The Trials of Working With Actors

[RobinFrank]

As an actor, I have been involved in dosens of productions over the past two decades. I would like to open this thread to share experiences from actors and directors, writers and P.A.s, on the good , the bad, and the ugly of working with talent.

Actors are an essential part of film making, of course until CGI becomes so advance that we all become obsolete. But from the complications of auditioning to the late arrivals, the forgetting of lines, outbursts of laughter and freak outs, I'm sure everyone has a story or two to share about working with them.

As Hitchcock once said, "I never said all actors are cattle; what I said was all actors should be treated like cattle."

I'm not intending to make this a 'complaint' thread, at all. Just curious to hear some of the humorous or inspirational stories about working on a set and dealing with talent, especially in the field of independant film where budgets are small and the talent is hard to find, along with being hard to keep in line.

Any thoughts?

[richke]

Well I usually use my friends as actors for my small films. So the only complaint I have is they never rehearse or even learn their lines. So while I'm setting things up they have to do a rush rehearsal before we can even start taping. So that is irritating because I think they know I don't really have anyone else....so they can do as they please.

[HerzogisGod]

spend a little time and money and use professional actors...you wont have any problems

[egyptianboxer104]

once my lead actor droped out the week before. I put up an ad on craigslist with no serious responses (they all wanted pay which i couldn't provide) so i call a friend adn he told me he worked with this guy on some feature film (its a popular one but can't remember the name) and he called him up and got him on set.

The guy could not act. He said everything in his normal voice... which is a monotone... ending every sentence in a loong vowel... example

"What to you so looooong"

It was sooo retarded and ridiculous that i had my AD work with him for hours before we started shooting and we just went late. I told him to practice infront ot he mirror... no emotions the next week. At all. He didn't do his goddamn homework. Still that retarded burnt out pot head (swears he never did a drug in his life), and i was about to lose my mind.


Worst moment...

All he had to say was "no" in a sharp but quiet way to himself.

First three takes... he yells it... i yell at him all three takes. then he starts saying it like he should... except he's saying it "noooooo" instead of "no". In the meantime i had a girl screaming outside to open the door (part of the film). It took 13 takes for him to get it and we were eventually kicked off set by the homeowners union or whatever.


That's my story lol.

[ConspiracyPenguin]

When I was directing (and acting and writing and, in fact, basically doing everything) for one piece, I didn't have "actors," per se, besides myself. I used my film partners and that produced interesting results.

One couldn't take direction, or read the lines naturally in the least. The other lost interest and ruined the whole project. I don't think any more detail is warranted. And DEFINITELY not clips from the raw footage. :grin: I actually had a breakdown on set which prompted the camera operator to shut down temporarily (unfortunately for me, he still caught part of the incident).

[Michele Seidman]

ok...Everyone knows I am also an actor but...have done casting and been an agent, etc...

So there I was doing a casting call for the Police. Yes...sort of. It was for the FOP who needed an industrial but wanted to have several parts played out so we had to get fire arms experts (but no permits with all the cops we had on set woo hoo) and stunt men and more...

we needed some actors and I called all the agents because we did have a budget to work with and held a long day of casting sessions. one actor i had asked for by name...he did not show up at his time slot.

in fact...he came late to the audition and walked in drunk off his backside and giving everyone hugs like long lost friends and then tried to read for the part. it irked me to no end. not only did his reading suck but i never asked for him again even though some of his work was ok in the past. i did not want to take the chance.

it did not matter to me that he was a friend and still is a friend to this day...he came in without an ounce of professionalism and thought it was allowed. there is no friend during a casting session. if you suck you suck and i don't care how much i like you on a personal level...i don't hire people who do that crap! that is setting up the crew for their time to be wasted...

I show up on time (early mostly), I know my lines (yes i drop one now and then or have lines that don't like to stick but dag nab it i study my script on my time, not set time) I take direction (only argued it once or twice with reason), and I hit my marks and keep my wardrobe clean and don't mess up the hair style or make up job

for goodness sake that IS part of an actors job and if they can't do those simple things..fire them and hire me.

so there! :)

I will make one note the other direction though....One director I worked with went on and on telling me to stop smiling during one shot. I was not smiling. Not once did I crack a smile but he also was not listening when I tried to tell him he switched my position and should put me back on the other side....HE would not listen and to this day he does not get it...I have 3 dimples on one side of my face and that one side always 'seems' to have a smirk even when I am straight faced and I kept trying to get him to switch me back because then he would see I was not smiling and it would not 'seem' like i was.

so...directors can also be a problem on a shoot too. i know they have their hands full but to this day it is one of the few times i ever wanted to slap a director and tell him to shut up and listen because he was blaming me for a dimple and was not even aware!

Michele

[RobinFrank]

these are hilarious. I once also had an actor i was working with on a play drop out a week before we opened.

The week before that, he suggested that we take Magic Mushrooms on opening night.

Luckily, we found a replacement who was awesome but it was a terrible week. Imagine "The Real Inspector Hound" by Tom Stoppard without Birdboot!!!!!!!!!

[sergeyp]

Once I was shooting a parody of the office for a local competition, and the actors would just not shut up. If some of them weren't in a particular shot, they would just start joking and laughing in the background, just distracting everyone, even while we were shooting, I just had to kick them out. Horrible experience.

[David W. Richardson]

On my first feature (I was producer, not director) we had a lead actor who is really an AWESOME actor. This guy's been in TONS of stuff, including recurring TV roles, features, made-for-TV movies, etc. Can't say enough about him -- he's great. And what happened was NOT his fault. He'd hurt his back and was on painkillers the day of the shoot.

Okay.....his character has been in the hospital for awhile. Now he's sitting on the edge of the hospital bed, suitcase packed, ready to be discharged. The doctor walks in and says "Are you ready to go home now?" His response, as written in the script, was "You know it, doc."

I think it took about a dozen takes for him to get that line. On most of them, he said nothing. On a few, he took a stab at it. I kept telling him "You don't have to get it verbatim -- just say YES!" But he wanted to do it right. It was almost comical.

He had three scenes in that hospital room that day, and this was the only line he had trouble with. And believe me, the guy is a trouper. I'd cast him again in a heartbeat. But talk about your bad days. :)

Then again, he's out in L.A. now, and I'm still here in NC.

[Prodigi Pictures]

a

[Michele Seidman]

This is a great way to test smaller parts. Give a great actor a 10-15 line role in a film and see how they treat you, the crew and the process.

