How to Direct Actors — Directing Advice from the Greats

Summary

This video explores the art of directing actors, emphasizing the collaboration between directors and performers. It discusses key elements like casting, rehearsals, and the importance of building trust through clear communication and feedback. Featuring insights from notable directors like Orson Welles, Francis Ford Coppola, and Christopher Nolan, the video highlights different directing approaches, from detailed notes to allowing for spontaneity on set. Ultimately, it showcases how the relationship between a director and actors shapes powerful performances that bring films to life.

Takeaways

• 🎬 Orson Welles believed you can learn filmmaking quickly, but acting takes a deeper understanding.
• ⭐ A strong performance can elevate a movie from good to unforgettable, highlighting the actor-director relationship.
• 🤝 Successful directing relies on building trust and collaboration with actors, achieved through honesty and communication.
• 🎭 Casting is critical to a film's success, with different directors like Robert Altman and Francis Ford Coppola having unique approaches.
• 👥 Rehearsals provide a space for experimentation, allowing actors to fully explore their characters and deepen their performances.
• 🔧 Directors like Christopher Nolan use rehearsals for logistical planning, while others, like Steven Spielberg, prefer spontaneity on set.
• 📝 Giving effective notes is a key skill for directors, balancing clarity, trust, and allowing actors creative freedom.
• 🎨 Improvisation can bring spontaneity and authenticity to scenes, but requires actors to have a deep understanding of their characters.
• 💡 Some directors, like Judd Apatow, view improvisation as a form of on-the-spot rewriting to improve the film's humor or dialogue.
• 🎥 The director’s role is to support the actors' performances, ensuring a collaborative process that achieves the film's vision.

Q & A

What did Orson Welles famously say about filmmaking and acting?

Orson Welles famously said that you can learn everything about filmmaking in a weekend, but you can't learn about acting in a weekend.

What is the key to a great performance in a movie, according to the script?

A great performance can turn a good movie into an unforgettable one, and such performances are achieved not only through the actor's skill but through the relationship between the actor and the director.

How do different directors approach casting?

Directors approach casting in various ways. For example, Robert Altman seeks actors who bring something new to his perception of the characters, while Francis Ford Coppola looks for actors who fit a specific vision, as seen in his decision to replace Harvey Keitel with Martin Sheen for 'Apocalypse Now.'

How do the Coen Brothers conduct their auditions?

The Coen Brothers prefer to have actors read scenes during auditions because they believe it is the only way to assess an actor's suitability for a part.

How did Stanley Kubrick select Sterling Hayden for the role of General Jack Ripper in 'Dr. Strangelove'?

Kubrick chose Sterling Hayden for the role because Hayden was against the character ideologically, which Kubrick believed would add depth to his portrayal of General Jack Ripper.

What is a key component for many directors when working with actors during pre-production?

A key component for many directors is ensuring that actors understand the intention of the film and their character inside and out, as highlighted by Jordan Peele, who works collaboratively with actors to help them better understand their roles.

What is Greta Gerwig's perspective on rehearsals?

Greta Gerwig believes that rehearsing is integral to an actor's performance because it allows them to deepen and refine their portrayal, giving them time to experiment before the pressure of shooting.

Why does Steven Spielberg prefer not to rehearse scenes before shooting?

Steven Spielberg avoids rehearsing scenes because he believes that the magic of a first-time performance should be captured on camera, rather than in a rehearsal space.

What approach does Quentin Tarantino take when giving notes to actors?

Quentin Tarantino believes in giving specific and clear notes to actors without overwhelming them, ensuring they understand what is needed without feeling lost or over-directed.

How does Martin Scorsese work with actors like Robert De Niro on set?

Martin Scorsese allows actors like Robert De Niro to experiment with different ideas and interpretations of a scene, often shooting multiple takes to capture something unexpected or explosive.

Outlines

00:00

🎬 Filmmaking vs. Acting: A Director's Relationship with Actors

The opening paragraph compares the learning curve of filmmaking and acting, quoting Orson Welles. It emphasizes the importance of a great performance, achieved through collaboration between actor and director. Several iconic movie lines are referenced to illustrate the significance of performance. The paragraph also introduces the idea that successful direction involves honesty and collaboration, setting the tone for the rest of the video, which focuses on how directors work with actors.

