What's your strategy for handling difficult actors during casting or filming?

It's all about meeting peoples needs and knowing what's going on with them behind the scenes. All comes down to trust and communication.

Humility before your actors and any acting performance is a key. And isn't every artist difficult in their own way? If you assume that behind every "difficult" actor there is insecurity and fear, but also a great, very special talent, then try to find access to the talent side of your actor. Conversations, trust and gratitude for artistic achievements are the alpha and omega for every artistic production. Try to learn how to motivate your actors, especially by speaking to them on an equal level and not from a position of superiority. Be grateful, helpful, cooperative and share your concerns and criticism carefully so that the insecure actors can grow.

Work with a reputable casting agent. That's the first step. If they are not getting the actors you need, reach out to another agent. It's ok to switch/add...it's your project and you are looking for the best results. Definitely check past work. Shared connections. Word of mouth. On the set, don't tolerate bad behavior. But it's also the producer's (or whomever is assigned) job to make sure talent is on time. It's also the producer/director's job to bring the best out of talent. Two-way street. Make sure if you're working with kids to be prepared. Have a space for them to be kids off set. Make sure they are supervised -- and not by crew. Again, calm, pleasant, positive communication goes a long way!

It took me two years to cast my latest indie film. And part of why it took so long is I took casting the right people seriously. That being said, early on, I replaced one of my supporting actors mainly because she seemed constantly unprepared during rehearsals. She had this "Allen Iverson" attitude towards rehearsing that clashed with what the other actors were trying to accomplish with the sessions. It wasn't easy replacing her as I had known her for awhile and worked with her mother, whom I respected greatly. But if she didn't "bring it" during rehearsal, I couldn't trust her to bring it for the real thing. And the person that replaced her was awesome. So, my advice is to trust your instincts. Do what is right for the production.

Working with actors that Ab lib can also be difficult and throw other actors off their lines. Flexibility is most important for all working on films. You have to be patient and kind!

I agree. Do it by example and do it calmly, despite time and budget pressures. Realize that ‘there are no bad events’, merely challenges that will ultimately be for the benefit of the production. Also ‘slay the dragon in front of you’, that is, face and resolve the challenge having priority first, then move to the next.

Pro Tip: Start every conversation with eye contact and a smile. Then say what you need to say. Try it, works on everybody, for anything. #facts

Communication is what our Industry is about. Productions no matter the size must have have effective communication. Actors are human we as professionals in this new era have to be considerate of that part first. Coaching an actor during any production is key and communication is the most important.

Clear, Precise communication done early is key. When I direct I always like to lay out the way I like to work, and what my needs are as a director and also ask the actors what their needs are. The most important thing to do is to lay early that the set is not place for guessing games, and if you need something ask for it and if something isn't helping or hindering you then state it. And we can sort it. Through this early communication you'll figure out which actors are the ones that get it and you will get along with and then which ones are the ones that may require a little more work. With all issues, clear calm communication and explanations usually help solve most issues

Agreed, Frank. And I've found nonviolent communication to be highly effective: What are the 4 principles of nonviolent communication? Both are expressed through four components – observations, feelings, needs, and requests – though empathic connection fundamentally relies on connection at the level of feelings and needs, hence observations and requests may or may not be articulated.

Compliments go a long way! Enthusiastic reinforcement is vital. Giving love is not overstating the necessary manner of communication. Grace is not always easy to summon, however it should be a goal.

Set the tone and the energy for the cast & crew early, take notice of any push back or negativity towards the positive assertion, and talk with that person(s) and make sure they are and feel heard.

There is a very important part of directing which is managing different personalities and allowing each of them to flourish in front of the camera. It is fundamental to communicate with actors tailoring the communication to the unicity of the person. One might need compliments one might need a little push. Everyone achieves their best in completely different conditions. So people and psychological and empathy skills are the most important when dealing with human characters and situations. What you want is find the way to get them to give you way more than what you would request achieving a true performance.

Si los actores somos seres humanos que lo damos todo en el rodaje somos camaleonicos al enfrentar un roll tan importante que es personaje , la vida para nosotros es de hacer lo mejor para el espectador

Agreed, have faith that all will be well. Stay steady and solve the issues. Know when to let things resolve themselves, however be firm that things remain steady and supportive for all.

The importance of the actor/director relationship is a crucial factor in filmmaking. If the actor and director fail to connect, the film can feel forced and disjointed. However, when an actor and director embrace their relationship, a certain sense of magnetism shines through on the screen. "Good" directors give guidance when necessary, encouragement where deserved and suggest rather than command. “Bad” directors fail to commit; change their minds constantly; are over-submissive; and usually accept whatever suggestions actors give them. So if you do detailed script analysis, understand the actor’s language and create a safe place for them on set, you should be able to communicate effectively with actors and they will trust you!

My production team and colleagues use the phrase "Organized Chaos," or "Controlled Pandemonium," when describing productions and the hurdles that come along with it. This could be pressing and stressful to actors attached the project, as well as crew. I learned that making your cast & crew aware that flexibility and awareness are pillars needed to keep our foundation afloat, it does bring out more of everyone involved. People may clash with ideas, differences, etc., and that as it may it's important to make sure everyone is and feels heard and not excluded. For me, it lowers or removes the difficulty entirely.

It’s a very tough and difficult call, made more easy if the person involved is hampering production. There comes a time when decisive action is required within the bounds of contracts and legalities. That’s why beginning paperwork is essential. Don’t be afraid to recast swiftly.

In my experience, I found out that you can’t choose good actors without making a good atmosphere for them ! You don’t have to test all of your actors in a black box or your office room. Some times you can go with them to a place that you want to make a scene in that. The result of your casting will be different from the other ways … And there is one most important thing, you have to change something of your script role for your actors ! Actors are like your body and roles are like your clothes ! You have to fit your clothes for your body.

First be clear on your expectations. This will enable you to have direction in the casting process and weed out actors that do not fit into that vision. Spell out these expectations to the actors. This will reduce havimg to deal with difficult on the first place. However when a situation does arise, its best not to react immediately but to pause, reorient oneself, remind oneself ones expectations, be prepared to truly hear why the actor might be "acting out"..it may be that tiny things may have accumulated overtime. Once you have all your information find a temporary solution at least. This also means learning to be assertive and articulate.

Identify the problems and find solution. An informal chat beforehand plus a rough rehearsal will help you get an idea pf where you are. During a workshop , an actor was very stiff. Turned out it was his first gig and he was very nervous. The director was made aware and on shoot he was handled sensitively. For issues that crop up on the set itself.. the solution will vary. An actor with a bad or lazy attitude may need a blunt word or two..or he or she may need gentle nudge. Knowing which route to take depends on how well you read people.

Many actors have credits. Treat them like references. Any director from past projects can give you an idea how it worked for them. Though a single opinion may not be helpful, asking several could give you a general idea of what you're in for when "in the trench" during production with a certain actor.

Shock therapy is quite effective I've heard... So is waterboarding! Public humiliation is another efficient approach. Time outs can ease uncomfortable situations as well. When all that fails, call their mommy and daddy (or their agent) and get them picked up from set. #suspended