As a director (and directing coach) I am really interested in hearing from actors. We get a lot of advice from directors on how to work with actors which is of course very interesting but many times not that useful. How about we open the conversation and let the actors tell us what works for them, what doesn't work, when they want direction, when they want to be left alone. And if actors are dealing with fears (big topic) what are the biggest fears. We, as directors, are not mind readers. And I know that many actors are reluctant to share their own fears or insecurities, especially with a director or producer. Let's start a dialogue here that we can all learn from.
Acting : How Directors can best work with actors. Let's ask the actors. by Mark W. Travis
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Mark W. Travis This is a good topic, Mark. I'm surprised you're not getting more responses. I can tell you as a director and screenwriter, it's important for an actor to emphasize the correct word in any line of dialog. If the smallest word in a sentence gets the wrong inflection, it can change the whole block of dialog. "Boy, these pretzels are making me thirsty" is a classic example of this if people know where this reference comes from. The next thing I look for is what I call "The Bobble-head Syndrome" where an actor feels the need to move his head up and down while speaking. I have never experienced this in real life and find it annoying when it's blown up on the big screen or in a close up. If you have a free floating frame director and a bobble-head actor, you'll get motion sickness before the line is finished. There are those rare moments when director's haven't explored other options for a line. I don't mind experimenting during a rehearsal and only rarely on set with an key line, will I take suggestions and maybe shoot it both ways, but save your interpretations for really import lines and not some simple lines. Remember the boom operator's arms can get pretty tired. You don't want to piss him off. Those guys are really one of the most underappreciated but most important members of the crew.
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This is a good question, and I am thinking on how to answer. I come from theater and I don't have much experience being directed in TV/Film. which is a completely different animal.
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Philip David Lee, thanks for the response and some of your thoughts and techniques. I, too, have no idea why there aren't more people responding to this question. At the core and heart of any film are the characters and the performances of the actors. And it is the most challenging aspect of directing, gettng performanes that you KNOW are going to work. So let's open up this discussion to HEAR FROM OTHERS what they do and how they work with actors.
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Suzanne, you are bring up a great point (and thank you for responding). The difference between acting for theatre and acting for film and television is enormous. But it is also enormous for the directors. I've been directing for over 40 years (TIFI.us) in theater, film and TV and I continue to explore and learn how to work with actors in all three mediums. Susanne, as a Stage32 rep can you help ignite a broader range discussion on this very important aspect of filmmaking? I'm happy to help you in any way I can.
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Mark I'm a lounge Moderator, not an employee of Stage 32. About all I can do is try to keep bumping this thread to the top.
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On this topic guess what: there's an education class coming up :
Directors: How To Work With Actors From Audition to Post Production
https://www.stage32.com/education/products/4-part-class-directors-how-to...
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As an actor, the thing that I find important is when the director gives me space to perform the scene initially without trying to control everything from the start. That can make the actor feel tense, and then the director will not be able to get the most out of the actor. Let the actor give the scene a go, then give notes, direction etc. Also, I always feel at ease when the director is not tense, we know how tight the schedules are, but going into a room of tension never helps, it just keeps the tension alive.
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@Emma Thanks for your comments, Emma. They are very helpful and insightful.
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Suzanne Bronson Thanks for the information on the class. It looks very interesting.
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Hi all, Thank you Mark W. Travis for asking this question. Firstly, I agree with Emma Louise Burdett. What she says makes absolut sense. Also, I have been priviliged to work with high profile academy award winning directors and what I noticed is that (A) They gave me creative freedom. An Award winning director told me he always knows when an actor needs direction and also when they don't need direction. He leaves the actors alone most of the time. (B) When he gives direction it is short, precise and to the point, no waffling! And no confusing notes. (C) When I had to do a dying scene, the director came and explained everything and he discussed it with me. He also gave me a visual example, which was very clear. A really great director collaborates with the actor. So I felt sure I knew what to do. That is the difference between a good director and a great director.