05:03

🎥 Defining the Director's Role in Film

This paragraph discusses how different directors define their role, with many agreeing that their primary job is to make decisions that unify the film's vision. Directors must collaborate with department heads and translate the screenplay into performances on screen. The most important task is to work closely with the cast to bring out the best performances. This relationship begins in the casting phase and extends through rehearsals, with a focus on ensuring the actor embodies their character.

10:06

🔍 Casting: The Foundation of Performance

Casting is portrayed as a critical phase in the filmmaking process. Various directors’ approaches to casting are highlighted, such as Robert Altman’s discovery process and Francis Ford Coppola’s search for specific traits in his actors. The Coen Brothers emphasize auditioning, while Stanley Kubrick engages in character discussions before casting. The paragraph underscores the director’s responsibility to ensure the actor can fully embody the character they are tasked with portraying.

15:07

🔑 Understanding Characters: Director-Actor Collaboration

Directors must ensure that actors understand their characters fully, with Jordan Peele and Sophia Coppola providing examples of working closely with their actors to develop this understanding. Jordan Peele talks about his actors holding the 'key' to their characters, while Coppola shares her persistence in casting Bill Murray. Directors need to communicate their vision to potential actors while trusting them to bring the character to life.

20:12

🎭 The Importance of Rehearsals

Rehearsals are key for many directors, providing a space for experimentation. Greta Gerwig and Jane Campion view rehearsals as essential for deepening performances, while Christopher Nolan uses them mainly for logistics. However, some directors like Steven Spielberg prefer minimal rehearsals to preserve the spontaneity of the performance in front of the camera. Each director has their own approach to balancing preparation and on-set creativity.

📋 Giving Effective Notes on Set

This paragraph focuses on how directors give notes to actors on set to ensure the performances align with the film's vision. Directors must build trust with their actors, as Ryan Coogler discusses how his honesty helped him work with actors. Wes Anderson, known for his specificity, balances collaboration and control. Quentin Tarantino warns against overwhelming actors with arbitrary notes, and David Cronenberg emphasizes leaving actors alone once pre-production work is done.

🤝 Building Trust and Embracing Spontaneity

A director’s relationship with actors thrives on mutual trust and collaboration. Wes Anderson and Ryan Coogler’s methods show how directors can build this trust, allowing actors freedom in their performances. Directors must know when to step back, letting actors experiment and bring spontaneity to their roles, whether through improvisation or subtle changes. Martin Scorsese and Steve McQueen highlight the importance of allowing actors to explore different takes, unlocking unexpected brilliance.

💡 The Power of Improvisation in Acting

Improvisation can lend authenticity to a performance, with directors like John Cassavetes and Judd Apatow encouraging it to keep scenes fresh. Apatow views improvisation as a form of rewriting on set, especially in comedy. However, not all directors embrace this technique, as Darren Aronofsky warns that unstructured improvisation can derail complex narratives. The paragraph underscores the balance between structure and freedom in performance.

🌪️ Spontaneity in Directing and Acting

Spontaneity is key to both acting and directing, with Kelly Reichardt describing how filmmakers must let go of their plans and embrace what unfolds on set. Directors and actors alike must react to the ever-changing elements of the shoot, from the weather to unexpected behavior. This adaptability is central to capturing authentic performances, and directors like Reichardt emphasize the need for flexibility in the creative process.

🌀 Embracing Improvisation for Realism

John Cassavetes’ use of improvisation is explored further, with Gena Rowlands describing how he often surprised his actors with impromptu scenes to keep them on their toes. Improvisation is portrayed as a technique that brings realism and spontaneity to a film. This approach requires a deep understanding of characters, which allows actors to embody them fully during these unscripted moments.

🎭 Improvisation in Comedy: Judd Apatow’s Approach

Improvisation plays a vital role in comedy, with Judd Apatow’s filmmaking style spotlighted. He treats improvisation as a way to rewrite scenes on set, allowing actors to experiment with jokes and lines. This gives directors flexibility during editing, enabling them to choose the most effective takes. The paragraph also touches on the importance of balancing structure and improvisation to maintain consistency in storytelling.

