You used to be a terrible writer. Now you're better. Am I correct in
assuming that's because you wrote a lot? I'm thinking the more
you direct actors the better you will get.

You ask several "is it normal?" questions. I'm sure you know that
anything you try is "normal". If it works for you, you should keep
doing it even if it's not "normal".

Since all movies are shot out of sequence, continuity is difficult. On
a "normal" set there is a person whose entire job is to watch for
continuity. As you now know, this is a very important job. Even the
best, most experienced actors cannot remember all aspects of
continuity.

However, it is your job as the director to bring each actor back to
the correct emotional place. The more you direct, the better you will
get at this. And like any talent or skill, you cannot get good work
from someone without the talent. Scott (and hundreds of other directors
who have said the same thing) is right. Casting is very important.
A lot of people believe they can act. Acting seems really easy - just
like writing does - but it isn't. You shouldn't need to babysit actors.
When you get the opportunity to work with good actors, you will
feel and see the difference. Until then, there is only so much a director
can do.

So if you are asking is it normal to have problems on a set, that answer
is yes. If you're asking is it normal to work with actors that aren't
very good, that answer is yes.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

In terms of the writing analogy. Yes you're right but I have been writing for years and years. It's only when I was working on a screenplay last year and I had a massive fall out with someone over it that I suddenly got better and I mean suddenly it was like a light switch went on and I realised what I had been doing wrong all this time. Now when writing I edit as I go and I try and be a concise as possible with dialogue whereas before I used to reem on and on about absolutley nothing.
In regards to this film I felt I could work ith all the actors but this lead guy. Every other actor managed to stay in the same mind set and emotional place every scene they were in were the other guy...I don't know it was almost like he was showing off and goofing around too much, I didn't get a sense of professionalism from him.
I only had to correct the others very rarely and every scene theyre in is fine.

My plan for next time (and please tell me if this is right). Make sure we have done rehearsals and every day on set before the shoot making notes on each scene each shooting day. So for instance in red pen so I can see it I would write;

'***** would be furious from having come from the fight the previous night, would be eager to have a row with his girlfriend and goading her.'

Basically are guiding notes like this what most directors do to help themselevs remember the emotional flow of the story from scene to scene.
I did wrote copious notes for the film but had to toss them all because of the ridiculous schedule we had. Ideas for the actors to try, etc.

Like I said this has knocked my confidence quite a bit in terms of handling actors so I'm trying to make sure I'm ready for next time.
I just dont know whether this was all because I hated the project both before during and after working on it. I also realised afterwards how little attention I was paying to the script as we were shooting and wether that was my down fall as you would read the emotion of the scene in the script and then tell your actors what you want.

Then you are the exception. You changed suddenly from a poor
writer to a good one. It took me years and years of work and that
light switch still hasn't turned on. I still need to improve. Same
as my ability as a director. I've directed dozens of plays,
several shorts and a dozen features and that light switch still
hasn't gone on. I still struggle. Hopefully that directing light
switch will go on for you soon.

Once again you are using words that are, essentially, meaningless.
I don't mean to come off harshly, so forgive me if I do. But there
is no "right" or "wrong". If making notes for your actors works
for you and your actors then it's right. If an actor or two don't
respond well to that method then it's wrong. Actors are each very
different. I don't know that there is a "right" way that "most"
directors use that will work on all or most actors.

And as you point out, not every production isn't the same. Copious
notes for actors to try out doesn't work when the schedule doesn't
permit it.

quote:

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Originally posted by appleguy
Like I said this has knocked my confidence quite a bit in terms of handling actors so I'm trying to make sure I'm ready for next time.

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I hear ya! My confidence is knocked about on every
single movie and play I have directed. I'm sure hating
the project was part of it. If this is the first time you've
taken a directing job on a project you hated then I
know that can be a bit of a shock. I've done it. And
it's not easy. Surely not as easy as directing a project
you have great passion for.

For me the bottom line is if you are expecting that light
switch to turn on for the process of directing as it did
for you with writing, you may need to spend years and
years directing before it happens.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Without much practical experience, I can't add all that much here, except a thought about actors. If you have experienced actors, as a director, your work is easy, as they will likely figure out many things on their own, and also be able to control continuity issues without anyone (i.e. you) reminding them.