In short, auditioning never ends. Auditioning is constant. That's the only way to end up with great actors who are also great people.


Very well put! Not just the quote but the whole thing.

[j1clark@ucsd.edu]

The guy could not act. He said everything in his normal voice... which is a monotone... ending every sentence in a loong vowel... example

.....

Worst moment...

All he had to say was "no" in a sharp but quiet way to himself.

First three takes... he yells it... i yell at him all three takes. then he starts saying it like he should... except he's saying it "noooooo" instead of "no". In the meantime i had a girl screaming outside to open the door (part of the film). It took 13 takes for him to get it and we were eventually kicked off set by the homeowners union or whatever.


That's my story lol.


So, I was watching "The Trial"(1962), directed by Orson Welles, based on Franz Kafkas "Der Prozeß". And on a couple of occasions Perkins had a distinct wellesian 'voice'... well, according to IMDB, Welles in fact did dub lines... The same is true for 'Touch of Evil'(1958).

So... Hey... if Welles can do it... so can you...

[Prodigi Pictures]

a

[filmman]

I love actors. I try to communicate that to them from the first interview. I treat them with respect from the get-go. Actors perform better when a director understands their concerns.

When I first started out as a filmmaker, after graduating from film school, I was brash; I didn't understand how actors felt. I was only concerned with the shot. I learned the hard way that it's hard to make a movie that way.

After working with actors on a few movies, I found out the human side of acting: why do actors want to act? For many it's that they enjoy playing someone else, some fantasy figure, and doing it well.

It's hard to get into a role and hard to get out of it, so it can be an emotional journey. As a filmmaker, I love working with actors who love acting.

[grinner]

Any director who has never done any acting is as handicapped as a DP who has never edited.
Coaching what is not understood can be detected from accross the room in an instant.
Lose respect and you've lost the picture.
I started directing so I could cast myself. lol Growing up in west Texas, it was too hard to get acting jobs. I found it easier to make the movie and put myself in it than to travel to auditions with hopefull vibes.

[Michele Seidman]

Thank you! And, I wish there were more actors on this forum. The more you can educate filmmakers on actors the better.

This site is about every aspect of visual storytelling...the more actors we have, the better all of us directors will be.

I so agree and wish there were more actors here myself. There are a few but not many. But then...maybe they are not as crazy as I am to starve for their art! lol...

It does take all sides to make a film though. I find that directors feel like they are open to things but often miss for the 'vision'...things that might have worked very well. I think it can be hard to get a visual out of your head as a director though...


Actors perform better when a director understands their concerns.

After working with actors on a few movies, I found out the human side of acting: why do actors want to act? For many it's that they enjoy playing someone else, some fantasy figure, and doing it well.

It's hard to get into a role and hard to get out of it, so it can be an emotional journey. As a filmmaker, I love working with actors who love acting.

Half of us do it because we love to tell stories and the other half because they are shy and live through the characters. I am an odd ball...I do it for both reasons! lol...


The comment about a director understanding our concerns is very accurate and I might add to that...a director who will communicate with us at all. I have been on set with directors who barely spoke to the 'talent' and would whisper things to the AD who then would try to tell us what the director wanted and then when we did not do it exactly the director got miffed.

Honestly...you hit the nail on the head...but I swear I would just settle for them actually talking to us directly. Most will but a few just don't seem to have it in them.


Any director who has never done any acting is as handicapped as a DP who has never edited.
Coaching what is not understood can be detected from accross the room in an instant.
Lose respect and you've lost the picture.
I started directing so I could cast myself. lol Growing up in west Texas, it was too hard to get acting jobs. I found it easier to make the movie and put myself in it than to travel to auditions with hopefull vibes.


Here here on directors who never acted! On the flip side...I think actors need to know more about the directors job...the cinematographers job, the editors, the sound guys, the lighting, etc etc...at least for film and tv shoots.

I think too many actors think all they need to do is act without a basic understanding of how the finished product will be put together.

Heck...without meaning to...many years back I stole several shots from another actor only because I had a general idea of what the editor was going to have to do on a scene and my CU's ended up working better...but only because I had a basic understanding.

I think we need each other and if we share a bit more we get better films. I know the projects I had the most fun on or the best communication on turned out better than other projects by far!

I also think there is a trickle down effect on a film set. If the above the line (including producers, director and talent) are snitty...so is everyone else. If the above the line gives great respect to all...so does the rest of the cast and crew. But that is just MHO!

Michele

[Prodigi Pictures]

The comment about a director understanding our concerns is very accurate and I might add to that...a director who will communicate with us at all. I have been on set with directors who barely spoke to the 'talent' and would whisper things to the AD who then would try to tell us what the director wanted and then when we did not do it exactly the director got miffed.

Honestly...you hit the nail on the head...but I swear I would just settle for them actually talking to us directly. Most will but a few just don't seem to have it in them.

Michele

That's so bizarre and so sad I don't know what to say.

[Drew Ott]

I've only directed two things but I've never had any trouble with actors at all. I guess I'm a lucky one.

[filmman]

The experienced actors of the studio system used to know the rules of continuity related to:

1) transitions between Long Shots, Medium Shots and Close-ups
2) not doing lines during a transition, such as sitting down or getting up
3) doing the exact same bit of business at the same points in the dialog
4) entrances, exits
5) camera left, camera right

etc.

fighting, use of weapons and safety techniques:

1) taking a hit, getting slapped
2) slapping, punching
3) use of weapons, handling of blank-loaded guns and not firing directly into someone's face, etc.

staying in character, speaking lines, and doing reaction shots well:

1) paying attention to what the other actor is saying or reacting to whatever is being said or not being said
2) knowing how much to react depending on whether it's a long shot, medium shot or close up
3) body language
4) doing lines naturally according to the situation
5) taking direction but guarding the integrity of the dialog in the screenplay
6) staying in character
7) maintaining normal voice volume during all shot coverage

etc.

Some of the problems of modern acting:

1) Too little experience in front of the camera
2) Too much time and effort spent on getting the few parts available
3) Not being able to get decent roles
4) Too much effort in getting a role (cold reading techniques) but not enough experience interpreting a role
5) Too many actors trying to upstage each other
6) Too many actors asking for their close-ups
7) Too many actors commenting on technical aspects of a production
8) Too many actors trying to direct themselves -- and other actors
9) Meeting other actors and rehearsing the scenes without the director's knowledge
10) Too few directors who respect the actors or worry about their emotions
11) Too many filmmakers ripping off actors and ruining it for other filmmakers
12) Too many horrible movies being made that destroy the career of many actors who deserve better
13) Too few opportunities for actors to do significant stories

etc.

