![]() Her scream is super girly, and it's a really interesting choice to make in showing anger. Usually when we think of anger we think of more deep sounds, more shouting. And she does a really good job with her physicality of keeping this forward motion. She's actually screaming for a really long time, and it's hard to sustain that level of momentum or energy through that sound. Keira: One of the things I really like about it is when she walks into the room and she's leaning forward, and she has this forward energy. Shane: They make you gain weight like crazy. Shane: Coach Carr makes us eat those when we want to move up a weight class. He's trying to control it, and he's trying to keep it down until he no longer can, which is why it's such a magnetic scene to watch. So, rather than trying to show his anger, Jack Nicholson's character is trying to stifle his anger. And he is a respected person, and his ego is high, and he has a lot to lose. This is a character who believes he is above the law. So both men are showing anger here, but in a very different way. Keira: Jack Nicholson, as contrast, is extremely still. ![]() ![]() Judge: You don't have to answer that question. So it's really interesting to see him using anger as a means to get anger out of someone else. Tom Cruise is actively trying to aggravate Jack Nicholson here. Keira: The way in which Tom Cruise builds the scene is really clever. Kaffee: You had Markinson sign a phony transfer order! You doctored the logbooks! You coerced the doctor! It's so well done, and it works really, really well for camera. And in the same shot, he walks away, and as he walks away from camera, his body language gets so much bigger. The intensity is in the way he says the words, rather than his body really taking over. Keira: So, when Tom Cruise and Jack Nicholson are first talking, the shot's quite small and the attention is really focused. Kaffee: And when it went bad, you cut these guys loose! Kendrick ordered the code red, didn't he? Because that's what you told Lt. What's beautiful about it, then, is his character's realization and how his awareness is initially on the other character, and then grows and sees himself in the room. The sad thing about this scene is, in his action, he proves that he's not. He wants people to think he's a gentleman, that he's just like them. Keira: There's clear conflict within this scene between the two men, but also between what's happening internally with his character and what he wants others to think of him. His cheeks are literally shaking and quivering with his rage. Keira: And his face is almost contorted by the anger. Gatsby: You shut up! Shut up! You shut up! Tom: Say, or steal, or dream up can ever change that. ![]() And you can feel the rage ticking up in him. The ticking, along with his facial expression changing, really takes you on that inner journey with him. And then when he's pushed to breaking point, the buildup in it is so brilliant. It's not long before he's shaken and rattled, and you just see a quick look of doubt on his face. Keira: He starts off pretty smug, pretty in control. Gatsby: The only respectable thing about you, old sport, is your money. Keira: There's such an arc of emotion that goes through Leo's character in such a small space of time. ![]() Gatsby: You shut up! Shut up! You shut up! Shut up! And today I'm going to be looking at rage scenes, the good, the bad, and the in between. Hi, I'm Keira, and I'm an acting coach based in the UK. Keira: I don't believe that she is feeling a gut-wrenching anger… Keira Duffy: He absolutely embodies the rage that he is feeling. Account icon An icon in the shape of a person's head and shoulders. ![]()
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