During production the director's main role is collaborating with the actors, the director helping and leading the actors as they work together to shape the performances (Rea & Irving, 2015:247).
Aiming to make the performances the best they can be is the shared goal of the actors and the director (MasterClass, 2019), making their collaboration vital to the film since it has been argued that "the backbone of any strong story is strong performances" (Lights Film School, s.d).
According to director Martin Scorsese, an important factor in an actor being able to give their best performance is developing trust in the relationship between the actor and the director (MasterClass, 2019).
Aiming to make the performances the best they can be is the shared goal of the actors and the director (MasterClass, 2019), making their collaboration vital to the film since it has been argued that "the backbone of any strong story is strong performances" (Lights Film School, s.d).
According to director Martin Scorsese, an important factor in an actor being able to give their best performance is developing trust in the relationship between the actor and the director (MasterClass, 2019).
The Actor-Director Relationship
"Not...imposing your knowledge or imposing your skill or craft...You’re entering into a relationship together, a creative exploration in which all parties have a voice" - Karyn Kusama
(Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
Mutual trust is considered as the most important element of a successful collaboration between actors and a director (DeKoven, 2006:114) & (Directing Actors on Set with Karyn Kusama, 2020). This trust can be developed through a director ensuring that actors feel listened to, protected, and know that the director has a plan (DeKoven, 2006:114-115). Thus, a director needs to make themselves seem approachable to the actors by not spending too much time only dealing with technical or logistical problems which may arise on set, as well as ensure they have done preparation for the shoot before filming and arriving to set on time so as not to keep the actors (or the crew) waiting, as this can erode trust (Rabiger & Hurbis-Cherrier, 2013:236).
Director Karyn Kusama builds trust with actors by telling them that she loves what they do, and that she understands that their job is different from the other roles on set, since they have to be open to many emotions in order to channel a character (Directing Actors on Set with Karyn Kusama, 2020). To show them that she respects this, she tells them, "you’re operating on a different frequency than everyone else around you. I recognise that, and I’m gonna try and take care of that", and from there she aims to direct the actor by connecting with them while they are operating within this different frequency as they perform (Directing Actors on Set with Karyn Kusama, 2020).
Kusama also builds trust with actors by asking them to take care of themselves during filming, seeing it as the director's job to "assist an actor in caring for and protecting that emotional energy" – especially when not at their character’s emotional peak or they are not on camera (Directing Actors on Set with Karyn Kusama, 2020). When she thinks that an actor is putting too much energy into their performance, she lets them know that she likes what they are doing, but that, "if after each take you’re more and more exhausted I need you to pull back. I actually need you to give less" (Directing Actors on Set with Karyn Kusama, 2020).
Hence, directors need to pay attention to the needs of the actors, thinking about the actor's process and adjusting anything - such as changing blocking or rewriting some of the script - if this will help the actor give the best performance possible (MasterClass, 2019). Kusama realises that overall, all actors are different, and that, due to this, directors need to use their intuition to work out, "what it is people might need that can...encourage them toward their best work", since some actors might need more encouragement and feedback than others (Directing Actors on Set with Karyn Kusama, 2020).
Kusama believes that the best way to encourage everyone on set to pursue their best work is to create "a happy, trusting set" as the director (Directing Actors on Set with Karyn Kusama, 2020). The director, as the leader during production, sets the tone on set, and thus should be mindful of how they share their vision with both the cast and the crew, aiming to stay positive - it has been suggested for directors that "if you demand much of yourself and others, but are appreciative and encourage appropriate humor, you will run a tight ship" (Rabiger & Hurbis-Cherrier, 2013:406). The director staying calm and respecting the cast and crew will help creativity on set, leading to good work (MasterClass, 2019).
However, sometimes it is necessary for the actor and director to have an honest conversation if the work is suffering because of problems within the relationship (Directing Actors on Set with Karyn Kusama, 2020). Kusama suggests taking the actor aside and being honest with them, since, although this can feel like a risk, if the problems are so bad that the work is suffering, it is worth the risk anyway (Directing Actors on Set with Karyn Kusama, 2020). Kusama suggests that, since the actors are being vulnerable in order to bring to life the characters, the director should also not be afraid to be vulnerable, leading the conversation but being open, and saying to the actor, "I’m really concerned about this, I need your help. How is this gonna get better? What can we do?" (Directing Actors on Set with Karyn Kusama, 2020).
From this it can be seen that directors should see actors as collaborators, fellow artists who have their own ideas, rather than people who are going to solely carry out the director's vision (Fae, 2016). If the actor wishes, the director could include the actor in their process by showing them their directing plan for the film so that the actor is aware of the director's vision (MasterClass, 2019).
Yet, the director should not impose this vision, but rather ask the actors questions about their characters, as well as letting them know that their suggestions and ideas are welcome, since these can make the performances better as the actors discover things about their own characters that the director may not have realised since they are concentrating on all the characters, rather than a singular one like the actor is (Rabiger & Hurbis-Cherrier, 2013:236).
