DON’T ever, ever, ever give line readings.
JB: “How do you really piss an actor off?”
Mark Rydell: “Give them a line reading.”
If you want a Robotic Response from an inexperienced actor, try ignoring this Don’t. They will become a drone and give you the phoniest line reading since “Help, I’ve fallen and I can’t get up!” A really skilled actor will probably be offended but at the same time can decode your terrible line reading and make it work.
The right way to correct a bad reading is to ask the actor two things: 1) What does your character want in the scene and 2) how does your character feel about this moment in the scene. You may have to have them improvise the situation to find their way.
DO put directions in the form of questions.
Instead of saying to an actor, “This next time, move to the door, then turn and say your line,” phrase it as a question: “What would happen if you walked to the door and then turned and said your line?”
Why do this? It’s simple. Nobody likes being ordered about, especially when they are part of a creative process.
Of course you would get a really weird look if you said to the dolly grip, “What would happen if we were to lay 40 feet of track say, uh, over here?” The dolly grip wants and needs specific instructions. The actor on the other hand is a partner in the creative process. If you don’t believe this, try giving orders and watch their resentment and argumentativeness simmer and boil over.
DON’T call out inane things like “OK, give me lots of energy!” or “Have fun with it!”
Stephen Collins: “I have found at least 90% of the time when a director wants more energy, what he’s reacting to is a lack of point of view in the scene. Something’s wrong with either the way the scene’s written or being acted, or the way it’s been directed that’s causing the actors to hang back and not commit to it. It’s never about energy. Energy is what happens to actors when they are specific and do have a point of view. It’s used as a kind of catch all by directors who know something’s wrong but don’t know what it is. Chances are after you tell them ‘More Energy’ the same problem will be there, only it will just be louder.”
DO talk to every actor after every take.
Even if all you do is walk past them and pat them on the shoulder, they are reassured.
Get out! Do what? Every take? No way, you say.
Way.
When an actor finishes a take, she wants feedback. How did I do? she wants to know. If you’re going to do it again, for whatever reason, the actor needs to hear a reason. You may not want to tell them the actual reason but you must say something. Directors who just say,” Let’s go again” and roll camera, only create confusion among the cast.
It doesn’t need to take a lot of time. In the TV series Blind Justice, we were under the same time pressure as every other series. Nevertheless, after every take I would walk quickly over to each one of the cast and just give them a nod, a touch on the arm, or some other attaboy. Took only seconds. Then I go to the actors who need help and give them appropriate direction. Now some actors know they are on a good track and others who are given direction know what they need to do. There is always a bit of adjusting and messing around by the crew in between takes. Take advantage of that short time and keep the cast in the loop.