Some of the problems of modern technology:

1) Sloppy filmmaking due to new technologies -- no rules to learn
2) Method acting run amuck -- just keep the camera rolling maybe we'll get something
3) green screen and post production tricks that drastically alter the dramatic content of a scene and make actors look ridiculous

etc.

[kimko]

I just like playing myself..........all 32 personalities...oh shut up that's stupid....don't tell me to shut up you lil gay f@#$...hey quit picking on him you redneck bastid....wow man just mellow out....don't tell him to mellow out you burnt out freak...who said that? ........whaddya mean who.........

[Ted Spencer]

i just like playing myself..........all 32 personalities...oh shut up that's stupid....don't tell me to shut up you lil gay f@#$...hey quit picking on him you redneck bastid....wow man just mellow out....don't tell him to mellow out you burnt out freak...who said that? ........whaddya mean who.........

lol : )

[Michele Seidman]

On my first feature (I was producer, not director) we had a lead actor who is really an AWESOME actor. This guy's been in TONS of stuff, including recurring TV roles, features, made-for-TV movies, etc. Can't say enough about him -- he's great. And what happened was NOT his fault. He'd hurt his back and was on painkillers the day of the shoot.

We actors can be die hard's at times. I once did a stage show and knew at the start of the last week I was going to need surgery. That Wednesday when we opened back up for the last week I was in bad shape and it got worse day by day. I was the lead and had almost no breaks between scenes of a full 3 act and when I did, the found me on the floor trying hard not to feel the pain because I can't take any pain medication.

Sunday when we did our last matinee show, as the curtain fell I went to the dressing room, packed my things and was in surgery in the emergency room in less than half an hour.

But dag nab it...I made it on stage for every show without fail and without dropping a line!

Someone probably should have smacked me one...but I did it!


The experienced actors of the studio system used to know the rules of continuity related to:

fighting, use of weapons and safety techniques:

staying in character, speaking lines, and doing reaction shots well:

filmman you made some great points. if you don't mind i would love to print that out and give it to some students. i often try and tell them about these things during class but a print out like this would be very cool....

do you mind?


I just like playing myself..........all 32 personalities...oh shut up that's stupid....don't tell me to shut up you lil gay f@#$...hey quit picking on him you redneck bastid....wow man just mellow out....don't tell him to mellow out you burnt out freak...who said that? ........whaddya mean who.........

kimko...

ha ha ha chortle and guffaw!

[Michele Seidman]

That's so bizarre and so sad I don't know what to say.

Prodigi

I have seen it at least 4 times and 3 were new directors. I tell you that is a hard place to be. An actor who has been around the block doing a day player gig on a directors first major film.

Holy crap it is hard to work under and for someone who knows less than you do...and they can get so flustered and convince themselves it is the actor and not their lack of direction. That is a really hard place to be. I have been there and did not enjoy it too much. I sat on my hands and kept my mouth shut and stayed out from under foot.

It is not like I can take the director aside and tell him what he is doing wrong when I day play. In one case I did get cut out of something based on lack of decent direction and not bad acting. It was the only time I ended up on the cutting room floor for anything other than time constraints and being on the tag of a scene they could chop.

I have told directors when I am in a lead or have a good comfort zone with them. I have given advise on indie stuff...but features with large budgets have an ego all their own!

I once worked on one with 2 directors...2, 1st AD's AND a Cinematographer who ALL were giving direction at once. When one of the 2 directors called me out on not doing what he asked I finally did open my mouth out of frustration. I said "you and the other director and both AD's and the man on camera have all told me different things, so please tell me who to follow and I won't listen to anyone else and tell them you said so". The next take was a 1 take...but we had done 5 before due to all the friggin cooks in one kitchen! Talk about a cluster...

But it also got me cut earlier than they planned and a promised upgrade stripped out from under me...I was blamed for their system failure and took the loss for it! To this day I do not list it on my resume.

M

[Nathyn]

We were doing a long dialogue scene in my first film. The actress was doing well but was having trouble with her lines. I didn't beat her over the head or anything I was very gentle. I took her outside and spoke with, encouraged her and let her finish the scene. Later it seems she had had a crying fit at some point. I was shocked. And people who heard about this (or saw her cry) thought I was a tyrant on set.

-Nate

[Michele Seidman]

We were doing a long dialogue scene in my first film. The actress was doing well but was having trouble with her lines. I didn't beat her over the head or anything I was very gentle. I took her outside and spoke with, encouraged her and let her finish the scene. Later it seems she had had a crying fit at some point. I was shocked. And people who heard about this (or saw her cry) thought I was a tyrant on set.

-Nate


Nate

If you took her aside then you did the right thing. I don't know the lady but if she went on a crying jag later...seems she was trying to milk someones sympathy. I could be wrong but I have seen it happen too.

[Nathyn]

She didn't show up for the last scene and wouldn't return my calls. Good thing I got a wrap up scene before everything went haywire.

-Nate

[Michele Seidman]

Nate

It is also possible that her tears were based on exhaustion and the work that day and not you. maybe others read it wrong too. glad you had what you needed though!

Michele

[jls4]

I once worked on one with 2 directors...2, 1st AD's AND a Cinematographer who ALL were giving direction at once. When one of the 2 directors called me out on not doing what he asked I finally did open my mouth out of frustration. I said "you and the other director and both AD's and the man on camera have all told me different things, so please tell me who to follow and I won't listen to anyone else and tell them you said so". The next take was a 1 take...but we had done 5 before due to all the friggin cooks in one kitchen! Talk about a cluster...

Wow! On my set I allow all of my people from Audio to other actors give comments to create the best scenario for the actor, however I DO clarify what direction I want the actor to follow after people have spoken up. I can see how that could be confusing. I'm now wondering if I've confused anybody working with me. I'll definately be watching myself from now on. :)

[Nathyn]

I allow people to do this too but on my set it's known that what I say goes. It's good for the actors and everyone else when specific people play a specific role.

-Nate

[filmman]

Michele Seidman:
filmman you made some great points. if you don't mind i would love to print that out and give it to some students. i often try and tell them about these things during class but a print out like this would be very cool....

do you mind?