Overall, directors should be mindful of the actor's process and allow them the freedom to do their best work, but ensure that the actors know that the director is there to support them.
Director Karyn Kusama builds trust with actors by telling them that she loves what they do, and that she understands that their job is different from the other roles on set, since they have to be open to many emotions in order to channel a character (Directing Actors on Set with Karyn Kusama, 2020). To show them that she respects this, she tells them, "you’re operating on a different frequency than everyone else around you. I recognise that, and I’m gonna try and take care of that", and from there she aims to direct the actor by connecting with them while they are operating within this different frequency as they perform (Directing Actors on Set with Karyn Kusama, 2020).
Kusama also builds trust with actors by asking them to take care of themselves during filming, seeing it as the director's job to "assist an actor in caring for and protecting that emotional energy" – especially when not at their character’s emotional peak or they are not on camera (Directing Actors on Set with Karyn Kusama, 2020). When she thinks that an actor is putting too much energy into their performance, she lets them know that she likes what they are doing, but that, "if after each take you’re more and more exhausted I need you to pull back. I actually need you to give less" (Directing Actors on Set with Karyn Kusama, 2020).
Hence, directors need to pay attention to the needs of the actors, thinking about the actor's process and adjusting anything - such as changing blocking or rewriting some of the script - if this will help the actor give the best performance possible (MasterClass, 2019). Kusama realises that overall, all actors are different, and that, due to this, directors need to use their intuition to work out, "what it is people might need that can...encourage them toward their best work", since some actors might need more encouragement and feedback than others (Directing Actors on Set with Karyn Kusama, 2020).
Kusama believes that the best way to encourage everyone on set to pursue their best work is to create "a happy, trusting set" as the director (Directing Actors on Set with Karyn Kusama, 2020). The director, as the leader during production, sets the tone on set, and thus should be mindful of how they share their vision with both the cast and the crew, aiming to stay positive - it has been suggested for directors that "if you demand much of yourself and others, but are appreciative and encourage appropriate humor, you will run a tight ship" (Rabiger & Hurbis-Cherrier, 2013:406). The director staying calm and respecting the cast and crew will help creativity on set, leading to good work (MasterClass, 2019).
However, sometimes it is necessary for the actor and director to have an honest conversation if the work is suffering because of problems within the relationship (Directing Actors on Set with Karyn Kusama, 2020). Kusama suggests taking the actor aside and being honest with them, since, although this can feel like a risk, if the problems are so bad that the work is suffering, it is worth the risk anyway (Directing Actors on Set with Karyn Kusama, 2020). Kusama suggests that, since the actors are being vulnerable in order to bring to life the characters, the director should also not be afraid to be vulnerable, leading the conversation but being open, and saying to the actor, "I’m really concerned about this, I need your help. How is this gonna get better? What can we do?" (Directing Actors on Set with Karyn Kusama, 2020).
From this it can be seen that directors should see actors as collaborators, fellow artists who have their own ideas, rather than people who are going to solely carry out the director's vision (Fae, 2016). If the actor wishes, the director could include the actor in their process by showing them their directing plan for the film so that the actor is aware of the director's vision (MasterClass, 2019).
Yet, the director should not impose this vision, but rather ask the actors questions about their characters, as well as letting them know that their suggestions and ideas are welcome, since these can make the performances better as the actors discover things about their own characters that the director may not have realised since they are concentrating on all the characters, rather than a singular one like the actor is (Rabiger & Hurbis-Cherrier, 2013:236).
Overall, directors should be mindful of the actor's process and allow them the freedom to do their best work, but ensure that the actors know that the director is there to support them.
The Importance of Casting & Rehearsals
"I think that half of what a director does is cast his picture well, and the other half is, you know, the control of the people within that. But I think half of the secret, when you do see a good picture, and you like the people, it’s in the casting" - Steven Spielberg
(70s Legends: Talking Pictures, 2020).
Scorsese suggests that a director should give actors the freedom to try different ideas for their performances, especially within rehearsals (MasterClass, 2020), as this is when the actors have time to develop their characters (Rea & Irving, 2015:133).
However, rehearsals can also be useful for getting to know a location - for example, when directing The Invitation (2015), Kusama rehearsed and prepped in the house location which was going to be used for the film (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). She rehearsed with the cast in the house for two days, so that the actors knew their way around and "were comfortable moving through it", this proving invaluable for the film as this time with the actors in the location was, for Kusama, "crucial to understanding how the movie could work" (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
This shows how Kusama sees her relationship with actors whilst directing films - "like we were walking through something together" (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). This was especially how she saw her relationship with the lead actress in Girlfight (2000), since, as this was the actress's first film role, Kusama felt like she had to protect her, and helped her understand how filmmaking worked (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
Casting an actor who didn't have much experience in the lead role of the film was Kusama's aim since she wanted the audience to feel as if they weren't watching someone playing a character (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). During the casting process Kusama therefore held an interview with the actress, since, as a director, she likes to get to know the person before starting work (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
This can be important since it can help the director cast the right person for each role.