🎬 Versatility in Acting: Multiple Takes and Spontaneity

Directors often rely on multiple takes to find the right balance in a performance. Martin Scorsese and Steve McQueen discuss how actors like Robert De Niro use versatility in their performances, presenting different ideas from take to take. This approach can sometimes lead to creative breakthroughs. Many directors, though often perceived as controlling, use numerous takes to allow actors the freedom to explore their roles fully.

🎥 The Art of Directing Actors

The final paragraph ties together the art of directing actors, emphasizing the collaborative relationship between actors and directors. Achieving great performances requires a combination of planning, trust, spontaneity, and adaptability. Directors like David Cronenberg and Orson Welles argue that a director’s job is to support and guide actors, helping them bring their characters to life. Great performances are the result of this intense collaboration.

🖋️ Writing for Actors: Great Scripts for Great Performances

The concluding paragraph encourages viewers to write strong scripts, as great actors seek great material. It also promotes StudioBinder’s screenwriting software, encouraging viewers to start writing their own scripts. The video ends with a call to subscribe for more filmmaking content, reinforcing the collaborative effort needed between writers, directors, and actors for successful filmmaking.

Keywords

💡Filmmaking

Filmmaking refers to the process of creating a film, which involves various stages such as writing, directing, casting, shooting, and editing. In the video, it is discussed in relation to how directing and working with actors is a core part of bringing a story to life. Directors like Orson Welles note that while the technical aspects of filmmaking can be learned quickly, understanding the nuances of acting takes much longer.

💡Actor-Director Relationship

The relationship between actors and directors is crucial to a film's success. The video emphasizes that this collaboration helps create performances that elevate a film. Directors work closely with actors, guiding them through casting, rehearsals, and on-set performances. For example, Jordan Peele discusses how actors eventually understand their characters better than the director does, showing the importance of this dynamic.

💡Casting

Casting is the process of selecting the right actors to play the characters in a film. The video highlights how different directors, such as the Coen Brothers and Robert Altman, approach casting uniquely, either through auditions or conversations. Altman looked for actors who brought something new to his vision, while the Coens prefer to see actors perform the scenes directly in auditions.

💡Rehearsals

Rehearsals are practice sessions where actors and directors explore scenes before filming. They allow experimentation and help actors dive deeper into their characters. Directors like Greta Gerwig and Jane Campion view rehearsals as critical, whereas Christopher Nolan uses them primarily for logistical purposes, saving emotional energy for the actual shoot.

💡Giving Notes

Giving notes refers to the feedback directors provide actors during filming to fine-tune their performances. The video discusses how effective notes are essential for drawing out the best performance, as seen with Ryan Coogler and Wes Anderson. Directors balance clear instructions with leaving room for the actor’s creativity, avoiding overwhelming the performer with too much direction.

💡Improvisation

Improvisation is when actors make spontaneous choices or perform scenes without a strict script. The video discusses how directors like John Cassavetes embrace improvisation to add authenticity, while others like Darren Aronofsky are more cautious to avoid unintended narrative inconsistencies. Judd Apatow uses improvisation in comedy, treating it as another form of on-set writing.

💡Spontaneity

Spontaneity in filmmaking refers to embracing unplanned or unexpected moments during a shoot. The video explains how directors like Kelly Reichardt allow room for natural reactions to the environment, whether it's weather or unanticipated actor responses. This approach can make a film feel more alive and organic, adding depth to performances.

💡Collaboration

Collaboration is the process of multiple people working together to create something. The video stresses that filmmaking is a collaborative effort, especially between directors and actors. Directors like Jane Campion and Wes Anderson emphasize trust and open dialogue to ensure that performances are as strong and authentic as possible.

💡Performance

Performance refers to the way actors portray their characters on screen. The video underscores how a powerful performance can turn a good movie into an unforgettable one. It shows how directors like Francis Ford Coppola and Martin Scorsese work with actors like Robert De Niro and Kurt Russell to bring out layered, emotional performances that serve the film’s narrative.

💡Character Development

Character development is the process of creating and evolving a character’s personality and motivations. The video explores how directors like Jordan Peele and Stanley Kubrick help actors fully embody their characters by discussing intentions and backstories, ensuring that actors have a deep understanding of their roles before stepping onto the set.

