In general I think you need to let the actors know a lot about the character and then generally let them act. Let choose from the script but also tell them know more about the character than might be in the screenplay and be ready to talk to them about each scene if need be to explain what the character is going through. They can then use that information, hopefully, to portray how that character might do things that might not be detailed in the script. A smirk as they say a certain line or a dismissive wave or the blocking of the scene in general.

If the actors choice is wrong, give them direction. That is a polite explanation of how you would prefer it and why. For example: "He really wouldn't give a dismissive wave because that would tip off the villains who for all he knows *might* be watching." I believe the why is key because you don't sound random. There is a reason he would do this and not that and you should know that reason.

If the actor still insists that their way is better try to shoot it both ways. Who knows, when you get to the editing room you might find out they were right.

RJSchwarz

I didn't want to start a new thread because it's sort of on topic. My question is: for a documentary; is there something I can tell the people who I'll interveiw to ease their camera shyness? Like ''Ignore the camera, it doesn't realy exist. You're on LCD man'', lol. Do any of you know any good things to tell people? I can imagine it might make people nervous to have a huge camera staring them down, haha.

For me; I'm not going to be saying anything ''into'' the camera, so I'm not conserned, I'll just ignore it. But if I did have to; I'd just imagine the lens was a friends eyes. I'd also try to not pick a spot on the lens to stare at because that may make me look cross eyed on screen, I'd just kindof unfocus my eyes.

I think they often just talk and talk and talk about non-related stuff to get the person used to talking. Then shoot. Unless it's an ambush interview or you want the person to look nervous in which case the camera nerviousness can be used to make someone look guilty or whatever.

RJSchwarz

A lot of acting instructors favor the use of "action verbs," so rather than telling somebody to "be upset at Steve," you might tell them either, "show Steve how upset you are," or, "Hide your anger from Steve." Those two prompts could lead in drastically different directions, but are both predicated on the fact that the actor is upset. You can also offer up an "as if," such as, "deliver this monologue as if you are surrounded by spies." You can also give your actor something to think about--rather than do--during the scene.

Often, though, the solution is more simple. Run through a scene and when you hit a problem spot, just ask them, "Why did you do that?" Have a conversation about the delivery and how it reflects on their character. Don't forgo their input. The best thing you can hear from an actor is, "My character would never do that." When you hear that, it means your actor is present and smart and unwilling to embark on a performance that doesn't make sense to them.

Occasionally, depending on who you're working with and the results you're looking for, after a take you can just say, "No. Do it again." When using this method, though, plan on burning through a lot of takes and winding up with a frustrated cast and crew.

Finally, never do line readings. In other words, never say the actor's lines yourself and expect them to parrot your delivery. That is, if nothing else, rude and patronizing.

One more thought: Robert Altman once said something along the lines of, "Why on Earth would I tell an actor what to do? That's not my job." Words to live by.

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Andrew Gingerich
Exploding Goldfish Films
Check out my blog at http://www.exgfilms.com
and my reel at http://portfolio.exgfilms.com

Another thing to do is make sure you show & explain to them the storyboards for the scene - if they understand the movements, events and end purpose of the scene then they have a framework to work within.

Sometimes an actor just doesnt 'get' the character - they might think they do, but to you they could be wayyyy of target. Giving them as much information as possible beforehand can really help prevent vagueness, confusion, arguments and time wasting as a character is worked out.

One thing that can be applied to ALL stages of filming is - preparation is KING.

Preparation, Preparation, Preparation.

Prepare your actors clearly and simply, and they will then be able to run with it and give you a credible performance. This will make a crap actor tolerable, but it will make a good actor Great.

Duel

When an actor is good (better than you), they should be able to understand what is it they are doing wrong and then correct that. I usually use example of musicians: when a conductor tells his clarinetist: "I like how you played that solo, but it was a bit too harsh for Brahms. Let's do it again, only this time, make the melody more mellow and expressive". If the clarinetist is a good musician, he'll easily pick up on the indication.

When directing, though, it is dangerous to tell people how to 'act' (as in: "Give me angry! More angry!" or: "Act surprised and shocked!"). Results-based directions don't help actor build character. Cause-based suggestions are much more effective. An excellent example (from an acting book, I can't remember which):

An acting professor instructed an acting student to walk across the stage as if he is sneaking up on someone. The student hammed it up, making all kinds of gestures and faces and it was really bad. Next, the professor said: "Now, imagine the rest of us with closed eyes. Try walk across the stage so we can't hear you. The guy was focused on walking very quietly (i.e. sneaking around), and it looked genuine.

In other words; make sure you clearly know what underlying event or situation should cause a certain emotion, action or reaction in character and give directions based on those underlying events, rather than the resulting action. Even moderately gifted actors will be better able to extract an emotional response when they have a genuine and logical cause for it.

Actors love it when they have reasons to do things. Vasic touched on this a bit. Instead of telling an actor to act sad tell them to act as if their mother just died. Not only can you play with different reasons - such as instead of their mother dieing their pet does - but you get different levels of sadness that you can adjust based on the scene and you can always go back to that emotion because you connected it with something they could understand. Most trained actors should know of this acting style.

isn't this what the audition process is for?

give them the script, and tell them what scenes to prepare.

from the auditions, you'll know how they'll play it.

http://www.imdb.com/name/nm2729431/
www.williamcellis.blogspot.com

quote:

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Originally posted by hoxienation

ok so, I want to make a movie, need actors.
So I need some adivice on dealing with actors.
Directoring the film, do I tell them how to act? or do they choose from the script? How do I tell somone thats not the way I wanted the chracter? I ahve 30 more but I think you knwo where im going (HOPEFULLY),basically im just looking for any tips/adivice on dealing with actors....

-hoxnat

" see things through my eyes "

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Actors and the rest of the crew will be looking at YOU to lead the army toward the common goal, on a "shot-by-shot" basis and in terms of the whole.

To that end, it is imperative that YOU project a high level of confidence, authority, and education.

Looking at your post above, the grammar and spelling doesn't instill confidence in any way. "Directoring" isn't a word and if an Actor or other crew member ever heard you say such a thing, they would either stop giving it their all or they would simply leave your production.

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com

This article's about directing actors, it might help
http://www.raindance.org/site/index.php?id=47,196,0,0,1,0&highlight=actors

www.raindance.co.uk
Write*Produce*Direct*Film

hahaha I like how bjdzyak had to go into my spelling and grammar. Its a forum buddy. Notice how the first ten post ignored it, and answered the question. I guess your arrogance had to be shown on this certain post, to let EVERYONE know how cool and smart you are.

next time when I post I'll make sure to clearly state my question so there isnt any confusion.

thanks for your valuable time.

" see things through my eyes "

You may not like the criticism but he is absolutely correct. Mistakes made in a forum post are excusable but if these same mistakes are made in or around your production (on set or in paperwork) folks won't take you seriously.

RJSchwarz

"...it's a forum" does not give anyone license to project a lack of literacy despite our "texting" culture of late which seems to revolve around slang and language shortcuts.

If you wish for others to look at you as a credible source of authority on a film, then it is important to project an image of intelligence, confidence, and passion. Just because nine out of ten users of a forum don't think twice about poor grammar does not make it proper or acceptable, particularly when the initial question was in regard to the guidelines in communicating and working with others.

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com

quote:

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Originally posted by hoxienation
next time when I post I'll make sure to clearly state my question so there isnt any confusion.

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That would be a very nice change. Showing that courtesy
to others is the polite, professional thing to do.

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