How do YOU direct actors?

This subject came up in a movie discussion thread, and there seemed to be some interest in a separate discussion on the topic -- how do you direct actors into delivering the best possible performance? If your actors are your friends (which is so often the case) how do you get them to take you seriously? What techniques do you use to make your actors more comfortable and more in touch with the character?

Please, feel free to share your thoughts and experiences!
 
Working with actors is one of my favorite parts of the process of film making. In fact, I could easily give up film and do theatre. Writing and working with actors is my passion, the mdium I work in is just that, a medium.

One of the things that I've only just realised is a massive part of getting good work from people is good casting. I know that with experienced actors it's great to cast them against type, but with most performers putting a person into a role that feels natural to them is 90% of the battle. One of the most common forms of feedback i get from actors I've worked with is "I almost didn't need to learn the lines, it felt like the most natural thing in the world to say what I was supposed to say next."

The truth is that for most of my films I mentally cast before I write, and then I write the dialogue in the vocal style of the actor I have in mind. This is where working with friends is a real bonus, because the better you know someone the easier it is to write for them.

I think the next key to directing actors is to get them stood up and blocking the movement as soon as you can. I think reheasal time before the shoot is vital. Firstly because it give you a chance to tighten up the script, in my experience 30% of the dialogue either goes or changes in rehearsal.

In terms of getting good performances I think that the best thing to do is look at it slighly differently and see the process of directing as mainly about avoiding bad performances. What happens with an actor is simple, if they don't understand why or what they are doing or saying, they will try to cover that with whatever acting trick they feel most comfortable with. For instance, some actors will try to externalise the performance and you get very false facial expressions or wild hand gestures. Other actors just bluff their way through it and some just look terrified. Whatever they are doing the root problem is always the same, they are unsure of themselves and are thinking about the performance, rather than communicating with the other actors.

The first job of the director then is too recognise these "bad" performance moments, not as a failing of the actor's ability, but more a failure of understanding. Curing that failure of understanding is largely about talking one-to-one time with each of the cast members. I always to this one-to-one and not in a group, and I also emply what is know in the trade as the "shit sandwich" technique, which is, if you have to work on one problem in the performance, you start by telling the actor two things that you really liked about what they did before exploring the problem area. If you only ever give critical feedback, you undermine the actor's confidence and you'll get more and more bad acting as the actor's fear grows.

As acting is primarily about confidence, the more you build up your actors the better they do. One thing I think that is vital is at the end of each scene to take a few moments to talk to each of the actors and give them positive feedback about how well they did. Personally I don't diffentiate between extras and leads when I do this (Although I probably would if I was doing an epic), the truth is that more shots have been ruined by shoddy acting from extras in the back of shot than have ever been ruined by the leads. Giving attention to them is the key to ensuring quality control. I try to make my feedback specific, rather than just a quick "well done." Even for an extra I will say "Thanks for what you did in that scene, you don't know it but the way that you walked through shot on that last take was absolutley perfect timing for the composition that I wanted. I just wanted to thank you for that."

If you've got an actor who just can't get the line right and no matter how much you discuss it, it just won't happen, all is not lost. You have two choices, change the line or as an option of last resource show the actor how to deliver the line. Changing the line should only happen if the actor isn't changing the meaning. Sometime an actor will say things like "My character wouldn't say that." It's the hardest response to deal with, because my natuiral reaction is to say "Well I wrote the damn piece, and the character I wrote would say that." However, that is never productive so I generally go "Do you have another line in mind?" and see what happens. This isn't to say that I'm going to change the line, I'm just trying to find out what the actor thinks is going on. Often these moments are an indication that the actors has taken some aspect of script and built a character from it that isn't what you intended. On some magical occassions you see that the actor has a better understanding of the situation than you did, on others it's an opportunity to widen the actor's knowledge of the chracter and the role, allowing htem to make adjustments. This stuff has to happen in rehearsal, because there is nothing worst than hearing an actor say "Ah, now I understand what this character/film is about" two thirds of the way through shooting.

The last resort is spelling out exactly how you want the line delivered, the key to this is understanding that a spoken sentence in drama should only have one word emphasised.

So you can say:

"I TOLD you", or "I told you", or "I told YOU"

Where you place the emphasis changes the meaning. In a situation where you are running out of light and the actor isn't getting it there is no choice but to take them to one side and say, I want you to put the emphasis on the word TOLD.

In those situations I always take the actor to one side after the scene and apologise for having to be so direct in my direction and explain that the time was an issue. I know some actors find this way of working insulting and I can understand that.

The only other thing I would say is that the real key to directing actors is learning to let go of your need to control every aspect of the film and learning to enjoy what happens when other people bring their creative input to a film.

Actors need the director to be like a great Dad, someone they can trust to help them do great work and who will support them when they need it, but who gives them enough freedom to express themselves.