Casting is essential to films, for Scorsese "85 to 90% of the picture" (MasterClass, 2020). Because of this, some directors, such as Steven Spielberg, like to know what kind of actors they want for the film - Spielberg has said that he likes to cast actors with a lot of energy, so he can tell them to give too much in their performances, and then he can adjust as necessary until the performance reaches a level he feels is believable (70s Legends: Talking Pictures, 2020). It has been argued that a director should always know what they want, even if this changes later (Renée, 2016).
Casting is essential to films, for Scorsese "85 to 90% of the picture" (MasterClass, 2020). Because of this, some directors, such as Steven Spielberg, like to know what kind of actors they want for the film - Spielberg has said that he likes to cast actors with a lot of energy, so he can tell them to give too much in their performances, and then he can adjust as necessary until the performance reaches a level he feels is believable (70s Legends: Talking Pictures, 2020). It has been argued that a director should always know what they want, even if this changes later (Renée, 2016).
In general, Scorsese reminds directors that there is no shortcut to casting, but that it is "meeting the people, spending time with them, talking with them, then, putting them together with the other actors" so that it can be seen how different actors react to each other (MasterClass, 2020). Then, rehearsals can be used to explore ideas and figuring out what the actor's instincts are, further developing ideas during discussions with the actors (MasterClass, 2020).
Character Arcs
Fig. 2 Director Karyn Kusama demonstrates a boxing technique to the lead actress on the set of Girlfight, based on Kusama's own experience of boxing (2008)
These discussions with actors can involve talking about their character's arc - how the character changes over the course of the film (Rea & Irving, 2015:134).
Kusama approaches directing by doing a lot of preparation and thinking things through before filming begins, but tries to be spontaneous and loose on set, seeing her planning in pre-production as "just a preparedness towards the unexpected" (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). Thus, Kusama will have an idea of a character's arc but has found that "finding the truth" of the arc requires collaborating with the actor as they are needed to "show you where you’re really headed...or where you could be headed" (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
Bringing a character to life requires that the character has depth, which can be created through actors studying the script and learning their character's backstory in order to better understand them (Lights Film School, s.d). Typically, the film's writer will have created character biographies - these can be from five to over ten pages in length - detailing the characters' backstories which can be given to the actors (Lights Film School, s.d). Yet, these character biographies should only be used by the actors as a foundation for the development of their performances as their characters, since the actor should have the chance to build on their understanding of the character with their own ideas (Lights Film School, s.d). Nonetheless, the amount of detail an actor needs to build their performance differs between actors, since each have different processes, with some wanting less detail about their character than others (Fae, 2016).
Kusama has found it useful to figure out small details about characters for some actors - as well as for her as the director - since this can help clarify the arc (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). For example, during the filming of Girlfight, Kusama understood the lead character as someone who was quite serious and didn't often smile, which helped both Kusama and the lead actress clarify the character's emotional journey during the film (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
Kusama has found it useful to figure out small details about characters for some actors - as well as for her as the director - since this can help clarify the arc (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020). For example, during the filming of Girlfight, Kusama understood the lead character as someone who was quite serious and didn't often smile, which helped both Kusama and the lead actress clarify the character's emotional journey during the film (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
However, another approach Kusama uses to discuss characters with actors is to ask them questions, such as how they think their character has reached a certain point of their arc (Directing Actors on Set with Karyn Kusama, 2020). Since the actor will have their own ideas it has been said that for the director "to get the use of the full creative potential of your actors you must be prepared for some of the answers to these questions not to be the ones you were expecting" (Weston, 1996:47).
Playable Direction
However, the actor answering questions in this way can help them feel as if their character and performance are theirs, something the director can support by learning to direct in a way which allows the actor to come up with and use their own ideas, but also ensures that the actor knows that the director can guide their performance when necessary because they are prepared and have a vision (Weston, 1996:47).
One way a director can give direction like this is by realising that in order to act, actors need specific actions they can be doing during a scene (Bruder, 1986 cited in Morrow, 2018). The actor and director can collaborate to choose these, however, to be effective these actions need to:
- "Be Possible - be something an actor can start doing immediately such as "pleading for help"
- Be Specific - such as "extracting a crucial answer", rather than "finding out something"
- Be Testable - the actor should be able to see their action affecting the reactions of the other actors
- Not Be an Errand - as this is something that you cannot fail, and not something others can react to
- Not Assume a Physical State - or an emotional state, since the actor's concentration will be on keeping up this state, rather than performing an action
- Not Manipulate - since the aim of these actions is to create a "desired effect", which will make the other actor's reaction less honest
- Have a 'Cap' - the actor should be able to tell when they have completed carrying out the action
- Be True to the Intention of the Work"
(Bruder, 1986 cited in Morrow, 2018).
