Videomaker - USA (2019-11)

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DIRECTING

52 VIDEOMAKER >>> NOVEMBER 2019

read-through of the script. Depending

on the size and scope of your produc-

tion, you may consider more than

one table read: a creative read for the

actors and a technical read for the

crew. Stress to both cast and crew that

the read-through is workshop time

to explore the script; it’s not about

performance. Additionally, you may

find it beneficial to digitally record the

process for later reference.

Your writer should be present for

the read-through with the cast. Any

dialogue that does not sound natural

should be changed at this point. In

general, this is the time to isolate

any final problems with the script

and get a re-write. Often times, your

actors can offer great suggestions

for problem areas of the script,

including dialogue replacement,

particularly if dealing with accents

and ethnic references.

Film is a collaborative process, and

it’s imperative not to consider the

script an iron-clad document. While

it is important to be respectful of the

source material, the script will morph

over time, changing with interpre-

tations by the director, actors and,

finally, the editor.

Don’t be afraid to stop the table

read to allow your actors to ask

questions: What is the character’s

motivation? What is the character’s

backstory? These are answers you

may want to offer at the table read,

or you may want to save this infor-

mation for a private discussion with

the actor later on.

Immediately after the table read, an

intimate social event such as a BBQ

or wine and cheese party can be great

for getting the creative juices flowing.

Besides being the perfect opportunity

for cast and crew to become better

acquainted, it also gives individuals

access to the team to ask questions or

seek clarifications.

The value of the director

as an acting coach

Did you know that many A-list Hol-

lywood actors have acting coaches?

While your cast may not have access

Rehearsing with actors

The pre-production process is impor-

tant for your entire production team.

Once actors are cast, they are often

overlooked until it’s time to shoot with

the exception of an occasional cos-

tume fitting or two. While it’s difficult

for a director to juggle so many tasks,

particularly on low budget produc-

tions, the time you spend with your

actors in pre-production can save you

both time and money during produc-

tion and post.

Casting

It’s impossible to discuss the rehearsal

process without briefly touching on

the casting process. It’s difficult for an

actor to deliver a great performance if

he’s struggling to learn his lines. How

can you tell if an actor will be able to

quickly learn lines?

Directors have a great opportunity

during the casting process to discern

this valuable piece of information.

Give your potential actors one or two

days to prepare for the audition by

providing the sides (short excerpt of

the script) in advance of the audition.

If an actor doesn’t know his lines,

he can’t act; he’s simply reading the

sides. Many Hollywood directors will

not consider casting an actor if they

do not know their sides by audition

time. If you don’t provide the sides

to your potential actors in advance,

you’re really missing out on an invalu-

able piece of casting information.

The table read

Typically at a table read, both cast and

key crew will gather for an informal

How do you extract the best perfor-

mance from your actors? Rehearsal

can be the key, but where is the fine

line between proper preparation and

over-rehearsing?

by W.H. Bourne

IF AN ACTOR DOESN’T

KNOW HIS LINES, HE

CAN’T ACT; HE’S SIMPLY

READING THE SIDES.

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DIRECTING

DIRECTING NOVEMBER 2019

VIDEOMAKER >>> NOVEMBER 2019 53

Rehearsing with actors

by W.H. Bourne

to or be able to afford an acting coach — partic-

ularly if you’re not paying them — that doesn’t

mean that you can’t be that coach for them.

An acting coach will usually help the actor

break down the script. While it’s difficult as a

busy director to spend that much time indi-

vidually with each actor, you can still provide

the same “homework assignments” that an

acting coach would. Remember, the goal isn’t

to have your actors doing busy work. Make any

assignments meaningful and interactive. Your

feedback will speak volumes.

First, have your actor map out his character

arc throughout the script. Where is his character

when the story begins and ends? What are the

major turning points for that character?

If neither the writer or the script has provided

a backstory for your actor’s character, ask your

actor to write up a brief bio for the character. It’s

important that you work with the actor on this

assignment to ensure that this backstory does

not conflict with the script.

This is also a great opportunity for you to

share with your actor your own thoughts on the

character’s motivations and backstory. Again,

this is a collaboration. There are no right or

wrong answers. You want to support your actor

and allow him to own this character.

Next, have your actor take a step out of the

character’s mind and look at the character’s

physicality. Is the character anxious all the time;

how would the actor physically manifest this?

Maybe your character served in the war and

now has a pronounced limp. Maybe a character

has low self-esteem, and the actor interprets

this by slouching. If you encourage your ac-

tors to explore a character with more than just

their facial expressions, they’ll achieve a better

performance. Ask them to get their whole body

engaged in the performance.

Consider the character’s voice, as well. Read a

scene with your actor. Ask your actor to deliver

three different takes on that scene. Listen to the

actor’s voice. Is the delivery too soft, too hard,

too edgy, not edgy enough, etc.? Pre-production

is a great time to experiment — the stakes are

low, and you’re not paying a crew to stand by

and idly watch.

Next, have your actor analyze each scene

that she’s in. For each scene she should notate

the overall purpose of the scene: How does the

scene move the story forward? She should also

understand her character’s goal for that scene:

What is her character trying to achieve in that

specific scene that moves her toward her final

goal or arc?

Remember that the acting process tends to

leave an individual feeling open and vulner-

A table read is a

great time to work-

shop your script

with your actors

and key crew. Make

sure the screen-

writer is present in

case any changes

to the script are

necessary.

If you’re looking to take your production to the next level,

you should consider hiring professional actors. With tax

incentives for film and television popping up in almost

every state, it’s now fairly easy to find professional actors

who belong to either the Screen Actors Guild (SAG) or

the American Federation of Television or Radio Artists

(AFTRA) in most major metropolitan areas. Working with

a professional cast can usually speed up your production

by requiring less prep time and fewer rehearsals as well

as nailing a scene with fewer takes. Also, if an actor has

managed to make it into the union, they are accustomed

THE PROS AND CONS OF HIRING A PROFESSIONAL ACTOR

to showing up on time for early morning calls. Besides the

contracts and paperwork, the biggest drawback to work-

ing with SAG-AFTRA actors is having to be mindful of meal

breaks and turn around times, which can result in costly

financial penalties.

Dealing with any union can be challenging and SAG-

AFTRA is no exception; however, there are many very tal-

ented actors who belong to the union who will work for very

reasonable rates particularly if you are producing digital

content (for the web) or low budget independent film. It’s

definitely worth exploring the options at http://www.sagindie.org.

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