You’ve heard this a thousand time. I have a pilot script that I’ve created, did reads, casting, and the co writer left to do commercials in another state. Time for a rewrite. Comedy drama. Not sure how to get you involved. My inbox is locked out on this account.
Tip 3: Is a great idea for auditions too. I once held auditions in a literal library study room, and the sides were for an angry argument on the street... So, I told the actor that they should try it this time as if they were in a library! It was great because it helped us stay quiet, and I got to see the range of the actor as well.
I don't know if I'd call this a tip, more like a happy accident I had while making something. I had left the camera running on my actor that I was shooting, but I was giving direction to other actor off camera. When I went through the footage later, I found all these great natural reaction shots that I was able to cut into the scene that improved the scene. This happened multiple times, all by accident.
@@Selrisitai no, I'm sorry. It's been several years and I'd have to go hunting for the footage. But since it costs next to nothing these days to shoot digitally, just let your camera run in between takes. You're bound to capture something unexpected.
@@MiissAlexandraMakeup I'm not sure if it's brilliant, Alex, but it's definitely something you should try. You probably don't want to let your actors know you're doing it though. Just do it and see what happens.
I watch a lot of filmmaking videos on YT but not enough focus on one of the most important things for a director to do: direct actors! I love this video and the advice you give. I've used some of these tricks myself.
Another thing that I find works well is having your actors emulate a specific person they know well. Using mannerisms in the script is one thing, but having them recreate the mannerisms of their father, mother, or best friend is something else entirely. Ultimately it tends to lend itself to much more active characters.
Something that always helps: Ask the actor if they know what the character wants. A lot of times, the actor might not understand the character’s objective, or what reaction they want from their scene partner.
If they don't know 1. they haven't done the work before arriving or 2. the writing is not good. It is literally the actors job to prepare and not only know the answers, but know the questions. The work a pro actor does to prepare is simple, but not easy. It's actually work.
@@JohnNewkirk1you have it wrong tbh . Scripts aren't supposed to be very descriptive . It's in person when most of the emotions are planned out . The script is just a common ground of what's going on.
@@themassivebrainman4798 I respectfully disagree, sir. I know my job as an actor. I always come prepared and, because of that, I am able to easily pivot when it is called for. Preparation is job 1.
@@themassivebrainman4798 I'm an actor. We are talking about acting. Or at least I am talking about acting. I'm not sure I understand your point. The actor's job is to inhabit the world in which the character is written and react accordingly. It is to "Speak The Truth" of the scene or moment. In service of that goal, it is the actor’s specific job to know the script, the story, the character, what is happening, what they want, how they feel about what they are getting, etc. BEFORE ever stepping foot on set or stage. Acting is work! I am not sure why you insist on belaboring the point. Professional actors know what professional actors do. May I ask, how have you come to your conclusions? I’m genuinely curious. Are you an actor/director? I have come to my conclusions based on evidence. Evidence learned from studying the history of acting by the great teachers of the past. By taking scene study classes. By acting on stage and professionally in film for years. By doing the work of acting. I have also produced and directed, albeit small indie films.
You forgot to add what great directors have actually told their actors. Kubrick: "I'm waiting to see something interesting." William Wyler: "It's not quite working. Let's try it again." James Cameron: "Somebody call the acting police!" And my favorite from legendary John Huston to Gregory Peck while shooting Moby Dick - Peck said about Huston's direction: "I remember one scene on which all [Huston] said was 'Feel the camera on your face,' which merely confused me. And in an important scene in which I had a long speech beginning 'If there is a God, there must be a malevolent God,' I was told, 'Kid, if you ever deliver the goods this has to be the time.' Is that direction?"
One problem I've noticed with inexperienced actors, is that they often rush their lines. They are simply trying to get the lines out, and if they are excited, they will run words together and it all comes out as mush. It's not good enough that they simply memorize the words - they must understand the meaning behind the words and internalize them along with the emotions they define. Ask the actor to describe the scene and paraphrase their lines. Make them rehearse the scene with action and physical emotion but no dialog, or use nonsense words instead of their lines so they are thinking about the emotions not the words. They need to become so confident and relaxed with their emotions that the words are secondary and come out naturally.
