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For The People (TV Series 2018–2019) cast and crew credits, including actors, actresses, directors, writers and more.
With Hope Davis, Ben Shenkman, Jasmin Savoy Brown, Susannah Flood. Set in the Southern District of New York Federal Court, brand-new lawyers work for both the defense and the prosecution as they handle the most high-profile and high-stakes cases in the country--all as their personal lives intersect.
- (6.5K)
- 2018-03-13
- Drama
- 43
For the People - Full Cast & Crew. Young defense and prosecuting attorneys handle high-profile cases as their lives intersect in and out of the courtroom.
- Tom Verica
- 2
It's getting hard to suspend my disbelief when everyone is playing a role because they're typecast into it, or they are bankable. I don't see your character, I see the actor, and that's such a sad reality for the craft.
- Don’T Wait For Interruptions
- Don’T Stop Your Exit
- Strut with Subtlety
- Use Accents Wisely
- Keep It Real
- Trust Your Instincts
- No Eyeballing
- Don’T Get Too Physical
Scripts frequently contain dashes or ellipses that the writer has placed at the ends of lines of dialogue, indicating that a character’s line is cut off. Actors will often stop when they arrive there and wait for their scene partner to interrupt. But real people don’t do that; real people try to finish a thought before they’re interrupted. In a 198...
The same trick might work if the script requires that you start to exit but are stopped by another character’s lines. Too often I see actors stop their exit themselves with no apparent justification, but merely because the other actor didn’t pick up his or her cue quickly enough. If that happens to you in rehearsal, just walk right offstage.
Speaking of walking, funny walks (waddles, shuffles, sashays, etc.) are a good way to define character, but only if they come from someplace real and organic, whether you’re working inside out or outside in. Sometimes I see actors all too obviously trying to be creative with a small role—affecting a limp, say, that has nothing to do with anything d...
Similarly, an actor sometimes assumes an accent that his or her character might conceivably have—but doesn’t need to have in order for the material to work. In those cases, the actor sounds distractingly artificial. Like funny walks, unnecessary accents are a way for an actor to feel creative with a small role; they serve the actor more than they d...
On the best way to play multiple characters, comic actor Danny Scheiesays, “Find the split personality within you and take it all the way.” Scheie is completely unafraid to be big and bold, so he would seem to represent the exact opposite of my “less is more” thesis. Yet he digs so deep into each character he plays—the vanity, the absurdity, the cr...
Another actor pointed out that if you approach each of your multiple characters separately and in detail, as if each were the only character you’re playing, you can’t go wrong. That’s about trusting the writer, your own artistic process, and also the audience, which wants to follow the story and discover the truth, not be distracted by clever actor...
Real people don’t normally gaze fixedly at each other. This problem pops up most obviously in scenes involving two people in a moving car. The driver spends so much time looking at the passenger that in real life they’d be creamed by oncoming traffic in seconds. For some reason, actors feel that they’re not being intense enough unless they’re eyeba...
Along the same lines, actors onstage and onscreen tend to touch each other more than real people do. I shudder when I remember once constantly pawing at my stage husband. I thought I was showing how free-spirited and affectionate my character was. In reality, all that fussiness was, I’m sure, diluting any sense of objective. So if you find yourself...
May 26, 2016 · Directors who tend to think of actors as artists and collaborators end up with actors who bring way more to the table than the director who just has a “delivery” model in mind. So with “rules” out the window, here are some things to play with.
People also ask
Who are the actors in 'for the people'?
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What if the other actor doesn't cut you off?
Should you ask actors if they want to do another take?
Do actors know when things are off?
Britne Oldford and Lyndon Smith were cast in the pilot as Sandra Black and Allison Anderson, respectively. [6] Both roles were later recast with Britt Robertson as Black (renamed Sandra Bell) [7] and Jasmin Savoy Brown as Anderson (renamed Allison Adams). [8]
