Directing Non-Actors...

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XDeathOrGloryX

Active member
so i have a 15 page script written that i plan to start shooting in late june, early july. the concept of the film was to do something where i could play with different visual looks within the one story. (almost like Traffic).

since this film is going to be more of a TECHNICAL exercise, rather than a showcase for my less than stellar writing capabilities, i am planning on using a couple of friends for my cast, since i dont think the characters are developed enough, nor have enough lines to warrant casting these parts with "REAL ACTORS". its basically more plot driven than anything else.

anyhow, im more of a camera operator, turning Director... and was wondering if any of you had tips as far as how to go about getting a untrained actor to "lose themselves in their character"... or how to get them to forget about the cameras and lights and everything else.

any advice is appreciated. thanks guys.

Daniel
 
Re: Directing Non-Actors...

Rehearsals definitely help.

Spend at least a couple days before shooting with your actors, having no equipment or anything with you...and just go through the scenes, explain to them your ideas, and how you want your characters to behave. It'll let them (and you) focus on what you want them to do on camera, and they'll take that with them on your shoot.

I think that the most important thing to remember is that actors (and specifically "non-actors") need clear direction if you want them to be good. A well-directed "non-actor" can give a better performance than a professional who had no direction.
 
Re: Directing Non-Actors...

You might reconsider getting real actors to work with.  There are lots of actors that would like the opportunity to build their experience with a short film.  They're also generally easier to work with than non-actors.  

Non-actors are either going to be comfortable in front of a camera or not.  If you have someone who's really self-conscious, it's better to find a replacement.  Some rehearsal time is good--let your talent run through the scene two or three times--but don't overdo it.  Keep things light--don't be the serious director--make the set fun.  Be as encouraging as possible and if they do a bad take, just ask for another.

A big problem with non-actors or inexperienced actors is ACTING.  Did you ever see Jon Lovitz in those Master Thespian sketches on SNL?  Theatrical-type acting looks very artificial in a film, so you may have to work at getting your talent to dial it down.  

Another key to getting natural delivery is to give actors something to do while they say their lines.  Maybe they're straightening up a room or cooking dinner or painting a wall--give them something to do.  This will make it easier for them to be natural and will look better on film.
 
Re: Directing Non-Actors...

Here's a quick tip also. Are your friends, how you say, fugly? Because if they are, I would either suggest a little bit of makeup or finding less fugly friends. No offense to them, but if this is mainly a technical exercise in film making, you're gonna want it to look good. I guarantee you it will *not* look good if your subjects do not look good. It's a sad truth but it's the way the world is.

Also, if your writing skills are less than stellar, try to be a little flexible with your script. If an actor has trouble saying a line or says it very awkwardly, let them make a minor adjustment so it comes out more naturally for them...
 
Re: Directing Non-Actors...

That goes without saying; casting friends is never as good as casting actors (unless of course you're friends with Tom Hanks and Uma Thurman).

But it sounds like XDeathOrGloryX is trying to more so create something cinematographyically solid, rather than an all around movie (having said that its going to be more of a technical exercise).

I guess if you really don't care about the performances, there isn't really anything to worry about...but if you do, in the LEAST, then getting actors is the way to go.
 
Re: Directing Non-Actors...

If you want one "Tip" here it goes. Complement their performances after each take. Then you say what you want. Don't go: "Don't do this! you are not that sad.". Instead say: "Great one! Now let's try another without that last look you gave.". Also, don't ever say stuff like "Now, let's do it happier." that will create artificial performances. Either you give them physical actions or you clear up their motives and the situation. Like: "Man, that girl is up to you! Do you know what that mean?! You've won the friggin' lottery!"

Of course the second one is more a matter of style, but the first one you can't miss. Even if it sounds artificial, always encorage them after each take. Actors can be quite needy...

Not having them shy up on you is a big deal, and critics and censorship can be quite castrating...

But I also agree that with friends, things tend to get more complicated. But it's your judgement. If you think they can do it go for it. Casting is a lot about empathy, and when you have that for your actor, everything goes much smoother on set.
 
Re: Directing Non-Actors...

man this Directing forums gonna be good... :)

I must say getting real talent over friends make a big difference, but for screwing around Friends can be great (and cheap). Even for the Filter DVD we cast models from A pro talent agency ($$) and we are happy we went that route, even sitting in a chair it was amazing how trained talent makes the entire shoot easier.

A tip I picked up along taubkin's suggestion, but blame it on the cameraman (usually me) or sound. If you tell talent they sucked you will loose the mood, but if you say "sorry camera was out of focus, or we got traffic noise, lets try it again and maybe you can try something different" seems to work, and just make sure you wink at your cameraman so hes on the same page.

