contents contents
full screenprintcontentsfull screenprint54 VIDEOMAKER >>> NOVEMBER 2019
scene. Once they’re in that emotional space, re-
hearse the scene. Try to repeat this exercise with
the actors until the emotion naturally occurs in
the scene.
If you have access to the set during rehears-
als, you probably want to work on blocking.
Different directors have different approaches
for this. Some think that requiring the actor to
hit specific marks is distracting from the actingprocess. Actors trained for the stage typically
appreciate blocking direction; cinematogra-
phers also like to know how the actors will
be moving during a scene. Remember that
movement is important. If you have a film
where the characters just sit around and talk,
your audience will get bored rather quickly.
During initial rehearsals, see how your actors
naturally move throughout the scene. Encour-
age them to be active on the set, embodying
their environment with physicality. Unlike a
play, many scripts do not have specific block-
ing information such as, “ Character X crosses
to upstage left to answer the phone,” if your
characters don’t intuitively achieve the block-
ing of a scene, you will need to block for them.
Allowing your characters to rehearse in
costume can also be beneficial, particularly if
you’re doing a sci-fi, fantasy or period piece.
The costume and accessories can help the actor
transform into character and get used to any
restrictions. Practicing in modern costumes can
also be beneficial to actors, allowing the novelty
of the wardrobe to wear off in rehearsal.
Rehearsal time isn’t just about practicing
lines; it’s about establishing characters’ relation-
ships with the other actors. If your characters
are supposed to be members of a football team,
get them to workout together and play football
as a team. Particularly when working with child
actors, it’s important to facilitate a natural bond
that characters would share such as a mother
and daughter, father and son or siblings. Perhaps
the actors might go together to a baseball game
or a theme park in character. The more inexpe-
rienced your actors, the more time they should
spend in character-focused bonding activities.able. It’s important that your actors trust you
and feel safe. You’ll get better results as a
“coach” instead of a “director.” Try not to criti-
cize your actors. A great approach to redirect
your actor is to say, “That was great; now let’s
try it a different way.” By doing this, you build
confidence in your actor. It may be hard to be
calm and supportive when the clock is ticking
and crew are waiting, but screaming criticisms
at your actors will tend to stifle their perfor-
mances. By using a coaching approach in pre-
production, you ensure a calm, encouraging
environment when things get stressful.Rehe arsal
There is a fine line between rehearsing enough
and rehearsing too much. Because of this, there
are some directors who will rehearse with cam-
eras rolling. They might claim it’s to get a novice
cast accustomed to the cameras or help a novice
DP and crew prepare for actual shooting, but in
many cases it’s to capture a unique performance
by the actor – a performance that happens
only when the material is fresh. With this in
mind, some directors will rehearse parts of the
script with the entire cast but save emotionally
charged scenes for one-on-one work with the
individual actor.
For scenes that involve anger, rage, laughing
or crying, utilize sense memory techniques with
your actors. Ask them to recall an incident that
evoked the emotion you’re trying to bring to aDIRECTING NOVEMBER 2019
If you can, include time for blocking in your rehearsals. Knowing where actors
are supposed to stand and how they should move through a scene not only
helps the actors give more consistent performances, it also helps the rest of
the crew plan out each shot.FOR SCENES THAT INVOLVE
INTENSE EMOTIONS, UTILIZE
SENSE MEMORY TECHNIQUES
WITH YOUR ACTORS.390 C11 Directing.indd 54 9/24/19 2:27 PMVIDEOMAKER >>> NOVEMBER 2019 55
W. H. Bourne is an award-winning director; her most recent
film played at more than 40 film festivals including interna-
tional screenings.scene. Once they’re in that emotional space, re-
hearse the scene. Try to repeat this exercise with
the actors until the emotion naturally occurs in
the scene.
If you have access to the set during rehears-
als, you probably want to work on blocking.