Highlights

Orson Welles famously said you can learn everything about filmmaking in a weekend, but you can't learn about acting in a weekend.

A great performance can turn a good movie into an unforgettable one.

The crucial relationship between an actor and a director lies at the heart of filmmaking.

Casting is critical to a film's success, and directors have different approaches to finding the right actor for the role.

Robert Altman used casting as a process of discovery, letting actors bring something new to the characters.

Francis Ford Coppola fired Harvey Keitel because he wasn't the right fit for Captain Willard, who needed to be more of a witness than an active participant.

Jordan Peele believes that at some point, the actor understands the character better than the director can.

Sophia Coppola worked tirelessly to get Bill Murray for 'Lost in Translation,' showing how a director must persevere.

Rehearsals are a space for experimentation, where actors and directors can try new things without the pressure of being on set.

Jane Campion trusts in the actor's process, giving them time to find their character through rehearsals.

Steven Spielberg no longer rehearses extensively because he prefers capturing the magic of a first performance on camera.

Clear and effective notes from a director are key to guiding an actor's performance, creating trust and collaboration.

Wes Anderson, despite his controlled style, fosters a collaborative and playful environment for actors.

Improvisation can bring spontaneity and authenticity to scenes, as seen in Judd Apatow's comedy or Martin Scorsese's approach with Robert De Niro.

Directing actors is a complex art form, requiring collaboration, trust, and an openness to spontaneity to achieve great performances.

Transcripts

- Orson Welles famously said, you can learn everything about filmmaking

in a weekend, but you can't learn about acting in a weekend.

- A great performance can turn a good movie into an unforgettable one.

"- Don't you ever raise your voice at me. I am your mother."

- Such performances are achieved

not just through one actor's skill, but through the crucial relationship

between an actor and a director.

- Found myself to have good relationships with actors through honesty really."

- It is this complex collaboration which lies at the heart of filmmaking.

"- I've abandoned my child."

- This is 'How to Direct Actors'.

Before we begin, subscribe to StudioBinder and enable notifications to stay

up to date on all our filmmaking videos.

"- Tip for everybody.

Don't miss it, please."

- Ask 10 directors to define their job, and you will get 10 different answers.

- The ability to see what other people can do and I can translate that somehow.

- For me, I think it's not be pracious.

It's to sort of be in a situation where you are sort of

always searching and looking for possibilities.

- Director's the most overrated job in the world.

- Most directors agree that the job comes down to making decisions.

A director consults with the various department heads in the filmmaking

process to create a cohesive vision.

"- What do you think? - I like it."

- They translate the screenplay onto the screen.

And perhaps the most important part of this

translation process is working closely with the cast.

- At the end of the day, it's about performance and it's about your

relationship with the actors.

And I mean, you look at your squad, and that's an extraordinary group as well.

- From the beginning of their involvement with a project, a director must

ensure that an actor will be able to embody their given character.

"- A director doesn't want her."

- This goal guides every step of the process from casting and rehearsing

to giving notes and allowing for spontaneity on set.

"- No, Kelly Clarkson."

- Of course, there is no one formula for directing actors.

The process depends on the film's subject matter, as well as the preferred

approaches of both director and actors.

"- I'm a... I'm a star."

- That said, there are rules of thumb that many directors generally subscribe to,

beginning with strategies for casting and rehearsals.

"- Oh, you know what?

I think we're good. Thanks for coming in."

- Finding the right actor for a role is critical to a film's success.

"- Wendy, I'm home."

- Different filmmakers have different approaches to casting.

"- If you don't mind my saying, Mr.Torrance, you seem...

...put upon."

- For director Robert Altman

casting was a process of discovery and invention.

His goal was to find actors, which brought something new to

his perception of the characters.

- But the minute these actors come in and take those roles and they invest

them with something that I've never seen before, ideas, thoughts, and I see

them come to life as real people.

I have gotta be in a state of surprise.

"- Bad news.

- What?"

- Francis Ford Coppola had a more specific vision for Captain Willard

leading him away from an actor like Harvey Keitel.

- Harvey Cartel was hired on, and then he was fired by you over whatever differences.

- No differences.