This type of direction is known as "specific, playable direction" (Weston, 1996:14). It is the kind of direction that "generates behaviour in the actor, so it is active and dynamic rather than static, sensory rather than intellectual, and objective and specific rather than subjective and general" (Weston, 1996:28).
This is thus in contrast with "result-oriented direction", which is when the director tells the actor how their performance should look or sound (Weston, 1996:14). A director gives result-oriented direction by using adjectives and explanations (Weston, 1996:26).
This is thus in contrast with "result-oriented direction", which is when the director tells the actor how their performance should look or sound (Weston, 1996:14). A director gives result-oriented direction by using adjectives and explanations (Weston, 1996:26).
Yet, it is more effective when a director uses playable direction because, due to its specificity and objectivity, it can be repeated (Weston, 1996:29). A director can give playable direction through:
- Verbs
- Facts
- Images
- Events
- Physical tasks
(Weston, 1996:29).
Nonetheless, since the actor needs an action to perform, the verbs used by a director need to be "action verbs" - defined as "a verb that takes an object, something you do to someone else", such as "to accuse" (Weston, 1996:30). Therefore, it can be seen that playable direction focuses on the process and experience which the actor goes through, rather than the result (Weston, 1996:46).
It is suggested that even if the actor asks the director a question, and wants an adjective as the answer, that the director should answer with a verb, fact, image, event, or physical task - but it is advised to try and ask them a question in response (Weston, 1996:46-7). It has even been said that sometimes the best answer a director can give is "I don't know", despite having the answer, since this can encourage the actors to come up with their own ideas and make their characters their own (Weston, 1996:47).
The main purpose of using playable direction instead of result-oriented direction is to help the actors stay in the moment whilst they perform.
It is suggested that even if the actor asks the director a question, and wants an adjective as the answer, that the director should answer with a verb, fact, image, event, or physical task - but it is advised to try and ask them a question in response (Weston, 1996:46-7). It has even been said that sometimes the best answer a director can give is "I don't know", despite having the answer, since this can encourage the actors to come up with their own ideas and make their characters their own (Weston, 1996:47).
The main purpose of using playable direction instead of result-oriented direction is to help the actors stay in the moment whilst they perform.
Moment to Moment
"When a performance needs to be repeated and lines delivered over and over again – in rehearsal or in coverage – each time they must be spoken as if for the first time"
(Weston, 1996:74).
When an actor is finding something difficult a director can help them by using simple directions which are "as physical as possible", since having an action like this to carry out can help an actor relax, focus, and gain back some confidence (Weston, 1996:46).
Being relaxed and focused are vital for an actor to stay "in the moment" during a scene (Weston, 1996:58). When an actor is "in the moment" they are aware of their surroundings, their own feelings, thoughts and imagination, the lines and subtext of the script, and the other actors (Weston, 1996:58).
Being "in the moment" for an actor means that they allow themselves a certain amount of freedom by preparing for the shoot ahead of time, but let this preparation go once the camera begins filming, focusing on the moment instead of concentrating on giving their performance exactly as they prepared (Weston, 1996:59). Thus, when an actor performs in the moment, he "trusts whatever he is thinking and feeling to be adequate to the moment" - known as "trusting the moment" (Weston, 1996:59).
An actor stops working in the moment once they try to force performing a certain emotion rather than trusting their impulses and feelings (Weston, 1996:61). Hence, an actor who is in the moment thinks real thoughts and feels real feelings, even though they are playing a character (Weston, 1996:61). For this reason, it is suggested that actors should allow their characters to have a subconscious - by allowing the character to borrow the subconscious of the actor - so that the space between the lines which are said by the character, and those which are not - the subtext of the script - can be reached by the actor (Weston, 1996:61).
It is also suggested that characters should have their own free will, since this has the consequence that "the actor, rather than telegraphing to us that the character has made a mistake or choice or win or loss, behaves in the moment right in front of us", as the actor follows their instincts when saying their lines or moving within the scene rather than doing so because it was rehearsed (Weston, 1996:62).
Instead of the actors seeing the script as an obligation, this allows them to see it as an opportunity, which will be enhanced by the actor and director's choices for the characters, with the information of the script combining with how the actor subconsciously creates the character - in other words, "the specifics of the script are allowed rather than enforced" (Weston, 1996:62).
This could cause the actors to not move following the way the director blocked the scene, or not say their lines exactly as the director envisioned, even though they are still following direction (Weston, 1996:62). However, if the director has done a deep and thorough enough script analysis they will "believe in the independent life of the characters", and will thus be open to the actor's subconscious choices - as well as be able to change the direction of the performance if needed (Weston, 1996:62).
When directing actors a director should therefore start the scene by giving a direction, and then allow the actors to see where this takes them (DeKoven, 2006:113). Whilst the actors perform the director should watch and take notes in the margins of their script of any action the actors carry out which the director would like to see repeated, aiming to be as specific as possible with any further directions as when an actor is working in the moment they may forget what they have done in previous takes (DeKoven, 2006:113). Yet, it is not necessary for a director to give every line an action (DeKoven, 2006:114).
