How do you handle feedback from a director who disagrees with your vision?

In the end, the director is the director, hopefully for a reason. As a collaborator, I highly value the role of the director: keeping us all on the same page. There is a Shavian quote that is bouncing around somewhere regarding theatre requiring the cooperation of so many distinct personalities it may never have been successfully achieved (a favorite AD pulled it out many years ago, but now neither he nor I have been able to rack it down...) At any rate, (and I speak primarily as a designer, as in all things) in the end, I always endeavor to bow to the director; as the one who often defines the "physics" of a play's universe, it does no one any good if I provide the director with a world they can't navigate.

I actively listen to their viewpoint in an effort to comprehend their priorities and worries. I make an effort to properly explain the reasoning behind my vision and how it fits with the aims and objectives of the project. I try to identify common ground and look into possible compromises that respect the director's contribution and the integrity of the original concept through polite conversation and productive engagement. In the end, I put the project's success as a whole ahead of people's differences, encouraging cooperation in order to bring different points of view together to produce a stronger, more coherent result.

As a casting director I work with the director’s vision. You are allowed to share your suggestions and it’s left with the director to take it or leave it.

It's highly unlikely, and in fact a sign of a bumpy road ahead, if the producer and director haven't already discussed the director's vision prior to signing a contract. A producer should hire someone they already know is capable and experienced. Otherwise the producer hasn't done their job.

This is of utmost importance: the director is ultimately responsible for the final product, and we must respect and honor that authority and responsibility. At the end of the day, our job is to do everything we can to inform and equip the director with our expertise, in hopes of supporting them in making the best decisions possible. If we excel in this—which is a valuable skill—then they will make better decisions, and more collaboration will ensue.

Number 6 is paramount in focusing on the end result- a great production. Creators are passionate about their vision and the creative process. Understanding and respecting this passion, utilizing an intelligent and positive approach in communication, can make the difference in manifesting a creative, cohesive, powerful change for the better, or ending up with egos clashing and shattered film on the editing floor. Nobody wins with anger. Dipolmacy, coupled with learning to stand your ground, leaves an open door to sharing ideas and concepts, which lead to combined visions resulting in a great finished creative, commercial success.

Ask questions about your ideas and proposals to see how they were received. If the director can relay what you are trying to communicate then you are on the same page. If they weren't listening you have to decide if you want to work on the project. Even with clear communication you have to be patient and listen to them as well. Use the same technique to relay what they have said to make sure you have it right.

Clear communication is critical. If information isn’t being delivered and received clearly, there can be disconnects that sink the project.

En realidad, uno puede dar opiniones en favor de las posibilidades que se tienen (infraestructura, artistas, presupuesto, etc.) . En este sentido, el director debería considerar los detalles expuestos para reformular los proyectos en favor de los recursos con los que se cuentan. Eso no significa que el productor deba mover cielo y tierra para conseguir mejorar los recursos y cubrir las necesidades que presenta el proyecto.

Quando um Diretor discorda da vis?o apresentada, o mais certo a fazer é demonstrar o seu ponto de vista para ele, pois só assim poderia ajeitar as discordancias

I always listen and carefully consider ... if I can incorporate the idea it goes in. If not I take the time to describe why it doesn't fit this time around and thank them for wanting to make the production better.

In my experience the most growth for yourself as an actor occurs when doing things you are uncomfortable with, which might be following the Director's instructions. Also remember the director is bringing their vision to life, sometimes as an actor your job is to be as believable as possible in any role you find yourself in.

Playing a character is never a case of my way or the highway. It would be hoped the actor and the director would have discussed the character before rehearsals begin…however, there can be costly exceptions. In my role as fight director, again the mood, character and timbre of the violence should have all been discussed beforehand and an understanding and concurrence of thoughts agreed. Occasionally, in development, ideas can change…it’s my role to serve the director and the play. Only on two occasions in 30+ years have I found no meeting of minds…and the only thing to do was admit artistic differences, give back the fee and walk away.

I listen and try the Director's vision. The Director will find out for themselves how it doesn't work or I show a slight difference that will make it work. I respect the Directors role. It is easier to have them see/hear for themselves how something works or not. Trust is built slow and things come easier when they see I am in it for the audience and conveying the message/vision 120%.

