In order to eff ectively identify the importance of acting in fi lm, there are two essential requirements: fi rst, the realization that fi lm acting is an integral, meaningful and vital element of fi lm, and, second, the recognition of fi lm acting as actually being acting-similar and equal in esteem to stage acting. As Cynthia Baron and Sharon Carnicke put it, “in theater and fi lm, combinations of performance and nonperformance elements operate together to clarify and amplify the connotations already embedded in the individual components of the production.”1 The voice, movements, rhythms, expressions and gestures of the fi lm actor are as central to fi lm and the experience of the fi lm’s spectators as any other constructive principle. The spectators “make meaning out of the selection and combination of all fi lmic details, sifting through slight changes of framing as well as changes in actor’s energy.”2 As a spectator establishes an engagement with an actor’s artful performance choices, the actor’s activity and creativity is fully acknowledged-including the composition of signifi cant bodily gestures and facial expressions. Thus, the actor in fi lm is an acting human being who changes and selects; the actor plays with energy and both communicates and meets with the spectator in close interrelation.