The director should keep in mind that an actor's performance might differ from take to take as when actors work in the moment they will not be focused on performing a fixed line reading (Weston, 1996:76). Due to this free interaction between the actors, both the actors and the director need to stay in the moment as the camera films (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
By being in the moment the director will be able to see how the actor is performing as it happens, allowing them to catch anything they wish to adjust - as well as see if the actors are listening to each other (Weston, 1996:84).
An actor stops working in the moment once they try to force performing a certain emotion rather than trusting their impulses and feelings (Weston, 1996:61). Hence, an actor who is in the moment thinks real thoughts and feels real feelings, even though they are playing a character (Weston, 1996:61). For this reason, it is suggested that actors should allow their characters to have a subconscious - by allowing the character to borrow the subconscious of the actor - so that the space between the lines which are said by the character, and those which are not - the subtext of the script - can be reached by the actor (Weston, 1996:61).
It is also suggested that characters should have their own free will, since this has the consequence that "the actor, rather than telegraphing to us that the character has made a mistake or choice or win or loss, behaves in the moment right in front of us", as the actor follows their instincts when saying their lines or moving within the scene rather than doing so because it was rehearsed (Weston, 1996:62).
Instead of the actors seeing the script as an obligation, this allows them to see it as an opportunity, which will be enhanced by the actor and director's choices for the characters, with the information of the script combining with how the actor subconsciously creates the character - in other words, "the specifics of the script are allowed rather than enforced" (Weston, 1996:62).
This could cause the actors to not move following the way the director blocked the scene, or not say their lines exactly as the director envisioned, even though they are still following direction (Weston, 1996:62). However, if the director has done a deep and thorough enough script analysis they will "believe in the independent life of the characters", and will thus be open to the actor's subconscious choices - as well as be able to change the direction of the performance if needed (Weston, 1996:62).
When directing actors a director should therefore start the scene by giving a direction, and then allow the actors to see where this takes them (DeKoven, 2006:113). Whilst the actors perform the director should watch and take notes in the margins of their script of any action the actors carry out which the director would like to see repeated, aiming to be as specific as possible with any further directions as when an actor is working in the moment they may forget what they have done in previous takes (DeKoven, 2006:113). Yet, it is not necessary for a director to give every line an action (DeKoven, 2006:114).
The director should keep in mind that an actor's performance might differ from take to take as when actors work in the moment they will not be focused on performing a fixed line reading (Weston, 1996:76). Due to this free interaction between the actors, both the actors and the director need to stay in the moment as the camera films (Directing Actors: Casting & Rehearsing with Karyn Kusama, 2020).
By being in the moment the director will be able to see how the actor is performing as it happens, allowing them to catch anything they wish to adjust - as well as see if the actors are listening to each other (Weston, 1996:84).
Listening
Listening has been considered as a key element of acting, since listening can help ground actors, allowing them to perform "in the moment", and thus give natural performances as they react to the other actors in the scene (Weston, 1996:77). Because the actors react to each other, the scene becomes about their relationship to each other, rather than about their performances (Weston, 1996:77). This means that events can occur due to this relationship, which means that there is a scene - a scene can only occur when something happens - instead of just actors saying their lines (Weston, 1996:78). It has been said that, "it is the director’s job to make sure that there is a scene and not just words being spoken", therefore a director should always ensure that the actors are listening to each other (Weston, 1996:78).
A director can do this by watching the actors from the side of the camera, rather than through the monitor (Weston, 1996:83). This is because in order to see if the actors are listening the director needs to see the performances right in front of them, rather than through a screen, so that they can feel what the performance is conveying - this helps a director realise whether the actor is in the moment and trusting their feelings and instincts (Weston, 1996:84).
The director can also see whether the actors are listening to each other because their performances will be slightly different each take if they are listening, as they react to each other (Weston, 1996:85).
However, the director can encourage actors to listen to each other by saying something to the actors before a take such as, "No need to push, let’s take it easy, just connect with each other" (Weston, 1996:85).
It may sometimes be necessary for a director to ask an actor to listen more during a scene - they can do this by using phrases such as "It's okay to relax. Let yourselves connect", "Let yourself hear what she's saying", "I like it when you play off each other", "You can pay attention to each other", "Watch her eyes", and "It's okay to engage, be affected by her. You can relax. Don't say the lines until you feel like saying them" - giving the actors permission to slow down, relax, and be in the moment (Weston, 1996:86).
Directors can also use listening when directing actors who have been trained in different styles by encouraging them to work together by listening to each other (Weston, 1996:84). Nonetheless, whenever a director gives notes, they should ensure that they speak to each actor about their own performances individually (Directing Actors on Set with Karyn Kusama, 2020).