I didn't feel a hundred percent that he was right for that part because Harvey's

a exciting, talented, improvisational actor, but the character of Willard

was more of a witness of the thing.

You know, he had to be able to just look at these things and,

and not be all the time active.

"- Everything I saw told me that Kurtz had gone insane."

- Deciding on an actor will often mean watching their previous work and holding auditions.

- For the Coen Brothers

the auditioning process is crucial.

- We really don't like meeting actors unless they're reading, because we

discovered that we can't tell anything about their suitability for a part

unless they're actually doing the scene.

"- Yeah, well, you know, that's just like, uh, your opinion, man."

- Other directors prefer to discuss the character with the

actor before having them read.

Sterling Hayden explains that this was how Stanley Kubrick approached him.

- Well, I was a little hurt actually, because he said,

'I want you to play a man named General Jack Ripper.

He described what Ripper was and I thought, you must think I'm

one of the boys on the right.

And he said, well, it's because of the fact that you're against

that character that he think, he said, I think it might work out.

So I figured, okay, okay.'

"- War is too important to be left to politicians.

They have neither the time.

The training or the inclination for strategic thought."

- For many directors, it's critical that actors understand the intention of

the film that they're signing onto.

"- Nope. Mm-hmm. Nope."

- And more specifically that the actor understands their

character inside and out.

Jordan Peele explains.

"- Every one of these people sort of holds half

the key to the character we've discussed together.

The whole hope for me as a collaborator is at some point

my actor is going to understand the character better than I can.

"- One day the shadow realized she was being tested my God."

- Of course, the casting process also requires a director to sell

their vision to potential actors.

Sophia Coppola worked tirelessly to get Bill Murray for "Lost in Translation".

- I spent months stalking him and I luckily...

Wes Anderson was nice to me and Mitch Glaser.

My friend who's a friend of his, put in a good word for me.

I sent letters and as a director,

you have to persevere and have that kind of persistence and

people have to say 'No' to you a hundred times and you can't give up.

And that's part of I think being a director.

"- So what are you doing here?

- Uh, a couple of things.

Taking a break from my wife, forgetting my son's birthday, and, uh...

...getting paid $2 million to endorse a whiskey when I could be doing a play somewhere."

- Once a cast is assembled, the rehearsing begins.

"- You're the impetuous one.

He's the one who's waited 30 years."

- For many directors and actors, the rehearsal provides space

for experimentation that they wouldn't have time for on set.

"- You're not a kid, you know, I hate it when you have much

control over situation as a child."

- For Greta Gerwig rehearsing is integral.

- And I think that if you get good actors who know what they're doing,

they're only gonna get deeper and better by having rehearsal.

And so I think it's really about the rehearsal process more than

anything else because once you're shooting it, you're really shooting

a schedule, so you gotta keep going.

And so the time to be creative and try things out as a rehearsal.

"- Please, I'm so sorry. I didn't mean to hurt you.

I appreciate everything you've done for me.

I'm ungrateful, and I'm so sorry. I'm so sorry. I wanted more."

- Jane Campion uses the rehearsal space as a time to build a connection

with her actors while letting them work into their characters.

- I like people to feel that I've got, you know, a really deep trust

in their process 'cause I don't expect 'em to be there immediately.

And I've come to, you know, see that time and time again.

It is a process and that people take their...

Take time to find themselves in space.

And obviously, you've chosen them 'cause you've seen 'em do lots of amazing things.

"- Do you mind quietening? We're eating.

Shut that down, or I will!"

- Some directors use rehearsals more sparingly.

For Christopher Nolan rehearsal is used simply to nail down logistics,

especially for more emotionally demanding scenes.

- You tend to just treat the rehearsal as a fairly simple blocking

rehearsal, figuring out where to put the camera, the order in which to

shoot the scene, that kind of thing.

And you let the actors save something for what they're gonna do.

"- You know...

I don't want there to be any hard feelings between us, Harvey."

- Other directors, meanwhile forego the rehearsal process altogether.

This has become the preferred method of Steven Spielberg.

- When I was younger, I used to rehearse and some of the greatest scenes

I ever saw were played out in front of me with no camera to capture

it for all, for anybody else.

And then we got to the set.