There's a lot more to this, but this will do for the moment.
 
It all starts at casting. If they can't adjust to your direction at the casting stage then you will never really get what you want during the shoot. Usually people improve a bit but that's about it. Some actors are loose canons and give different performances every time; I hate those types! Keep in mind that you will have a vision of what the character is supposed to be, based on the script, but once a real human walks in the door it all changes and you have to have an open mind, but also be able to quickly decide if they fit the part or not.
 
John@Bophe said:
how do you direct actors ?

I use an electric cattle prod and a bullwhip. if they don't do what I want when I want it, they get the business.

sarcasm.gif
 
Before 'on your feet' rehearsals begin, I like to have a table talk rehearsal with my actors. It's pretty common in theatre, but I haven't seen it too much on the films I've worked on as an actor. Basically, we sit around a table, read the script, discuss character ideas, motivation, subtext, relationships, problems, challenges. As the director, I go in with a good idea of where I'd like things to go, but I keep an open mind - very important - because I like to try to create a collaborative ensemble where everyone feels comfortable contributing and even disagreeing with me or each other. Experienced actors come to the table pretty much knowing the rules of how things should go. If you're working with newbies, you have to set the example. I think doing a table talk discussion before anything else is always helpful.
 
Before 'on your feet' rehearsals begin, I like to have a table talk rehearsal with my actors. It's pretty common in theatre, but I haven't seen it too much on the films I've worked on as an actor. Basically, we sit around a table, read the script, discuss character ideas, motivation, subtext, relationships, problems, challenges. As the director, I go in with a good idea of where I'd like things to go, but I keep an open mind - very important - because I like to try to create a collaborative ensemble where everyone feels comfortable contributing and even disagreeing with me or each other. Experienced actors come to the table pretty much knowing the rules of how things should go. If you're working with newbies, you have to set the example. I think doing a table talk discussion before anything else is always helpful.

I completely agree -- a script read through is an essential part of directing a film -- it's got so many uses -- not the least of which is giving the actors the opportunity to discuss their character. On a feature I'd devote at least a whole day to read throughs, before I even go to blocking and rehearsal.

The thing is, if you don't do this then there is a strong chance that the actors first experience of seeing the story in sequence will be at the premiere.

The other thing that is important about read throughs is it is the start of the relationship between the actor and director -- it's when as a director you start to get a sense of what the actor is going to need from you -- because for every Morgan Freeman who wants to be left alone, there are fifty other actors who desparately need input from their director.

The trick, however, is knowing what that input should consist of -- well, when I say trick, what I actually mean is skill, knowledge and experience.

If I'm honest, which I am, I'd say that in my experience there is no such thing as a bad actor, only bad directors.
 
Last edited:
Clive, how do you protect the actor's space from "external stressors" - noisy crew, noisy locations, and so on? I seem to constantly battle to protect the performance space of the actors. I've also found that the DP, Script Supe, and AD also ask actors to cheat around for lighting or for continuity which potentially confuses the direction I'm giving them. I ask my crew to relay requests to actors through me but inevitably the natural instinct is to ask the actors for adjustments directly, potentially altering the delicate chemistry of the actor's performance space/"bubble". On a couple of occasions I've called "clear the set except for actors" if I need to reset the "bubble", but I want a way that doesn't require temporarily removing most of the crew from the set.
 
Last edited:
Clive, how do you protect the actor's space from "external stressors" - noisy crew, noisy locations, and so on? I seem to constantly battle to protect the performance space of the actors. I've also found that the DP, Script Supe, and AD also ask actors to cheat around for lighting or for continuity which potentially confuses the direction I'm giving them. I ask my crew to relay requests to actors through me but inevitably the natural instinct is to ask the actors for adjustments directly, potentially altering the delicate chemistry of the actor's performance space/"bubble". On a couple of occasions I've called "clear the set except for actors" if I need to reset the "bubble", but I want a way that doesn't require temporarily removing most of the crew from the set.

I think there are a couple of different issues here -- and on many levels you can't protect the cast from the set environment -- I think that's one of the factors that makes film acting so hard.

One of the things you might ask yourself is whether you've put enough "Off Set" rehearsal time in -- the reason I say this is because a film set is a hard environment for an actor to develop their character or figure out how to do a scene -- if most of that work is done before the crew is even there, with just the director and the cast, then when it comes time to be on set, then all you're doing is making the action work for the camera -- in that case the distractions aren't so important.

The other thing that I do with my crews, in particular my key people, is I tell them early on that I don't want any instruction going in to the actors from anyone but me -- if there's any deviation from that during a shoot, I take the person to one side and gently remind them. I had a 1st AD, who was a director in his own right, who had a habit of calling in suggestions to actors about performance, I really put my foot down about that early on and it stopped. I think this is important, because howeverf well meaning the suggestion it can actually cause massive confusion for the actors if they're taking direction from mulitple sources.
 