Your channel is a vein of diamonds. I’m starting up a new film and want to really clean up the problems with my previous one and hone in my directing. You explain things eloquently.
I’m currently binging your videos as I find them super informative, concise and to the point with a good rhythm. There’s a bit of humour too, which just makes them fun to watch. A few months ago I had an “aha, I want to make films!” moment. After buying a few bits of the basic equipment I need, I have already watched countless videos on how I can realise that vision and I have to say that your videos are the most helpful source I’ve come across to date. Thank you, and I hope to see much more of your content in the future!
This is INCREDIBLY useful, especially the last tip. I feel like adding those levels of context and 'insider knowledge' to each of the characters can really level up a scene. Thanks so much for this vid!
Stellar advice. I like giving direction as "it's like you just found your mother's secret box under the bed" kind of prompts, but I've mainly been doing ADR and voice stuff.
My god, man. Your videos are inspiring me into wanting to make short films now. Your channel was just some random suggestion based on my Animation channels and searches. But TH-cam...all those magical rabbit holes
Tip 1 GIVE THEM SOMETHING ACTIVE TO DO. Actors will thank you for this. Actors secretly want permission to do this sooooooo bad. Many intrinsically know this, but are afraid to do it on their own. They seek permission. Once you direct them in their action and have them really focus on the action and not the words...the performance will benefit. Now as a director you will have to watch the action for continuity issues...make sure the cup is in the same hand etc. so that when you edit it will match.
This is great, but I think before tips on actor notes should be being able to recognise when a scene isn’t working. I think a lot of directors just can’t see it. Here needs to be some analysis of what makes a good scene and the elements that bake up good acting, as well as the reverse!
Telling an actor what emotion you want them to express is like a crewed shortcut, if you're in a rush and authenticity doesn't matter. Ideally, if you're crafting the performance of a scene with talent, try focusing on telling your actor what they WANT, especially in the form of a specific effect they should try to elicit from their scene partner(s), whether or not it's one that will be achieved in the end. For example; Make her guilty enough to apologize to you. Make her ask you for YOUR number. Make him feel safe and profess his love to you before he goes. Make him want to stay. Make them burst into applause praising you! This way as actors we can focus our attention truly on our scene partners, reacting off their response to our tactics in attempting our goals. This instead of getting self conscious thinking about how to make our face appear sad, or loving, or prideful... Naturally we don't have to try to show emotions. it's just a byproduct of our actions and attention to others.
Interesting what you’re talking about with active verbs is actually about externalizing and playing an objective. How do I affect the other person, what am I doing or saying to them to accomplish what I need, NOT making it about expressing a vague emotional state inside yourself. The former being good acting, the later what most people think is acting. Emoting bad, Doing good.
My first professional booking, I was already pretty anxious doing an emotional getting-broken-up-with scene, and the director just keep giving the same super specific and helpful direction of "gimme something different.. ok aaand gimme something different" 🙄
Something I do from time to time is compare then to Animals is a great way to get an interesting performance. For example “You’re a lion stalking it’s prey.” “You’re puppy that’s about to go for a walk.” “You’re a house cat knocking things off the counter to make x character angry.” They create specific images and we assign a lot of personality traits to different animals. Plus it leaves a lot open to interpretation for the actor to play with.
- [00:28] 🎭 Give the actor something active/physical to do: Providing actors with active tasks enhances naturalness and dynamism in scenes. - [01:44] 🗣 Use specific language when giving direction: Specific prompts, even if not accurate to the scene, aid in achieving desired performances, particularly in comedy. - [03:07] 🏞 Run the scene as if in a different setting: Changing the setting for actors can yield varied and interesting performances, suitable for both drama and comedy. - [03:58] 🔼 Introduce or increase stakes for the character: Elevating stakes alters actors' approaches, enhancing drama or comedy in scenes. - [04:38] 💥 Use active verbs: Employing active verbs in direction fosters clearer, stronger, and more visceral performances from actors. - [07:17] 🔄 Give opposing direction to each actor in private: Providing conflicting direction amplifies conflict between characters, leading to more intense and spontaneous performances.
