do. “Get over to the left side with the club.” That’ll take care of the other problem. So always find something positive. If an actor’s stuck, don’t dwell on the problem. Give them something else to do.
Here’s a little example. I was doing a scene once, and a coffee table was in front of me. Somebody said, “Oh, you’re having a little trouble getting up around that coffee table. We’ll just move it.” I said, “No. The coffee table is a real obstacle in a scene. If it’s a real obstacle, something interesting will happen in my explosive moment with him.” We rolled on the scene, and when we got to that blowup part, the coffee table was in my way. I kicked the stupid thing over and went and throttled the guy. All of a sudden, that became a captivating, explosive moment because there’s nothing worse on film than tedium, and nothing better on film than excitement.
SUMMARY
1. Directors talk too much. Don’t overexplain, or the actor may drown in your “helpful” words.
2. Give an actor behaviors and actions for their character, not intellectual ideas.
3. Ask the actor:
What does their character want in the scene?
How does the character feel about what they want?
4. Encourage the actors to figure things out by themselves. When they make discoveries themselves, they will possess those ideas totally — more so than if you had given them the very same idea yourself.
5. Never tell someone what not to do. Give the actor an action to do.
6. Above all, KISS: Keep It Simple, Stupid.
1 Young, Kazan, 134.
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