Important question for actors.

[Wilbur Eddings]

I am a Director. On my second long form projects at the moment and done tons of TVC's etc.

I find that the older, more experienced actors are a lot less touchy and sensitive to fast paced, sometimes aggressive direction. They also have a lot ,more grace and understanding for the pressures on a Director.

The newer, less experienced actors give me a lot of uphill. Have more demands, threaten to quit etc.

I know it's because a film set to a newby can be very intimidating and that creative people tend to be a bit more 'precious' than others. But even after strong communication about set pace, my direction style and every other protocol and principle I can think of at the castings, I still end up with one or two that write me the 'you humiliated me on set' emails.

Heck, I do everything in my power not to let the pressure leak through to the cast and really try to keep a fun environment but time is time and I can't learn people's words for them, sing Kumbaya all day and dance with a flower in my teeth because an actor has issues at home.

I feel that we all have issues at home to some degree - bringing those issues to set is unfair on the entire team.
I see it a bit too often for my liking. (Horrible atmospheres on set etc.)
I don't care how many awards you have won!
If it's not pleasant working with you, I won't pollute my set with your crap attitude.

Anyhoo. As you can probably see, this issue really irritates me.

But believe it or not, I really want to be a good man and treat people well.

I communicate as clearly and directly as I can and have a policy about no raised voices on set. (No shouting and humiliating - I fire crews for any bullying activities.)


My question is this:

As an actor - what makes you feel motivated and inspired on set?
How can I convey direction to you without making you feel inadequate or humiliated?
How do I correct you if your acting is off key to the rest of my symphony?

Remember, I don't have more than 30 seconds to a minute to do this, the schedule is god.


Thanks for your thoughts. Be as frank as you like.

 

[Michele Seidman]

Wilbur

To start with, most older actors come from a very different type of training than many younger actors. Older ones got hard hitting critique from their instructors as they came up. They got used to it. A lot of (not all) young actors got told how wonderful they were and they don't take straight forward direction very well. That sucks because it can eat up time on set.

You mention 30 seconds on set, which might be accurate but it is where I have seen a lot of new feature directors go wrong.

An example. A few years ago I was brought in to do a day player on a feature film. I auditioned for one character and they put me in another role. No one gave me a copy of the script and wardrobe called for my measurements and that was that. I showed up on set on time and the director was mad because I was in my street clothes. No one told me to bring anything and since they took my measurements, I assumed they were pulling wardrobe but they did not. I got my script in the make up chair and it was only one line...no problem. Not until the 4th take when the director asked me to say it differently. I did it perfect that time but the scene still got cut out.

I am assuming it did not look the way he wanted or the wardrobe was making him nuts. But here is where he went wrong. He never asked me a single question or offered me any information and instead seemed angry at me all day. He also did not give me any real note for direction or talk to me about the over all look of the project. He seemed to expect me to just know. And THAT is where most directors go wrong. They assume we know all the details when half the time, we were told little to nothing. Directors take time with leads as they should but often don't take a single second with any other actor on set. I suggest you start talking to the actor and asking questions. It can't be done during the shoot but you can take a few minutes out of the morning set up to talk to talent. The best directors tend to make a 'drop by' at the make up and hair trailer and check in with the talent first thing. Then when actors go through blocking the best directors give a few more notes.

One director I worked with came to see me when I arrived to set and asked if I had any questions about the scene. It took about 2 minutes to go over everything and when we got to set, we did the scene in 2 takes. It remained in the film too. But this comes back to the same thing over and over, talking to the talent before getting on set to shoot the scene. That also means you tend to talk to them away from the entire crew and less chance of setting up the actor to complain! No matter how hard you try, some actor is going to fuss but if you took the time to talk to the talent, the fault will be theirs and not yours.

If push comes to shove, tell the actor..."I know you have your process but I have the total look in my head...if your performance looks bad at the end it will be my fault not yours...play it the way I asked"

Younger actors are less likely to trust the director or the crew. I just did a project with an actor who has 2-3 years vs my 38 in the biz...and that actor second guessed every single move anyone on set made. Convinced they alone knew what it meant to be a professional. I wish the director had taken the actor aside and said to chill but the director was fairly new and seemed disheartened by that actors comments and attitude.