Regardless, whether the director loves or does not love your material being looked at, we should listen! That is how we learn, find new directions, try something new, etc. I am a songwriter, and I take to heart commentary and critique, weigh the differences, and as a result, you always advance! You will walk away with the ability to grow. I believe, as a composer and songwriter, a work of music, a song, is never a completed product. There are always improvements. Keep your ears open!

When it *feels* as though my vision and a director's clash, I usually go back to the drawing board and try to do exactly what they have asked - in the process, I find that I am able to incorporate the essence of the vision I began with. One infamous example: I was designing a production of Othello, in which the director wanted to explore PTSD as the root of the eponymous character's flaws; we had been exploring various modern military settings when, suddenly, the director announced that the play took place... ON A SUBMARINE. Yes, really. But, It actually worked (there were many issues with the production, but none to do with the setting). And, we all got to continually hum "We all live on Othello's submarine, Othello's submarine...

On my very first short film, as the writer/producer, we had a tense moment in discussing a particular line said by the main character. The director had wanted it in there but I felt it didn't fit - we went back and forth on a team call and when I wasn't making headway, stopped to take a breath. My mind was chugging away, trying to figure out what to do when someone from the production team came up with a compromise that suited everyone. There were times to easily correct culturally inaccurate script changes - curry is not a dish for example but a spice - that I was able to redirect fairly easily. So take a step back, involve a diplomatic 3rd party (not someone who will further stir the pot), and remember you're all on the same team.

I often find that disagreements stem from lack of clarity. Ask the director to hone in on exactly what they are trying to communicate. Be ready, always, to clearly communicate what you intend. Bring examples. Sometimes the lack of middle ground comes directly from large stylistic choices, and although those immediate choices don't align, a slight shift from one or both of you might still keep the spirit you both see in the script.

Es lo que mencionaba en el punto 2. Uno debe respetar la visión del director y ver por que las necesidades del proyecto sean cubiertas. Sin embargo, el director también debe estar al tanto de la realidad de la producción. No todas cuentan con los mismos recursos y es importante considerarlo para llevar a cabo un proyecto exitoso.

Precisa firmar o compromisso que sua vis?o está correta e com certeza seu ponto de vista será esclarecido para ele. Precisa ser demonstrado através de casos reais em que tenha atuado.

Not useful to ask a third party, unless you involve an actor who is also key part of a scene, then it can be good. Actors do not work in isolation, they are interacting with other characters. I am speaking here as an actor, not Producer.

From the perspective of a designer, the only third parties you should bring into these types of disagreements are other designers. If I am designing costumes based on production meetings and emails between myself and the rest of the artistic team, and then we get into a room together and suddenly the director doesn’t agree with some part of the design I check in with my fellow designers (usually sets first) to make sure that any changes I make won’t affect them negatively, and I can ask for backup on aesthetic choices we’ve made as a team.

Do not give way to involving a third-party opinion as that just muddies the waters i.e. what if they back the wrong horse that would make the better choice null and void under such circumstance. Also, it makes one open to accusations of collusion.

Make efforts to know your director as a person if you have the chance. Learn their influences and perspectives. I worked for 9 years with my previous director. We were vastly different people, but we shared some similar childhood experiences, a few favorite artworks, and some music that influenced us both. We could find common ground in these similarities and work from there. We learned to trust each other, and the process.

Cette question ouvre le sujet de la formation préalable ou continue de l'acteur. Un pédagogue doit savoir préparer les comédiens à cette situation et leur donner en amont les éléments pour qu'ils puissent choisir la bonne posture. L'une des qualités à transmettre, c'est l'humilité, ce qui ne veut pas dire la soumission, au contraire. L'humilité permet l'échange positif et l'acceptation constructive. L'artiste doit s'inscrire dans la notion de durée et d'endurance, chaque étape de sa carrière est une marche vers le haut, ce qu'il ne comprend pas aujourd'hui, ou conteste, peut très bien lui apparaitre comme utile plus tard. Si un comédien a bien été formé il doit savoir gérer cette situation au profit de tous.

N?o é preciso demonstrar pontos negativos. Caso o diretor entenda os cenários, elencos, produ??o e outras áreas correlatas, com certeza ele aceitará seu ponto de vista. Diplomacia é a palavra de ordem.

Never forget that the director is always replaceable if they are not the sole owner of the project. Even in a partnership, a director who is creating a negative outcome and failing to deliver on their roles and obligations should be removed.