i'm usualy a good judge of character but one has finaly slipped through the cracks.a diva that is.i cast an actress last week and she has realy turned out to be very high maintenance.her roll isn't that big in the movie but it is critical to the movie.she began showing signs earlier on through phone conversations with key words like how long will the shoot take.no director wants to feel rushed.we finaly make it to rehersal only to find she dose't like to be directed or corrected.i realy didn't have the guts to stop it right there and tell her she's cut because i feel like i would have waisted so much of her time, but there is no way i'll put an hdv tape on her.so my question is how would you tell her she's cut after waisting so much of her time.if someone could please respond i'd realy appreciate it.
dealing with divas
- Thread starter ennfurno
- Start date
emotepix
Well-known member
Okay, there's two ways of doing this - first way is the your-way, my-way approach.
Let her do it her way if she'll agree to do one take your way. This usually works.
If you don't like her performance, don't say that. Just say "magnificent, wonderful, now please feel free to do it again, and adjust with more cajoling, or persuasion (or whatever)."
There's no such thing as direction or correction in acting, it's called objective and adjustment. If you say "correction" any actor will get their back up, including you, if you were out there too. Never say no. Always say "great, now let's develop this a bit further. How do you feel? Where would you like to take it?" Wait for the actor to make a suggestion, and accept it, no matter how stupid that suggestion may sound. No corrections, remember. Just adjustments. Not "you must do this" but "feel free to try this", or "let's play on this, take it a bit further", or "let's explore this" or conversely "don't you think this seam is mined out? Let's try another path."
This is the language of the actor. This is what they hear at acting school and by pro directors who have been trained how to act. If you accept everything equally and with equanimity, then ask for what you want TOO, and don't stop until you get it, then even the most recalcitrant of actors will soon figure out that it's fastest to give you the good stuff instead of trying to test you with garbage.
If you don't use the words or if you get upset, then they will sense that you haven't been trained or that you're not stable as a rock, and will therefore get nervous, and needy, and all those things you don't like at the moment. How can you be a fair judge when you yourself are getting upset?
So that leaves option two - ditch the actress and recast. Say it simply, honestly and directly, and not antagonistically at all, because it takes long years to build a great reputatiion out of single comments of goodness, but it takes only one disgruntled person sounding off to all and sundry to tarnish that reputation. The business is too small for that, you don't need hassle like that.
Don't forget that in Hollywood, at least, the director is the head of the acting department, above all else. If you don't reach a quick and harmonious solution, one way or another, with your actor, the rest of the crew will definitely take note. It's like the reverse of the Vidal Sassoon ad - if your actor looks bad, you look bad. So take care to keep it as a creative difference, no blame, no antagonism. No bad feeling.
Another trick is to use "film mag 3" which means simply to pretend to roll, or to load an empty mag.
This is usually used when one actor only gets good at, say, take 9 while the others are great at takes 1 and 2 and fade by the time take 8 or 9 rolls around. So you load Mag 3 up for the first six takes, give your fast actors warm-up improvs around their parts, on take 8 you go with your real mag (with film in it) and get your fast actors up to speed. That way everybody comes to the boil at once, so to speak.
In your case, you use the film mag three technique when you know she's going to fight you. If you tell your crew about this (not the other cast, of course) then you'll find that they start to relax visibly, 'cause it's like a inside joke. Not cruel, mind you, but necessary because you need to get on with your day. Then when she comes around to giving you what you want, you look at the cam op and he says "tape out" and you "reload" to real tape and shoot.
Don't forget the candy too. Very effective.
if you're on a tense and rushed set, you carry a bag of candies (colorful ones, with wrappers) in your pocket.
At the end of a take, if an actor does particularly well, you stop, pause, and very slowly, like a ham actor, draw out a candy and present it to the actor without saying a word.
Of course, then there's a two candy take, and, if it's absolutely incredible, a three candy take.
I'm usually very very stingy with my candies, they're rarer than Oscars.
So I've actually had actors save their candies in competition... but the main thing is that it gets rid of tension immediately and effectively.
I don't know how experienced you are, but as a director, you must be seen, by all around, to have pursued all avenues, including the ones above, before you are allowed to throw up your hands and get upset.
Once you try the your-take-my-take approach, your actor will usually get the message anyway and either step up, or step out.