Damn smart. This is a director I'd really like working with. You know what. That compliment was flat. Read my saying that as if I were flying an f-15 into a dog fight
I disagree about “bigger” and “smaller”. They aren’t great direction and according to my actor friends: it’s unhelpful and annoying. Besides that loved the video!
As an actor, in my experience, asking an actor to be sadder, madder, etc. is the fastest way to shut them down. It is a nonsensical request. It gives me no information. The director's job is not to tell an actor how to feel. And an actor's job is to find the truth in the scene, not to emote. Find the truth, and if the writing is great, it takes care of itself. Directors give direction. Answer questions. Direct blocking. Telling an actor to "go bigger" is tantamount to giving a line read. That's vaudeville. It's not acting. My $.02
The best directors I’ve worked with work don’t tell you how to do it but why. Keep it simple and just work from the script and identify the character’s objectives.
This is another comment where I say respectfully, no, but I do like where your head is. It's the job of the actor to do the work before setting foot on set. If the writing is great, through doing the hard work before production, the scene will seem intuitive to the actors. If the writing is bad, even Sir Anthony Hopkins can't save it! The director should never tell the actor how to feel and certainly not why. If an actor doesn't know why, either they haven't done the work, or the writing is terrible. My $.02
One essential trick I think is important is to try being a actor someday, every director should experiment to be directed and learn more about acting tecnics and styles. When you go directing it makes a real big difference.
First comment I can put a like on! Yes! Audit an acting class. Take a scene study course. Learn the language that actors speak. It sure as hell isn't "go bigger" or "be sadder"!
After you gave your first nugget of advice I was immediately thinking "It would be kinda cool to privately tell each actor their attribute/issue so they unknowingly play against each other naturally". I'm quite chuffed with myself for hopping ahead to step 6 hahaha
Finaly!!! dude you dont see this kind of videos ANYWHER, Ive been waiting for something like this on youtube for 10 years, all filmmaking channels only talk about gear or cinematography stuff
Thank you so much, I found that the problems I've encountered while filming is that the actors are just too neutral of each others. I can't believe it's as simple as telling them to be the 'opposite' of what they're acting - it's so much more satisfying to be able to illicit their reactions to exactly what you're envisioning rather than getting a mundane performance of the bare minimum.
Good actors respond to those first directions because they've been acting long enough to understand bad direction. "Be sadder" is not how an actor speaks. It is a poor direction. Actors that don't respond to those directions are not bad actors. I find taking acting classes help. Directing a play first helps. It also helps to be empathetic. Actors will literally break themselves open for you if you've spent the time being vulnerable with them. Trust is HUGE. Actors have to do embarrassing things on film that they would never do in real life. They need empathy and vulnerability from you to trust you. You can get the take not going these things. You can get it. But the experience will not be the best for either of you.
Great food for thought - while I may not use any of your specific suggestions, the INTENTION is spot on and, yes, THAT knowledge will be very useful on any set. Great stuff. Thanks so much.
one note about working w actors: if they do something physical, it's a good idea for them to be able to repeat it same way everytime. or else continuity nightmare. if theyre smoking or eating, it shud look consistent across diff angles and takes. also go watch michael caine's acting in film on youtube for tips on workin w actors/understanding film acting specifically i ran into this problem shooting music vids. ppl wouldnt plan their gestures or have an idea of where to be spatially, so u can guide them there. probs not a problem w more experienced actors tho. some time spent in preprod/planning is always a good idea. communication and making it work early is di wae
the job of the actor is to make sure the other actors are out shinning them. This is how all actors should approach the scene. then everyone is focused on how each decision they make is made to have the other person do better then them.
I have to disagree, although I like where your head and heart is. The job of the actor, distilled is to know your lines, hit your marks and SPEAK THE TRUTH of the scene. It is simple, but not easy. A lot of work needs to be done before ever being on set. Again, I do understand your point, but it doesn't really fit. If the writing is great, and the director cast great actors, it's a beautiful thing to behold.
