Chapter 10: Working With Actors

I have already look at one section of Proferes' book Film Directing Fundamentals: See Your Film Before Shooting, but now I will be analysing a section that we briefly looked at in session; Working With Actors.

If the directors main concern is with the camera, the actors can be made to feel like orphans. It is much wiser to make them feel like they are the centre of attention - that the director needs them ans is counting on them. (page 130) This a point that I am fully aware of but just because that is the case I still need to be constantly reminded of this in my head. Beforehand when I have worked with actors, it was a little different as they were friends with someone in the crew, and so they wouldn't necessarily always feel out of place amongst the crew. In this case they won't be familiar with anyone and so I have to be the one to make sure that they are comfortable and are completely clued into what's happening and assure and direct their acting whilst directing the crew. This can get very complicated and I know that itf I'm not careful I may get to focused on one aspect. I need to be able to balance all of my responsibilities.

I really enjoyed 'The Kazan Method' in the paragraph headed Speak to the Character; where it talked about how director Elia Kazan a Greek-American Director who worked with the likes of Natalie Wood and Marlon Brando. Kazan would address the actors as their characters for example in between certain scenes/shots, he would pull them aside and talk to them separately. Saying things like "Are you going to let her walk all over you like that?" to one of the actors and "If this guy had any respect for you...." to the other. (page 128). I think this method is a fantastic and fun way to get actors engaging with their roles and hopefully allow them to perform to the best of their abilities with every take.

Lastly the section entitled What are you looking for? The following casting consideration to keep in mind and it's subheadings; Is the actor right for the part?, The actors attention to simple reality, Can you work with the actor? (page 126) Were very useful as it allowed me to know what to bare in mind while I went through the casting stages aside from whether or not they can act. Don't get me wrong an actors acting capability is a fundamental element, but as I've come to realise through this chapter, not the only element to consider.