Monthly Archives May 2014

3 Types Of Directors & How To Work With Them

Directors are idiots. And I should know, I’m one of them. We’re idiots because, with few exceptions—and when it comes to actors—we have no idea what we’re doing. Actors reading this will nod, but they’re going to need strategies to make sure their performances look cinematic even in the hands of the most well-intentioned yet misguided directors. Here are three directors to avoid if you can, and three ways to work with them if you can’t. 1. The explainer. This director doesn’t give directions. This director gives dissertations. He or she explains everything about the story, the character, the relationships,
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How To Steal The Scene & End Up Playing The Lead

I was directing the film “The Big Kahuna.” We were auditioning a small role in the movie—a member of the hotel room service staff—but it was a scene with Kevin Spacey, so it was going to be a big deal for whomever landed the role. The day wasn’t going well. We were seeing well trained actors, but nobody who I thought could hold the screen with Spacey. During a break I went to the bathroom and ran into one of the actors who had just auditioned for me. We said hello again. There was an awkward silence as we went
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The #1 Way To Quickly Create A Complex Character

One of the problems with the classic actor’s process is it robs the actor of the chance to create complex dramatic characters on camera. The simple reason is that the classic actor’s process encourages the actor to identify the things he or she has in common with the character and use those as the basis for creating the character. The result is one dimensional because the actor is creating character traits that he or she already possesses. When creating for camera it’s important to remember that the camera operates on aesthetic principles and a universal aesthetic principle is that “contrast”
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