You may quote me ad nauseam :-)

[USLatin]

Don't cast anyone till you figured them out on and off camera. Get someone to come stand around with you and bring over their DVX, use whatever, but put a couple of lights on them... make it a couple of kinos or just a pair of stingers, just for the effect it will have on them. And tape them a lot...

Don't get upset at the actor on set, ever, unless you have seen that they respond well to pressure in which case it might work best.

Find out if they respond well to praise, it could be the worst thing to do with some people.

Gain their respect, get it done. Then never lose it.

Don't ever hire someone that doesn't respect you.

Take some gosh darnet acting classes if you want to Direct.

And for actors, the only Director you ever want to work with in this crappy town is me. Everyone else is full of it and are the suxors whie I am totally c00l and not a n3rd at all.

[Michele Seidman]

Wow! On my set I allow all of my people from Audio to other actors give comments to create the best scenario for the actor, however I DO clarify what direction I want the actor to follow after people have spoken up. I can see how that could be confusing. I'm now wondering if I've confused anybody working with me. I'll definately be watching myself from now on. :)

jls4

it only works if you make sure your actor knows the final word is yours AND you give them a final word before you shoot the take. in the case of the film i mentioned, every time one director would walk away, someone else would walk up and give me new direction before the take without ONE person being the final word...until i pointed it out. and as mentioned it lost me my upgrade for pointing out a flaw on set.

as long as you make it clear where the final word comes from and actually give it...then an actor can follow it.

there should be 1 director and if others on set have ideas it should go to the director, not to the actor UNLESS the director tells the other person "please tell the actor this because i am not sure how to explain it".

it is confusing and it can lead to some issues. it may have worked for you so far because you may have already made sure that you are the final word and the actors know it....


I allow people to do this too but on my set it's known that what I say goes. It's good for the actors and everyone else when specific people play a specific role. -Nate

Nate

maybe it is just me...but remember...i am an old broad and been doing all forms of acting for 30 years but there is only 1 director. it is the directors job to tell me what he or she wants on set. when all the sudden some grip or sound man starts giving me notes not related to their department it is not really fair to the actor.

all the sudden the actor does have to question who exactly is in control of the set.

like with jls it may have worked because you have made it known who gives the final word but since i have been the actor on the receiving end...i can honestly say i don't like getting directed by 5 people.

when Jack directed ALMTF he took info from Mac and Barry and David...but it was Jack who told me what he wanted or needed even if notes came from elsewhere. and notice...the film is doing well in festivals...and it was still a group effort and took all of us to make happen but when push came to shove Jack took the lead and directed his film...Mac shot it...Barry and David produced it...Doug, Patti and I acted.

we all did our parts and the meshing of all of that made for a great little short film! but only 1 person directed us!

[Michele Seidman]

ps...if a sound man comes to tell me about volume or sound placement...no problem...

if a lighting guy wants to warn me about the light pattern and shadows...no problem

when anyone besides the director wants to tell me how to deliver a line or how to act or react...problem!

[jls4]

ps...if a sound man comes to tell me about volume or sound placement...no problem...

if a lighting guy wants to warn me about the light pattern and shadows...no problem

when anyone besides the director wants to tell me how to deliver a line or how to act or react...problem!

I could probably understand that. So that's something I need to strongly consider as a director. What I've tried to do in the past is allow all comments to be considered for everyone. For instance, I've encouaged my actors not only to know where the placement of the microphone is, but to speak up if they don't think it's in the right place. Same for lighting etc. I really look at a movie as a collaborative thing and ask that people leave their attitudes at the door. I've had the DP tell me, "You should have them to act like this" and actors say "the lines don't make since this way, we need to go another way." These items, albeit in moderation, have helped me "save" many scenes.

I believe we are all learning at all times until we die, and hopefully I'll continue to learn and try to create the best scenarios for my team. the biggest issue I had on set was my lead actor, I'm not a fan of saying "Action." I tend to say "Whenever you're ready." This allows (in my mind) the actor to have time to prepare and not feel rushed. "Action" is a quick powerful verb something that "wakes up" a lot of people and in an intense or sensitive moment, it takes away from the mood.

My lead actor and I had several discussions about it, one time him complaining "Hey we're actors we need to hear you say 'Action'." And then I told him that every set works differently and he needs to be maliable. I said if you're on set with Clint Eastwood are you going to tell him you need to hear the word 'Action', cause you know he doesn't say it. :) LOL

But it's all in love. So I never mind, but I should be sensitive to ask my actors in the future what type of environment they do best under, especially since I'm preparing to bring in some larger names on my next production.

Funniest thing... off subject. We brought in an up and coming "celeb" actress. She had worked in 5 major Box Office Movies and had her own TV show. And one of my actors totally took her into his world. In the scene, her character was an aspiring actress who did poorly in a movie. The actor she was playing opposite of, was trying to show her how she "should have acted". The scene from her "supposed movie" was a sad one, so the actor starts acting like his mother is dying and then yells at her for not getting the scene right. My actor, was litterally in tears and she was so taken by it that her emotions at the end of the scene were real. Kinda hard to explain over the Internet, but it was so funny! She was a trooper though, definately on my list to call again.

[Michele Seidman]

I could probably understand that. So that's something I need to strongly consider as a director. What I've tried to do in the past is allow all comments to be considered for everyone. For instance, I've encouaged my actors not only to know where the placement of the microphone is, but to speak up if they don't think it's in the right place. Same for lighting etc. I really look at a movie as a collaborative thing and ask that people leave their attitudes at the door. I've had the DP tell me, "You should have them to act like this" and actors say "the lines don't make since this way, we need to go another way." These items, albeit in moderation, have helped me "save" many scenes.

I totally get trying to get everyone involved but at the same time there does have to be one top dog on set, and that is in every department. Using your example of allowing an actor to say if they think the microphone is in the wrong place...well, how do I put this lightly enough...I am an actor and about to insult my own kind...What the heck do 95% of actors know about sound? Nothing!

Heck, I shoot video too and I have directed some shorts and documentaries, yada yada. Not a lot and nothing big but I hired the sound guys I hired BECAUSE they know about sound what I don't. I hire all my crew because they are better at the things I need than I am. The Dale Carnegie rule of thumb on surrounding yourself with the people who are strong where you are weak.

I am not afraid to say "I don't know how to do that". Not in a million years would I suppose that I know more than the person hired to do that job as to how it should be done. On the rare chance it is their 1st or 2nd booking...and me being at this so many years...yes, on those rare moments I might know better.