The director is the boss on set in 99% of shooting scenarios....be the boss. Make sure you let actors know this before you hire them too. And if it means anything, the last director that made me a bit mad on set, also got one of the best performances out of me. Once the project was done and I saw how it came out...my anger was gone. I understood why he said and did what he did and for the projects over all look. That director can fuss at me anytime...he more than earned my trust.

Take time to talk...the time is there. Trust me, you can find the time or make it.

PS...In one case where the director talked to me first, we shot 4 pages with 2 hours left to spare on the schedule. They did a company move to the next location 2 hours early and wrapped 2 hours early. See what a few minutes in the morning can do?

 

[Drew Ott]

If you think "you humiliated me on set" emails are typical emails to receive from your actors after shooting, it probably has something to do with you as well. It's good that you aim to treat actors well, but it sounds like you don't understand an actor's perspective.

Pick up a copy of "Director's Intuition" by Judith Weston. There's a lengthy section on director's authority and it is all about the personal relationship between director and actor. Support and motivation are often more important than helping actors find their scene objectives and whatnot.

 

[robotsound]

Praise in public. Criticize in private.

 

[Ted Spencer]

If you think "you humiliated me on set" emails are typical emails to receive from your actors after shooting, it probably has something to do with you as well. It's good that you aim to treat actors well, but it sounds like you don't understand an actor's perspective.

My hunch-ometer tells me to agree with this.

I think it's extremely important to be as empathetic with everyone involved as is possible/practicable, especially actors, who are putting themselves in a particularly vulnerable position in the first place (risking publicly making fools of themselves, and if they have much experience, knowing that sometimes they will).

Not every director has the right answer for a given on-set decision/issue, and ones who truly listen to actors' concerns will benefit from actors' insights and solutions in many cases. An autocratic director, no matter how thoroughly he self-describes as such initially, will always run the risk of pissing people off as things play out.

You mention what sounds like a breakneck pace:

"Remember, I don't have more than 30 seconds to a minute to do this, the schedule is god"

But that's *your* choice, and it's *your* 30 seconds after which to call "times up - now do what I say". Sounding pretty autocratic there...

So what is this process to you? Production of an artistically worthy feature film, or are we all but banging out boxes of paper clips in a dollar-a-day third-world factory? Art or lowest common denominator? If it's anything even remotely resembling the latter, you're probably in the wrong business.

Speaking of common denominators, the last point I'll make is from my own long experience as a pro in the arts; look for *consistent sources* of problems/issues. If it's consistently coming from one specific person, such as one actor, one crew member, etc., then you can feel reasonably assured that you're not 'the issue', and hopefully (appropriately) straighten that individual out. But if it's being consistently directed *at* you from numerous others, *you* most likely *are* the issue, despite whatever you may think to the contrary. Even with a lot of forethought into one's approach, and even with what one thinks are ample pre-compensations in the anticipation of a possibility of such problems, one can still be caught blind to them, and be dead wrong when one thinks one is right.

If enough eyes are looking to you 'that way', *they're* usually right...

When that happens, great leaders back down, re-examine their approach, *listen* to the complaints, and make adjustments - often pretty small ones - that solve the problem. Poor leaders stick stubbornly to their original plan, ignore complaints, and press on regardless. Who usually wins in those cases?

Nobody...

 

[Wilbur Eddings]

I have read the replies and taken serious note of your thoughts.

Thank you for your input.

 

[frntstflms]

My question is this:

As an actor - what makes you feel motivated and inspired on set?
How can I convey direction to you without making you feel inadequate or humiliated?
How do I correct you if your acting is off key to the rest of my symphony?

Remember, I don't have more than 30 seconds to a minute to do this, the schedule is god.


Thanks for your thoughts. Be as frank as you like.

Well, you said be "frank."

There are only three things that motivate an actor (or any other artist for that matter):
(1) Money;
(2) Masturbation; and
(3) Friendship.

Money, in the sense, if you throw enough money at the problem you can get an actor to do anything. Masturbation, in the sense, that the actor is just jerking-off on stage. Friendship, in that, if you have a "real" relationship with them they'll probably help you out.

All creative people, on the set, must be made to feel comfortable. You cannot create when you're being yelled at. If you think Ridley Scott on Bladerunner was an example of good direction, then you don't know what you're doing and should probably go into something else. You'll never get a good performance out of anyone.