Sometimes I couldn't recapture the magic

of having an actor with another actor play a scene for the first time.

It should happen in front of a camera, not in a rehearsal hall for me.

"- So, 1100 men went in the war.

360 men come out. The sharks took the rest. June the 29th, 1945."

- Whatever the approach, the work with actors that occurs in pre-production

will have a massive effect on the performances that occur on set.

Once the cameras are rolling, a director must be skilled at giving notes.

"- In this scene, you're hurting inside.

You're hurting inside. You're not sure who to trust.

You wanna run, you wanna run into the arms of your beloved.

Okay. You ready to do one?"

- A set can be a stressful place with lots of moving parts and a ticking clock.

A large part of a director's job is to ensure that they

don't lose sight of the story.

And this means getting the performances the story needs.

This often means that a director needs to give clear and effective notes.

- He's gotta kind of come here to tip him.

- The sleeper still feels falling or tipping.

For notes to really work, an actor must believe that they are in good hands.

And this means building a mutual trust.

For Ryan Coogler, this was key when working with actors as a young director.

- You know, it was my first time making a feature film.

I was unsure about a lot of things and like what I tried to do with my actors was honest.

Like I could tell 'em what I was going for, but, and all always being open to them.

You know what I mean? And, and I think that many ways they responded to that.

"- You gotta tell her I love her.

Tell her, tell her I ain't never gonna leave her.

- Tell her yourself. The next time you call home, you tell her yourself.

But yet let her come visit you here.

- She don't need to be exposed.

- You are already exposed to."

- Once a foundation of trust is built, notes feel more

collaborative and less like orders.

This is true for even the most controlling directors like Wes Anderson.

Adrian Brody explains.

- The one thing about Wes is he's very kind and thoughtful,

and even though there's all this specificity in his work it is collaborative.

You're finding things. It's playful, very alive.

"- Call the police. We're pressing charges."

This criminal has plagued my family for nearly 20 years.

He's a ruthless adventurer and a con artist who praise on

mentally feeble, sick old ladies.

And he probably f*cks them too.

- I go to bed with all my friends."

- Building a collaborative spirit when giving notes, allows an

actor to still have freedom in their performance choices.

- To you, he's like a movie star because of your interest in paleontology.

This is everybody else's equivalent of a Tom Cruise.

You know, or Kevin Hosner or Sam Neil.

Orson Welles argued that a director's role is really in service to an actor.

- I think that a director ought to be the assistant and the foundation

of a performance, and I think that is a very difficult job.

- Good notes are also ones which are clear.

Alfred Hitchcock prided himself on giving direct straightforward instructions.

- Then said, 'Look here, look there, look down, look across, move around.

- And go home? - Then you may go home."

- For Quentin Tarantino meanwhile, a good note is one which doesn't overwhelm an actor.

- It's about being specific about what you're saying because if you're arbitrary,

they're a fish looking for water.

- Being good at giving notes also means knowing when not to give a note.

Overnoting an actor can overwhelm them and end up being detrimental to their work.

This is especially true if a filmmaker has already worked extensively with the actor

on their character prior to shooting.

As David Cronenberg explains,

- I leave them alone the actors. Get good actors and then let them be good.

It's not that you don't do work with the actor, but a lot of it

happens before you get on the set.

You're talking to them about the script, about the character.

You're working with them, you block the scene with them.

Yes, but then I feel like I'm shooting something that I've discovered.

It's almost like found art.

"- After we have suffered, after we've exhausted

the fountain of memory and bloodied our hands, the walls of our parents' house."

- Ideally giving notes allows a director to achieve their vision.

Many directors also embrace spontaneity.

"- Hello."

- Spontaneity can take many forms from doing slight variations on deliveries...

"- The whole time, the whole time you would, the whole time..."

-...to improvising entire scenes.

A certain level of spontaneity is unavoidable.

No matter how intricately a director plans out a shoot,

they must expect the unexpected.

It is often said that acting is reacting,

and the same is true for directing.

Kelly Reichardt explains,

-While you're making a film, you're letting go of everything you've planned

and you're opening yourself up to the living thing that's happening in front of you.

