This is so true. I was directing a short film once and the lead actor had ALOT of training and experience. He couldn’t stop overwhelming all the other actors with “techniques” and approaches. I had to step in and ask him to please not engage with the others because it was just confusing and stressing everyone out. On another shoot that I was also directing, one of the PA’s (who was a friend of mine) thought that it was ok to approach one of my leads just before a take to offer direction, motivation and advice. I was speechless!!
Hello Cetre! Sending you warm greetings. Hope all is well. 🙏🏼 (Did you know I have a new book out? Directing Actors 25th Anniversary Edition-fully revised and updated from the original.)
Sometimes it's bcuz you give a direction & the actors say, "I got it." Then do the same thing repeatedly. So you find yourself telling them different ways, in an effort to get through to them.
@@pragmaticactor1777 Not necessarily. Sometimes Great actors have a moment when they get stuck, in their head, paused, overthinking it, etc. So easy to judge.
@@thespiritofmadturner999 No, but to an actor or actors, it can come off like that, as if the direction is long & out drawn, when it is in fact leading the actor.
The way of working that I’m proposing is to, at some point, stop talking and ask the actor what they are working on. Or, ask them how they understand your direction. Get a dialogue going. Make sure this conversation is private. Make sure the goal of both you and the actor is getting to the truth of the moment, scene, or character-not to win an argument.
As someone who just co-directed a short for the 48 hour film festival, this is so important. Having open and clear communication with the actors and allowing room for improvement and innovation make such a better performance on screen
Judith’s workshop definitely changed the way I work with actors… I also use her tools to break down scripts and have even taught them to actors and filmmakers myself:)
My hot take is that results-based direction isn't always bad and is sometimes a useful shorthand. I feel like a lot of directors will do the talk talk talk thing as a way of trying to get an actor to "more angry" without saying "try being more angry" because results-based=bad. Most good actors can turn a results based direction into a playable action that makes sense to them. But you also have to create an environment where, if it *doesn't* make sense to the actor, they feel comfortable saying so, and then you work it out together.
5:35 -- This is where I disagree with her and earlier. She is basically was saying that the actors are always right and if they can't deliver what the director wants then the director has to adjust what they expect or that they were wrong to begin with. Weird. Imaging Fincher just adjusting his impossible expectations. Then here, at this mark, when the interviewer is saying that when a director isn't getting what they want and have to give more direction/communication... she's saying that actors are doing the best they can...? Sorry, but that's a cop-out. A DP doesn't have bad lighting and go, "Well, that was the best I could do." Or an editor has a sloppy edit, "That was the best I could do so you're gonna have to live with it." Same with actors. She's saying that "actors do the best they can to figure out what the director wants." When he/she is explaining it... then an actor has to have to tools to process that request and deliver. So, if a director is under-explaining something to an actor who isn't understanding what they want... then they have to over-explain because something is being missed in communication. But yes, I've DPed for this one awful, awful director who has one 'meh' movie the 90s for a 'famous horror franchise' and bomb after bomb since. On that film I was stuck with him on, his direction on set was horrendous. He would over-explain, loved to hear himself talk and the actors were lost and it showed on camera, then blowing up at actors, abusive. I also worked on this one commercial where I'll try to stay as vague as possible but the 'A-list' actor was sitting there. It's a pullback of his expression to what's going on in the foreground which is revealed in the pullback. The director explains the reaction, just a simple, "WTF, surprised," reaction. Cool, he's got it, no problem. Then a producer comes over and explains it. He was like, "Uh... okay?" Then another producer explains it. Then the EP comes over and gets into, literally, the "Mise-en-scène" and every other 'big word' they can think of, to sound like they know what they're talking about. The EP clears and the actor is so frazzled by now, he goes, "Is it just the turn and react?" Since I was editing it, I smiled, "That's all it is." He almost laughed, "Okay, thanks." And... he got it first take.
I come from a Method Acting background and have just written and directed my first short. There was very little time to rehearse, but it was sufficient to ensure that both I and the actor were on the same page. Judith's advice makes a lot of sense.
This is 100% true! All of is need to talk 50% less and listen 50% more. Too many people in this world talk with AUTHORITAH! about things that they don't understand and waste everyone else's time.
2:39 like, yes, be flexible but if you never push back or stick to the script then why bother writing one? That's the difference between improv and narrative.
If they specify too much, it cuts off your ability to show your mettle and takes away the incentive to take on indy and theatrical roles. You might even get the right answers, but it can hinder your growth as an actor in terms of learning how to understand your characters. It's the easy, quicker path, but it can so hamper your creative changes that you make during the process of practicing scenes.
I help by reminding the actor to be in the moment. I ask them whats happening in that beat or scene? And help them navigate what the character must be feeling to make those choices or react that way thats on the page.
