Directing the Actor: A USC course with Nina Foch

Name: Directing the Actor: A USC course with Nina Foch
Rating: 4.9 (1357 reviews)

Learn directing and acting techniques from renowned actress Nina Foch in this USC Master Class.

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Highest Rated

Created byNina Foch, Randal Kleiser

Last updated 1/2016

English

What you'll learn

Break down scripts and stories to uncover structure, theme, and intention—tools essential for any creative storyteller or performer..
Use clear, actionable intentions to guide performance, direction, and collaboration across creative disciplines.
Stay fully present in scenes or performances by mastering entrances, exits, and authentic connection with partners.
Approach auditions, collaborations, or creative pitches with confidence, empathy, and professional awareness.

Course content

14 sections • 91 lectures • 3h 58m total length

Introduction3:17
Explore Nina Foch's directing technique in a USC course, including breakdowns, casting, and staging two-character scenes in one setup with an organic camera.

Story, Moral, and Spine2:41
How to break down the story into its simplest beats, discover the moral of the story, and find the thing in the story that everyone is trying to do.
Putting it into practice: "Casablanca"3:39
The class breaks down the story using her technique that will work for any project. She explores the moral and the spine. Tracking the character arcs in Casablanca reveals major character changes.
Scene Breakdown6:19
Nina breaks each line from the scene into intentions and actions.
"Casablanca" clip0:29
See the film version of the scene that was analyzed in class.
Breaking Down The Script

Analyzing the Headshot1:21
What to look for in a headshot. What are the best questions to ask? On the back of the headshot is a summary of the actor’s qualifications. Learn what questions to ask to put them at ease.
Meeting the Actor1:36
Learn what to look for when an actor enters the room. How to break bad habits. How to relax the actor. What is the proven subject to bring them out and get their guard down. What are the danger signs to look for that would make you not want to cast them.
Evaluating the Actor3:43
What kind of directorial notes get the best results? How to use intentions in your directing of a reading. What to watch for when they follow your direction. What to do immediately after the actor leaves the room. How to analyze the pluses and minuses of each actor.
Casting Session I1:30
During a reading of “Fargo” Nina suggests an unusual adjustment for the actor’s second read.
Casting Session II1:52
During a reading from “Who’s Afraid of Virginia Wolf" Nina analyzes how to spot an actor who is not in touch with themselves.
Casting Session III1:42
During a reading from "Sex, Lies, and Videotape" Nina explains the definition of a scene.

Have a Good Gatekeeper0:41
What instructions to give the receptionist or secretary in the outer office to get the best results in casting sessions.
Setting up the Room1:25
How to avoid common mistakes in the setup of the casting session.
Sloppy Actors0:46
Clues to watch for on a resume.
Grungy Actors1:06
Evaluating personal habits in regard to casting.
Don't Help0:43
What not to say to actors and when to listen.
What Not to Say0:45
The top tips to avoid.
Casting

Partnering Exercise: Hot Objects2:35
Learn how the “Hot Object” exercise teaches the power of partnering first-hand. Nina shows how to guide the student as they connect with personal items that mean something to them.
Hot Objects: Examples7:07
In the first example, Nina demonstrates how to push a student to connect and what not to do.
In the second example, the exercise is a success as the student becomes emotional as he connects with his object.
Entrances & Exits: Airport Exercise8:41
Entrances and Exits
Learn how to create the circumstances and places the characters are coming from and where they are going.
Airport Exercise
Generalities can kill a performance. This exercise teaches how being specific can make an audience believe in the truth of the scene.
Nina boiled down the essence of delivering a line into three specific words. When an actor follows these steps, in order, the line will be delivered more believably than they would if simply memorized and repeated.
Scene Adjustments: "Jerry Maguire"4:49
Here, Nina shows student filmmakers what it is like to act and receive direction. This gives them perspective on the challenges of giving a performance.

Introduction1:56
Learn how to make sure that every part of the scene works with no cuts, no edits, with organic camera movements from start to finish. Nina worked in live television for years, and theatre extensively before that, which made her one of the craft’s leading experts in maintaining the seamless scene.
In these scene analyses, watch Nina force her students to examine every frame, every detail, every moment, and every line of their scenes. Some of her words may seem harsh, or unfair. But, Nina always states that when you make a film, you have to live with these details for the rest of your life.
"Eat Drink Man Woman"7:28
Nina teaches how to pace a scene and how to overlap blocking and dialogue.
"Boogie Nights"5:01
Learn blocking and filling each moment. Simulating the effects of cocaine are discussed. Learn the concept “Actions Come from our Partner’s Needs”.
"Notting Hill"5:51
The concept of cheating is outlined. How to deal with an actor’s bad habits. What is sequential linkage?
"The Graduate"4:17
How do you fill each moment? How to use body language, how to discover intentions and best tips for blocking are discussed.
"Almost Famous"5:03
How do you structure and deliver a joke? How do you fake? What is the best way to block?
"Who's Afraid of Virginia Woolf"7:42
Concepts discussed: Partnering, how to deal with uncomfortable actors, tips on staging , importance of playing one action at a time, finding the action, moving the furniture, and the concept of false exits.
"Sex and the City"9:51
Sex is notoriously hard to direct. Nina points out tricks to making love scenes work. How to make the actors comfortable. How do you direct the way actors touch each other. How do you reveal character through intimacy? Choosing truth or beauty, how much nudity to show. Also discussed: Homosexuality and the class system in America.

