What do actors want more than anything from a Director?
To find a character they are playing, actors must surrender completely to feelings and impulses – they must allow themselves to be vulnerable. As a result, actors want to work with Directors who can create a safe place for them to perform and who understand their vulnerabilities.
Actors also want to work with directors who understand their specific working language. When a director understands the actor’s language, they will be able to communicate with the actors more efficiently, which will help them to achieve more believable and well-grounded performances.
Here are some of the more important parts of the actor’s language that every director should know.
(1) Scene Objectives
What is the intent of the scene? Why is this scene in the story? What happens in the scene? What is the reason for the scene? Does it move the story forward?
The scene objective carries the character through this particular scene. It is also something that a character must achieve in that scene. It is something the character consciously desires and wants to achieve.
These overall objectives are what drive the entire film forward and create a state of suspense that generates audience
– What’s going to happen next?
– What will the outcome be?
– Who wins in the end?
(2) Character Objectives
1. Super Objective (“Power Over People”)
– What is the primal motivation of the character?
– What are the main needs of the character?
2. Objectives (“To Dominate Character X”)
– What does the character want (motives)?
– What are his active choices to achieve the super objective?
3. Main Actions (“What They Do To Character X”)
– What the character DOES…
– To get what he WANTS…
– To fulfill his NEEDS
4. How to Choose Objectives
Ask yourself “What does the character want in this situation?”
A character’s objective should create obstacles for the character in the story.
In a story, characters rarely get what they want without difficulty. How they go about trying to fulfill their
objectives is what makes for interesting drama.
The actors have to find that need and create it within themselves. They then have a reason for their behavior.
(3) Text, Subtext and Context
1. Text is what is said. (It is the outer world of the character.)
The text is what we get from the screenwriter. Text is what forms the script – it is the dialogue and the stage
The Text in a script is like a map: we use it to find out where we are going – but how we get there is up to the actors and the director.
2. Subtext is what is thought. (It is the inner world of the character.)
Whether we realize it or not, most of the time we have an interior monologue going on. However, we may not decide to outwardly express any of them.
What characters are really thinking has a great effect on how actors move and how they deliver their lines. When subtext is strong, it comes through and colors how the dialogue is delivered.
The subtext communicates that more is going on within the person that they are sharing – that an inner conflict is present.
Subtext is a good way to help actors find out if they understand the scene.
Subtext is what your characters really think or believe – the content underneath the spoken dialogue.
3. Context means the circumstances in which the text is used. It is usually the background, time period or the environment relating to a particular event in the story.
The director can also adapt the context of a script to conform with the particular needs of a production. For instance, Baz Lurman’s version of “Romeo and Juliet” which was updated to the modern suburb of Verona yet still retained the original dialogue.
Conflict is the heart of all drama – for without conflict, there is no drama.
From an actor’s point of view, conflict is the result of two objectives in conflict with each other.
Five Sources of Conflict
1) Man against Man
2) Man against Himself
3) Man against Environment/Nature
4) Man against Society
5) Man against God/Principle
(5) Action Verbs
Verbs stimulate emotion. They have an emotional effect on another person. The intention, or the verb, may change often, even in a sentence.
Actions are active verbs. “I tempt you.‚” “You taunt me.‚” In order to perform an action truthfully-and therefore convincingly, an actor needs to find the right action to suit that particular situation and that particular line.
By using action verbs instead of adjectives, the actor doesn’t have to think “Now I’m supposed to be getting happy.” Instead, the actor can concentrate completely on the situation and his objectives. That is the motivation and that’s what the actor needs to make a character come alive.
Actors need actions. Actors cannot “act” adjectives – they need verbs. So, instead of asking an actor to play it sexy, ask the actor to flirt with the other actor. This encourages the actor to engage with the other actor, rather than be focused on being sexy.
The best thing about verbs is that you can play with the intensity. If you want more energy or intensity, give a stronger verb. If at first they are playing “to complain” about something and you want more, ask them “to warn.” If that isn’t enough ask them “to punish.”
Examples of action verbs: If I want you to leave the room, I might INVITE you to leave. If that doesn’t work, I might BEG you to leave. If that doesn’t work, I might DEMAND that you leave.
(6) Result Direction
Directing for results means telling the actors what you want to see and hear without giving them any clues as to why or how they will get there. Basically, you are telling the actor how to react. Example: “I want you to be sad or happy or more angry. I want you to shout, laugh louder or cry more.”
The problem with result direction is not realizing that an actor’ emotions are the results of needs and wants. Emotional responses come as a consequence of trying to fulfill a need. “Thoughts lead to Feelings lead to Actions lead to Results.”
Result direction takes the actor’s concentration off his partner and puts it on himself. He will start focusing on his own performance rather than listening to the other actor. This makes for a false connection.