I know, this may all sound stupid to you, especially in your state of mind. But don't forget, they're not called "players" for nothing. They need to be in a safe, secure environment where they're fully appreciated in order to do their best.
You'll need to have a private heart to heart too, and pretty soon, because maybe, just maybe, her dad's dying or something else is going on outside the production that's causing this. You need to find out, if only to eliminate that as a possibility.
HTH
Cheers
Chris
Let her do it her way if she'll agree to do one take your way. This usually works.
If you don't like her performance, don't say that. Just say "magnificent, wonderful, now please feel free to do it again, and adjust with more cajoling, or persuasion (or whatever)."
There's no such thing as direction or correction in acting, it's called objective and adjustment. If you say "correction" any actor will get their back up, including you, if you were out there too. Never say no. Always say "great, now let's develop this a bit further. How do you feel? Where would you like to take it?" Wait for the actor to make a suggestion, and accept it, no matter how stupid that suggestion may sound. No corrections, remember. Just adjustments. Not "you must do this" but "feel free to try this", or "let's play on this, take it a bit further", or "let's explore this" or conversely "don't you think this seam is mined out? Let's try another path."
This is the language of the actor. This is what they hear at acting school and by pro directors who have been trained how to act. If you accept everything equally and with equanimity, then ask for what you want TOO, and don't stop until you get it, then even the most recalcitrant of actors will soon figure out that it's fastest to give you the good stuff instead of trying to test you with garbage.
If you don't use the words or if you get upset, then they will sense that you haven't been trained or that you're not stable as a rock, and will therefore get nervous, and needy, and all those things you don't like at the moment. How can you be a fair judge when you yourself are getting upset?
So that leaves option two - ditch the actress and recast. Say it simply, honestly and directly, and not antagonistically at all, because it takes long years to build a great reputatiion out of single comments of goodness, but it takes only one disgruntled person sounding off to all and sundry to tarnish that reputation. The business is too small for that, you don't need hassle like that.
Don't forget that in Hollywood, at least, the director is the head of the acting department, above all else. If you don't reach a quick and harmonious solution, one way or another, with your actor, the rest of the crew will definitely take note. It's like the reverse of the Vidal Sassoon ad - if your actor looks bad, you look bad. So take care to keep it as a creative difference, no blame, no antagonism. No bad feeling.
Another trick is to use "film mag 3" which means simply to pretend to roll, or to load an empty mag.
This is usually used when one actor only gets good at, say, take 9 while the others are great at takes 1 and 2 and fade by the time take 8 or 9 rolls around. So you load Mag 3 up for the first six takes, give your fast actors warm-up improvs around their parts, on take 8 you go with your real mag (with film in it) and get your fast actors up to speed. That way everybody comes to the boil at once, so to speak.
In your case, you use the film mag three technique when you know she's going to fight you. If you tell your crew about this (not the other cast, of course) then you'll find that they start to relax visibly, 'cause it's like a inside joke. Not cruel, mind you, but necessary because you need to get on with your day. Then when she comes around to giving you what you want, you look at the cam op and he says "tape out" and you "reload" to real tape and shoot.
Don't forget the candy too. Very effective.
if you're on a tense and rushed set, you carry a bag of candies (colorful ones, with wrappers) in your pocket.
At the end of a take, if an actor does particularly well, you stop, pause, and very slowly, like a ham actor, draw out a candy and present it to the actor without saying a word.
Of course, then there's a two candy take, and, if it's absolutely incredible, a three candy take.
I'm usually very very stingy with my candies, they're rarer than Oscars.
So I've actually had actors save their candies in competition... but the main thing is that it gets rid of tension immediately and effectively.
I don't know how experienced you are, but as a director, you must be seen, by all around, to have pursued all avenues, including the ones above, before you are allowed to throw up your hands and get upset.
Once you try the your-take-my-take approach, your actor will usually get the message anyway and either step up, or step out.
I know, this may all sound stupid to you, especially in your state of mind. But don't forget, they're not called "players" for nothing. They need to be in a safe, secure environment where they're fully appreciated in order to do their best.
You'll need to have a private heart to heart too, and pretty soon, because maybe, just maybe, her dad's dying or something else is going on outside the production that's causing this. You need to find out, if only to eliminate that as a possibility.
