How can you direct actors to improvise in a live action shoot?

If you repeat a word in your opening sentence, tell the World you did. Allow 2 seconds of silence between thoughts replying one thousand Two thousand.

As a writer/director, in my opinion, it would indeed cost more time, but I strongly advise against starting shooting until you've run the scene with the actors multiple times. They should be able to articulate what the scene is about even better than you. This method requires more time, so I opt for the theater approach, holding rehearsals to ensure I extract the required emotional responses. However, I caution against directing actors as if they were robots or unaware dummies. New directors often struggle to comprehend how certain actors express emotions, hindering their ability to perceive scenes accurately. It's crucial to become familiar with specific emotional responses from different actors for a more profound understanding.

I cannot agree with this more! One of the most vital part of the filmmaking process when I was directing commercials, shorts, music videos etc was setting aside time to speak with my actors before going on set. You would grab some lunch and a drink and just talk about the project, the character, the emotions, the vision and you use that time to ask the questions you need! These conversations would build so much trust. Once you build that element of trust, and, I must stress, the trust between a director and actor is paramount then you need to give them the freedom to express themselves and use their experience to help tell your story/vision!

Make sure your actors are not offended when the director asks the difference between Don't Kiss my Ass DKMA and Don't Kiss your own Ass DKYOA and when it happens within the diologue that everyone defines it in their own way.

First of all, knowing if your actors are adept at improv is critical here. Those who come out of a comedic background will generally be the best for this. Also, this isn't really something you can kind of just... toss at people unexpectedly. You are unlikely to yield usable results if you've been on-book for the whole shoot and then, one day, randomly shout something from the monitor at them that they weren't prepared for. in other words, if you think you'd like to utilize improv in your shoot, this is something you'd want to discuss - with everyone... cast AND crew - in prep.

Casting is key. If you frequently collaborate with specific actors, write parts for them. If that isn't possible, aim to cast as accurately as possible. Slightly edit the dialogue and scenes to better fit the actor, as certain emotional responses may be challenging for specific individuals. Play to their strengths when needed, but never compromise on the total vision of the story's message. I view directing as a highly collaborative process. Cast people who are easy for you to work with, and with whom communication is not difficult.

Preach to your Actors how most of how we speak is cliché and every cliché needs to have a word changed or at least one letter changed.

Setting boundaries for actors is crucial, given the ongoing contradictory stance on the story's vision in a creative team during a film shoot. Without clear direction, creative liberties may be taken, directly sabotaging the writer/director's vision. This common occurrence leads to miscommunications and complications. The director must not let actors or creatives have their way or influence significant changes, as rectifying these issues later can be challenging.

Crafting the scene's outcome is your primary responsibility. While rehearsing beforehand is convenient, anxiety can impact actors when the cameras roll. It's not uncommon to spend a few takes readjusting actors to their characters. One of my worst experiences involved an actor who, despite hours of rehearsal, couldn't reproduce my direction. After numerous retakes, I decided to recast at the shoot's beginning to prevent potential failure. The actor performed well in rehearsal but couldn't fit the character on camera, risking the film's overall success. Actors may underperform due to team issues. Address before shooting to prevent film impact. An uneasy set vibe reflects on screen. Resolve by having the cause step back or recast.

I've met many actors who only have minimal conversation with their directors on set. Directors: after a take, go first to your actors to comment on their work--even if nothing else other than a pat on the back. Actors have no other departments to fall back on in review of their work--they look to their directors!

Make sure that your actors are treated as equal share holders as interns in the proceeds, if any. Credits on YouTube videos, etcetera. Give every Actor's Class a title and a video, preferably comedy. If you follow my instructions it will be easy to be funny.

Improvisation is also heavily dependent on trust. The flow of ideas requires the sense of safety in letting those spontaneous ideas out. You need trust between the actors. Ideally, they would be able to run through workshops or improv exercises together to build trust. Additionally, it's important for them to establish at least base-level relationships with each other. Hanging out over dinner is just as important and effective as some improv drills. In a pinch, you can carve out time before filming on set to have the actors banter and get to know each other for 30 minutes to an hour or so. Trust in the director and staff is important. Create a safe space open to the flow of ideas. If an actor pitches an idea, welcome it and adapt.

Directing actors is a deeply collaborative process, emphasizing respect and complete understanding between actors and directors. In indie filmmaking, we often work with talents who are not yet professional or even untrained actors. Keep in mind that these individuals are acting students seeking guidance and direction. Never view their shortcomings as setbacks; instead, use the opportunity to teach or learn from them.

I once had to direct a young talent with no experience for a commercial. I tried all sorts of ways to bring out the performance but it came out as one-note. Every take was the same. I did everything to make her comfortable. At one point I even asked my sassy make up artist to help with her delivery. Perhaps she was nervous but at least she had the energy to keep going. I believe it was 50 takes or so. We finally got the desired result when I asked her to sing-song her lines (in English) as if it was in Cantonese.

Never say No. Instead think "in addition to". Do you have any idea what you're saying? Never say Yes. Instead think "in addition to". Do you you not have any idea?