Firing An Actor

ussinners

ussinners

I've never done it. I hate to do it. But, this person has gotten on my last nerve. It's been bugging me for a while (since my rehearsing thread).

Should I toss a coin? Just take the leap. How the hell do you tell them? I seriously only have two gears left, extremely nice, or rotten ass nasty.
 
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What have they done?
Are they just annoying or have they had a negative effect on the production?
Are they contracted and have they broken contract or will you be breaking contract by firing them?

I would say it's probably always better to let someone go by being nice about it, but it's a difficult decision to make. Isn't that what your First AD is for? :D
 
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No need to be rotten ass nasty at all.

Call this person up and tell them you have decided to take the
character in a different direction. Thank her for her time and
wish her well.

Or simply tell her it just isn't working out. Most people are not
so obtuse they don't know when things are not as they should
be. She might very well be trying to come up with a way to quit
without hurting your feelings or putting you in a bind.
 
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Agreed. If someone is hurting a production its no benefit to them, you or anyone else to keep them on. Just make sure you don't violate contracts.

I know some people that intentionally become hard to work with when they don't want to do something because they want you to let them go. They don't want to be there, but don't have the nerve to quit.
 
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No contracts have been signed yet. This is just pre-production trying to get things going. We start shooting the end of the month. But, if I fire these two, I have to start over, because they're the leads. Which sucks, because they're talented.

I could just fire the one, and that might scare the other one into being a bit more reliable But, I saw things (in plain sight) that shows that the one I hate really longs for the limelight. So, giving her a "This isn't working out talk" to me won't help her in the future. As much as I can't stand being in the same room with her, I'd like to tell her why. Maybe she'll listen, maybe she won't.

But, by the same token, the other one is worse. But, she's the lead. She seems to be generally excited about doing this (when we're in the same room). It would just suck if we started shooting, and everything I think will happen (and none of it is good) actually happens.

So, I think what I'm going to do is either sit them down in person and have it out. Which I dread. I'm not confrontational. Karen and I have had a handful of arguments in 25 years. That's how easy I am. I go with most anything. Or I might write an e-mail listing the multitude of things they've done to annoy the hell out of me. In every instance from the point that they were given the roles, they've managed to disappoint me every step of the way. It's mind boggling.

Sidewalkbowling: After asking if they wanted beer, I bought a six-pack so we could relax while picking out costumes. I also brought a cigar, and I thank God for that smelly stogie. After my frustration level reached it's peak, it gave me an excuse to go out on the fire-escape to be by myself. My favorite question of the night was "Can you explain to me the difference between black jeans and slacks, and why does it matter?"

Oh and I have to admit I enjoyed getting there, and the actress continuing doing things on her computer until I said "Do you want to get started?" Gotta love that kind of respect.
 
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If you really think they're right for the part and you think you can stand the length of the shoot working with them, be sure you sign some contracts to ensure they follow through.

I wouldn't do it though. There's plenty of actor fish in the sea, and I'm guessing neither are name actors that will sell your movie based on their fame alone?

Nothing tears a set apart like strife. Find people with good character first, it's the most important quality.

Edit:
And I mean "moral character", not character like what they're playing haha.
 
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PaulGriffith said:
If you really think they're right for the part and you think you can stand the length of the shoot working with them, be sure you sign some contracts to ensure they follow through.

I wouldn't do it though. There's plenty of actor fish in the sea, and I'm guessing neither are name actors that will sell your movie based on their fame alone?

Nothing tears a set apart like strife. Find people with good character first, it's the most important quality.

Edit:
And I mean "moral character", not character like what they're playing haha.
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Neither are names. But, honestly are really great. But, I do believe attitude and professionalism play a large part in succeeding. Neither of these two have it.
 
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ussinners said:
I could just fire the one, and that might scare the other one into being a bit more reliable But, I saw things (in plain sight) that shows that the one I hate really longs for the limelight. So, giving her a "This isn't working out talk" to me won't help her in the future. As much as I can't stand being in the same room with her, I'd like to tell her why. Maybe she'll listen, maybe she won't.
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That's an entirely different issue. You don't just want to fire her
and move on, you want to teach her something in the process.
Maybe even get her to admit you are right and she is wrong?

