Actors and their lines

Big ScareCrow

Big ScareCrow

Well-known member
Should directors expect actors to learn all of their lines from act to act, scene to scene, or shot from shot. What is the best way to shoot/work with dialog and actors. I know this is a vague question. Please feel free to continue further.
 
I expect my actors to know their lines for the scene(s) we are doing when they show up.

As far as the "best way" to work with actors and dialogue, I recommend learning how to direct. I'm not trying to be an ass, but that isn't much more specific than "what's the best way to make a movie" I recommend Judith Weston's books (Direecting Actors and a Film Director's Intuition) for starters.

There are many different ways to approach a scene, and there are a variety of different methods that actors use. Most importantly, you should have a handle on the material and know what you want. After that, know your actors well enough to get them to where you need them to be. I am always very honest with my actors, and avoid obfuscation and manipulation.

Know the Material
Know what you want for the scene
Know the actors
Be honest, patient and encouraging

There is no magic bullet, but enthusiasm and a good script go a long way

Oh, and rehearsals are essential for me.
 
Jim Brennan said:
As far as the "best way" to work with actors and dialogue, I recommend learning how to direct.
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rarely do I actually LOL. but this was the funniest thing I'd read all day.
 
I recall a situation when I was shooting a spec TV pilot. I was directing. My producing partner demanded that the actors learn their lines cold. What we got was a stale, lifeless performance.

I like creativity, spontaneity, and I like for people to learn the gist of what the script calls for. Then I will refine the script on set since sometimes scripts can sound lame when red aloud.

Obviously, big important monologues and crucial lines demand a strict word by word memorizations, but most dialog in scripts is everyday language, so be creative, time permitting.

Ironically, I would demand that a day player know his stuff cold since he will not be around long enough for me towork with him and his lines probably won't be critical anyway.
 
appreciate the feed back

appreciate the feed back

Thanks for the comments. In order to build my self esteem back up (lol) I feel a small need to defend my "directing" experience. I have put out a number of music videos and documentaries, so I do have extensive experience communicating what I would like to happen on scene, but this will be a first where I actually capture large amounts of dialog. I feel better about myself now. :thumbup: I was really looking for standards I should expect the actors to know lines. Great comments. Thank you.
 
And it's good that you know that capturing authentic dialogue is a different beast. The best advice I ever got in this subject was "Have a great script, and cast well, the rest mostly takes care of itself" That's a bit of an oversimplification, but it does hold a lot of truth.

I'm glad that somebody being a smart-ass doesn't scare you off :beer: :thumbsup:

Let us know how it goes.
 
What does learning your lines "cold" mean? Does that mean you learn them once you get onto set? I wasn't aware that anybody actually did this.
 
Rehearsal, rehearsal, rehearsal. Yes your actors should, at least for the most part, know their lines - but knowing the lines means very little if they can't deliver them in the way the director wants and the scene requires.

Talk through the script with your actors, workshop the scenes. Like they say, practice makes perfect.

My 2 cents.
 
The term "cold" as I am familiar with it in the theatre most often refers to "cold readings". Meaning, someone gives you a script and says, "Here, read this". Cold, unrehearsed. In the context of an actor in a film, would probably be kinda' learning your lines on the spot. Without pre-rehearsal, or mulling over the lines. Some actors like the lines to be as fresh as absolutely possible when they do a scene, b/c it helps them to feel that they give a more spontaneous, genuine, etc, etc delivery/reaction. So, they basically wanna just commit the lines for whatever particular scene to there short-term memory right then and there.
 
sure, that's the norm. just to clarify my post however, i was defining it in the context that taormina had used it. in that his producer instructed the actors to have the lines down cold resulting in uninspired performances.
 
I have a writer/actor friend with a lot of experience, he once told me sometimes acting is on of the worst things that can hapen on a set and that sometimes players should just "say their damn lines." Has anyone else heard this? He's the only one i've heard it from but in he's credible, graduate of yale school of drama, credits, etc.
 
Jason Ramsey said:
The term "cold" as I am familiar with it in the theatre most often refers to "cold readings". Meaning, someone gives you a script and says, "Here, read this". Cold, unrehearsed. In the context of an actor in a film, would probably be kinda' learning your lines on the spot.
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Very true. But the term also can mean to have something totally comitted to memory.
 
brianluce said:
I have a writer/actor friend with a lot of experience, he once told me sometimes acting is on of the worst things that can hapen on a set and that sometimes players should just "say their damn lines." Has anyone else heard this? He's the only one i've heard it from but in he's credible, graduate of yale school of drama, credits, etc.
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I think there is some credibility to that statement, but it depends on the circumstances. I find that "Acting" on the set has different meanings to different people. But what your friend seems to be describing is either over-emoting, or struggling to find something....which usually seaks to an unsure director, an ambiguity in the script or an unprepared actor. Sometimes if you stop thinking and just "say the line" you can find what you need. Of course that isn't a strategy I woould count on working for me all the time.
 
I recommend making sure the actor knows his or her lines by rote memorization. Then on set choices can be made on how to color the performance. Nothing takes an actor out of a performance more than trying to think of their line.

Have actors trade lines with a flat affectation quickly so you know they know them. Also, an actor really knows his lines when he can sing them to a song.
 
I think a good director needs to be flexible to get the best performance from each actor.

Some actors need lots of rehearsal, while some grow stale over time. With lines, I find it works the same, some actors only get comfortable with the part once the don't have to worry about remembering their lines. However, I have seen other actors, who are just more alive, when their performance is less memorized.

Chris
 
Chris Messineo said:
However, I have seen other actors, who are just more alive, when their performance is less memorized.
Chris
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I agree with this. I think the nuance is that there is a difference between memorizing the performance and memorizing the lines. Over practicing the arc of the performance or how you say a line is not a good idea for most. To get around not over working the performance, learning the lines by rote with no affect to them can work well. Very few actors though IMO, are good enough to act without knowing the lines.

Brando did it very well at the end of his career. He had the lines pasted on the other actors forehead and on lamps and such. That is why he is looking all over the place in the drawing room scene. Also, if you are not married to the lines and encourage improv, you can get away with actors not knowing their lines. But in the end, it takes really talented actors.
 
Figure out what you want the lines to mean and then you'll be able to communicate that to an actor.

Example:
I was shooting a horror film and there was a scene where the two female (Jenny and Clare) leads are talking about
Clare's ex-boyfriend (Andy). Jenny asks Clare, "Why'd you break up with him anyway?" and Clare responds, "I didn't he broke up with me. He didn't think long distance would work."

The actress wanted to make the line into a deep sad emotional line she was performing it as if she was saying "This was so hard. It hurt me deeply. It still hurts. I cry when I think about it." What I was looking for with the line was "You're wrong."

I had he literally tell me "You're wrong" a few times then we reran the scene and she got it. Sometimes it's really that simple you just need to know your material and what you want out of it really well.
 
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