How to Direct Actors — Directing Advice from the Greats

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How to Direct Actors for Film — a collection of directing advice from some of the best directors, including their approach to casting, rehearsal, giving notes, spontaneity, and more.

How to Direct Actors for Film ►►
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Chapters:
00:00 - Introduction to Directing Actors
00:54 - Director's Approach to Actors
02:39 - Chapter 1: Casting and Rehearsing
09:48 - Chapter 2: Giving Notes
14:14 - Chapter 3: Spontaneity
19:44 - Takeaways

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HOW TO DIRECT ACTORS FOR FILM

Ask ten directors on how to direct a film and you’ll get ten different answers. While there is no surefire answer to how to direct actors, there are strategies and approaches to consider. In this video, we’ve collected words of wisdom from some of the best film directors, past and present, on their specific approaches to directing actors. Topics covered include the casting and rehearsal processes, giving notes, and the importance of allowing for spontaneity on set.

DIRECTING STARTS WITH CASTING AND REHEARSAL

There is an adage in filmmaking that “directing is 90% casting.” Some directors, like the Coens, rely on the audition process to ensure that the actor is actually right for the part. Jordan Peele admits that he hopes the actor will understand the character better than he can. Greta Gerwig values the rehearsal process to work out the more creative elements of a scene, while Spielberg chooses to save the spark of the performances for the set.

HOW TO GIVE DIRECTION WITH NOTES

A set can be a stressful place, and tensions are high for everyone involved. How to work with actors on set requires a special set of skills. As a young director, Ryan Coogler couldn’t help but be direct and honest with his actors. Tarantino agrees: “It’s about being specific about what you’re saying because if you’re arbitrary, they’re a fish looking for water.” David Cronenberg likes to leave the actors alone as much as possible on set, having done all the prep ahead of time.

DIRECTING ACTORS & SPONTANEITY

Even with the weeks of pre-production and rehearsal, many directors advise leaving room for spontaneity. Directors like Kelly Reichardt embrace the variables that come into play when the uncontrollable elements influence the controlled elements. John Cassavetes was a huge advocate for improvisation, sometimes surprising his actors with notes and scenarios, capturing a more natural and unfiltered performance.


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♬ SONGS USED:

"Actors" - Lappel Du Vide
"Amok in Redo" - Cowboys In Japan
"The Hunt" - Max ll
"Main Title (The Player)" - Thomas Newman
"Love Remembered" - Wojciech Kilar
"Walk On By" - Dionne Warwick
"City Girl "- Kevin Shields
"Trinkets to Kill a Prince" - Hans Zimmer and Ramin Djawadi
"25 Years" - Jonny Greenwood
"From The Fire" - John Carpenter
"End Titles (Fruitvale Station)" - Ludwig Goransson
"You Can’t Wake up If You Don’t Fall Asleep" - Jarvis Cocker
"Journey to the Island" - John Williams
"Funeral March of a Marionette" - Charles Gounod, Lyn Murray
"Austin’ Surfboards" - The Tornadoes
"Sail Away" - Bobby Krlic
"Mrs. Doubtfire" - Howard Shore
"True Grit Theme" - Carter Burwell
"Endless Ocean" - Makeup and Vanity Set
"Happy Day" - Uncanny Alliance
"Safe Return" - Rob Simonsen
"Solomon" - Hans Zimmer
"No Regrets" - Makeup and Vanity Set

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