HTH
Cheers
Chris
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PaPa
Major Contributor
"I know, this may all sound stupid to you, especially in your state of mind. But don't forget, they're not called "players" for nothing. They need to be in a safe, secure environment where they're fully appreciated in order to do their best."
this is true. I know this of myself as well.
An actor will work his or her best when they feel comfortable, respected, free to work without judgement. The better the actor, the less reinforcement they need, but why not lend a helping hand anyways?
dont ever forget, being an actor is being completely vulnerable. And yes, we have brains and ideas too, however there are ways an actor should suggest things, but still know their place.
most imoprtantly, is be honest, but polite. Start with a compliment, and say how thigns can get better, because you konw they are capable of it.
For example, i have done work in the past that i thought was ****, and some that was so great, it put my co actors and audience in tears. But those moments are defined by the relatiosnhip between the actor and director.
the best directors will bring the best out of their actors, and vice versa. Work as a team, dont do it alone.
this is true. I know this of myself as well.
An actor will work his or her best when they feel comfortable, respected, free to work without judgement. The better the actor, the less reinforcement they need, but why not lend a helping hand anyways?
dont ever forget, being an actor is being completely vulnerable. And yes, we have brains and ideas too, however there are ways an actor should suggest things, but still know their place.
most imoprtantly, is be honest, but polite. Start with a compliment, and say how thigns can get better, because you konw they are capable of it.
For example, i have done work in the past that i thought was ****, and some that was so great, it put my co actors and audience in tears. But those moments are defined by the relatiosnhip between the actor and director.
the best directors will bring the best out of their actors, and vice versa. Work as a team, dont do it alone.
this was very good reading.i've actualy learned a great deal by this read.well this is the second film i've directed,so i'm very new to terminology but not to knowing how to keep my composure when dealing with individuals who may have bypolar tendencies.i know i'll evetualy half to deal with all types of pesonalities and this was a good test for me but at this point i never want to sacrafice moral on the set just because an actress is schooled or have a huge reume under their belt.the artists that ive cast thus far are extrodinary in my book because they came in with no big resume but only a passion to learn and grow on set with me as a director and with the other cast members.i think we set to many rules and regulations on the craft of directing.in both films i've directed so far the moral has been high because i'm not afraid to recieve direction.if i'm wrong i should be the first to admit it.the laguage i use on the set is.this is not my movie it's our movie.i like to establish a family environment where everyone can feel like their opinion matters but in regards to the diva she was not willing to except the mission statement of this project which is family first.for me as a director my goal is take the artist thats unexperinced,castaways and undefiled by hollywoods standard and bring forth their full potential as an aspiring artist.
Emotepix's advice should be a sticky. That was a perfect response. I will only add a few thoughts to it.
Every single actor has a break-point. A place where they can step over that diva-barrier and communicate effectively with the director. Acting is their bread and butter, they know that they must find the directors vision, one way or the other.
There is a varied "barrier thickness" to each actor however. It is your job to gently test that thickness and break through. What you have here is the proverbial "directors challenge". If you bail out, you have given up. Her wall is clearly the thickest you have come across, but it is just that, a wall, not a dead end.
If you follow those steps laid out by Emo you can't go wrong. That is the perfect solution to finding her soft spot. I have delt with some incredibly tough divas before and each one of them eventually found the path with me. I reiterate 'found it with me' as that's the key here, finding it together.
One final note. If you can sit back after trying every trick in the book and she is simply not going to budge you must be able to say, I have done everything possible to make this work. She has to go. You may have to take a budget and time hit, but it will be worth it to find another actress. But only after you have explored every angle to break through her wall.
One thing I will add to Emo's strategies is the 'straight-up' approach. Sometimes 'parlor tricks' with an actor will not work. Many seasoned actors will call you out and see right through those approaches. This is when you need to step aside with them and tell them exactly how you feel in a professional manner. You would be suprised how many actors didnt even know they were being jerks and simply needed to be told they were being a jerk.
I had one actor once that was being a diva and I used several strategies to get through to him. Eventually I took him to lunch and told him that I've been trying to get him on the same page by doing this and by doing that. I told him I thought his anger and stubborness was unacceptable and hurting the overall production and moral but I've ran out of sneaky tricks to get him on board. I asked him if he had any suggestions to make this work. He told me he had no idea he was being such a douchebag and appologized. The shoot went great after that.