My tips... Start with great writing and learn how to cast the right actor. Then trust the actor. When I come to set, I've already done all the work that a good/great actor does every single time. It's my job. This advice I'm hearing is setting up a lot of well intentioned directors for failure. NEVER tell an actor how they feel. Let them figure it out organically by putting in the work. There is a hell of a lot more to acting then remembering lines and finding your mark. I feel like you are working way too hard if this has been your experience. Sorry if I am abrupt. I truly mean no disrespect it just grinds my gears when I hear this advice.
How do you keep a "novice actor", given something to do to be "busy", from being a distraction and a continuity nightmare? If they can't succeed at doing "nothing", how are they going to manage something trivial, obtuse, and unrelated to plot and dialogue? How about just taking the "actor" aside and tell them they stink? Shouldn't these "specific directions" be outlined in the script, during rehearsal or blocking? I've been making films for over forty years, working with award winning actors and complete novices, even puppets, animals and kids, over all kinds of genres, and none of these suggestions apply to anything I can relate to. Each element of each project is a universe into itself, each its own methodology, like snowflakes. It's not the actor you have to "trick" into a performance, it's the expectation of the director who needs to adapt. Masters of cinema say again and again it's in the casting. There are no "bad" actors, only unrealistic directors who should have hired someone else, probably someone with insight, awareness, and intelligence who can figure things out on their own, forget the director. For instance, using the video's methods, I'd tell this guy to change his clothes ("dress for success") and shave, don't be a static talking head, try something "outside the box" in approach, in execution, in presentation. Otherwise, the results are just....uh...standard...
00:01 Active engagement improves acting performance 01:07 Directing tricks for engaging acting 02:13 Use directing tricks to evoke genuine reactions from actors. 03:16 Direct actors by changing the setting and stakes 04:17 Use active verbs for clear direction 05:26 Clear and specific direction helps actors perform better. 06:26 Directing tricks to improve acting performance 07:31 Directing with specific, targeted instructions
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Filmmaking advice coming in weekly - Drop a comment if there's anything you want to learn about!
You’ve heard this a thousand time. I have a pilot script that I’ve created, did reads, casting, and the co writer left to do commercials in another state. Time for a rewrite. Comedy drama. Not sure how to get you involved. My inbox is locked out on this account.
This was great advice as an actor.
Tip 3: Is a great idea for auditions too. I once held auditions in a literal library study room, and the sides were for an angry argument on the street... So, I told the actor that they should try it this time as if they were in a library! It was great because it helped us stay quiet, and I got to see the range of the actor as well.
I don't know if I'd call this a tip, more like a happy accident I had while making something.
I had left the camera running on my actor that I was shooting, but I was giving direction to other actor off camera.
When I went through the footage later, I found all these great natural reaction shots that I was able to cut into the scene that improved the scene.
This happened multiple times, all by accident.
Do you remember any specific examples? I could watch a video about this, lol!
@@Selrisitai no, I'm sorry. It's been several years and I'd have to go hunting for the footage.
But since it costs next to nothing these days to shoot digitally, just let your camera run in between takes. You're bound to capture something unexpected.
this is brilliant!
@@MiissAlexandraMakeup I'm not sure if it's brilliant, Alex, but it's definitely something you should try.
You probably don't want to let your actors know you're doing it though. Just do it and see what happens.
That was so digestible and effective. That was literally an entire directing class in 8 minutes
I watch a lot of filmmaking videos on YT but not enough focus on one of the most important things for a director to do: direct actors! I love this video and the advice you give. I've used some of these tricks myself.
Another thing that I find works well is having your actors emulate a specific person they know well. Using mannerisms in the script is one thing, but having them recreate the mannerisms of their father, mother, or best friend is something else entirely. Ultimately it tends to lend itself to much more active characters.
Something that always helps: Ask the actor if they know what the character wants. A lot of times, the actor might not understand the character’s objective, or what reaction they want from their scene partner.
