ABSTRACT

Ed Hooks' essential acting guidebook for animators has been fully revised and updated in this fifth edition, capturing some of the vast changes that have affected the animation industry in recent years. Written specifically for animation professionals instead of stage and movie actors, this book provides an essential primer for creating empathetic and dynamic character performance and, in the process, shows how the strongest storytelling structure works.

Hooks applies classical acting theory – from Aristotle to Stanislavsky and beyond – to animation, as well as explaining scene structure, character development and the connections between thinking, emotion and physical action. Theory presented here applies to any and all character animation regardless of style or animation technique. Whether your project is stop-motion, 2D, 3D or a blend of techniques, audiences are audiences are audiences, and they have shown up at the theater or cinema so they can experience and enjoy your story.

New to this fifth edition:

  • Four new scene-by-scene acting analyses of animated feature films:  Flee, Soul, Porco Rosso and The Triplets of Belleville
  • A comprehensive and updated section titled "Classroom Notes" which includes a segment on experimental animation, a brief history of acting training for actors and guidance on Motion and Performance Capture technology
  • Updated online database of Hooks' previous film analyses, all in one place

Acting for Animators is essential reading for all students and teachers of animation courses.

chapter |2 pages

Introduction

chapter |4 pages

“Let's start with definitions”

chapter |12 pages

Structure

chapter |2 pages

Acting and the CG pipeline

chapter |1 pages

Regarding the animated documentary

chapter |4 pages

Emotion

chapter |3 pages

Empathy

chapter |3 pages

Sympathy

chapter |4 pages

Psychological gesture

chapter |2 pages

Character rhythm

chapter |4 pages

The audience

chapter |1 pages

The 4th wall

chapter |2 pages

Video reference

chapter |1 pages

Storyboards vs. complete screenplays

chapter |6 pages

Comedy vs. drama (intro)

chapter |2 pages

Gags lack structure

chapter |2 pages

Showreels

chapter |3 pages

Character development

chapter |3 pages

Heroes and villains

chapter |9 pages

Video games

chapter |27 pages

Classroom notes

chapter |87 pages

Film analysis

chapter |16 pages

Addendum

chapter |3 pages

Conclusion