A director can do this by watching the actors from the side of the camera, rather than through the monitor (Weston, 1996:83). This is because in order to see if the actors are listening the director needs to see the performances right in front of them, rather than through a screen, so that they can feel what the performance is conveying - this helps a director realise whether the actor is in the moment and trusting their feelings and instincts (Weston, 1996:84).
The director can also see whether the actors are listening to each other because their performances will be slightly different each take if they are listening, as they react to each other (Weston, 1996:85).
However, the director can encourage actors to listen to each other by saying something to the actors before a take such as, "No need to push, let’s take it easy, just connect with each other" (Weston, 1996:85).
It may sometimes be necessary for a director to ask an actor to listen more during a scene - they can do this by using phrases such as "It's okay to relax. Let yourselves connect", "Let yourself hear what she's saying", "I like it when you play off each other", "You can pay attention to each other", "Watch her eyes", and "It's okay to engage, be affected by her. You can relax. Don't say the lines until you feel like saying them" - giving the actors permission to slow down, relax, and be in the moment (Weston, 1996:86).
Directors can also use listening when directing actors who have been trained in different styles by encouraging them to work together by listening to each other (Weston, 1996:84). Nonetheless, whenever a director gives notes, they should ensure that they speak to each actor about their own performances individually (Directing Actors on Set with Karyn Kusama, 2020).
Giving Notes & Over-directing
A director should be open and honest when giving notes to actors - but still be kind - because many actors often want feedback and guidance, and both the director and actors want the performance to be the best it possibly can be (MasterClass, 2019).
To give the actor an idea of the direction they should aim to take their performance in terms of energy and/or tone, the director should start by telling an actor what they like about their performance, before giving notes of any adjustments (Fae, 2016). This is because positivity helps to keep actors motivated and allows them to not feel as if nothing about their performance is working (Fae, 2016). To give positive direction, a director can use phrases such as "I wonder if you could try..." and "Maybe you could let me see..." (Rabiger & Hurbis-Cherrier, 2013:237).
Scorsese has said that he has found that telling actors 'no' can be disconcerting for them, and hence recommends that directors give actors the time to work things out and to shoot everything, even if the director knows it doesn't work, so the actor can go through the process to find what does work - the director may even find something which they thought didn't work does seem to work later when the film is cut together in post-production, so can decide what to use then (MasterClass, 2020). The director should generally realise that they may not always end up with the exact performance they envisioned, but that when directing actors, they are looking for "a spark of humanity" within the performance (Martin Scorsese’s Tips for Directing Actors, 2020).
However, the director should not become the audience and can interrupt the actors while they are performing to give notes since this can avoid them "taking the character in the wrong direction or making choices the director doesn’t really want" (DeKoven, 2006:115). Yet, if there is time, the director should ask the actors if they want to do another take, since this can allow the actor to do what they want rather than aim to please or fulfil the goal of the director, and could even be what the director was aiming for (Fae, 2016).
The director should also listen to the actors if they bring up something about the script or their character's backstory, since, although this could seem unimportant to the director, it matters to the actor (Renée, 2016). The director should be honest if they haven't considered what the actor is bringing up before, but agree to discuss it with the actor (Renée, 2016).
Overall, how a director gives notes should depend on the actor's personality and how the director thinks they will best receive feedback (Fae, 2016), since "this is usually different from actor to actor", yet, "best clues come from the rehearsal history" as the director should use this time to get to know the actors (Rabiger & Hurbis-Cherrier, 2013:412).
Despite this, it is possible to over-direct. Over-directing happens when a director tries to control even the smallest details because they are not trusting or following their instincts, and therefore over-think or try and justify moments in the film which are simpler than the director imagines (Rabiger & Hurbis-Cherrier, 2013:242). To avoid this, directors can learn, through experience of production, which scenes are simple - and don't require looking for subtext or lots of rehearsing - and scenes where "the emotional connection is so delicate that to rehearse them extensively might drain spontaneity out of the moment" (Rabiger & Hurbis-Cherrier, 2013:242).
The director should also listen to the actors if they bring up something about the script or their character's backstory, since, although this could seem unimportant to the director, it matters to the actor (Renée, 2016). The director should be honest if they haven't considered what the actor is bringing up before, but agree to discuss it with the actor (Renée, 2016).
Overall, how a director gives notes should depend on the actor's personality and how the director thinks they will best receive feedback (Fae, 2016), since "this is usually different from actor to actor", yet, "best clues come from the rehearsal history" as the director should use this time to get to know the actors (Rabiger & Hurbis-Cherrier, 2013:412).
Despite this, it is possible to over-direct. Over-directing happens when a director tries to control even the smallest details because they are not trusting or following their instincts, and therefore over-think or try and justify moments in the film which are simpler than the director imagines (Rabiger & Hurbis-Cherrier, 2013:242). To avoid this, directors can learn, through experience of production, which scenes are simple - and don't require looking for subtext or lots of rehearsing - and scenes where "the emotional connection is so delicate that to rehearse them extensively might drain spontaneity out of the moment" (Rabiger & Hurbis-Cherrier, 2013:242).