But it gets back to the Director. I think they need to know who has the right answers for the right areas. If you happen to have some crew who have been at this longer and DO have a great suggestion on the acting...it should still go to you before it goes to the actor.

Am I wrong... is the director not the one with the final say and 'vision'? If I am, please feel free to share with me why. I do like the idea of everyone being involved but I can see where it might turn to chaos too. lol..heck i have seen it...tee hee


I believe we are all learning at all times until we die, and hopefully I'll continue to learn and try to create the best scenarios for my team. the biggest issue I had on set was my lead actor, I'm not a fan of saying "Action." I tend to say "Whenever you're ready." This allows (in my mind) the actor to have time to prepare and not feel rushed. "Action" is a quick powerful verb something that "wakes up" a lot of people and in an intense or sensitive moment, it takes away from the mood.

My lead actor and I had several discussions about it, one time him complaining "Hey we're actors we need to hear you say 'Action'." And then I told him that every set works differently and he needs to be maliable. I said if you're on set with Clint Eastwood are you going to tell him you need to hear the word 'Action', cause you know he doesn't say it. :) LOL

But it's all in love. So I never mind, but I should be sensitive to ask my actors in the future what type of environment they do best under, especially since I'm preparing to bring in some larger names on my next production.

I would never tell a Director what words he needs to use to call the set to action...but I would hope if he does not use the standard terms he would give me warning before the first shot so I can get his term in my head and not be caught off guard.

At the same time, many of those terms are standard and it could throw off many departments from sound to camera and lighting...not to mention crew and extras who might be standing around and don't know the camera is rolling. If everyone is given the term before shooting starts than everyone should be able to roll with it from actor to crew


Funniest thing... off subject. We brought in an up and coming "celeb" actress. She had worked in 5 major Box Office Movies and had her own TV show. And one of my actors totally took her into his world. In the scene, her character was an aspiring actress who did poorly in a movie. The actor she was playing opposite of, was trying to show her how she "should have acted". The scene from her "supposed movie" was a sad one, so the actor starts acting like his mother is dying and then yells at her for not getting the scene right. My actor, was literally in tears and she was so taken by it that her emotions at the end of the scene were real. Kinda hard to explain over the Internet, but it was so funny! She was a trooper though, definitely on my list to call again.

lol...I use the sports term "your actors were in the zone". i personally love those moments when you get sucked in...

Michele

[jls4]

I totally get trying to get everyone involved but at the same time there does have to be one top dog on set, and that is in every department. Using your example of allowing an actor to say if they think the microphone is in the wrong place...well, how do I put this lightly enough...I am an actor and about to insult my own kind...What the heck do 95% of actors know about sound? Nothing!

LOL... I actually teach everyone everything. I'll stand in front of everybody actors and crew and go over the basics of sound, lighting, and camera. Right now remember I'm on a small set with no 5 year pros. Mainly 3 year learners. I know more than anybody and I've created a solution to many problems by teaching the "whole class". That way everyone is looking out.

As I get more pros on set, the more I'll scale back this form of filmmaking - however I do hope that I'm able to keep the same type of love that is on our set.

I worked for a lady once as the Assit Director (AD) and every department fended for themselves. It was very "seperate". No one laughed beyond their little group. It felt like being in high school. Although I know I'll add a few of these elements sooner or later to my sets, I dread the day. I like going on set and having it a fun set. When I worked for the lady and her "politics" set, it was no fun at all. i remember thinking all day, "Dang, when is this going to be over." When we're on our set, most of us, beyond basic fatigue stay around chat, laugh, we're really in no rush. It's fun to be on set - meeting with friends.


The Dale Carnegie rule of thumb on surrounding yourself with the people who are strong where you are weak. Yeah, I agree. I actually have a rule of thumb. "I'll do any job, until I find someone who does it better. At that point I'll release the position to someone else." As more money comes in, this will tend to be more of the case. Right now I tend to be better than 85% of the people I run into. But I'm a rare bird. :)


Am I wrong... is the director not the one with the final say and 'vision'? If I am, please feel free to share with me why. I do like the idea of everyone being involved but I can see where it might turn to chaos too. lol..heck i have seen it...tee hee Like I said above, about the whole release thing. I'm wondering sometimes if I am the best "director" solution. I'm definately not bad - better than most, but I'm starting to think I'm much more suited as a producer. Right now I'll continue as the director though to make sure the scenes and movie gets made in a way that I can be proud of. I can't take too many chances as the shoebox indie level. LOL


I would never tell a Director what words he needs to use to call the set to action...but I would hope if he does not use the standard terms he would give me warning before the first shot so I can get his term in my head and not be caught off guard.
Yeah, this kinda p!ssed me off. But I knew it was in love, the problem was he brought it up at least 3 or 4 times. none of the other actors had a problem. I generally start with - "Quiet on the set, Quiet Quiet (pause) You got speed? (to both audio and video) ok... (pause) whenever you're ready..." If that's not telling you were starting what is? hahaha


lol...I use the sports term "your actors were in the zone". i personally love those moments when you get sucked in... We were all laughing about it because we felt that she might have not thought that we were as good - actors, crew as that, because we are a small group (4 crew/production members). It was even speculated that she thought about not coming out to shoot for us because it took her 5 days to respond to an inquiry. So by the end of the day she's coming to me appologizing for one scene - really concerned about how I felt about her performance. She did a great job - so don't get me wrong - I was just happy that most of us felt that she was somewhat impressed by our small set and group. So we felt like we made an impression. :)

[Noel Evans]

and I hit my marks

I am suprised that I see a number of actors audition that do rather well, have a solid resume and then on set I have to give direction on how to hit a mark - WITHOUT LOOKING! Ive been lucky actually, I seem to find the good ones.

[USLatin]

I am suprised that I see a number of actors audition that do rather well, have a solid resume and then on set I have to give direction on how to hit a mark - WITHOUT LOOKING! Ive been lucky actually, I seem to find the good ones.

It takes experience... remember when you cast that experience doesn't grow on trees... not trying to make it sound insulting, please don't take it that way Noel. BTW, do you have any relation to a nice chubby fellow that goes by Santa? :huh:

The easiest thing to have to deal with is making a theater actor perform for the camera, but it still needs to be done. Shooting them a ton before they are officially cast is the best you can do... do call backs even if there is only one actor that you want to see... work with them one afternoon and gauge whether you can get them ready. Either way you should have an idea of how they will block from the auditions. Shoot fully blocked rehearsals with the rest of the cast. The best thing you could do is show them the footage so they understand... though unfortunately that could also backfire in a big way if you are dealing with someone craving approval or not too sure of themselves...