You need to understand the typical sorts of mistakes actors make. You need to understand why they make these mistakes. And you need to be able to think two-steps ahead of them to create a path for them to walk that fixes these problems. It's all done with a hand on the shoulder -- not a finger in the nose.

 

[Drew Ott]

Well, you said be "frank."

There are only three things that motivate an actor (or any other artist for that matter):
(1) Money;
(2) Masturbation; and
(3) Friendship.

I don't aspire to make art for any of those reasons.

It's an interesting discussion though; Freud said that all artists aspire for money, fame, and/or beautiful lovers. I genuinely don't think it's true, but perhaps my desire to "make the world a better place," deep down, is because I want to be respected for doing so (which would fall under fame). Who knows.

 

[vic777]

You have to have confidence in yourself and know what you are doing. This will allow you to avoid panicking on the set and losing focus. You will be able to Direct more effectively and get the best out of your actors. The casting session is where you should pick the people you can work with.

 

[Zblock]

As an actor - what makes you feel motivated and inspired on set? ------------ When things run smoothly and work as I expect them to. A professional set and talented people.
How can I convey direction to you without making you feel inadequate or humiliated? ------------- Simple instructions are best. You cast the actor so let them do their thing. It's okay to say, more aggressive, softer, more emotion, but it's frowned upon to tell the actor,,, "Say it like this.... "....""
How do I correct you if your acting is off key to the rest of my symphony? --------------- This should all be taken care up during rehearsals. You should get your entire cast together for a read through before shooting.

 

[thisisapocalypse]

As an actor - what makes you feel motivated and inspired on set? ------------ When things run smoothly and work as I expect them to. A professional set and talented people.
How can I convey direction to you without making you feel inadequate or humiliated? ------------- Simple instructions are best. You cast the actor so let them do their thing. It's okay to say, more aggressive, softer, more emotion, but it's frowned upon to tell the actor,,, "Say it like this.... "....""
How do I correct you if your acting is off key to the rest of my symphony? --------------- This should all be taken care up during rehearsals. You should get your entire cast together for a read through before shooting.

+1 never give a line read, talk to your talent, make sure they understand the role/scene and where the character needs to be emotionally and then let them figure out how to make this come across - if the actor is miscast, they are miscast, you need to know who you are working with, know that they know everything they need to know, and then you've got to trust the actor - if it doesn't work, then you didn't do your job right and chose the wrong actor.

 

[Ted Spencer]

+1 never give a line read, talk to your talent, make sure they understand the role/scene and where the character needs to be emotionally and then let them figure out how to make this come across

Exactimundo...

I like to think of it this way: direct by speaking to *the inner life of the character in the situation*, not the actor. For example, if the actor isn't getting emotional enough in the 'being dumped by his girlfriend' scene (as you envision it), don't tell him to 'be more emotional'; tell him *why* he (the *character*, that is)...*is* - all the things he did for her over the years, all the sacrifices he made, all the times he picked her up when she was down...and now she's tossing him out like yesterday's news? How *could* she!

Conversely, if he's inappropriately *overplaying* the emotions in a similar but dramatically reversed scene (where he's dumping her, for example), the the same applies; talk about how he (the character) has already written her off in his heart (or whatever the less emotionally-charged underlying truth of the script/scene/character is).

Directing to immerse the actor in the life of the character in that situation will *make* him act accordingly. It will come automatically to the (good) actor as he buys into 'the pretended reality', as Jack Nicholson likes to put it. And 'automatic' acting is the best kind... : )

Also, initially, direct only as necessary; start with trust in what the actor prepared from your script and casting notes. Good actors will come up with great stuff you never thought of; if you overly pre-direct them, you run the risk of having them skip all of that potential brilliance and just try their darndest to do what *you've pre-conceived* instead. Almost all good actors pride themselves on their flexibility and willingness to take direction. Don't let that work against you...

Regarding giving direct line readings, it certainly is to be avoided like the plague, but regrettably, in practice, *sometimes* it's the only way. So, if *all else fails*, and the actor just can't get it, well...you may have to break down and resort to a line reading.

It's not as bad as doing your kid's homework for him. It's close, though... : )