If they don't know 1. they haven't done the work before arriving or 2. the writing is not good. It is literally the actors job to prepare and not only know the answers, but know the questions. The work a pro actor does to prepare is simple, but not easy. It's actually work.
@@JohnNewkirk1you have it wrong tbh . Scripts aren't supposed to be very descriptive . It's in person when most of the emotions are planned out . The script is just a common ground of what's going on.
@@themassivebrainman4798 I respectfully disagree, sir. I know my job as an actor. I always come prepared and, because of that, I am able to easily pivot when it is called for. Preparation is job 1.
@@JohnNewkirk1 the rule of thumb is to quite literally on write what you need to get what's on your mind across to the reader.
@@themassivebrainman4798 I'm an actor. We are talking about acting. Or at least I am talking about acting. I'm not sure I understand your point.
The actor's job is to inhabit the world in which the character is written and react accordingly. It is to "Speak The Truth" of the scene or moment. In service of that goal, it is the actor’s specific job to know the script, the story, the character, what is happening, what they want, how they feel about what they are getting, etc. BEFORE ever stepping foot on set or stage. Acting is work!
I am not sure why you insist on belaboring the point. Professional actors know what professional actors do. May I ask, how have you come to your conclusions? I’m genuinely curious. Are you an actor/director?
I have come to my conclusions based on evidence. Evidence learned from studying the history of acting by the great teachers of the past. By taking scene study classes. By acting on stage and professionally in film for years. By doing the work of acting. I have also produced and directed, albeit small indie films.
You forgot to add what great directors have actually told their actors. Kubrick: "I'm waiting to see something interesting." William Wyler: "It's not quite working. Let's try it again." James Cameron: "Somebody call the acting police!" And my favorite from legendary John Huston to Gregory Peck while shooting Moby Dick - Peck said about Huston's direction: "I remember one scene on which all [Huston] said was 'Feel the camera on your face,' which merely confused me. And in an important scene in which I had a long speech beginning 'If there is a God, there must be a malevolent God,' I was told, 'Kid, if you ever deliver the goods this has to be the time.' Is that direction?"
No. Those are all terrible unless your intention is to shut them down.
One problem I've noticed with inexperienced actors, is that they often rush their lines. They are simply trying to get the lines out, and if they are excited, they will run words together and it all comes out as mush. It's not good enough that they simply memorize the words - they must understand the meaning behind the words and internalize them along with the emotions they define. Ask the actor to describe the scene and paraphrase their lines. Make them rehearse the scene with action and physical emotion but no dialog, or use nonsense words instead of their lines so they are thinking about the emotions not the words. They need to become so confident and relaxed with their emotions that the words are secondary and come out naturally.
Your channel is a vein of diamonds. I’m starting up a new film and want to really clean up the problems with my previous one and hone in my directing. You explain things eloquently.
I’m currently binging your videos as I find them super informative, concise and to the point with a good rhythm. There’s a bit of humour too, which just makes them fun to watch.
A few months ago I had an “aha, I want to make films!” moment. After buying a few bits of the basic equipment I need, I have already watched countless videos on how I can realise that vision and I have to say that your videos are the most helpful source I’ve come across to date. Thank you, and I hope to see much more of your content in the future!
Love that, thanks and good luck!
This was all really helpful and got me thinking, especially when it comes to allowing more improv within a scene/story.
Thanks Syd! It's up to the director and actors to keep an eye out for the little things NOT written in the script that could elevate the scene.
This is INCREDIBLY useful, especially the last tip. I feel like adding those levels of context and 'insider knowledge' to each of the characters can really level up a scene. Thanks so much for this vid!
that last example was wild! my gemini brain loves the idea of giving the two actors the conflicting direction - stir the pot!
Stellar advice. I like giving direction as "it's like you just found your mother's secret box under the bed" kind of prompts, but I've mainly been doing ADR and voice stuff.
This has really helped me in my acting journey!!! Timeless video thank you!