I like to be able to watch dailies with my actors, after I've already watched them alone or with other creative minds in the room. I will try to be able to find people like that... but sometimes you can't cast easy to work with, sometimes you have to cast whomever gives you what you want, even if that guy can't learn a single line of your dialogue. Even if you want to shoot yourself in the head in the editing room, sometimes pain can mean you are giving birth to something special. :)

Anywho, you see what I am saying...

[bosindy]

ps...if a sound man comes to tell me about volume or sound placement...no problem...

if a lighting guy wants to warn me about the light pattern and shadows...no problem

when anyone besides the director wants to tell me how to deliver a line or how to act or react...problem!

I agree with this 100%. When I am directing, I would not let anyone but myself be involved in directing an actor. There is an intimacy there that needs to be maintained and a trust that needs to be protected. You are collaborating on a vision and interference is incredibly distracting. Acting is incredibly difficult under the best circumstances and you really need to create a safe space where the person doesn't feel subject to critique or a responsibility to interact with people on the crew as to their performance. (no matter how well intended)

If I am on another director's set and I have a note that I think might help a performance, I give it to the director. (taking the director aside) I would never speak to an actor for the same reasons. It's about respecting the director's process because that is so much of what a director does. I also am happy to receive contributions from crew members when I am directing and it can be really helpful, but always to me, not to the actors.

[USLatin]

"Safe Space" is an excellent term to keep in mind.

[Michele Seidman]

LOL... I actually teach everyone everything. I'll stand in front of everybody actors and crew and go over the basics of sound, lighting, and camera. Right now remember I'm on a small set with no 5 year pros.

that will change when time means 10k or more per minute on set! sad but true.


As I get more pros on set, the more I'll scale back this form of filmmaking - however I do hope that I'm able to keep the same type of love that is on our set.

the love can be kept but the time constraints will alter a lot.


Yeah, I agree. I actually have a rule of thumb. "I'll do any job, until I find someone who does it better. At that point I'll release the position to someone else." As more money comes in, this will tend to be more of the case. Right now I tend to be better than 85% of the people I run into. But I'm a rare bird. :)

yes indeed a rare bird but many indie folk learn it ground floor up and that does make rare birds these days.


Like I said above, about the whole release thing. I'm wondering sometimes if I am the best "director" solution. I'm definately not bad - better than most, but I'm starting to think I'm much more suited as a producer.


i figured out the same thing myself. i am great at pulling everyone together but as a director i want to focus on the actors too much and stress about having the perfect crew to make up for my flaws and having that level of trust with them all...yup...much better producing than directing! for me at least.



Yeah, this kinda p!ssed me off. But I knew it was in love, the problem was he brought it up at least 3 or 4 times. none of the other actors had a problem. I generally start with - "Quiet on the set, Quiet Quiet (pause) You got speed? (to both audio and video) ok... (pause) whenever you're ready..." If that's not telling you were starting what is? hahaha

well...to an actor who has heard 'action' called year after year for longer than half the posters here have been alive...it IS hard to change your expectations for many. i just love indie and have done so many now that i got used to things changing up a lot. many actors get set in their ways and do not adapt very quickly. that is why some camera actors don't do stage and vice versa



I am suprised that I see a number of actors audition that do rather well, have a solid resume and then on set I have to give direction on how to hit a mark - WITHOUT LOOKING! Ive been lucky actually, I seem to find the good ones.

oy veh Noel....don't ya just hate when an actor can't hit the mark? If it means anything, I teach all my actors how to hit their mark, how to find their lights, how to stay out of the crews way during new set ups, how to stay near hair and make up, etc etc. I even teach them how to check in and out of set and where to go first because no one seems to teach them this stuff and they get to set and fall apart. Not mine dag nab it...I got a 7 year old girl that can repeat actions over and over without missing a cue and her continuity is envy worthy!



The easiest thing to have to deal with is making a theater actor perform for the camera, but it still needs to be done. Shooting them a ton before they are officially cast is the best you can do... do call backs even if there is only one actor that you want to see... work with them one afternoon and gauge whether you can get them ready. Either way you should have an idea of how they will block from the auditions. Shoot fully blocked rehearsals with the rest of the cast. The best thing you could do is show them the footage so they understand... though unfortunately that could also backfire in a big way if you are dealing with someone craving approval or not too sure of themselves...

USLatin

I agree with 99% of this but can I add a clarification to one item? What am I saying...I AM going to add a clarification and if you think I missed the mark feel free to correct me.

You mention theatre actors and used the term easy...and my clarification would be black box and studio theatre actors would be easy. If you get those who do tons of musical theatre and main stage, you often have to get them to tone it down. Black box actors don't do the huge acting for the back of the house because the audience is often right on top of them but main stage actors have to be tweaked a lot if they have not done enough camera work to know it magnifies every facial tic.


I like to be able to watch dailies with my actors, after I've already watched them alone or with other creative minds in the room. I will try to be able to find people like that... but sometimes you can't cast easy to work with, sometimes you have to cast whomever gives you what you want, even if that guy can't learn a single line of your dialogue. Even if you want to shoot yourself in the head in the editing room, sometimes pain can mean you are giving birth to something special. :)

Anywho, you see what I am saying...

lol...never let me watch dalies if i am lucky enough to be in one of your films! i am my own worst enemy and will try to alter everything if i see it before it is done. feel free to tell me if you want me to change thing according to what you saw in dalies but don't let me watch! trust me on this one...lol


I agree with this 100%. When I am directing, I would not let anyone but myself be involved in directing an actor. There is an intimacy there that needs to be maintained and a trust that needs to be protected. You are collaborating on a vision and interference is incredibly distracting. Acting is incredibly difficult under the best circumstances and you really need to create a safe space where the person doesn't feel subject to critique or a responsibility to interact with people on the crew as to their performance. (no matter how well intended)

bosindy...I like what you said about the intimacy and trust. I find it hard to be pulled in other directions all the sudden. I can make the alterations but if the director hired me I hope it is partly because he knew I could give him what he needs or asks for. Then if he does need me to change things I already do have a level of trust with him and if he asks me to change things it does not fluster me as much as if it comes from all different directions.

The actor does need to have his/her focus or game face before the call to action.


