved in that production is going to be negatively affected by this director’s misconception. It’s nearly guaranteed that the acting work will suffer as the actors struggle to ‘find’ this ‘flavor’ the director has imagined and ultimately the actors (not the naïve director) will take the blame in the reviews for having ‘distracting’ or ‘poor’ dialects.

The plain truth is, a dialect is a dialect. (An accent is an accent.) It doesn’t matter how ‘heavy’ or ‘light’ you or anyone else perceive it to be. If you wish to be convincing, no matter how ‘light’ or ‘heavy’ the accent, you will still have to make conscious, consistent changes to your speech pattern, be 100% intelligible, and feel absolutely natural while doing it.

To accomplish this, the same amount of work is required no matter what.

…If someone tries to tell you otherwise, keep in mind that they’re probably not the ones whose performance will be captured forever on film…

What Are They Expecting?

You may recall that last week I asked you to consider what might be possible in your acting career if you made the time and effort to master several dialects other than your own. But what does it really mean to ‘master’ a dialect? Exactly what are casting directors, directors and production companies actually expecting of actors? Honestly this varies a bit from project to project, but at the very least, every casting entity is expecting actors to be able to deliver in the following three areas:

Consistency:This means that the actor is able to maintain the exact same dialect throughout the performance (every single take)–even when the character they are playing goes through high-stakes situations such as a death scene, or an emotional breakdown.  Anything less than 100% accuracy adds cost to the production, whether in additional takes, or in looping and editing time.

Clarity: The dialect the actor uses must be such that the script’s dialogue is completely understood by the intended audience. It hurts a project’s appeal (read as ‘the project ultimately loses money’) if the audience finds themselves drawn out of the action because they have to ask ‘What did she just say?’ This aspect of acting with an accent requires a bit of finesse, and often the aid of a dialect coach, or co-ordinating dialect coach or consultant.

Appropriateness: Here’s where things start to get complicated–Exactly what makes a dialect ‘appropriate’ for a particular project? There are numerous factors to consider here, and each project’s script must be carefully analyzed in order to address this issue and create a fruitful outcome. That said, however, here are four areas that seem to pop up frequently. Being aware of and addressing them will help you choose which dialect to bring to an audition.

1) Authenticity–Some projects require that the dialects are 100% authentic, and others require only that the dialects are consistent. If you are making a film about the people who live on one block in Queens, New York and in that film those people come in conflict with characters who reside in another neighborhood of New York, using authentic dialects would be considered appropriate, as the clash in the two dialects would enhance the conflict among the characters. Many projects do not require this level of specificity, however.

2) Character’s Purpose–Among many other things, a well chosen dialect can augment a character’s purpose within a story. It can lend an air of mystery or familiarity, mistrust or allegiance, and add to the overall impact a character has in a script. Dialects can also be chosen (or created!) purely for comic effect, such as the one Peter Sellers created for  ‘The Pink Panther’ films.

3) Kinship–Many times it makes sense to ensure that characters who are members of the same family have accents that reflect this relationship. Typically, people who live within the same household for a long period of time influence one another’s accents. There are many exceptions to this rule, so each script must be carefully analyzed, and cast according to the findings. As an actor without access to the whole script, you can still make some informed choices about dialect by analyzing the sides you have access to, perusing the project’s breakdowns, and mining ProIMDB.com for further clues as to what might be appropriate.

4) Geographical Accuracy– It can be important to match an actor’s dialect to the stated hometown of the character in question. If a character states “I’m from Nashville, Tennessee” (and upon reading the entire script, you find this to be the truth) then a dialect from Nashville is what is required. While it may be obvious which accent is required, in actuality an actor may be able to squeak through the first round of auditions using some other kind of southern accent. Sometimes an actor may even get through every audition round and end up being cast using an inappropriate accent.  Here’s something that few actors realize though (until it happens to them); many times a project will begin shooting—and then someone on set will suddenly realize that the accent the actor is using won’t work for the project, and they will ask the actor to change the dialect. Today. For the next take. (This, of course, is not possible.) After all, if the actor actually had the skill to be able to act using the other accent, s/he would have done so from the start. Right?

Let’s pretend for a moment that you find yourself in this very situation…

What happens next is typically one of two things:

In episodic television if your character is not re-curring, the director gives you the note to change your accent (now) and then you are forced to fake it which results in a significantly diminished performance on your part. (Read as ‘You can’t use the footage for your reel.’ and ‘They probably won’t ask you back.’)

Or, in a film or re-curring TV role, a dialect coach is rushed to the set to try to ‘fix’ you. No matter how skilled that coach is, however, the situation is harried and awkward enough that once again your performance will in all likelihood be diminished. Most actors describe the experience of this ‘fix it’ situation as feeling like they are being poked with a stick. No one enjoys it. You’re better off using an appropriate dialect to start with, and keeping a good line of communication open with the director to make sure you are on the same page from the start about what this character sounds like.

There are heavy expectations placed on actors when it comes to dialects, but these expectations absolutely can be met, and by meeting them an actor can find themselves reaping very lucrative rewards.  I am writing this blog so that every actor who commits to doing the work will have at their fingertips all the tools, tips and insider information that they will need to succeed at using dialects as a means to increasing their castability.

I’ll be here every Tuesday and Thursday.

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