Nevertheless, a director can also learn how to give effective notes and how to not over-direct actors by experiencing acting themselves.
Acting & The Director
"I think it’s important for a director to know something about acting. It’s good if he or she gets in front of the camera" - Martin Scorsese
(Martin Scorsese’s Tips for Directing Actors, 2020).
Fig. 3 Martin Scorsese in Taxi Driver (2016)
Scorsese has advised that directors should be in front of the camera sometimes, whether in a role as a character, or even just as themselves, so they can learn and experience "what it’s like to hit the light, to make sure you’re there for the other actor, to respond, to get a sense of how you walk across a room because you can become very self-conscious" (Martin Scorsese’s Tips for Directing Actors, 2020). A director could even be directed by someone else so they can experience what it is like to be directed, since this can help improve their own directing (Martin Scorsese’s Tips for Directing Actors, 2020).
In general, getting some experience at acting themselves - or even learning about acting - can help directors realise what actors go through when they perform, such as the anxieties and obstacles which can be caused by performance, as well as what different approaches actors use, because this knowledge can help a director better understand, and therefore have a better relationship with actors when they direct them (Martin Scorsese’s Tips for Directing Actors, 2020).
A director can also learn about acting from watching films by other directors and seeing how they choose to capture performances, such as if they use specific camera angles to highlight certain emotions or whether they use improvisation, since the director can then use this to influence their own work (MasterClass, 2019).
In conclusion, to direct actors effectively a director should ensure mutual trust in their relationship with the actor by listening to them, being aware of their needs, and making sure they feel supported and protected, which can be achieved through the director creating a trusting and supportive set. Directors can also give actors freedom as they discover what works for their performance and what doesn't, whilst giving open, honest, and positive feedback. To do this, the director should get to know the actors through rehearsals and during casting.
As the director and actors shape the performances together, they discover the character arc as the director asks the actors questions and allows them to use their own ideas for their characters. The director can encourage the actor using their own ideas through direction which also shows actors that the director can help guide their performance if necessary because they are prepared and have done their own script analysis - this is known as 'playable direction'.
The director helps actors stay in the moment by using this kind of direction and encouraging that the actors listen and react to each other. The director should also aim to stay in the moment, so that they can catch anything in a performance which they wish to adjust.
However, a director should be mindful not to over-direct, and can avoid this by realising which scenes are simple, and which need more rehearsal and contain more subtext. How to identify this can be learnt through experience, which is why a director should also experience acting for themselves. This gives the director an idea of the process an actor goes through to bring a character to life so that they can use this understanding to give more effective, helpful direction.
As the director and actors shape the performances together, they discover the character arc as the director asks the actors questions and allows them to use their own ideas for their characters. The director can encourage the actor using their own ideas through direction which also shows actors that the director can help guide their performance if necessary because they are prepared and have done their own script analysis - this is known as 'playable direction'.
The director helps actors stay in the moment by using this kind of direction and encouraging that the actors listen and react to each other. The director should also aim to stay in the moment, so that they can catch anything in a performance which they wish to adjust.
However, a director should be mindful not to over-direct, and can avoid this by realising which scenes are simple, and which need more rehearsal and contain more subtext. How to identify this can be learnt through experience, which is why a director should also experience acting for themselves. This gives the director an idea of the process an actor goes through to bring a character to life so that they can use this understanding to give more effective, helpful direction.
List of Illustrations
Figure 1. Martin Scorsese directs Leonardo DiCaprio in The Wolf of Wall Street (2013) [Behind the scenes photograph, IMDb] At: https://www.imdb.com/title/tt0993846/mediaviewer/rm2205405952 (Accessed on 6 April 2020)Figure 2. Director Karyn Kusama demonstrates a boxing technique to the lead actress on the set of Girlfight, based on Kusama's own experience of boxing (2008) [Behind the scenes photograph] At: https://www.dga.org/Craft/DGAQ/All-Articles/0802-Summer-2008/Independent-Voice-Karyn-Kusama.aspx (Accessed on 9 April 2020)
Figure 3. Martin Scorsese in Taxi Driver (2016) [Film still] At: https://www.nytimes.com/2016/03/19/movies/scorsese-de-niro-and-co-stars-reunite-for-taxi-driver-screening.html (Accessed on 11 April 2020)
References
70s Legends: Talking Pictures (2020) [Television Programme] BBC Two 4/4/20.
DeKoven, L. (2006) Changing Direction: A Practical Approach to Directing Actors in Film and Theatre. Oxon: Focal Press.