My god, man. Your videos are inspiring me into wanting to make short films now. Your channel was just some random suggestion based on my Animation channels and searches. But TH-cam...all those magical rabbit holes
One of the best channels out here
I find "ACT HARDER!" yields great results... :)
Tip 1 GIVE THEM SOMETHING ACTIVE TO DO. Actors will thank you for this. Actors secretly want permission to do this sooooooo bad. Many intrinsically know this, but are afraid to do it on their own. They seek permission. Once you direct them in their action and have them really focus on the action and not the words...the performance will benefit.
Now as a director you will have to watch the action for continuity issues...make sure the cup is in the same hand etc. so that when you edit it will match.
This is great, but I think before tips on actor notes should be being able to recognise when a scene isn’t working. I think a lot of directors just can’t see it. Here needs to be some analysis of what makes a good scene and the elements that bake up good acting, as well as the reverse!
Telling an actor what emotion you want them to express is like a crewed shortcut, if you're in a rush and authenticity doesn't matter.
Ideally, if you're crafting the performance of a scene with talent, try focusing on telling your actor what they WANT, especially in the form of a specific effect they should try to elicit from their scene partner(s), whether or not it's one that will be achieved in the end.
For example; Make her guilty enough to apologize to you. Make her ask you for YOUR number.
Make him feel safe and profess his love to you before he goes. Make him want to stay. Make them burst into applause praising you!
This way as actors we can focus our attention truly on our scene partners, reacting off their response to our tactics in attempting our goals.
This instead of getting self conscious thinking about how to make our face appear sad, or loving, or prideful... Naturally we don't have to try to show emotions. it's just a byproduct of our actions and attention to others.
Sick video of platitudes my man
This was rich. Really practical and helpful.
Interesting what you’re talking about with active verbs is actually about externalizing and playing an objective. How do I affect the other person, what am I doing or saying to them to accomplish what I need, NOT making it about expressing a vague emotional state inside yourself. The former being good acting, the later what most people think is acting. Emoting bad, Doing good.
My first professional booking, I was already pretty anxious doing an emotional getting-broken-up-with scene, and the director just keep giving the same super specific and helpful direction of "gimme something different.. ok aaand gimme something different" 🙄
Great video !! Thanks
Something I do from time to time is compare then to Animals is a great way to get an interesting performance.
For example “You’re a lion stalking it’s prey.”
“You’re puppy that’s about to go for a walk.”
“You’re a house cat knocking things off the counter to make x character angry.”
They create specific images and we assign a lot of personality traits to different animals.
Plus it leaves a lot open to interpretation for the actor to play with.
Thanks for the tips man this is really going to help me in the future
absolutely genius! i’m gonna use all of these
This is useful when making songs
Very very practical
- [00:28] 🎭 Give the actor something active/physical to do: Providing actors with active tasks enhances naturalness and dynamism in scenes.
- [01:44] 🗣 Use specific language when giving direction: Specific prompts, even if not accurate to the scene, aid in achieving desired performances, particularly in comedy.
- [03:07] 🏞 Run the scene as if in a different setting: Changing the setting for actors can yield varied and interesting performances, suitable for both drama and comedy.
- [03:58] 🔼 Introduce or increase stakes for the character: Elevating stakes alters actors' approaches, enhancing drama or comedy in scenes.
- [04:38] 💥 Use active verbs: Employing active verbs in direction fosters clearer, stronger, and more visceral performances from actors.
- [07:17] 🔄 Give opposing direction to each actor in private: Providing conflicting direction amplifies conflict between characters, leading to more intense and spontaneous performances.
Thanks
Loved the last point ...Awesome
Video was very informative.
I love no.6
excellent!!
Great video! I’ve subscribed now. Great work!
Wow! Thanks. I’ll try it ❤
Thanks!!! Great content!
Thank you for your videos I learned a lot
Damn smart. This is a director I'd really like working with.
You know what. That compliment was flat. Read my saying that as if I were flying an f-15 into a dog fight
your channel is amazing
Thanks sir, great advice 👍
I like #1 and number #6
Brilliant!!
These are all great tips! Thank you so much. Why don't you have more views? :(
I disagree about “bigger” and “smaller”. They aren’t great direction and according to my actor friends: it’s unhelpful and annoying. Besides that loved the video!
Excellent.
Thanks Holden! Shouldn’t you be on the Roci right now?
"can you be sadder/madder/bigger/smaller?" If I heard that from a director , Iam wakling out right there. Where did you get THAT?
Good vid...
youtube read my mind, this is exactly the problem I am having right now
Director: "Okay Rebecca, this next scene you're firing Tom, but do it as if you're in a wresting ring."
*Rebecca hits Tom over the head with a chair.
Super
someone explain to me how this man is so fine
Reminds me a lot of Daniel Schiffer for some reason, and with great content too.
Well Schiffer me timbers
thanks Pete Davidson for the brilliant advice
Good directors don’t say be sadder etc.
For no. 1:
What if the thing they discussing is so serious and demands full attention?
👌🏽👌🏽👌🏽
The music is TOO LOUD and annoying.
you kinda look like Pete Davidson
or u can just smack an actor in the face like Wizard of OZ director did
The caption beside the doctor probably isn’t appropriate.
As an actor, in my experience, asking an actor to be sadder, madder, etc. is the fastest way to shut them down. It is a nonsensical request. It gives me no information. The director's job is not to tell an actor how to feel. And an actor's job is to find the truth in the scene, not to emote. Find the truth, and if the writing is great, it takes care of itself. Directors give direction. Answer questions. Direct blocking. Telling an actor to "go bigger" is tantamount to giving a line read. That's vaudeville. It's not acting. My $.02
The best directors I’ve worked with work don’t tell you how to do it but why. Keep it simple and just work from the script and identify the character’s objectives.
This right here. Absolutely right.
This is another comment where I say respectfully, no, but I do like where your head is. It's the job of the actor to do the work before setting foot on set. If the writing is great, through doing the hard work before production, the scene will seem intuitive to the actors. If the writing is bad, even Sir Anthony Hopkins can't save it! The director should never tell the actor how to feel and certainly not why. If an actor doesn't know why, either they haven't done the work, or the writing is terrible. My $.02
One essential trick I think is important is to try being a actor someday, every director should experiment to be directed and learn more about acting tecnics and styles. When you go directing it makes a real big difference.
First comment I can put a like on! Yes! Audit an acting class. Take a scene study course. Learn the language that actors speak. It sure as hell isn't "go bigger" or "be sadder"!
After you gave your first nugget of advice I was immediately thinking "It would be kinda cool to privately tell each actor their attribute/issue so they unknowingly play against each other naturally". I'm quite chuffed with myself for hopping ahead to step 6 hahaha
This is actually a technique that's used in some improv games for actors as well. Motivation is so vital for adding depth to a performance.
@@WaterShowsProd yeah I learned this from my drama teacher and incorporated it for this.
Finaly!!! dude you dont see this kind of videos ANYWHER, Ive been waiting for something like this on youtube for 10 years, all filmmaking channels only talk about gear or cinematography stuff
Been watching a bunch of your videos lately and realized I was not subbed, always great advice man, ty.
Thanks for watching ✌️
If an example about that perversion thing is considered a severe stake, no wonder US movies've been sh7te for ages already.
Please don’t stop doing these videos I get a lot out of them thank you
Thank you so much, I found that the problems I've encountered while filming is that the actors are just too neutral of each others. I can't believe it's as simple as telling them to be the 'opposite' of what they're acting - it's so much more satisfying to be able to illicit their reactions to exactly what you're envisioning rather than getting a mundane performance of the bare minimum.
Great advice that's super clear and so so appreciate all the specific examples!
genuinely one of the most helpful filmmaking videos i've seen. thank you! definitely using some of these
Good actors respond to those first directions because they've been acting long enough to understand bad direction. "Be sadder" is not how an actor speaks. It is a poor direction. Actors that don't respond to those directions are not bad actors. I find taking acting classes help. Directing a play first helps. It also helps to be empathetic. Actors will literally break themselves open for you if you've spent the time being vulnerable with them. Trust is HUGE. Actors have to do embarrassing things on film that they would never do in real life. They need empathy and vulnerability from you to trust you. You can get the take not going these things. You can get it. But the experience will not be the best for either of you.