If I am on another director's set and I have a note that I think might help a performance, I give it to the director. (taking the director aside) I would never speak to an actor for the same reasons. It's about respecting the director's process because that is so much of what a director does. I also am happy to receive contributions from crew members when I am directing and it can be really helpful, but always to me, not to the actors.

to the director...not to me! agreed.


"Safe Space" is an excellent term to keep in mind.

USLatin

Safe Space! here here!

[USLatin]

Michele, yea, I agree that the tendency of the average theater actor will be to overact or exaggerate everything for it to register for the last row, especially musical theater... but, it is a million times easier to get a theater actor to fit in a movie than it is to make a screen actor fit in a theater... though I never directed a play so I shouldn't speak about this really... but you see my point I think.

One thing I like to find in my actors, if the character doesn't ask for the opposite, is absolute blind self confidence to let their instincts come through unchecked, though it needs to be well balanced with feet firmly planted on ground cause if logic goes out the window you will never convince that person to take your direction.

An other is absolute trust in my vision and in my ability to manifest it, an absolute deal breaker.

About watching dailies, I try to find people that can watch them with me, that doesn't mean that I always get what I want though. I'd also say that probably most are affected in a negative way, but not all would if you are there with them talking to them about it, telling them how much you like what doesn't need to change, and why. Also, explaining why you think specifics could be changed, if there is no reason then it will do nothing but plant a seed of self doubt, or doubt in their director's abilities. But by this point I have a relationship with the actors, good communication, and a good idea of how they could react.
Not being able to watch your own dailies is a problem IMO. If you paint you have to look at the canvas, if you write you have to read your work... However if the actor isn't ready to work with me like that then I would certainly avoid making it harder for them. I was the same way about dailies... but I made the effort to break past that because I wanted to be able to have more of an impact in my performance. I wouldn't do anything without watching what we are doing.

I hope nobody takes my posts and anything more than quick comments, I would never dream of creating a comprehensive summary of this, it would have to be a book.

[jls4]

About watching dailies, I try to find people that can watch them with me, that doesn't mean that I always get what I want though. I'd also say that probably most are affected in a negative way, but not all would if you are there with them talking to them about it, telling them how much you like what doesn't need to change, and why. Also, explaining why you think specifics could be changed, if there is no reason then it will do nothing but plant a seed of self doubt, or doubt in their director's abilities. But by this point I have a relationship with the actors, good communication, and a good idea of how they could react.
Not being able to watch your own dailies is a problem IMO.

I guess you guys have serious money! hahaha We never had time to do anything but skim the dailies once or twice. Shooting 12 to 14 hour days can be rough. We didn't have much time to stop and check out what we had done. I did find that in watching dailies, it was hard for me to stay glued to them. I wasn't really sure what I was looking for, besides maybe the tape eating up my favorite shot.

I like the way Justin talked about dailies, basically having an editor on set and sending the files to him directly and letting him edit as the movie was shot. At least this way you truly know if you missed something. You can see how continuity went from scene to scene. and manybe I'm still to nieve and young, but 95% of the time, I knew if we had the shot before I left the scene. There were many times when I just was like "this is it - if you don't get it we have to move on." Maybe that's the producer inside of me, but I spend lots of time with actors before we shoot and when I'm on a timeline, they each get about an hour to make the scene work, after that I have to move on. there was only 2 times that I didn't do this and gave them more time. but I have several shots, where the actors are just okay . It's unfortunate, but it's life.

[USLatin]

You guess wrong... bu watching dailies I actually mean watching whatever I feel an actor could benefit from... sometimes it takes seeing it to get it. Sometimes you have a second and all you need to do is pull up the P2 clip menu. Or when there are days in between and I have something to show. Again, not always the best thing to do... but for those times when you can have an open dialogue with an actor it is really nice... I also want a Ferrari but that "problem" doesn't keep me up at night... or does it? :) maybe I meant the TV show "Dailies" on Reelz? hehe... but simply put, if you have time to stop and watch then why now? and if the reason why you have to explain yourself long and hard is because you couldn't just show it to the actor for fear that they will break down then that is an issue.. NOT a big one but it all depends, it is all relative man! E=MC2 ya kno?

[jls4]

You guess wrong... bu watching dailies I actually mean watching whatever I feel an actor could benefit from... sometimes it takes seeing it to get it. Sometimes you have a second and all you need to do is pull up the P2 clip menu. Or when there are days in between and I have something to show. Again, not always the best thing to do... but for those times when you can have an open dialogue with an actor it is really nice... I also want a Ferrari but that "problem" doesn't keep me up at night... or does it? :) maybe I meant the TV show "Dailies" on Reelz? hehe... but simply put, if you have time to stop and watch then why now? and if the reason why you have to explain yourself long and hard is because you couldn't just show it to the actor for fear that they will break down then that is an issue.. NOT a big one but it all depends, it is all relative man! E=MC2 ya kno?

I'm guessing all this is not towards me, cause I don't know what the "not showing it to the actor" - thing is about. :)

My only problem with Dailies is watching 2 to 4 hours of footage after I've shot 12 hours. I still have to sleep and eat. LOL My hope is that in the future I can have the time to do so. As for the actor thing, I could care less if actors see or not see. Most of the time, when we did watch some of the dailies, the actors were the main ones who wanted to see the footage. Them and the DP.

Because my role was Director / Producer / Lighting / Misc Crew / Craft Services / Location Scout / etc . As soon as we finished a scene, I was preparing for the next. By the time I got home (after driving an average of 45 minutes each way) The last thing I was looking to do is look at shots that I figured I had gotten already.

I hope to raise a signifigant amount of money for the next feature. I know on that one the dailies will be a lot more important because I'll have actors that are getting paid. And when you have those type, you can't just reshoot once the movie's over. 99% of my actors for the current movie, I could always call them back, just in case. So the money thing was more of a joke, but I've recognized that depending on who you talk to, money can mean more or less. For some people $25K is a lot of money, for some $250K is no money. It's just about where you are. :)

[Michele Seidman]

Michele, yea, I agree that the tendency of the average theater actor will be to overact or exaggerate everything for it to register for the last row, especially musical theater... but, it is a million times easier to get a theater actor to fit in a movie than it is to make a screen actor fit in a theater... though I never directed a play so I shouldn't speak about this really... but you see my point I think.

About watching dailies, I try to find people that can watch them with me, that doesn't mean that I always get what I want though. I'd also say that probably most are affected in a negative way, but .....I hope nobody takes my posts and anything more than quick comments, I would never dream of creating a comprehensive summary of this, it would have to be a book.


