How do I get the most out of my actors?

M

mrpeech

I'll be shooting a black and white 16mm short soon and would like to get some tips off anyone out there as regards working with the talent.
Should I be as quiet in my instructions as possible (non-obtrusive)?
If a scene is not going right should I cut midway through?

I'd be happy to know of any little tips to loosen them up.. ice breakers, words of advice etc.
 
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grinner said:
ya can't teach talent anymore than passion. Motivation is how to get the best out of any artist.
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Well...actually you kind of *can* teach talent...that's what schooling and practice do for you. Of course, if you are a lost cause, you are a lost cause, but good training and constant practice will always improve your craft.

I think the thread title 'How to get the most out of my actors' may not completely refer to performance, but I definitly think it's a major part of the point...and money isn't going to do that. Unless of course you spend money on quality coaches...which won't change night into day instantly, but it will produce better line-reads in general...

But paying an actor more, doesn't make them a better actor.

:) Just saying.

Cheers.
 
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Just wanted to throw out there (especially for Michael) That I decided to pay SAG low budget rate (whether they are SAG or not) on my next film. Only having one actress makes it possible, but hey I'm making progress. What this did is open up agencies etc... to me. I have 25 girls scheduled (of which if I'm lucky 15 will show up) to read for one role. I should be able to find a pretty good actress.
 
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Gonzo_Entertainment said:
Just wanted to throw out there (especially for Michael) That I decided to pay SAG low budget rate (whether they are SAG or not) on my next film. Only having one actress makes it possible, but hey I'm making progress. What this did is open up agencies etc... to me. I have 25 girls scheduled (of which if I'm lucky 15 will show up) to read for one role. I should be able to find a pretty good actress.
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So...you're going to pay whomever gets the role SAG rates? Or you're going through SAG and making this a SAG-sig picture?

Not sure what you mean.

You want to pay SAG rates...but you don't care if they are SAG or not? Interesting. So...it's on the principle of the matter...do you want a SAG actor? Or do you just want the best actor?

Trust me, if you don't have to go through all the paperwork, the headaches, and the potential hassle, I suggest you go non union, and just pay the girl SAG rates on principle. Perhaps that's exactly what you plan to do...I'm just a little confused about whether you're going SAG or not.
 
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M1chae1 said:
So...you're going to pay whomever gets the role SAG rates? Or you're going through SAG and making this a SAG-sig picture?

Not sure what you mean.

You want to pay SAG rates...but you don't care if they are SAG or not? Interesting. So...it's on the principle of the matter...do you want a SAG actor? Or do you just want the best actor?

Trust me, if you don't have to go through all the paperwork, the headaches, and the potential hassle, I suggest you go non union, and just pay the girl SAG rates on principle. Perhaps that's exactly what you plan to do...I'm just a little confused about whether you're going SAG or not.
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Actually prefer NOT to have a SAG actor because of the paperwork. I guess I wan't clear. I am paying the actress the SAG rate for a low budget film of $100/Day, and pretty much complying with the workday rules. I am paying that rate whether the actress is SAG or not.
 
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Gonzo_Entertainment said:
Actually prefer NOT to have a SAG actor because of the paperwork. I guess I wan't clear. I am paying the actress the SAG rate for a low budget film of $100/Day, and pretty much complying with the workday rules. I am paying that rate whether the actress is SAG or not.
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Gotcha. I'm with ya.

Very cool of you to do that. It would be nice to get SAG minimum anytime I worked...
 
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2001 Productions said:
That's a 100% valid technique. One that I personally do not subscribe to, but no less relevant for it.

When I direct a stage play (and I've directed many of them over the last 20 years) I rehearse the hell out of it -- hundreds of hours.

When I direct a movie (3 features so far) I have a table read of the script and discuss each character with the performer. On set, we block the scene then I roll camera. First take belongs to the actors, always. I don't care if they play the scene like the 3 Stooges (no one ever has).

In editing, I'll find as often as not there is at least one moment from that first take that has a certain spark to it that I never expected.

Just another technique -- personal preference, neither right nor wrong. :)
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I agree, I have acted and directed a number of plays, and acted in two films, directed one. And with Theater it seems rehearsing the hell out of it makes it better, makes it great! But with film it seems like that doesnt work for me. It always looks hollow, or fake. Like we the actors know what's coming, one tip I got from a director was "you are hearing, seeing, feeling everything for the first time. So take that in. Let it all effect you." I've always remembered that. I like to run the lines at a table, like you said, then go home with it and really get into it on my own. Then come to the set and show what I got.
 
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If I may ask a related question (and kindly use the OP's thread for it):) :

If I don't have the budget to pay SAG rates(or ACTRA in Canada), is there really a problem with going through the local community theatre groups work something with them?

I just don't know if its frowned upon or whatever. I just hear horror stories about a low budget picture making it reasonably decent in visibility, and the producers of the film getting flack, not from the actors-they've been paid and have paperwork in hand to show it-but from SAG/Actra union, because they didn't pay the going rates, used non-union personnel, ect ect.
 
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Tinalera said:
I just don't know if its frowned upon or whatever. I just hear horror stories about a low budget picture making it reasonably decent in visibility, and the producers of the film getting flack, not from the actors-they've been paid and have paperwork in hand to show it-but from SAG/Actra union, because they didn't pay the going rates, used non-union personnel, ect ect.
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Dude, I might be slow today or something, but I can't really understand what you're saying...

Getting flack from the union because they didn't pay the going rates? Well...you have to pay the minimum if you use a union actor--and of course if you're using a union actor, the entire film must then become SAG signatory or low or ultra-low budget. However they are broken down.

Not sure if that's what you meant...there's a lot of mish-mash in that paragraph.
 
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I got a bit of information in this area.. for the 48 hour film project, there is negotiated SAG day rate minimum DEFFERD payment. If the film does anything other than 48 hour film and other festivals Ill have to pay my SAG actors for the deferred amount. Seems OK to me, but Iv only one on the list so.. meh..
 
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