Two Truths Coming Together1:37
What is a scene? There are many ways to answer this question: conflict, setting, character, and a host of other qualities. Nina Foch had a simple answer to this question.
What is "sexy"?1:48
Over the years, Nina discovered the best action when actors need to be sexy. It’s an elegant description of a complicated acting choice.
Share Your Life2:15
Techniques of connecting with your actors so they open up and trust you.
Correcting Bad Habits2:46
What are the top bad habits and how do you deal with them?
When do you bring up the problem? Things to watch out for.
Dialogue Handles1:35
When are these helpful and when do they kill a scene? How do you find the intention of a handle? When do you delete a handle?
Close Your Eyes and Listen1:28
How to use this technique to get closer to the truth of the scene.
Directing Narration4:15
The trick to making narration work. How to break down the beats. Creating an entrance for the narrator. What is the action of the narrator?
Stick to the Script2:20
What to do when an actor says they are uncomfortable with a line. When to use and when not to use improvisation.
Don't Rush the Table Read2:21
How to get the most out of the first read with the cast. Finding
the tone and meaning of the script.
Include the Writer1:30
The best way to integrate the writer without giving up control.
How do you get the most from the writer in rehearsal?
Let the Script Guide You1:18
The best way to bring your own viewpoint to the script. How do you integrate the talents of the actors, cinematographer and other crew?
Learn the Actor's Craft1:15
The biggest advantage for directors who try acting. Picking up the language of acting. How to think like an actor so you know how to communicate with them.
Be Prepared3:29
What to watch out for when you start the shooting day. How to instill confidence from your actors and crew. How to be flexible and adaptable.
I Can't Hear You0:54
What not to say when actors mumble. The trick to getting them to speak up in an organic manner.
Furniture Is Movable0:45
How to conceive the right blocking for a scene.

Don't Look Down2:10
What causes this habit? How do you break an actor of the bad habit of looking down.
Drunk, Drugged, or Insane2:08
How do you avoid cliches and make this kind of behavior believable?
Sources of Power2:27
Raising your voice or clenching your fists if you’re angry are not sources of power. Nina explains where an actor’s power comes from for a scene and how to generate it.
Getting Turned On2:25
How do you motivate yourself to get excited about a scene? How do you let loose and be wonderful?
Filling Entrances and Exits1:47
What are the techniques to create believable characterizations so the audience knows where the actor has been and where he is going? How to create energy and propel the story forward.
Sequential Linkage2:02
A scene is not just memorizing lines. Learn the fundamental principle behind sequential linkage. Where does the actor find the connections that make this work?
Building Logical Character Beats3:45
Learn how to use the five senses to create specific connections that reveal character.
Tap Dance Therapy3:20
Nina shows when to use this directoral technique and how to loosen up the actor so they can do the best work.
Know the Setups1:42
What every actor should know about a shooting day’s breakdown.
Do Your Homework1:30
How to prepare for the unexpected. How to create a situation where
changes are easily adapted.
Make it Organic0:39
How to make each moment motivated. How to work backwards
to achieve believable beginnings.
Lizards and Tarragon1:18
The trick of using animals and foods as a acting technique.
Going to a Zero2:31
Nina explains this technique that allows an actor or singer to create an emotional moment no matter what the distractions.
Relaxation Techniques4:28
Nina breaks down the best way to relieve tension and how to achieve a complete state of relaxation instantly.

Requirements

None

Description

Produced by George Lucas and Randal Kleiser, this series of lectures are excerpts from Nina Foch’s directing class conducted at the University of Southern California in 2002. The lectures, organized into sections, cover script analysis, casting, directing, and acting. Spend some time watching Nina, learn from her and implement her ideas into your own work. You’ll be amazed how far she can take you.

Who can benefit from Nina Foch’s course? Directors? Absolutely. Actors? Yes. But, it’s equally valuable for writers, editors, producers, and anyone with more than a passing interest in the art and craft of filmmaking. This material can be used for an entire course, as part of a course, or a rich reference source to immerse yourself in your craft.

Who this course is for:

Filmmakers, Actors, Animators, Singers, Lecturers and anyone with a passion for storytelling and performance.

Directing the Actor: A USC course with Nina Foch

What you'll learn

Explore related topics

Course content

Introduction1 lecture • 3min

Breaking Down The Script4 lectures • 13min

Casting6 lectures • 12min

Quick Tips: Casting6 lectures • 5min

Class Exercises4 lectures • 23min

Video Scene Analysis8 lectures • 47min

Directing Lessons15 lectures • 30min

Quick Tips: Directing6 lectures • 10min

Acting Lessons14 lectures • 32min

Quick Tips: Acting2 lectures • 1min

Requirements

Description

Who this course is for: