Dealing with a difficult actor

F

FilmBoy77

Veteran
i have an actor i'm working with who is pretty talented, but kind of flaky on committing to certain shoot dates, has an excuse here and an excuse there on why they cant make it that day, and its always last minute, etc. it's only a short film and this person has delayed production...mind you they are not like a jerk or anything, but is starting to inconvenience everyone trying to arrange their schedule around them. other actors are starting to complain. we are halfway through production and i've spent close to a grand already (i havent gone over budget) so too late to recast this person.

anybody have any advice on how to handle a situation like this delicately? i am debating on if i should mention other actors are complaining thinking this person may be concerned about their rep.

thanks in advance.
 
Have a chat with him, tell him honestly that his unreliablility is threatening the whole production. If that doesn't approve his next couple of rehearsals, then sorry, he's gone.
 
Knoxworth said:
That's the problem.


Money is mutual respect. Without one you sort of lose the other.
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if that was the problem then there wouldn't be so many stories of actors in hollywood doing a variety of things to hold up production or causing conflict. i worked on set for a movie called Line Watch with Cuba Gooding Jr. He showed up late almost everyday, disregarded certain things the director told him and kinda did what he wanted to do...and got a nice check for it, matter fact, he was the highest paid out of all the actors.

i'm sure the dude knew he wasnt getting paid before he signed on...why get halfway thru it and bullshi*? some people are professional and some people aren't. period. unfortunately sometimes you dont find out until the real work starts.
 
Too many factors if you're going to cite situations like that.

If I were to jump in the ring with you and begin to generalize: first I would point out that many actors have a contradictory fear of feeling exposed. Yes, it's their job to expose themselves to the crew, camera, and the audience. They're told where to stand, what to say, and ultimately they are expected to pour themselves out all over the floor amidst a crew of sterile onlookers. But the lack of control that comes with that exposure sometimes manifests itself in "acting out."


Marlon Brando, regarded as one of the greatest actors of all time, is synonymous with "acting out."

This is why I consider the director's primary objective to make the actor feel comfortable. Whether that means doing countless table reads without the full crew, allowing the actor to isolate himself onset before a big scene, or just pumping him up with compliments and making him feel confident about the job he is doing. Certain actors are in a fragile state where they need such luxuries in order to work.

Actors trade a sense of control for what appears to be fame and glory. Many of us would prefer to just keep our sense of control.
 
Just do what Albert did on Cyborg after Van Jackass took the eye of a stuntman, he used a double and shot the rest of the film from the doubles back and far away.
 
The big problem with actors of less than National stature is that they are always looking for work, and if paid work comes in, you'll be a close second and they won't feel guilty. If it's not paying the bills, then contractually it's tricky. I bet you haven't signed them up either - just a verbal agreement. If they are not a union member, then you can't even use that as a 'lever'. The fact that they aren't in the union suggests they're probably amateurs anyway?
 
Knoxworth said:
Too many factors if you're going to cite situations like that.

If I were to jump in the ring with you and begin to generalize: first I would point out that many actors have a contradictory fear of feeling exposed. Yes, it's their job to expose themselves to the crew, camera, and the audience. They're told where to stand, what to say, and ultimately they are expected to pour themselves out all over the floor amidst a crew of sterile onlookers. But the lack of control that comes with that exposure sometimes manifests itself in "acting out."


Marlon Brando, regarded as one of the greatest actors of all time, is synonymous with "acting out."

This is why I consider the director's primary objective to make the actor feel comfortable. Whether that means doing countless table reads without the full crew, allowing the actor to isolate himself onset before a big scene, or just pumping him up with compliments and making him feel confident about the job he is doing. Certain actors are in a fragile state where they need such luxuries in order to work.

Actors trade a sense of control for what appears to be fame and glory. Many of us would prefer to just keep our sense of control.
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yep, and i agree with all of that. my only point was that sometimes you never know what you're getting until you get on set and the real work begins (unless the person has a reputation for being a flake that you've heard about).
 
paulears said:
The big problem with actors of less than National stature is that they are always looking for work, and if paid work comes in, you'll be a close second and they won't feel guilty. If it's not paying the bills, then contractually it's tricky. I bet you haven't signed them up either - just a verbal agreement. If they are not a union member, then you can't even use that as a 'lever'. The fact that they aren't in the union suggests they're probably amateurs anyway?
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everyone has signed a contract, even though it's only a 4 day shoot (half days at that), he's not union, but hardly anybody is in my state because there is only a limited amount of SAG productions and most of the movies shot here do their castings in LA for the relevant roles. most actors here dont want to be SAG until they move to LA due to the fact they wouldnt be able to work on non SAG projects in order to build their demo reels, etc.
 
paulears said:
The fact that they aren't in the union suggests they're probably amateurs anyway?
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I thought good acting and a solid resume made you a professional. I'll keep this in mind so I never have to really be good at what I do, simply get with the right union and I'll be pro. Thanks.

-Nate
 
FilmBoy77 said:
i have an actor i'm working with who is pretty talented, but kind of flaky on committing to certain shoot dates, has an excuse here and an excuse there on why they cant make it that day, and its always last minute, etc. it's only a short film and this person has delayed production...mind you they are not like a jerk or anything, but is starting to inconvenience everyone trying to arrange their schedule around them. other actors are starting to complain. we are halfway through production and i've spent close to a grand already (i havent gone over budget) so too late to recast this person.

anybody have any advice on how to handle a situation like this delicately? i am debating on if i should mention other actors are complaining thinking this person may be concerned about their rep.

thanks in advance.
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The only thing I can suggest is to get lightly stern. Cite the fact that you NEED to get it into the can in order to make deadlines for goals you have for the film. Also, be sure to let them know that you need to know further in advance if there is going to be a conflict.

