Explaining blocking

[Gohanto]

Recently I had my first experience rehearsing with professional actors and I instantly became aware they knew a lot more about the script and had made a lot of choices on their own before even coming to the first read through. (Something my friends tended not to do before coming to reherse or shoot) Making adjustments was a joy then as it was less "what makes this scene less awful" and more "what's the best or most interesting way to play this".

However, one thing I started to question myself on was whether to explain the motivations on why I wanted to try different blocking or to let them find the reasons for themselves. (Helping them if they ask either way of course)

 

[moonlitnite]

Hi Gohanto,

As an aspiring director, I recommend you read Judity Weston's "Directing Actors". You'll not only learn about why we as Directors should know the script inside and out, how we can best guide actors without emotional or results-oriented suggestions, and more. Allow your actors to get inside the characters - don't try to do their job or make them have to do yours.

Happy Trails, Michael

 

[Gohanto]

I've read it twice actually. Agree it's a good book, but I'm looking for other's opinions.

 

[rsbush]

I think a director's reason for a specific blocking are very different than what an actor needs to find in themselves to play within that blocking. A director may want a certain distance between the actors so that a specific line is more or less intimate. But more or less intimate doesn't work for me as an actor. He may not want the actors to touch because it will dissipate the tension. Or the light might just be better at a certain spot. Directorial motivation is different than what an actor needs to move believably within the blocking. That said, as an actor, if I disagree with or don't understand why you want me to do something, I'll ask why you are making that choice. If I am having trouble finding my way with the blocking, I'll ask why am I as the character making that choice. So what I'm saying is, I wouldn't say anything unless the actor asks or needs help. For me suggestion works much better than full disclosure, and the line of the blocking is usually suggestion enough.

 

[moonlitnite]

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However, one thing I started to question myself on was whether to explain the motivations on why I wanted to try different blocking or to let them find the reasons for themselves. (Helping them if they ask either way of course)

Rehi,

Okay, sorry I didn't fully comprehend your knowledge base and thrust of your question. For what it's worth, I try another crack at your question.

Apparently you either have insights (or preferences) not found in the script or some other reason such as blocking dynamics. Ostensibly, your problems are not are due to their acting technique (that's resolved in casting and you did say you appreciated their professionalism).

If you are certain that ultimately you will not accept the performance based on their blocking ("...let them find the reasons for themselves"), then by all means share your expectations. Ideally, you can coach the actors in terms of their character's experiential dimensions. And based on your readings, I'm sure you are already well versed on the "big five":

- Verbs
- Facts
- Images
- Events
- Physical Tasks

Do you care to be more specific regarding the disconnect in the actor's blocking?

Also, bear in mind that the actors might be "reusing" character traits from prior films or favorites in their bag of tricks. Unless you watch several blocking sessions and are certain they are not simply experimenting, you might be offbase directing them at this stage.

Regards, Michael

 

[CharlesPapert]

Part of prepping as a director is to have every scene pre-blocked and planned, and preferably shot-listed as well. This is not to say that this is the only way to work, but it's the most efficient and for working on a tight money and time budget as most people who are on this board are, it's the way to go. Certainly once you put a scene on its feet there may need to be changes; sometimes you might even have to throw out your plans and start again. But it's not appropriate to leave the initial blocking up to the actors, that's the director's job and the actors will be looking to you to deliver that guidance. Actors will always respond better when they sense that they are in confident hands.

 

[Collins]

I have to build on what Charles said.

This sounds like you have to be the director.

that means your balz are on the line as to what the lens sees and it better be right.

Smart actors will save you, and make you look like a genius, but you move the chess pieces, you have to make it cut together, you are the leader, you have to inspire confidence and take all the input and ideas you get and sift them out to what works for the camera.

Weed out what is irrelevant, if the actor doesn't feel right, but it looks perfect on camera,...thats the shot ,and thats what you tell them. they look great, it works. Action. remember actors are nuts, so be over positive... scream at athleats, stroke actors...

good luck,
cc