Different directors have different approaches
for this. Some think that requiring the actor to
hit specific marks is distracting from the actingprocess. Actors trained for the stage typically
appreciate blocking direction; cinematogra-
phers also like to know how the actors will
be moving during a scene. Remember that
movement is important. If you have a film
where the characters just sit around and talk,
your audience will get bored rather quickly.
During initial rehearsals, see how your actors
naturally move throughout the scene. Encour-
age them to be active on the set, embodying
their environment with physicality. Unlike a
play, many scripts do not have specific block-
ing information such as, “ Character X crosses
to upstage left to answer the phone,” if your
characters don’t intuitively achieve the block-
ing of a scene, you will need to block for them.
Allowing your characters to rehearse in
costume can also be beneficial, particularly if
you’re doing a sci-fi, fantasy or period piece.
The costume and accessories can help the actor
transform into character and get used to any
restrictions. Practicing in modern costumes can
also be beneficial to actors, allowing the novelty
of the wardrobe to wear off in rehearsal.
Rehearsal time isn’t just about practicing
lines; it’s about establishing characters’ relation-
ships with the other actors. If your characters
are supposed to be members of a football team,
get them to workout together and play football
as a team. Particularly when working with child
actors, it’s important to facilitate a natural bond
that characters would share such as a mother
and daughter, father and son or siblings. Perhaps
the actors might go together to a baseball game
or a theme park in character. The more inexpe-
rienced your actors, the more time they should
spend in character-focused bonding activities.Improvisation is also a wonderful opportunity
to allow your actors to own their characters.
Create a scenario for the characters outside of
the script, and allow them to play out the scene.
Perhaps you want the characters to play out the
day before the script begins or moments before
two characters meet. Improv can also be a great
teaching opportunity; swap roles with your actor,sallowing them to step into the shoes of other
characters in the script and gain perspective into
the relationships as well as how each character
fits into the unique world represented in the
script. Get involved in the improv games by acting
out characters in the script so they can see how
you would embody that character without you
directly saying, “Play that character like this.”DIRECTING NOVEMBER 2019
DON’T DO
Be (happier/sadder/angrier). Try thinking of a situation that made you feel incredibly (happy/
sad/angry), then we’ll try to channel that emotion.
You need more energy. That last take felt very relaxed. Let’s try taking it up a notch.
I don’t think you’re trying hard enough. Maybe we’re all feeling a bit worn out. Let’s take a break and
come back to this more refreshed.
You’re misinterpreting the script. Let’s make sure we’re on the same page regarding the direction
we’re taking this scene.
Don’t talk so (fast/slow). Let’s try that line again, this time with different pacing.
Can’t you get this right? I think we need to try a different approach.You’re too intense. Wow! That was great energy. On the next take, let’s try a more
understated approach.
I’m not happy with your performance. I think I see some potential areas of growth here. Let’s talk about
them on the next break.
Play that character like this. Let’s talk through this character’s motivations.
You need to do it again. That was great; now let’s try it a different way.Director’s Phrasing Guide
That was great!
Try harder!
Finally, prepare your actors for non-linear shoot-
ing during rehearsals. The novice actor and the
child actor can have difficulties shooting scenes
out of sequence; remember to rehearse scenes
non-linearly with your actors so they will be pre-
pared if you decide to shoot the last scene first.Before cameras roll
Try to give your actors at least a few days off before
you start production. This will not only ensure
that they are well rested, but hopefully provide a
freshness to their performance when they return
to set. While reminding them of set expectations
is important, remember to send them off on break
with a positive mindset by praising them for their
hard work during rehearsals. While rehearsals are
important for the actor, they’re also important for
the director to practice saying, “That was great,
now let’s try that a different way.”IMPROVISATION IS A WONDER-
FUL OPPORTUNITY TO ALLOW
YOUR ACTORS TO OWN THEIR
CHARACTERS.You can comment on this article by going online:
http://www.videomaker.com/?p=85155390 C11 Directing.indd 55 9/24/19 2:27 PM