I got no advice on that at all.
 
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Honestly, as an actor, I've only seen egos get worse on set, not better. Talent isn't the only thing that makes a great actor great. Trust your gut, cut them loose and recast. It's better to hold production up and get a good product then to push forward and blow it all to hell.
 
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I would sit them down seperately and go through your problems with them and dependant on their response would decide whether it can be retrived or not - and if so lay down the law in regard, once on set there to work not mess around on laptops etc..

You say the good one really wants it - so if she's at all serious about her craft the shock of being on the brink of losing the part will show that either way.

However, if you've really had it then just tell them face to face that the level of professionalism isn't up to scratch and you're letting them go - maybe they'll learn from it, good luck etc.

All the best, Jim.
 
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I'm also for the old school "Sit-down".

Like has been mentioned above, if either are serious about their work, then they'll pick it up. Let them know that there's a long way to go in a production, and any problems you have now have to be ironed out to proceed, and to do so successfully.

You trust in their talent, tell them that, remind them of their strengths, and be sure to stress that their flaws-however insignifcent- are not tolerable on your set, or anybody elses set. You're honest enough to sit them down, they (I hope) will respect that. Thousands of Actors far less talented are getting more work, and it's because they've better attitudes, the job is as much about being comfortable on the set, as it is behind the camera, tell them where they are going wrong, how they can improve, and that your door is always open if they have a problem.
 
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But, if I fire these two, I have to start over, because they're the leads.
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Get your "stars" to sign deal memos. Have backup choices in mind just in case. You ALWAYS should have solid backup choices for lead actors. I've found that 1 out of 10 actors flake out for various reasons. It's best to "let the buyer beware" so to speak. For example you don't want some actor to freak out if they find out for the first time while on set that there's profanity or nudity in the movie. Sounds basic but there's a lot of dopey actors out there. Before they sign the deal memo ask them if there's anything they might have reservations about.
 
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kurtyaeger said:
Honestly, as an actor, I've only seen egos get worse on set, not better.
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As a non-actor, I completely agree with this. As Jamster and PaperTwin suggested, talk to them in private about the problems, and if they don't change or they react badly then dump 'em. All the brilliance in the world means nothing if their attitude on set is unprofessional and makes it harder for the rest of the cast and crew.
 
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Having been in this position myself, I would say go with your gut on this one. If you're having a bad time of it in preproduction, it's only going to get worse once you're in the middle of filming and they know they're irreplaceable.

Besides, one thing there is no shortage of in the world is actors looking for work :)
 
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directorik said:
That's an entirely different issue. You don't just want to fire her
and move on, you want to teach her something in the process.
Maybe even get her to admit you are right and she is wrong?

I got no advice on that at all.
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I'm 50 and they're 22 - 24. They seriously might not know they're completely inconsiderate and unreliable. Just about every e-mail that I eventually get starts with "I'm so sorry". After the first few it's just insincere. Imagine if this was a true professional production?

However this works out, I'll know I tried my best.
 
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ussinners said:
I'm 50 and they're 22 - 24. They seriously might not know they're completely inconsiderate and unreliable. Just about every e-mail that I eventually get starts with "I'm so sorry". After the first few it's just insincere.
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Fair enough. You want to teach them a lesson that will carry over
into the rest of their professional life. I got that. Very caring and
fatherly of you.

ussinners said:
Imagine if this was a true professional production?
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I was. That's why I suggested what I did. I was imagining it was
a true professional production. What you want to do is teach these
young women a life lesson - I was suggesting you treat them as
professionals.

I hope this works for you and them.
 
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I wrote a very nice calm e-mail. It outlines everything. I sent them a note asking to write me when they get home. I don't want them reading potential bad news while out with friends or at work. One of them has it now. So, the other will know about it soon.
 
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I would have contracts signed before rehearsals began to be more binding. But, since you do not, you can cut them. But, how will recasting effect your production at this stage?

That you must consider too.

I still remember a story about a high budget production where a director had an actress fired and a new actress called in when more than half the movie was already shot. And, everything was shot over from the beginning because the director just could not work with that actress. The director and actress just could not agree on anything. So, he had her fired.
 
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