Taubkin is also on the right page giving analogies for performance instead of emotional descriptions.
 
Re: Directing Non-Actors...

wow, i forgot that i had posted this question and was scanning this site before i went to bed and found all these replies! thanks so much guys for all the advice.

Mike_Donis: i agree with the rehersals. i plan to do a number of table reads. and run rehersals the day of the shoot as well, while the crew lights and stuff.

Barry_S: i havent seen that SNL bit, but i definately know what you mean about the Theatrical acting. blah. but yeah, most of the actors i have in mind so far have been performers in one way or another for much of their life whether it be musical theatre, or in bands, or dance. so they should all be pretty comfortable with eyes on them, i just hope the CAMERA doesnt scare them. and thanks for the tip about giving the actors something to do. i had heard that before, but completely forgot about it. =)

THiNSPiRiT: haha. i definately know what you mean. but no, the friends i have talked to about doing this are all pretty damn good looking. im actually fortunate to have pretty beautiful friends, so that wont be too big an issue. and i plan on being VERY flexible with my script. i would definately have the lines came across natural, rather than eloquent.

taubkin: directing is definately a mind game, and those are some great tips to use. "Casting is a lot about empathy, and when you have that for your actor, everything goes much smoother on set." -- i definately agree with you there.

John, Mike, Jared: i know you guys are right. and i might reconsider, but i think the reason why ive wanted to go with friends over "actors" is because the story is more visual than anything else. there isnt a whole lot of dialogue. but there are some parts that are gonna require a great amount of "believability"... so i may go the casting route afterall. i guess itll depend on what i see in the screen tests with my friends first.

and that "blame it on the crew" thing is something ive done in the past. its works quite well too.

thanks again everyone. this was great stuff. =)
 
Re: Directing Non-Actors...

A couple benefits to having friends are the flexibility and rapport you already have with your "actors." While the acting may not be as good, I think it is worthwhile to take into account the ability to talk to your friend actors more easily than ones you have hired. Also, if you are spending a lot of time on getting the technical side of things right, if you have friends around, my guess would be there would be less pressure for you to "hurry up and finish." And finally, nothing beats free labor if it is decent enough.

I guess it depends on what direction you want to go with your video. :o
 
Re: Directing Non-Actors...

You are correct! Film is a visual medium, and if you do use 'non actors' youll know which of your frinds can or cannot pull something off. Try and get some coverage so you have material to work with. Sometimes, you can tell the story without saying a word.
 
Re: Directing Non-Actors...

Well, professional actors will on average be more "professional." At this level, they probably will not have developed into prima donnas and understand that film is a director's medium.
 
Re: Directing Non-Actors...

That's all true...

Thing is, XDeathOrGloryX, you seem to be uncertain as to whether or not you want to have good performances or not...It kind of sucks, but it'll likely come down to
Good Performances=Professional actors
and
Bad Performances=Friends...

So I think it'll really depend on how important the acting is to you in this project...if it's truly to expand your tech skills, and you won't be using it for an actual portfolio piece, you might as well use your friends.  But if you're looking for good acting, I can see yourself wanting to pick Professionals.
 
Re: Directing Non-Actors...

[quote author=David Jimerson link=board=Directing;num=1085259481;start=0#11 date=05/24/04 at 19:42:00] and understand that film is a director's medium. [/quote]

Ah.  Spoken like a director.  :)

To again paraphrase from Bo Svenson... "On the first day, it is the producer's movie.  On the second day, it is the director's movie.  But beginning on the third day, it is the actor's movie."  His reasoning being, three days in, thousands of feet of film will have been shot of that actor. You could still fire the director, but the star will have become indispenable and irreplaceable, so they can get away with anything (and Bo confesses to having been a royal primadonna in his younger years!)

Anyway: about using friends as actors... yes, you'll start with a better rapport.  But what will you end with?  Filmmaking is one of the most intense pressure-cooker environments that man has devised yet.  And while pre-existing friendship relationships may seem a strength at the beginning, when things start to go wrong, things can deteriorate to where the friendship itself gets put on the line.  And if someone's only there because they're "doing you a favor", that can make for some much-more-tense situations than if the reason the person's there is because they're doing it for themselves to further their career.

If it's a one-day little shoot, sure, drag your friends along.  But if it's something serious, go get real (or aspiring) actors, it will make your life so much easier, not just during the shoot but afterwards.
 
Re: Directing Non-Actors...

Bo Svenson. ;D

You're right, of course, Barry -- but you're also talking about a level well above where we are right now. Most of us are the producers, writers, and directors of our work, so if anyone goes, it's the talent . . .

;)
 
Re: Directing Non-Actors...