USLatin I do agree with what you said about stage to camera instead of from camera to stage. But the stage talent has a luxury of rehearsal time to really get in depth where the camera actor often has to make changes on the spot. So the habits are different on a few things.

I have to agree a bit with jls...

about money and time for dailies but again...I myself prefer to trust my director to tell me what to change. if he wants to play back something bad and let me see it...I can handle that. but sitting through the whole thing...no matter what, I will try to fix things that are not broken even if you say point blank "I love when you do this so don't change it"...as my own worst enemy, I will. many actors will tell you the same. i know some major players who won't watch dailies or even the finished film. i will watch the final at least once but there are few projects I have watched more than once.

[Nathyn]

I have to watch all my stuff over and over again. LOL. (I'm the editor many times).

-Nate

[Michele Seidman]

I have to watch all my stuff over and over again. LOL. (I'm the editor many times).

-Nate

I can do that when I put on a wig and make a silly video for youtube...but dang..I don't think I could edit my own acting on a film. You are far braver than me on that one!

Michele

[GregWilliams2175]

I have had my fair share of actor problems. Most recent being a no-show

[Nathyn]

I can do that when I put on a wig and make a silly video for youtube...but dang..I don't think I could edit my own acting on a film. You are far braver than me on that one!

Michele

I just pretend like I'm watching any action film only I have to put it together.

-Nate

[USLatin]

USLatin I do agree with what you said about stage to camera instead of from camera to stage. But the stage talent has a luxury of rehearsal time to really get in depth where the camera actor often has to make changes on the spot. So the habits are different on a few things.

I have to agree a bit with jls...

about money and time for dailies but again...I myself prefer to trust my director to tell me what to change. if he wants to play back something bad and let me see it...I can handle that. but sitting through the whole thing...no matter what, I will try to fix things that are not broken even if you say point blank "I love when you do this so don't change it"...as my own worst enemy, I will. many actors will tell you the same. i know some major players who won't watch dailies or even the finished film. i will watch the final at least once but there are few projects I have watched more than once.

Yea, but screen actors in turn have the benefit of us killing ourselves in the editing booth often creating magic that was never there to begin with. I love knowing what I will do when I see the last take and then remembering that in the booth. Often finding better ways yet to bring out more conflict, or whatever we are going for.

In your case I wouldn't ask you to watch the dailies then... it is great that you are clear about that and I will certainly not make it harder for you by forcing you. Also I would cherish and guard that trust, once I earned it, at all costs. That is till we screened it, then we can get into a fight if we so please. :beer:


I have to watch all my stuff over and over again. LOL. (I'm the editor many times).

-Nate

I've done that... and found it tough but rewarding. It really helped my acting to have to break down every little thing I did... it helped me get into my own head and more. However, just like when I am not part of the cast, I really need a second opinion for editing... not that I will follow it blindly but I am an overly rational person and I need to discuss stuff to feel like I didn't mess up... plus that other person often comes up with marvelous ideas that make the editing better. Hopefully that guy is a working editor if possible.

[Nathyn]

I can do that when I put on a wig and make a silly video for youtube...but dang..I don't think I could edit my own acting on a film. You are far braver than me on that one!

Michele

Check out the User film section. I just uploaded "Wages of Sin."

-Nate

[Michele Seidman]

Yea, but screen actors in turn have the benefit of us killing ourselves in the editing booth often creating magic that was never there to begin with. I love knowing what I will do when I see the last take and then remembering that in the booth. Often finding better ways yet to bring out more conflict, or whatever we are going for.

In your case I wouldn't ask you to watch the dailies then... it is great that you are clear about that and I will certainly not make it harder for you by forcing you. :beer:


You are right. Most actors will never get the editing done. I still think Jack fixed some of my work with his editing for ALMTF. I always try to offer multiple reads and expressions if a director will allow me because I know they might be able to use that in post.

On dalies...if a director wants to show me something that he thinks is not working...I will watch and ask him to guide me through what he needs to be altered. It is watching all of it where I get in danger because I hate everything I do and will try to change it all. See how that can be an issue too?

[USLatin]

Yea, I have no problem seeing your point. Like I said several posts ago, I too once had that problem. I guess what really helped it was when I started editing.

[kimko]

As an actor, I have been involved in dosens of productions over the past two decades. I would like to open this thread to share experiences from actors and directors, writers and P.A.s, on the good , the bad, and the ugly of working with talent.

Actors are an essential part of film making, of course until CGI becomes so advance that we all become obsolete. But from the complications of auditioning to the late arrivals, the forgetting of lines, outbursts of laughter and freak outs, I'm sure everyone has a story or two to share about working with them.

As Hitchcock once said, "I never said all actors are cattle; what I said was all actors should be treated like cattle."

I'm not intending to make this a 'complaint' thread, at all. Just curious to hear some of the humorous or inspirational stories about working on a set and dealing with talent, especially in the field of independant film where budgets are small and the talent is hard to find, along with being hard to keep in line.

Any thoughts?yeah a lot of low budget fresh out of school directors who think they can write and direct have no clue......................................:zombie_ smiley:

[JJ Alexander]

I am a pro actor living in NYC. I have worked on Bway, Off-Bway, ffilm and TV. I have made a point to be a kind, prepared, flexible actor and have studied with almost all the great teachers in NYC.
While I have had tons of great experiences with actors, I have learned first hand that actors can be major ass holes.
It comes from working in an industry that creates overwhelming insecurity.

I was working with a female star a few years ago on a film and she was a dream in every way. I had a good size supporting role and all my 6 scenes were with her and it was so creative and calaboritive I was in heaven.
I also worked in a tiny summer theater in a 2 character play with an no name actress who was an evil, psycho, sadist and I left the production because I felt unsafe to be on stage with her because she was very capable of pulling a fast one during the show.

The crazyness of the business breeds this. It's unfortunate but it is what it is.

Most any profession has plenty of nut jobs as well.

[jessicalsin]

I very much agree with that statement! It is true of any industry! There are some people who are wonderful and make the experience just great for you and there are others who really push the boundaries of people's tolerance. I've had many jobs and yeah, there are nuts everywhere, but in this industry people seem to think that it's okay to behave that way...it really isn't. I mean I'm new to the industry and I suppose I don't really have any right to say anything, but I feel it's best to grim and bear it, the more the other person freaks out the better you look for staying cool. I will admit having gotten frustrated on set, but never to the point of losing my mind!