Yes and No...Yes, talking too much, sometimes can confuse the actor. But sometimes the Directors gotta talk when the actor doesn't perform as what the story and director requires. However, clear and concise communication is the key.
I agree with almost all of this. Talking too much is problematic for so many reasons. That said, she really blamed the entire inability to get a scene where it needs to be on the director. An actor's job is also to take direction and execute. To act. There are countless accounts of top directors that have zero tolerance for this approach. Spielberg isn't asking his actor if it's ok that they try it his way.
Say just enough that the listener wants to here more, yet clear enough that they can say back to you your said directions... I will also include. Surrounding yourself or hiring the correct people from the start, will solve many of these communications issues. #enjoylife #enjoyfilm
As a Black person, and a director, I can go either way with this. Too easy to be offended, is likely warranted in many cases. However, i have cast actors who were so dead-letter-perfect, they did not sound as if they were from the inner city, Black community. I found myself asking, 'do they not see or understand this character & their world?' to say act black when I do it because we are multifaceted, but damn it the sentiment was there in my mind before I got a grip, and rationalized, lol.
![Directing Actors: Creating Memorable Performances For Film & TV - Judith Weston [FULL INTERVIEW]](http://i.ytimg.com/vi/xE2o1yERgu4/mqdefault.jpg)
This is so true. I was directing a short film once and the lead actor had ALOT of training and experience. He couldn’t stop overwhelming all the other actors with “techniques” and approaches. I had to step in and ask him to please not engage with the others because it was just confusing and stressing everyone out. On another shoot that I was also directing, one of the PA’s (who was a friend of mine) thought that it was ok to approach one of my leads just before a take to offer direction, motivation and advice. I was speechless!!
Took a class with her years ago and it was the best move of my career. I still re-read her books. So good to see her!
Hello Cetre! Sending you warm greetings. Hope all is well. 🙏🏼 (Did you know I have a new book out? Directing Actors 25th Anniversary Edition-fully revised and updated from the original.)
Sometimes it's bcuz you give a direction & the actors say, "I got it." Then do the same thing repeatedly. So you find yourself telling them different ways, in an effort to get through to them.
But thats not what she is referring to.
Answer to that is to cast better actors :)
@@pragmaticactor1777 Not necessarily. Sometimes Great actors have a moment when they get stuck, in their head, paused, overthinking it, etc. So easy to judge.
@@thespiritofmadturner999 No, but to an actor or actors, it can come off like that, as if the direction is long & out drawn, when it is in fact leading the actor.
The way of working that I’m proposing is to, at some point, stop talking and ask the actor what they are working on. Or, ask them how they understand your direction. Get a dialogue going. Make sure this conversation is private. Make sure the goal of both you and the actor is getting to the truth of the moment, scene, or character-not to win an argument.
As someone who just co-directed a short for the 48 hour film festival, this is so important. Having open and clear communication with the actors and allowing room for improvement and innovation make such a better performance on screen
Thanks for your comment and best wishes! 🙏🏼
Judith’s workshop definitely changed the way I work with actors… I also use her tools to break down scripts and have even taught them to actors and filmmakers myself:)
My hot take is that results-based direction isn't always bad and is sometimes a useful shorthand. I feel like a lot of directors will do the talk talk talk thing as a way of trying to get an actor to "more angry" without saying "try being more angry" because results-based=bad. Most good actors can turn a results based direction into a playable action that makes sense to them. But you also have to create an environment where, if it *doesn't* make sense to the actor, they feel comfortable saying so, and then you work it out together.
I love her! Her “Directing Actors” book changed my whole approach
Once again great interview! I listened to her audio book months ago. It really helped me on producing and directing my second short.
Thank you and best wishes! 🙏🏼
I really like her energy. If I ever fulfill my dream of directing I want to be this type of director humble and willing to work with the actors.
5:35 -- This is where I disagree with her and earlier. She is basically was saying that the actors are always right and if they can't deliver what the director wants then the director has to adjust what they expect or that they were wrong to begin with. Weird. Imaging Fincher just adjusting his impossible expectations. Then here, at this mark, when the interviewer is saying that when a director isn't getting what they want and have to give more direction/communication... she's saying that actors are doing the best they can...? Sorry, but that's a cop-out. A DP doesn't have bad lighting and go, "Well, that was the best I could do." Or an editor has a sloppy edit, "That was the best I could do so you're gonna have to live with it." Same with actors. She's saying that "actors do the best they can to figure out what the director wants." When he/she is explaining it... then an actor has to have to tools to process that request and deliver. So, if a director is under-explaining something to an actor who isn't understanding what they want... then they have to over-explain because something is being missed in communication.