Exactly. You cannot demand anything from friends who are doing you a favor. That's a major obstacle. But if you are a Director that keeps his set fun (and I think that's a goal we all have to aim for, because working for control freaks with major go issues can be incredibly frustrating), you can manage to pull off nice scenes with friends. Also, having more than one is always good to let them distract themselves as they wait. And they will. A long time. If they tend to get to distracted, that can be a problem, so in that case it's better to get a group that's acquainted but not too close.

If you don't have the budget or time to cast, and you fell thay can pull off, do it. You know your friends better than any of us. And it is not like the end of the world. But for most of the times, try to get actors. It's a nice way to meet new people, ad maybe make new friends.

On the other hand, a friend of mine casted one of this commercial actors that tought he was Robert De'Niro. He told me it was pure hell.

The one thing to remember is: Don't be a control freak. If you have your friend with you, you might as well have some fun. It's all about getting your shots, but that is something only you is supposed to know.
 
Re: Directing Non-Actors...

A lot of great suggestions in this thread so far.

Here's some suggestions that might apply whether you're working with your friends or pros.

Whether directing non-pro actors and pro actors, I find that how you approach the situation is entirely dependent on the performer. Some actors require discussions of character motivation and backstory, others respond better to simple, specific direction like "be more sad" or "say it faster."

If an actor needs to laugh in a scene, some can fake it well, others may respond more sincerely if you actually make them laugh. Same thing with anger and sadness; some actors can turn on their emotions on cue, others need to work into it, whether in their own heads, or with prompting from the director.

Pros in general hate being given line readings (esp. from a director who's never acted), though some directors do it anyway. Giving an amateur a line reading probably won't cause a stir, though unless you're sure you can say the line better than they are, you might make their performance worse. The trick is to figure out which actor requires which approach, which you can usually do even before you start shooting, or not long after you start.

Spontaneity can many times lead to inspired moments in a performance, but just as often, you may need to give specific direction regarding how you want a line said (e.g., "put the emphasis on this word") or a reaction you want the actor to give.

As the director, you'll usually have a vision of how a scene will be cut together and how it'll fit into the piece as a whole, and it's up to you to make sure you get the necessary pieces to put it all together, meaning you'll sometimes need an actor to a specific bit of business at a certain time or give a certain reaction, and the only way to get them to do it exactly is to spell it out.

Rehearsal, too, is beneficial in some situations, not as much in others. When shooting non-pro kid actors, for example, you may want to do fewer takes to keep the kids from getting bored, and to preserve a freshness to their performance, though if they're non-pros, you may need to shoot enough coverage of the scene to cut around any bad line readings or other performance problems.

In some situations, especially if rehearsal time is limited, I'll do multiple takes of a scene to allow the actors to get comfortable with the dialogue and action (one of the benefits of shooting DV -- shooting as much as you want for almost no money), and usually, their performance improves the more they do it, though sometimes an early take will prove better.
 
Re: Directing Non-Actors...

Getting friends ass actors have some advantages. The disadvantages are very well known so i ll stay with the positive staff.
First. You know them well. That´s pretty important.
Everytime i work with actor (or real actors/don´t think it´s a good way to describe it) i have to know them well. With friends that work is done. So a lot of times you wont´have to explain the situation to them. They will understand what you want. Son my tip would be that you take advantage of your common knowledge. I would say things like: do you remember when we met that girl. How i`mpressed you were... You know try to relate it with their personal lifes.

I am reading a book about Cassavettes "Cassavetes on cassavetes" By Ray Carney.
It talks a lot about the job with the actors. Cassavetes allways works with friends (they were actors too) but the way he direct them was more like they were friends.
It´s a very good book if you wanna find tips on how to direct people (characters he would say)
 
Re: Directing Non-Actors...

[quote author=Stas_Tagios link=board=Directing;num=1085259481;start=15#16 date=05/25/04 at 22:44:54]A lot of great suggestions in this thread so far.


Pros in general hate being given line readings (esp. from a director who's never acted), though some directors do it anyway.  Giving an amateur a line reading probably won't cause a stir, though unless you're sure you can say the line better than they are, you might make their performance worse.  The trick is to figure out which actor requires which approach, which you can usually do even before you start shooting, or not long after you start.

[/quote]

This is soooo true although I probably never would've thought of it. Many times you overlook something like this simply because you figure you're just going over the line. I never thought how something like this could affect the actor's performance but it really can... a lot!
 
Re: Directing Non-Actors...

As an actor, the only thing I hate more than being given a line-reading is the director's inability to give me the backstory or motivation that drives that reading.  Believe it or not, acting is work too -- but most of our work takes place away from the set so nobody sees it.

A tip for you writer/directors: Be prepared to answer questions about the characters you've written, because if you can't, giving (experienced) actors line-readings is going to be be met with a lot of resentment.
 
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