I mean, these kind of projects are problematic and can be easily hijacked (whether innocently or maliciously) by one or two folks who aren't fully committed to it.

In the end, you lose two days (and perhaps not complete days...depending on the nature of the role) if you re-cast. If things get unmanagable, that option can't be off the table.

The danger may be that once this performer gets straight, the others might pull something for a small show of power on their part.

I've been so fortunate not to have too many issues thus far in my experience (which as you know is here in ATL as well) but have heard of them to be sure.

Just be tactful but forceful in how you get the production back on track.

Good luck,

Martin
 
Nathyn said:
I thought good acting and a solid resume made you a professional. I'll keep this in mind so I never have to really be good at what I do, simply get with the right union and I'll be pro. Thanks.

-Nate
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+1

I found the union comment a little distracting too.
 
Martay said:
The only thing I can suggest is to get lightly stern. Cite the fact that you NEED to get it into the can in order to make deadlines for goals you have for the film. Also, be sure to let them know that you need to know further in advance if there is going to be a conflict.

I mean, these kind of projects are problematic and can be easily hijacked (whether innocently or maliciously) by one or two folks who aren't fully committed to it.

In the end, you lose two days (and perhaps not complete days...depending on the nature of the role) if you re-cast. If things get unmanagable, that option can't be off the table.

The danger may be that once this performer gets straight, the others might pull something for a small show of power on their part.

I've been so fortunate not to have too many issues thus far in my experience (which as you know is here in ATL as well) but have heard of them to be sure.

Just be tactful but forceful in how you get the production back on track.

Good luck,

Martin
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thanks....and yes...i agree with all of the above. it's interesting, because outside of the film we are cool, but the longer i work with this person i am seeing a lot of diva qualities and as of today hearing from other actors and a previous director that this person was a "nightmare" to work with. their words not mine...funny, i would've never guessed they were that bad just based on their personality. guess thats why they are actors, lol. regardless of how it turns out, after i get this done, i'll be having a talk with him to let him know this will be our last run together.

it's a small circle in this area, i'm always amazed at how i see actors with no real credits be a pain in the ass for everyone else. i will say this though, i have worked with waaaaaay more professional and cool actors than diva's though. they are what motivate me to want to film on a daily basis. i learn from them all. to be honest, i'm treating this entire thing like a learning experience and will evaluate myself after its all over. i learn something new from each experience, good or bad.

i swear, if you dont love doing this filmmaking stuff or are in it for the wrong reasons i can see how you won't last in the long run.
 
I just recently finished casting for thrillfest. Someone sent me a great reel and I was really interested in seeing here. She changed her audition time once and I agreed to the change. She then tried to do it again, I sent a very polite message saying I need to continue forward for the production and that I couldnt reschedule.

I always find these kind of people give hints to who they are, the above case is very clear, sometimes its much more subtle. Im brutal with casting. I'll only see people who demonstrate a very clear passion for acting, and that usually shows in their resume. From there Im seeing far fewer people so I audition for two things, acting skill and how committed they would be to the project.

Doesnt help you now, I know. Wish I could say more.

Oh yes, and I remember once I was directing a short and the actor told me in front of the whole cast and crew they werent going to do what I was asking. After the edit and since then, I regret that I didnt push. What I asked for really would have sold the point and where the character was at. He didnt see it that way. But now I still sometimes think of that guy and how I should have pushed to get my shot. The point here is, if you do nothing, you regret it later.
 
Noel Evans said:
From there Im seeing far fewer people so I audition for two things, acting skill and how committed they would be to the project.
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It comes down to talent & discipline. You'll come across naturally talented actors with no discipline. And you'll come across disciplined actors with no talent.

The best actors are the ones who fight through their compulsions and become both.
 
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Noel Evans said:
I just recently finished casting for thrillfest. Someone sent me a great reel and I was really interested in seeing here. She changed her audition time once and I agreed to the change. She then tried to do it again, I sent a very polite message saying I need to continue forward for the production and that I couldnt reschedule.

I always find these kind of people give hints to who they are, the above case is very clear, sometimes its much more subtle. Im brutal with casting. I'll only see people who demonstrate a very clear passion for acting, and that usually shows in their resume. From there Im seeing far fewer people so I audition for two things, acting skill and how committed they would be to the project.

Doesnt help you now, I know. Wish I could say more.

Oh yes, and I remember once I was directing a short and the actor told me in front of the whole cast and crew they werent going to do what I was asking. After the edit and since then, I regret that I didnt push. What I asked for really would have sold the point and where the character was at. He didnt see it that way. But now I still sometimes think of that guy and how I should have pushed to get my shot. The point here is, if you do nothing, you regret it later.
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out of curiosity what exactly did you say (or do) when the actor told you they were NOT going to do something a certain way? that's an odd situation i've never experienced. i've had an actor want to do something a certain way that i didnt agree with, i let him do it knowing it probably wont get used in editing anyway, but at least it was an additional choice for editing....i've never even thought of how i would react if an actor just flat out refused to do something i wanted...wow...it's like, why are you even here if you can't take direction?

with this particular situation i'm in, i'm letting the actor have his way on a certain issue in order to get this project wrapped. i'm picking my battles small enough to win, but big enough to matter. when this is done, i'm just going to let it go. i've decided i'm not even going to tell him about himself unless he wants to work together again, which he will eventually based on some other things i have going on. i'm essentially going to let him hang himself and take the precautions next time around.

Knoxworth said:
It comes down to talent & discipline. You'll come across naturally talented actors with no discipline. And you'll come across disciplined actors with no talent.

The best actors are the ones who fight through their compulsions and become both.
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that is EXACTLY how it is. this guy is talented with no discipline.
 
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