But yes, I've DPed for this one awful, awful director who has one 'meh' movie the 90s for a 'famous horror franchise' and bomb after bomb since. On that film I was stuck with him on, his direction on set was horrendous. He would over-explain, loved to hear himself talk and the actors were lost and it showed on camera, then blowing up at actors, abusive. I also worked on this one commercial where I'll try to stay as vague as possible but the 'A-list' actor was sitting there. It's a pullback of his expression to what's going on in the foreground which is revealed in the pullback. The director explains the reaction, just a simple, "WTF, surprised," reaction. Cool, he's got it, no problem. Then a producer comes over and explains it. He was like, "Uh... okay?" Then another producer explains it. Then the EP comes over and gets into, literally, the "Mise-en-scène" and every other 'big word' they can think of, to sound like they know what they're talking about. The EP clears and the actor is so frazzled by now, he goes, "Is it just the turn and react?" Since I was editing it, I smiled, "That's all it is." He almost laughed, "Okay, thanks." And... he got it first take.
I come from a Method Acting background and have just written and directed my first short. There was very little time to rehearse, but it was sufficient to ensure that both I and the actor were on the same page. Judith's advice makes a lot of sense.
her book is absolutely incredible, can't thank her enough
Book name plz
Name and link in the description.
No, no! Thank you! And best wishes! 🙏🏼
@@PopCultureGian Directing Actors 25th Anniversary Edition 🙏🏼
This is 100% true! All of is need to talk 50% less and listen 50% more. Too many people in this world talk with AUTHORITAH! about things that they don't understand and waste everyone else's time.
I have been reading Judith's book. Amazing, eye opening. Brilliant. Helpful.
Incredible book!
Thanks!
Thank you Andrew! Great to see you continuing to find value in Judith's teachings!
Best teacher of directors of all time. Truly unbelievable skill, and talent.
Thank you Joshua! Hope all is well with you. Sending big hugs 🙏🏼
Yes! Clear communication is key.
2:39 like, yes, be flexible but if you never push back or stick to the script then why bother writing one? That's the difference between improv and narrative.
Judith is great. Buy her books, learn script analysis and then take a beginner's acting class; you'll be glad you did.
🙏🏼🙏🏼🙏🏼
How does a director's interaction with an actor help or hinder their performance?
If they specify too much, it cuts off your ability to show your mettle and takes away the incentive to take on indy and theatrical roles. You might even get the right answers, but it can hinder your growth as an actor in terms of learning how to understand your characters. It's the easy, quicker path, but it can so hamper your creative changes that you make during the process of practicing scenes.
I help by reminding the actor to be in the moment. I ask them whats happening in that beat or scene? And help them navigate what the character must be feeling to make those choices or react that way thats on the page.
@@albertabramson3157 So true. Best of luck, Albert 🙏🏼
@@AndreaClinton Great. Asking them their ideas is such a good way to start a discussion if one is needed. Best wishes 🙏🏼
I bought her book "Directing Actors". Very informative. Highly recommended.
I had one actor who was so in her head, i had to talk her off the ledge, so to speak. And other actors, minimal directing was just right.
You’re so right-every actor is different. Connection is the key! 🙏🏼
This is really good advice!!
Thank you and best wishes! 🙏🏼
wow... this is really eye opening
Thank you! Best wishes 🙏🏼
Great advice
Thank you and best wishes 🙏🏼
Sometimes you just have to give the actor the premise and emotions involved and they can find something in them that works with it.
Yes and No...Yes, talking too much, sometimes can confuse the actor. But sometimes the Directors gotta talk when the actor doesn't perform as what the story and director requires. However, clear and concise communication is the key.
Triple thumbs up 👍👍👍
"I Wove it",
famous words of a 3 year old...
🙏🏼🙏🏼🙏🏼
I agree with almost all of this. Talking too much is problematic for so many reasons. That said, she really blamed the entire inability to get a scene where it needs to be on the director. An actor's job is also to take direction and execute. To act. There are countless accounts of top directors that have zero tolerance for this approach. Spielberg isn't asking his actor if it's ok that they try it his way.
Say just enough that the listener wants to here more, yet clear enough that they can say back to you your said directions...
I will also include. Surrounding yourself or hiring the correct people from the start, will solve many of these communications issues.
#enjoylife #enjoyfilm
Yes! And - practice! All these skills take practice. 🙏🏼
Make me remember how Christopher Lee correct Peter Jackson about how to act as someone being stabbed in Lotr lol
Christopher Lee was right as a realist but were making a movie here...
That story's fucking hilarious. LOL
A lot of black actors will identify with this because of the proverbial:
"Could you act morrrrrrre....... could you act more.....black?"
As a Black person, and a director, I can go either way with this. Too easy to be offended, is likely warranted in many cases. However, i have cast actors who were so dead-letter-perfect, they did not sound as if they were from the inner city, Black community. I found myself asking, 'do they not see or understand this character & their world?' to say act black when I do it because we are multifaceted, but damn it the sentiment was there in my mind before I got a grip, and rationalized, lol.
@@AndreaClinton 🙏🏼🙏🏼🙏🏼