Great food for thought - while I may not use any of your specific suggestions, the INTENTION is spot on and, yes, THAT knowledge will be very useful on any set. Great stuff. Thanks so much.
one note about working w actors: if they do something physical, it's a good idea for them to be able to repeat it same way everytime. or else continuity nightmare. if theyre smoking or eating, it shud look consistent across diff angles and takes. also go watch michael caine's acting in film on youtube for tips on workin w actors/understanding film acting specifically
i ran into this problem shooting music vids. ppl wouldnt plan their gestures or have an idea of where to be spatially, so u can guide them there. probs not a problem w more experienced actors tho.
some time spent in preprod/planning is always a good idea.
communication and making it work early is di wae
the job of the actor is to make sure the other actors are out shinning them. This is how all actors should approach the scene. then everyone is focused on how each decision they make is made to have the other person do better then them.
I have to disagree, although I like where your head and heart is. The job of the actor, distilled is to know your lines, hit your marks and SPEAK THE TRUTH of the scene. It is simple, but not easy. A lot of work needs to be done before ever being on set. Again, I do understand your point, but it doesn't really fit. If the writing is great, and the director cast great actors, it's a beautiful thing to behold.
You're a genius.
These tips are genuinely great and actionable ❤🔥
My tips... Start with great writing and learn how to cast the right actor. Then trust the actor. When I come to set, I've already done all the work that a good/great actor does every single time. It's my job. This advice I'm hearing is setting up a lot of well intentioned directors for failure. NEVER tell an actor how they feel. Let them figure it out organically by putting in the work. There is a hell of a lot more to acting then remembering lines and finding your mark. I feel like you are working way too hard if this has been your experience. Sorry if I am abrupt. I truly mean no disrespect it just grinds my gears when I hear this advice.
As an actor, I have to say this a *great* video & you’ve listed down some very useful points! Thanks! :P
I love what you do my dude! 😌 Thanks for the effort this is great
I want to eat stakes now
That last tip👏🏾👏🏾 all were great but i especially liked that one as an actor myself
How do you keep a "novice actor", given something to do to be "busy", from being a distraction and a continuity nightmare? If they can't succeed at doing "nothing", how are they going to manage something trivial, obtuse, and unrelated to plot and dialogue? How about just taking the "actor" aside and tell them they stink? Shouldn't these "specific directions" be outlined in the script, during rehearsal or blocking? I've been making films for over forty years, working with award winning actors and complete novices, even puppets, animals and kids, over all kinds of genres, and none of these suggestions apply to anything I can relate to. Each element of each project is a universe into itself, each its own methodology, like snowflakes. It's not the actor you have to "trick" into a performance, it's the expectation of the director who needs to adapt. Masters of cinema say again and again it's in the casting. There are no "bad" actors, only unrealistic directors who should have hired someone else, probably someone with insight, awareness, and intelligence who can figure things out on their own, forget the director. For instance, using the video's methods, I'd tell this guy to change his clothes ("dress for success") and shave, don't be a static talking head, try something "outside the box" in approach, in execution, in presentation. Otherwise, the results are just....uh...standard...
Jones Kevin Johnson Deborah Moore Anthony
00:01 Active engagement improves acting performance
01:07 Directing tricks for engaging acting
02:13 Use directing tricks to evoke genuine reactions from actors.
03:16 Direct actors by changing the setting and stakes
04:17 Use active verbs for clear direction
05:26 Clear and specific direction helps actors perform better.
06:26 Directing tricks to improve acting performance
07:31 Directing with specific, targeted instructions
These tips are gold especially the last part. Giving opposing directions separately to each actors.
I thought I had a cool name, Kent Lamm is a bad ass name. Sounds like an action hero. Thanks for making this video.
This was very helpful
Mmmm stakes. 7:10
Where are you from?? I see the RVA t shirt
🤌🤌🤌🤌🤌🤌
Thanks
Love u man
This is better advice for working with actors than I got from MasterClass