Since this thread has been pulled out of the cobwebs, How do *I* direct actors? Well, poorly. That's why I now stick strictly to the technical side of things, and post. ;)
 
Last edited:
My technique is a little different since I often write the scripts myself. I break the age old rule "write what you can see, not characters thoughts." As I write I often visualize the movie in my head so if there is a specific emotion a character feels I don't hesitate in getting into the characters head. I don't write paragraphs mind you... just a sentence or two that gives the actor an idea of what their character is thinking. This helps on set because the actor then knows exactly where the character is emotionally. Doing this we then don't have to spend a lot of time on set going over it. They already know.
 
For me two words... confidence and knowledge. I ahve seen many a director lead by the stunt guy, actor or whoever is the most powerful voice. Know what you want to do and put it across confidently like you are the only voice.
 
My technique is a little different since I often write the scripts myself. I break the age old rule "write what you can see, not characters thoughts." As I write I often visualize the movie in my head so if there is a specific emotion a character feels I don't hesitate in getting into the characters head. I don't write paragraphs mind you... just a sentence or two that gives the actor an idea of what their character is thinking. This helps on set because the actor then knows exactly where the character is emotionally. Doing this we then don't have to spend a lot of time on set going over it. They already know.

Same here. Glad to know I'm not the only one.

This is an interesting thread. I've only directed once (a short film) and have no real training (just hands-on experience), so i may have gone about everything entirely wrong. I cast the film mostly by finding actors who were similar to the characters. i figured going with type, it'd be easier to get them to do what the character would. all three of the actors needed different direction. one was very much "tell me exactly what to do and how to say it." another was "tell me 'why' my character is doing this and i'll do what they would do." and the third was supposed to be very wild and i actually used a lot of his outtakes in the final film as they were very raw and unexpected.

while this is an odd way of going about directing (i said, i have no real experience), it worked out amazingly well. having written the script, i knew what i wanted from the lines they delivered and if they didn't get the words right, but the meaning was there, i let it go. there were a few times where i did "fight" to get a specific performance, simply because it was necessary for the film. But mostly, if it was a good performance and in character, i'd let them play.

looking through the footage during edit, it was amazing how many takes we had on certain things and how few on others.

another thing i discovered was that one of the actors really responded to being on set (or in "the world") and his performace soared in that environment. he became his character and fed off the fictional world around him. not sure if that is often the case (or if any of this is remotely typical).

love to hear others' insight and personal experiences/techniques.
 
Not that this comment will mean much, but I would imagine that if they were your friends, they would understand how important it is to get in good performances and complete a movie worth seeing.

But I'm almost certainly being naive.
 
Hey everyone,

This thread is incredibly interesting!I'd like to add something that I find very useful when directing actors...I'm only a beginner as a director but for me, what works well is to direct with questions.

You know exactly what a line or action means, but by asking your actors about it is better. If you tell them straight away what you want, they won't take it in. But if you question them about it, eventually you will hear the answer you want to hear, and YES. You agree with them. This makes them feel like it was their idea, and they take it in much better. It also assures you that they understand it. At times, you may not get the responses you would expect or would like to hear, but this can be very positive. Because they can say things you never thought about and it works!Or things about your script you never knew about it and its true!So I find its very important to give a lot of freedom to actors in this sense...You would be suprised with what lovely ideas they can come up with...

Read throughs are essential. Spending an entire day just reading and talking about the script will really not only get them to understand it, but built a friendly relationship between you and the actors. I suggest you bring cookies and apples to first read throughs and rehersals. Making the atmosphere as homey as possible will make them feel much more confortable.

Something I did want to ask that I was not sure about is whether it is a good idea to bring a camera to rehersals? I've never done that, but somebody suggested it to me the other day. The reason why I've never done it is because I just want rehersals to be about their understandment of the story and performance. Its about the actor and not getting the shots right. But I'm not sure, I thought I'd ask here see what people think.

Thanks!

Alejandra xox
 
Hello all,

To see examples of my direction (writing and editing), please visit www.hauntedmovie.com and view clips from several movies and trailers there. Or visit www.youtube.com after a stonepatterson 'search'. I am not famous or rich or anything other then an individual who loves taking an idea from script to scream. Striving to have the best final production possible. So take the following with a grain of salt.

First -- I modify my script, directing and editing to fit the cast as close as possible (as the writer, director and editor I don't have to worry about the writer, director or editor's ego). Not working with proven or professional talent can be a plus if the actors feel comfortable within their character's skin and trust that you will not make them look weak in front of the camera. I rely on the strengths and weakness of the actor's individuality to make the scripted character feel (sound and look) 'real'. Adjusting dialogue as needed.