Don’t tell actors how to feel. A good director uses other ways to suggest ideas: facts, images, action verbs. Good directing becomes a matter of searching for the right keys to unlock the potential in each actor.
Obstacles are what stand in the way of a character achieving their objective. Obstacles increase the stakes and clarify the
An obstacle intensifies the conflict because as the story progresses, it becomes harder to achieve the objective.
Beats are defined as changes of circumstances or transitions in behavior in the script. A beat can be one sentence or half
Whenever something changes in the scene, or whenever a new behavior or subject occurs, that is the start of a new beat.
Giving Permission is a very powerful tool for the director. Permission allows the actor to go to places he/she needs for the role.
Sometimes you have to allow actors to play, try things, play with opposites, and take risks using play. No judgements, just play, in order to discover the unexpected.
(10) In the Moment
When an actor is “not in the moment”, they are in their heads and not in their bodies.
When we intellectualize our feelings and emotions, we are not in the moment. Although working on a back story, which can be
the actor’s job, can help to feed a character.
Being in the moment for an actor has to do with freedom and trust. It has to do with an actor not watching himself. The actor who is “in the moment” is thinking real thoughts and experiencing real feelings. He is responsive to the world around him and to the behavior of other actors.
The most powerful way an actor can stay in the moment is to listen to what is being said. Just like in real life, observe what happens around you. Or if the objective is to “not listen” – ignore, that’s a different story.
(12) Physical Sensation
Knowing or taking into consideration the temperature of the scene is important. (Hot, cold, windy, etc)
Improvisation is a good tool to use with actors when they are having a difficult time understanding or relating to a scene.
By letting the actors improvise the scene, you are letting them have the freedom to get under the lines and find a meaning to them. In other words, it allows them to find the subtext of the scene.
Improvisation is also another way to discover something in the scene you may have missed. It is also a good way to just loosen the actors up.
To raise the stakes means to increase a character’s commitment or involvement in the story. This usually implies doing something that will increase the level of risk for a character.
How important is it for your characters to reach their goal? “If they don’t get across the river they will die.” “If he doesn’t propose today, he’ll lose the girl.” How far will a character go to reach their objective?
(15) Character Arc
A character arc is the beginning, middle and end of a character’s or inner emotional change. It is based on the idea that there should be a progression to the character as the story develops.
The beginning of the journey is never the same as the end. What is the transformation that your character will go through. How is she/he at the end vs. the beginning? What does she/he learn, lose, acquire?
Characters begin the story with a certain viewpoint and, through events in the story, that viewpoint changes.
(16) Back Story & Biography
Actors should know what happened just before the scene they are doing. They also need to fill out their character’ life
without saying anything that will show up in layers in the performance.
(17) Business (Props, Tasks)
Sometimes it’s so good to have another task to do during a speech or a dialogue. Actors can do well with “business”.
(18) Italian Reading
This is when the actors run their dialogue very quickly several times. The objective here is to get them out of their heads (don’t think about their lines) and get into their bodies (listen and feel.)
To read more on how to direct actors, check out Judith Weston’s book, Directing Actors: Creating Memorable Performances for Film & Television
About Peter D. Marshall
Peter D. Marshall is a filmmaker from Vancouver and has worked in the Film and Television Industry for over 38 years – as a Film Director, Television Producer, First Assistant Director and TV Series Creative Consultant.
Peter has directed over 30 episodes of Television Drama such as “John Woo’s Once a Thief”, “Wiseguy”, “21 Jumpstreet”, “Neon Rider”, “The Black Stallion”, “Scene of the Crime”, “Big Wolf on Campus” and “Largo Winch.” As a First Assistant Director, Peter has worked on over 12 Features (including “Dawn of the Dead”, “The Butterfly Effect”, “Happy Gilmore”, “The Fly II”); 16 Television Movies; 8 Television Series; and over 20 Commercials.
He has written, directed or produced over 50 hours of documentary and educational programs and his documentaries and dramas have won, or been nominated for, 14 International film awards. Peter has worked for directors such as John Woo, Phillip Noyce, Ed Zwick, John Badham, Roger Vadim, Dennis Dugan, Anne Wheeler and Zack Snyder.
He has also worked with actors such as Peter O’Toole, Kevin Spacey, Morgan Freeman, John Travolta, Kathy Bates, Michelle Pfiefer, Marcia Gaye Harden, Madeleine Stowe, Mel Gibson, Ashton Kutcher, Goldie Hawn, Judy Davis, Halle Berry and Adam Sandler.
Peter is a directing instructor at the Vancouver Film School and has also taught for the Directors Guild of Canada, Victoria Motion Picture School and Capilano College. He has also developed several filmmaking workshops and seminars that he has presented over the past 15 years – from Canada to Singapore to Dubai.
You can read more about Peter D. Marshall here.