If you have a bad actor, this will be the biggest challenge, since you can do very little to make him good. A gifted (but inexperienced) actor will deliver surprisingly good material if he has an experienced director who knows how to wake up that talent and harness it for the project. In other words, if you can't get experienced people, then you can hope to at least get genuine talent, where you can hopefully nudge them towards a good performance.

The help given above, has been given in good faith and some of it is right on the money. Here are some answers you will need to come to grips with.

Actors come in may shapes and sizes, but the actors who are most useful to you, are the ones you get a chance to pick in auditions and those who you know to be trustworthy from prior experience. A person who looks good and can remember lines, is not necessarily an actor. Acting requires talent, courage and intelligence, if these three things are in place, then the skill to work well should follow with experience. Never work with an actor, however talented you may think he/she to be, if they are also stupid. Intellect is a vital component and please, never confuse education with intellect, they are two very different things, they work beautifully together, but they are very often found alone.

Experiencing actors: In forty five years of film making, I have seen a number of problems between actors and directors, but nearly all have had to do with a basic misunderstanding. Experienced actors are proud of the skills they have learned, many are more experienced in film making than the given director, but they know instinctively that they must work with the director and nearly all will want to trust that director and be trusted in return. The creative process, so vital to the actor, is very fragile and can be crushed in an instant without deep trust, you must trust the actor he/she must trust you.

Let me first explain what actors are not and must never be made to feel. Actors are not puppets, they cannot be pushed and pulled around or even skillfully manouvred by gently pulling and releasing strings, neither are they chess pieces to be set on squares and moved at will. Actors, who are any good to you, will be deeply feeling, intelligent beings who have read the script and formed some ideas about the internal machinations and needs of the character they are being asked to play. As an ensemble, which is how they will be thinking about the other actors with whom they must interact, they will have a deep respect for each other, if they do not they must be sacked and replaced as surely as they should be if they do not show respect for the script, the director and the entire crew.

Beware of actors who at auditions appear to be playing the part brilliantly and definitively, they may be solo performers, or they may have fixed ideas about the character and will not take direction which is contrary to those fixed ideas, when you encounter this kind of "brilliant performance" at an audition, you must be kind and congratulatory, but then ask for a different approach from the actor, change the underlying situation of the character and ask for a wide variation, here you will get the valuable chance to see the actor working and taking direction, you will understand something of the intellect of the actor and his/her flexibility.

When you have chosen your cast, it is advisable to get them together for a read through, but when the read is finished don't simply give a few notes and then dismiss them, this gives the feeling that you have more important things to attend to than the actors and if you think that you do, then you must question yourself. Who or what is more important than your cast? don't forget that the script and the funding, even you, the director, have all been brought together for the finished product, which will be exposed film stock containing the actions and words of your cast. I advise making a day of the read through, select a few scenes for the leading cast to work on and invite the lesser players to be part of the group. As far as possible, without being huggy and incestuous, make a little family of your cast with yourself at the head of the family, talk to them and let them know that you have hopes and dreams for the film, that you have a passion for what you are doing and that you expect the same from them. the more they feel trusted and included, the better they will work for you. Throughout the entire process of film making, reinforce your ideas and wishes for the script, before each scene is to be shot, demand silence on set and work closely with the actors in the scene, talk calmly and softly, explain your feelings and requirements, run the scene, if the budget will allow the stock, run the camera (even without the actors knowledge if it is possible) for the first run, then use all forces to record the scene to your satisfaction. You will not be able to run the camera on a rehearsal every time, but a few occasions throughout your shooting day will give you a valuable tool for comparison and may occasionally give you a working alternative.

There is much to know and working with actors can be frustrating for the new director. You may hear some older, so called experienced directors, making derogatory remarks about actors; "bloody actors, they are all so self centred," "they are all so bloody arty farty," "they are idiots, they are insecure and need reassurance for every move" etc. This can be true, there are few things more annoying than a self centred actor, one who thinks he/she is a "star" or one who thinks he/she knows better than boring technical people like DPs and Lighting directors, but the vast majority of actors are good people who wish to please and genuinely want to give a good and useful performance and they wish to see the film prosper.

Regards,
Dracher

Does not the sandalwood impart its fragrance even unto the axe that hews it