What are the best practices for directing actors on set?

Here's a tighter version of directing actors on set: Prep: Know the script, characters, and discuss your vision with actors beforehand. Collaboration: Foster trust, open communication, and a safe space for exploration. Direction: Be clear, focus on the "why" (emotions, motivations) not the "how" (acting mechanics). Give specific, actionable feedback. Adapt: Use different directing styles based on the actors' needs. Allow room for improvisation within boundaries. Positive Reinforcement: Acknowledge good takes, offer constructive criticism in a positive light. Be Patient & Respectful: It's a collaboration, respect time constraints, and lead, don't dictate. Take Care of Yourself: Stay calm and focused for a positive set environment.

Script analysis is essential prior to engaging with your actors. You should know the script inside out. Highlight unusual words and ask why has the writer chosen to use them. Get to know the subtext in order to grasp what your characters are really saying and thinking. Imagine characters as players of the board game Risk, with mission objective cards. They all have an objective but through cunning or subtasks, these objectives are not always clear to the other players until the goal is achieved. Think between the scenes. What happens to your characters from one scene to the next. Who have the encountered? What factors could have changed their attitude?

Communicate well, which also means listen. Often director's think they need to know all the answers, but asking 'what do you think?', or 'help me solve this problem' brings an actor into the decision-making process and empowers and engages them. In the end you must also be assertive when you know what is right, this only builds trust and respect.

As a director, breaking down a script and creating a shot list will lay the groundwork and have a significant impact on the set. This process gives you a clear picture of the script, characters, setting, and emotions you want to capture. It's like having a mood board of your creative vision; the breakdown reveals the narrative arcs, helping you plan efficiently and understand what you need in terms of props, costumes, and locations. And let's not forget the magic it brings to working with actors. Understanding the characters' emotions, conflicts, and growth is key to guiding your actors and bringing out the best in their performances.

Yes. Know the script. That is what pre-production is all about. Before you ever get to the actors, speak with the writer of the script, and the showrunner. You want to ask them to clarify any questions you have about motivation or tone in specific scenes. You want to aalso ask them if there are issues with any actors they want you to look out for. Some series regulars may have a habit of upstaging themselves, ad libbing, getting too big, or playing with their hair. Find out what the showrunners, your bosses, want you to look for before you ever get to the stages.

THE MOST IMPORTANT STEP. 99% of your time should be in finding the right actors. Put as much care, time, and energy into this as possible. If you find the right actor for the role, you can trust them on set to interpret the source material in a genuine way. If don't have the perfect actor for the role, no matter what direction you give or how you dress it up, people won't believe it. And if they don't believe it, no amount of cinematography, score or VFX is going to keep their attention. You are better off not making something than making it with the wrong actor.

If you are becoming a TV director then chances are your first gigs will be as an episodic director. In this case, generally the actors will have lived with their characters for much longer than you have. And they know this. You want to show them respect. Meet with them if you can prior to your first day of shooting. It can be done at lunch, in the make up trailer, anywhere. Ask them if they have any questions about the script you are directing. (Hopefully they have read it, but you might find, especially for the leads, they haven't even had the time yet...) Present yourself as there to serve them. There to help them. You want o present yourself first and foremost as their ally.

I couldn’t agree more. Rehearsal is fundamental to building rapport, developing relationships and performances - learning by doing. It’s a mandatory tool in the journey of discovery - what will work and what doesn’t. It also enables the creation of a schedule that will work and give everyone confidence that it can be achieved.

Rehearsal are key to gaining trust and rapport with actors. I always ensure I spend time with the actor before the shoot days to understand how he and she is as a person. Directing actors is all about working with various personalities and ensuring you are communicating the story and answering all their questions about their character and the motivation for the scene. Remember every actor is different, and have their own methods and way of getting into that character. So building a trust as early as possible before the shoot day is so important ( even if its just a zoom call), and also remember it works the other way round too.. actor's want to understand how a director works (we have our own way of working), their personalities etc.

Always communicate with your actors away from the crew and other performers, to keep confidence and to allow them to not be embarrassed to take chances with their performance.

A casual chat with your actors goes a long way. Before the shoot, get to know them over a cup/tea or coffee to understand their preferences, strengths and weaknesses. During the shoot, allow them to be creative and try different things, but don't forget to maintain a professional balance. After the shoot, celebrate good acting, share creative insights, and discuss areas for improvement. Clear communication, character understanding, and collaboration foster compelling performances on set.

The single most important aspect of directing is getting the actor to trust you. They want to know that you are watching their performance, that you understand their needs and objectives, and that you are willing to play with them to explore and get the best performance from them. In my experience, this means you also have to have the guts, and wisdom, to know when to tell them they can do better. Perhaps not wise to open with that direction.But if you only ever compliment them they will see through you and realize your compliments mean nothing. Be honest. Push them when you need to get a better performance. And then know when you've pushed as far as you can, and compliment them then, for getting where you knew they could.

Never tell an actor how to deliver a line. Instead try to make sure they understand the subtext of the line and feed them verbs to place the emotional intent in their mind so they come to the delivery through their character.

I've found it helpful to often pose directions as a question. "What do you think about trying this...?" "Have you thought about X?". It's an engaging way to direct the actor. You are getting them to participate in the direction. Be very aware of what shot you are on. Don't waste time pushing an actor on performance in your wide master when they are 5mm high on screen. Wait until you start to get to the tighter shots. And, place the prop where you want the actor to go... Think about it. It's a great trick...

Make sure you stay in the zone and listen to the performance with full attention. If you find this difficult, then it normally means the actor’s performance isn’t engaging and a conversation is required to bring it back on track.

I'm a bit surprised at this segment of the article. This is actually your job as a director. To watch, and monitor, your actors. To analyze their performances, and help them.

If something isn’t working and you have tried the use directing techniques. Don’t be afraid to return to the script and rework the scene. The script is the block of stone from which you carve your statue.

Solving problems is the true definition of directing. When it comes to working with actors the best way to solve the problem is being clear in your direction by keeping it simple and straight to the point. Be ‘direct’ in your in what it is you want out of your actors but also being open to what an actor may suggest that can give you options in the editing room and may be beneficial in helping making a scene better. Sometimes giving actors room for creative license can help make a scene better than you had planned in your head. You allow the scene to take shape that creates an atmosphere on the set and takes on a kind of life because you’ve allowed the actors to give you choices which in turn gives you variation in post.

Something will go wrong everyday. It’s just the nature of production. Everyday you will be faced with a problem to solve. Take a moment. Ask for your options. Seek opinions from those you trust. Then make a decision. Efficient decision making is essential to directing. And remember: There’s always another angle or shot. When an actor won’t do your blocking, no problem. There. Is. Always. Another. Angle. Remember that.