Pick up the book, Making Movies by Lumet. He goes over a few diva stories, one in particular with Katherine Hepburn who was an infamous stubborn mule on set. He eventually broke through and they created magic together.
Good luck, be sure to upadate us on the outcome here.
Every single actor has a break-point. A place where they can step over that diva-barrier and communicate effectively with the director. Acting is their bread and butter, they know that they must find the directors vision, one way or the other.
There is a varied "barrier thickness" to each actor however. It is your job to gently test that thickness and break through. What you have here is the proverbial "directors challenge". If you bail out, you have given up. Her wall is clearly the thickest you have come across, but it is just that, a wall, not a dead end.
If you follow those steps laid out by Emo you can't go wrong. That is the perfect solution to finding her soft spot. I have delt with some incredibly tough divas before and each one of them eventually found the path with me. I reiterate 'found it with me' as that's the key here, finding it together.
One final note. If you can sit back after trying every trick in the book and she is simply not going to budge you must be able to say, I have done everything possible to make this work. She has to go. You may have to take a budget and time hit, but it will be worth it to find another actress. But only after you have explored every angle to break through her wall.
One thing I will add to Emo's strategies is the 'straight-up' approach. Sometimes 'parlor tricks' with an actor will not work. Many seasoned actors will call you out and see right through those approaches. This is when you need to step aside with them and tell them exactly how you feel in a professional manner. You would be suprised how many actors didnt even know they were being jerks and simply needed to be told they were being a jerk.
I had one actor once that was being a diva and I used several strategies to get through to him. Eventually I took him to lunch and told him that I've been trying to get him on the same page by doing this and by doing that. I told him I thought his anger and stubborness was unacceptable and hurting the overall production and moral but I've ran out of sneaky tricks to get him on board. I asked him if he had any suggestions to make this work. He told me he had no idea he was being such a douchebag and appologized. The shoot went great after that.
Pick up the book, Making Movies by Lumet. He goes over a few diva stories, one in particular with Katherine Hepburn who was an infamous stubborn mule on set. He eventually broke through and they created magic together.
Good luck, be sure to upadate us on the outcome here.
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emotepix that was great advice, I haven't run across any actors like that myself, but I will keep a lot of that in mind. I have found that every actor has their own particular "take" on a character, and really the best performance comes out of when they are as much in control of that take as possible. But if they are off and being stubborn, the parlor tricks are great - you have to get the actor to see things your way but think that they came to that conclusion themselves. Then it's much more natural.
Also, ennfurno, sometimes you have to be able to dump them and take the hit as well. You're the director, don't be afraid or shy to do something. This is your gig, your vision, your project. If someone is challenging it, don't hold back. Don't be a dick or fight them, but don't be afraid to put your foot down when the time comes. If, after you've worked with her enough, and she refuses to compromise or work out the rule, just say "Okay, you can go home now." Calm. Cool. Collected.
Some directors (and I think these guys are jerks) fire people at the beginning of every shoot over inconsequential things. They think that it sends a lesson to the rest of the crew that the director is not to be f*cked with. I think this is taking it way too far, because your crew shouldn't be scared of you. But if someone refuses to work, don't be afraid to give them the boot. Don't be a pushover, don't be a dick.
Let there be a wide grey area inbetween, and just work with everybody. You've hired them for their creative input, too, so make sure their voice is being heard along with yours.
Also, ennfurno, sometimes you have to be able to dump them and take the hit as well. You're the director, don't be afraid or shy to do something. This is your gig, your vision, your project. If someone is challenging it, don't hold back. Don't be a dick or fight them, but don't be afraid to put your foot down when the time comes. If, after you've worked with her enough, and she refuses to compromise or work out the rule, just say "Okay, you can go home now." Calm. Cool. Collected.
Some directors (and I think these guys are jerks) fire people at the beginning of every shoot over inconsequential things. They think that it sends a lesson to the rest of the crew that the director is not to be f*cked with. I think this is taking it way too far, because your crew shouldn't be scared of you. But if someone refuses to work, don't be afraid to give them the boot. Don't be a pushover, don't be a dick.
Let there be a wide grey area inbetween, and just work with everybody. You've hired them for their creative input, too, so make sure their voice is being heard along with yours.