Next -- I use three cameras (DVcam allows me to use a lot of tape and not waste a lot of money) as often as possible -- in different angles maintaining the 'stage-line' . We videotape one or two 'laid-back' rehearsal sequences -- to let everyone know where they should or shouldn't be in regards to camera(s), location and other cast members. This bonus footage sometimes can be a great 'extra' for later use as actual footage or ambience and sound effects.

Third -- I let my actors act. I let them push the envelope while the material is fresh. We play with what is comfortable for each cast member in body language and dialogue. I bring them closer to character's dialogue and movements by reviewing what we have shot (and getting their feedback -- how can it be better and what doesn't work).

Fourth -- Keeping them in character really works because I shoot several shots at one time (up to a page/full minute of script). Three camera(s) also keeps continuity on target. We may do several sequences five or six times (moving cameras for a wide range of editing choices).

Fifth -- We move in to do close-ups and cut-a-ways last, (the cast is ready for such and confident with material of the sequence by this time). Eventually we get all the needed dialogue. One page/full minute of sequence shooting is a long time. But by having so much material to work with, as editor I have a lot of creative choices.

Sixth -- I shoot on the weekends -- all day Saturday and Sunday. I edit Monday through Thursday and author to DVD-R the edited footage (with or without music/FX). Cast gets to review that footage like a 'weekly' daily. By shooting in sequence as often as possible -- cast gets a solid feel of their character and movie pace. If we need to re-shoot, to add or alter anything we make the plans to do so (during the week or after a weekend shoot).

And Seventh (but not last) -- Having all that extra ambience, sound FX, footage, close-ups and cut-a-ways, as editor it is really easy to manipulate the best combinations of footage available.

Some may think this is cheating. There is no such thing as 'cheating' in the story-telling for me. You either get a believable story or you don't. My goal is to make my cast look good and tell the best story that I can.

Please visit and view the actors and stories. The actors are very good and a lot of fun to work with -- I cannot give them enough praise... would also like to hear any comments.
 
There are a number of methods that are used when directing actors. My personal experiences and belief on this subject sums it all up for me and they are that what works the best is doing what will yeild a more effective performance based on the type of actors you are working with.

When working with friends, relatives, friends of friends, relatives of friends, etc. and the list goes on from there, it is important to not only know exactly what you want, but to be able to communicate that in a way that non-professional actors can understand and to also maintain control of your set and your vision to ensure that the story does not go off on some other path. Friends, relatives, etc. may not take the production seriously because they are not concerned about a future career in acting and may be doing it for fun, so one of the most important things to do with this type of cast is to make sure that the production
time is being spent getting quality footage and performances and not spent goofing around, thus wasting valuable time and production money.

When working with children, it helps to take one of two approaches. They can be deprived of toys, food, television and any other enjoyment until they get the scenes right (This works best with relatives and one's own children. I would not recommend this for kids that you picked out of a casting call, because you could be sued by their parents) or they can be met at their level where you do whatever is necessary to get the desired performance. For example, offering the chance to watch a Hanna Montana DVD or playing a Wii game with a child in exchange for a stellar performance may help to get the scene done faster with all of the shots that you need. Also, directors that are in to that "goo goo, ga ga" baby talk could use that on set to bring out good performances in children...or at the very least, keep them from crying and running all over the set, throwing your props all over the place.

Professional actors are by far, the best actors to direct because there is no need to babysit them or cater to their selfish needs. They show up, get the job done and go on to their next project. There are tons of professional actors, even non-SAG actors who really enjoy the work that they do and take everything seriously as if it were their one and only role. Rehearsing is helpful beforehand, just to make sure that the director and cast members are all on the same page when it comes to how the storyline is going to play out. Also, giving them some tips and pointers on certain details about each character definitely helps as it can create some great performances. After a good rehearsal, it is usually easier to just shoot the scenes and let the actors act. Even if they mess up a line, some professional actors may pick up where they left off immediately, without you having to yell "cut" or telling them to do so OR they may adlib the scene and the resulting action or dialogue may turn out to work better than the original blueprint in the screenplay.

Overall, it all comes down to good communication. Directing actors should include clear communication...thats a good way to get the ideal performance.
 
Hey everyone, I had a wonder and would like to hear some suggestions.

I'm only a beginner, but usually the method I use for directing actors is by asking questions. I never tell them exactly why the character does certain things, I rather ask them about it, and let them find it themselves rather than me telling them. This way I feel they understand it better. However, if you find yourself with someone who still feels confused about his character, should I keep going by encouraging him to find out by asking further questions or should I be more splicit and tell him what it is, and explain to him why the character does certain things. I'm not sure if this would benefit the actors or not...Suggestions and ideas very welcome..!

Thank you

Alejandra xox :)
 
Back
Top