Is it alright to put certain character actions in a screenplay?

[kid_filmmaker]

If you're planning to be the one directing your film, can you put things in the script like:

Michael frowns with tearful eyes.

or

Michael raises an eyebrow at Joshua

or

tears stream from Michael's eyes.

I don't mean putting this in like each and every scene but in some and certain scenes where it's necessary? Especially if it helps to explain the character's actions in the scene or it helps to better describe the scene as how the moviegoers would see it?

 

[derek smith]

If you're planning to be the one directing your film, can you put things in the script like:




or


or




I don't mean putting this in like each and every scene but in some and certain scenes where it's necessary? Especially if it helps to explain the character's actions in the scene or it helps to better describe the scene as how the moviegoers would see it?

if your directing it, why not have the screenplay without the emotions, and send this to potential Actors / Actresses...and keep a copy of the Screenplay with emotions in it, for yourself, so its easier to remember when directing the film

 

[kid_filmmaker]

if your directing it, why not have the screenplay without the emotions, and send this to potential Actors / Actresses...and keep a copy of the Screenplay with emotions in it, for yourself, so its easier to remember when directing the film

Yeah I could but I guess what I'm asking is, is it a no-no to put such emotions in the script? I mean, would putting emotions in a script bother the actor(s) and if I don't put it in the script, how do I describe when one actor says something funny that the other actor laughs or how do I describe when one actor is walking to another actor to hug them and etc?

 

[mlesemann]

You do run the risk of annoying your actors, especially if they're experienced.
They'll want some space to explore the script, the emotions, and how best to express them.

You may want to may some side notes for yourself, and discuss them with the actors as they prepare (rehearse, table read, etc). You can see what they (actors) bring to the scene (which may be wonderful and surprising) and then talk about how you see it.

 

[kid_filmmaker]

Oh I see, alright thank you for the replies.

 

[harmonica44]

I think it might be good to put emotional actions like that in as long as they are specific. For example, in my current script, I wrote about who a character is so disgusted by what's happening, that he throws up. However, throwing up is a much more specific thing to do than raising your eyebrow or shedding tears. It's much more of a physical action so I thought it's okay to write actions like that in, which can be more important to giving readers the feel of your characters.

 

[FantasySciFi]

It's okay to toss in actions. Just don't get into elaborate detail. As an actor who has worked in several film/tv/industrials, I would not be offended by general additions like you described. It helps me to make sense of the character's motivations. Sometimes dialogue isn't enough. As a director, do yourself and the actor a favor, don't make it a game of mindreading.

Most indie filmmakers will start by working with non-union talent who they aren't even paying or paying minimally/deferred. I've worked with some awesome talent who are non union. As a director, writer and actor, I don't put up with prima donnas. If you're hiring an actor/actress simply for name value, you need to decide beforehand if you want to put up with ego during the audition. Casting is often a very important decision but not one to be discussed here. I've been fortunate to work with some name talent who are remarkably grounded.

As a writer, your goal is to create context that the director and actor can work from that isn't overly restrictive.

Bland script:

Jim looks at Todd holding the gun.
                          JIM
           She still loves you.

Emotionally enhanced script:

Jim[COLOR="green"] smiles[/COLOR] and looks at Todd who holds the gun 
[COLOR="green"]and fights back a tear[/COLOR].
                          JIM
           She still loves you.

This gives the actors some sense of the internal states and lets them develop some internal backstory. If an actor has a problem with a script, it's okay to get the thoughts. As an actor, we invest time in preparing. However, as a director, it's your call. It's possible to be respectful and work with the actor to get the expression you're seeking in a scene.

What would I consider overkill writing for me as an actor?
OVERKILL:

Jim raises his eyebrow, shakes his head and 
smiles, curling his lip.  He looks at Todd who

holds the gun.  It shakes as it waves at Jim.
His chest heaves as he fights back a tear.

                          JIM
           She still loves you.

In this case, you're telling me how to act. How I portray "smug" needs to be authentic to me and the character for continuity. Similarly the range of emotions inside Todd can't be captured well on paper, so telling me how to portray that is pointless. Hope that helps from the writer/actor perspective. Good Luck.