But that's what's exciting about it too, you know, is like there's things

you didn't think of and there's just people responding to each other,

responding to animals, or responding to weather, and it's different.

"- A sign! A sign!

- Calm down, Millie.

- They made it. They're giving him orders! - It's nothing.

- You'll see. - Step up.

- We'll all see. - Come on, come down."

- Different directors embrace this spontaneity to different degrees.

John Cassavetes embraced the use of improvisation in film.

His longtime collaborator, Gena Rowlands, discussed how

he kept his cast on their toes.

- There would always be a scene

or one scene, and he wouldn't tell you what was going to happen or what.

It would just 'Bring it on' and so there would always be an improvised

scene and that they were fun because you never knew when they were coming.

- When done well, this level of improvisation can make a scene

feel authentic with naturalistic dialogue and real reactions.

Of course, this approach requires a deep knowledge of character.

- He said, 'I gave you the part. Don't ask me.

You as an actor should know more about this character than anybody now in the world.

It's for you to bring it to life.

"- You - You want a drink, Zepp? - Yeah.

- You want a martini, Zepp? - Yeah. Mm-hmm.

- You wanna have a little fun?

You don't mind making a drink? - No, I don't mind."

- Improvisation can also be great for comedy, allowing directors

to hear jokes on set and see what's working and what isn't.

Director Judd Apatow is famous for this strategy and considers

it another form of writing.

- It's more rewriting on its feet. You know, as soon as the actors are up

doing the scene, I always think,

Oh, now I know what it is.

Gimme five minutes and I try to write, you know, adjustments.

And I like to get a lot of alternate material because when I'm in editing, you know,

sometimes the joke you thought was funny on the day is not funny, right?

"- If you shave, then you have to pay all five of our rents.

- Hey, Martin, was it weird when you joined the Taliban,

being American and everything like that?

- Just watch your back, Serpico. You never know who your friends are.

Your face looks like Robin Williams' knuckles.

- Less intentional unstructured improvisation, however, can backfire,

especially for films with a more intricate storyline.

As Darren Aronofski notes, 'The only issue when you start to play with

words is that very easily actors can stumble onto words and ideas that are

reflected in other parts of the script.

"- Do you ever get the feeling people are incapable

of not caring?

- People are amazing."

- But spontaneity doesn't just mean coming up with dialogue on the spot.

An actor's performance is made up of thousands of small choices in

emotion, tone, and movement, and they can decide to change some or all

of those choices from take to take.

Martin Scorsese says that this is Robert De Niro's preferred method.

- This means something over here I could do this if you want.

I had an idea I could do, I had another idea.

Lemme just try it.

I won't even tell you what it is. Great. When he says that then I shoot, you know?

You know, 'cause some something explosive happens.

"- Look in my eyes.

Look in my eyes.

You know me.

Do you see anything in these eyes that makes you think I would ever

let someone in your condition take my child away from me?"

- This type of versatility can sometimes come out by doing a large number of takes.

Many people think directors who do lots of takes are controlling and looking for

a specific performance, but sometimes they're looking for just the opposite.

As Steve McQueen explains,

'- It's all about choices and thinking through the

process of what you're trying to do at a certain time.

Sometimes you exhaust a situation and all of a sudden the answer comes, aha.

Turn it around the other way.

"- He learned you to rear?

- A word here or there.

But I have no understanding of the written text.

- Don't trouble yourself with it.

Same as the rest Master bought you here to work. That's all.

Anymore learn you a hundred lashes."

- Directing actors is an art form.

A great performance can seem like a small miracle,

but it doesn't come out of nowhere.

It's an accomplishment built from the close

collaboration between an actor and a director.

And the hard work both parties put into casting and rehearsing,

giving and taking notes, and embracing spontaneity.

"- Hey! Now lay your palms flat on that tabletop!"

- Great actors want great scripts.

Start writing yours with StudioBinder screenwriting software.

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That's all for now.

You know what to do.

Time to go off book.

- There was one line that when I find the money, what ends up in the movie is 'Mm-hmm'.

Mm-hmm.

But we tried different ones, I think we tried 'Mm'.

And then we tried 'Mm'.

And we came up with "Mm-hmm". - It was better.

- Pretty wise choice, wasn't it?

- Favorite speech in the movie.