Directing improv

L

Larryease

New member
Hi guys

Im shooting a very short film (5-7 mins) in about 10 days. We are using a monologue from a play. We see the main character in a room as she packs a suitcase. She recites the monologue to camera. The monologue is reflective piece about a failed relationship. What we then see is a series of short scenes that visualize the words of the monologue, the rise and fall of the relationship, while cutting to and fro from the main character. so the Narrative of the story is told the monologue.

Now for the flashback scenes, we have written no dialogue and plan to improvise around a scenario between the characters. This being my first time using imrov i'm a little anxious to get it right. I have analyized the script using Judith Weston technique and have found objectives/verbs/images/events for the characters. But i don't want the scenes to ramble on and be too long.

so I was wondering what is the best way to approach this, I have 1-2 days rehearsal. Should I try and find a structure to the scene, a beginning middle and end and tell the actors to improvise between these points but make sure you hits the stepping stones to the scene the same every time or is there a better way to approach this

Also how would I shoot the scene to make sure it cuts

Your thoughts on this would be most appreciated

Thanks

Larry
 
Larryease said:
But i don't want the scenes to ramble on and be too long.
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it's improv. it won't be pretty in its raw form. it's the editor's task to find the scene in all the material that's generated.

Larryease said:
so I was wondering what is the best way to approach this, I have 1-2 days rehearsal. Should I try and find a structure to the scene, a beginning middle and end and tell the actors to improvise between these points but make sure you hits the stepping stones to the scene the same every time or is there a better way to approach this
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i think improv works best when the actors don't necessarily know what the destination is, while being guided by a director who does. by all means, structure the scene. but instead of telling your actors where to "get to" and what beats to hit, just give them a simple objective to pursue. as the scene developes, step in and revise their objectives until they get where you need them to be.

Larryease said:
Also how would I shoot the scene to make sure it cuts
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I don't always but many shoot with two or more cameras to keep the continuity.
 
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I second what Zak Said. I've made nearly 30 improvisational shorts, some of them going from 30 seconds long to 30 minutes long (literally), although I've never used multiple cameras for continuity, and I've gotten good results by keeping up with what we're doing, but I'd still agree with Zak about using a multi-cam set-up.

Also, I don't know if you're already planning on doing it, but you can come up with the improvisation sin rehearsal, then add them to the script, and reheasre the now-written-down improvisations. If you weren't already planning on doing that, either record audio or video of the rehearsal, and go through as many options and ideas as possible, then pick the best stuff that day, add it to the script, reheasre it the next day. Or hell, maybe you can even get someone to act as a stenographer with a lap top or something. But that's just a though. Maybe you can give yourself an extra day of rehearsal if you need it.
 
All good advice above. I'll add that in addition to giving them objectives make sure they have clear opinions of the other players. Also, make sure they know everything they need to know in common and nothing else. Each player should only know their own opinions and objectives. This will help them not anticipate. And give them independent activities; washing dishes, polishing shoes, getting dressed. Things to do to keep the attention off of themselves and onto an outside object. This will not only free them up, it will add texture to their behavior.
 
Well, to be honest I never do improv on camera. If you want the scene to feel natural I'd write out a structure to the scene, and improve a bunch of different ways to do it in rehersals, write down the best of all ideas, and then shoot that (maybe on the same day).
My one experience with it was since the cameras were rolling as we were trying things, they didn't branch out enough with trying things that wouldn't work. With rehersals, they can do whatever they want without wasting film (or tape).
 
Start with a plan

Start with a plan

Yes, by all means improv. It's a great way to end up with a naturalistic style, but do it BEFORE you shoot. Workshop the material with the actors until it feels realistic and then re-create that with the camera rolling. I think the DVD for MASH has Altman talking on this very subject.

Good luck
 
I've done a lot of improv in the last 20 years and my experience has lead me to different conclusions than Bangkok and Zak.

Improv is a unique skill. Not all actors are good at improvisation, although most will tell you they are. The results you'll get from most actors will be generically-phrased dialogue in which the actor loudly states their subtext (which, by definition, should never be spoken...it's SUBtext.)

Here is an example of what you'll get from most actors:

"I love you. Don't you GET it? I really LOVE YOU! HOW CAN YOU TREAT ME THIS WAY? DON'T YOU LOVE ME?"

Improvising dialogue like this is emotionally satisfying for the actor. To them, it feels so authentic. However, the result is unconvincing and terribly unsatisfying for the audience. In essence, improv, particularly in the hands of unskilled improvisational actors, is artistic masterbation.

If you hire anyone who can't demonstrate expertise in improvisation be prepared for extremely unnatural, clunky, expository performances filled with dialogue like the terrible line I wrote above.

If you take your time and find actors who can demonstrate expertise in improvisation, it is critical to give them the destination for their improvisation.

This is how "Curb Your Enthusiasm" is done. There is an outline of each scene. Each actor knows what their goal is. They also know what must be accomplished within the given scene. Then, they are let loose.

Personally, I'm not a fan of Curb Your Enthusiasm. I watched two full seasons and gave up on the show because I can tell it's improved. Even the best improvisation has a "feel" to it...and it isn't the feeling of reality. To me, it feels like a poorly rehearsed scene. The idea is solid, the actors clearly have talent but the rhythm and timing is always rough and clunky.

Perhaps it's becoming obvious I don't like improv. I don't like the results I get. However, if you want to pursue this path, learn from my mistakes. If you:

1.) Structure your casting sessions so actors have to demonstrate their improvisational skills. Don't trust their resume or their confidence about their abilities, make them prove their abilities during the audition.

2.) Follow the "Curb Your Enthusiasm" model and give your actors character objectives and scene objectives. The whole cast must know the scene objectives. Each actor must know only their own character objectives...every other actor's objectives should remain a mystery.

You'll get far better improv results.

And understand the difference between scripted narrative and improvisational. The best improv is like a Grateful Dead jam session. It is rife with long, boring, discordant musical moments with occassional accidental interludes of sonic genius. And that's the Grateful Dead, masters of marathon jam-sessions. The average high school garage band cannot hope to achieve those results...

...even most of Robin Williams' improvisational performance as The Genie in Aladdin was left on the cutting room floor. And he's brilliant.

Be cautious and be prepared for what your results may turn out to be.
 
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prodigi, in my experience bad, superficial dialogue can be avoided during a guided improvisation. if my actors were resorting to making the subtext, the text of the scene... that would be my fault. especially if I let slip what the subtext was -- a bigger mistake, imo.

i don[t think 'curb' is a good example of naturalistic improv by any means. that show is very wink-wink at times. want to see good work... check out select scenes from the work of the dardenne bros, lukas moodysson, cassavetes, or more recently some select scenes from Half Nelson. or even my own.... blue in green (shameless, i know), a feature shot in eight days from a two page outline.
 
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Zak -

As for my reference to Curb Your Enthusiasm, I don't believe my example referred to their aesthetic choices, but only the (limited) structure they provide their cast. Also, I should reiterate I'm not a fan of CYE. Watching it proves the brilliance of Seinfeld. Its like watching a first draft table read of a Seinfeld episode. It lacks the polish and snappy timing that makes Seinfeld the pinnacle of sitcoms.
 
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hey prodigi, i'm sorry man. i truly didn't intend that to sound like i was referring specifically to your directing choices. how could i know without being there? my intent was to speak to the generalities of a hypothetical situation. again, all apologies... and i'm revising my statement to better reflect the thoughts that were going through my mind at the time.
 
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