Directing Actors: Casting & Rehearsing with Karyn Kusama (2020) [online video] At: https://collab.sundance.org/catalog/Directing-Actors-Casting-Rehearsing-with-Karyn-Kusama (Accessed on 8 April 2020)
Directing Actors on Set with Karyn Kusama (2020) [online video] At: https://collab.sundance.org/catalog/Directing-Actors-on-Set-with-Karyn-Kusama (Accessed on 8 April 2020)
Fae, E. (2016) 'There is No "Right" Way: 14 Things Directors Need to Know about Directing Actors.' In: Filmmaker Magazine 26/5/16. At: https://filmmakermagazine.com/98595-no-right-way-14-things-directors-need-to-know-about-directing-actors/#.Xo240i-ZN-V (Accessed on 8 April 2020)
Lights Film School (s.d) New Director Tips: Directing Actors. At: https://www.lightsfilmschool.com/blog/new-director-tips (Accessed on 8 April 2020)
Martin Scorsese's Tips for Directing Actors. (2020) [online video] At: https://www.masterclass.com/articles/martin-scorseses-tips-for-directing-actors#martin-scorseses-tips-for-directing-actors (Accessed on 8 April 2020)
MasterClass (2019) How to Direct Actors: Tips for Working with Actors as a Director. At: https://www.masterclass.com/articles/how-to-direct-actors (Accessed on 8 April 2020)
MasterClass (2020) Martin Scorsese's Tips for Directing Actors. At: https://www.masterclass.com/articles/martin-scorseses-tips-for-directing-actors#martin-scorseses-tips-for-directing-actors (Accessed on 8 April 2020)
Morrow, J. (2018) 'The Specific Methods Every Director Should Understand When Working with Actors.' In: No Film School 30/5/18. At: https://nofilmschool.com/2018/05/director-actor-script-analysis (Accessed on 10 April 2020)
Rabiger, M. & Hurbis-Cherrier, M. (2013) Directing: Film Techniques and Aesthetics. (5th ed.) Oxon: Focal Press.
Rea, P. & Irving, D. (2015) Producing and Directing the Short Film and Video. (5th ed.) Oxon: Focal Press.
Renée, V. (2016) 'The Dos & Don'ts of Directing Actors (According to Actors).' In: No Film School 5/2/16. At: https://nofilmschool.com/2016/02/dos-donts-directing-actors-according-to-actors (Accessed on 8 April 2020)
Weston, J. (1996) Directing Actors: Creating Memorable Performances for Film and Television. California: Michael Wiese Productions.
DeKoven, L. (2006) Changing Direction: A Practical Approach to Directing Actors in Film and Theatre. Oxon: Focal Press.
Directing Actors: Casting & Rehearsing with Karyn Kusama (2020) [online video] At: https://collab.sundance.org/catalog/Directing-Actors-Casting-Rehearsing-with-Karyn-Kusama (Accessed on 8 April 2020)
Directing Actors on Set with Karyn Kusama (2020) [online video] At: https://collab.sundance.org/catalog/Directing-Actors-on-Set-with-Karyn-Kusama (Accessed on 8 April 2020)
Fae, E. (2016) 'There is No "Right" Way: 14 Things Directors Need to Know about Directing Actors.' In: Filmmaker Magazine 26/5/16. At: https://filmmakermagazine.com/98595-no-right-way-14-things-directors-need-to-know-about-directing-actors/#.Xo240i-ZN-V (Accessed on 8 April 2020)
Lights Film School (s.d) New Director Tips: Directing Actors. At: https://www.lightsfilmschool.com/blog/new-director-tips (Accessed on 8 April 2020)
Martin Scorsese's Tips for Directing Actors. (2020) [online video] At: https://www.masterclass.com/articles/martin-scorseses-tips-for-directing-actors#martin-scorseses-tips-for-directing-actors (Accessed on 8 April 2020)
MasterClass (2019) How to Direct Actors: Tips for Working with Actors as a Director. At: https://www.masterclass.com/articles/how-to-direct-actors (Accessed on 8 April 2020)
MasterClass (2020) Martin Scorsese's Tips for Directing Actors. At: https://www.masterclass.com/articles/martin-scorseses-tips-for-directing-actors#martin-scorseses-tips-for-directing-actors (Accessed on 8 April 2020)
Morrow, J. (2018) 'The Specific Methods Every Director Should Understand When Working with Actors.' In: No Film School 30/5/18. At: https://nofilmschool.com/2018/05/director-actor-script-analysis (Accessed on 10 April 2020)
Rabiger, M. & Hurbis-Cherrier, M. (2013) Directing: Film Techniques and Aesthetics. (5th ed.) Oxon: Focal Press.
Rea, P. & Irving, D. (2015) Producing and Directing the Short Film and Video. (5th ed.) Oxon: Focal Press.
Renée, V. (2016) 'The Dos & Don'ts of Directing Actors (According to Actors).' In: No Film School 5/2/16. At: https://nofilmschool.com/2016/02/dos-donts-directing-actors-according-to-actors (Accessed on 8 April 2020)
Weston, J. (1996) Directing Actors: Creating Memorable Performances for Film and Television. California: Michael Wiese Productions.
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