How To Direct Actors | Asher Lines | Skillshare

How To Direct Actors

Asher Lines, Film Director

How To Direct Actors

Asher Lines, Film Director

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16 Lessons (2h 25m)
    • 1. Introduction

      1:53
    • 2. Actor's Experience

      8:47
    • 3. Casting- Planning Stage

      8:42
    • 4. Casting- Holding Auditions

      7:33
    • 5. Directing Mistakes

      10:59
    • 6. Effective Direction- Action Verbs, Facts And Senses

      13:03
    • 7. Effective Direction- Events, Physical Tasks And As-If Situations

      11:58
    • 8. Effective Direction- Delivering Direction And Directing Comedy

      13:07
    • 9. Script Analysis- First Impressions, Associations And Clarification

      9:40
    • 10. Script Analysis- Questions And Answers, Imaginative Choices And Events

      13:02
    • 11. Script Analysis- Events, Spines And Reanalysis

      10:10
    • 12. Script Analysis- Creating A Blocking Plan

      5:22
    • 13. Rehearsals- Full Rehearsal Plan

      10:56
    • 14. Rehearsals- Improv And Other Rehearsal Options

      11:04
    • 15. Acting Styles

      6:42
    • 16. Conclusion

      1:39
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About This Class

This course teaches directors how to direct actors. You'll see how actors change with different direction techniques. Modules covered: directing mistakes, effective direction, casting, auditions, script analysis, rehearsals and more. This course is for all levels. By the end you will be more confident and skilled at directing actors!

This course is good for anyone from amateurs to experienced directors. We introduce the techniques clearly and take the time to go deep into them.

Packed with lots of examples where I direct real actors to show you the difference between amateurish and much better acting. You'll see how the actors react to bad direction and good direction.

PLEASE SEE CLASS PROJECT FOR RESOURCES FOR THE COURSE

Content:

You'll find it valuable to understand how actors think in The Actor Experience and to know what to pay attention to when casting actors in Casting.

This will be an eye-opener for mistakes you've probably been making and you'll find comfort and excitement in learning new directing techniques for actors (Directing Mistakes and Effective Direction).

Script Analysis is focused on a lot since it's one of the most powerful tools to improve acting. This is done with an example script with exercises you can try with templates.

In Rehearsals you'll understand how to lead a rehearsal that improves acting but doesn't ruin the freshness of the acting and Acting Styles will help you deal with different actors and acting styles they swear by.

Detailed Content Breakdown:

1. The Actor Experience. Learn...

  • How an actor thinks

  • What worries them

  • What's most important to them

  • Where to stand on set

  • How to talk to them

2. Casting. Learn...

  • How to find great actors for free

  • The audition etiquette guidelines you'll want to follow

  • A detailed structure of a good audition (with example audition)

  • The four main things to consider when evaluating actors

3. Directing Mistakes. Learn...

  • To identify the 8 biggest mistakes you make when directing actors,

    such as asking for an emotion, giving line readings, emotional maps, etc.

  • What the issue is with these types of direction (with acted examples). 

4. Effective Direction. Learn...

  • Six extremely valuable techniques to direct actors that are playable, repeatable,

    choosable, adjustable and specific (with acted out examples showing change):

    • Action Verbs

    • Senses

    • Facts

    • Events

    • Physical Tasks

    • As-if Situations

  • How to deliver directions, eg; using language of permission, how to combine techniques, etc.

  • How to fix a scene that just doesn't work with creativity

  • Directing Comedy

5. Script Analysis. This is perhaps the most undervalued skill to direct actors well. Learn...

  • How to analyze characters in a script to open up dozens of ways to play a scene (with examples).

    • Coming up with new stage directions

    • Word association

    • Clarification to clarify what's unclear in the script

    • Questions and answers

    • Imaginative choices to open up possibilities

    • Identifying the meaning of a scene

    • And more...

  • How to make a blocking plan

6. Rehearsals. Learn....

  • The issues with rehearsing badly and how to avoid them

  • Rehearsal techniques to make the acting better

  • Three different rehearsal plans-

    • Full rehearsal plan for directors who've got at least a day spare

    • Script exploration for those who only have a few hours

    • On set rehearsal for those with only a few minutes to spare

  • Improvisation exercises to get actors to their best potential.

7. Acting Styles.

  • A brief introduction on the main acting styles: Stanislavski System, Lee Strasberg,

    Psychological Method, Meisner Technique and Atlantic's Practical Aesthetics.

About the instructor:

Asher Lines is an award-winning film director based in Birmingham, England. He began making films at age 12 and graduated in Film Production at Birmingham City University. His films are mostly dramedies, inspired by Martin Scorcese, Greta Gerwig and Woody Allen. He's well known for his actor-first approach and likes to work with professional actors and non-actors alike. His films include Puppy Love and Tracy which are currently on the film festival circuit.

See more classes here: https://www.skillshare.com/home

Facebook page: https://www.facebook.com/asherlinesfilmmaker

Meet Your Teacher

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Asher Lines

Film Director

Teacher

Asher Lines is an award-winning film director based in Birmingham, England. He began making films at age 12 and graduated in Film Production at Birmingham City University. His films are mostly dramedies, inspired by Martin Scorcese, Greta Gerwig and Woody Allen. He's well known for his actor-first approach and likes to work with professional actors and non-actors alike. His films include Puppy Love and Tracy which are currently on the film festival circuit.

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Transcripts

1. Introduction: Hi, my name is Ashley line, so I'm a film director and screenwriter specialized in directing actors. It's something I've come to enjoy more and more over time. So in this course, you're gonna learn the cornerstones of directing actors. This is helpful for people who are new to directing actors. And at the same time we get deep into these techniques so that more experienced directors will find valuable information that they can put to use as well. This is split into seven modules. So the first one is the actor experience. We'll get insight into what's going on in the axes mind. Next is casting. Well, you learn basically to find great actors for free and to know which actor is best for the row. Then the directing mistakes where you identify the biggest mistakes you make when directing actors, right? So the next for effective direction, y, you'll learn valuable techniques to direct script analysis. Well, you'll learn to analyze characters in the script. Rehearsals, where you'll understand the rehearsal techniques that are going to make you act is twice as good. And then finally, acting styles where you understand the main acting techniques out there. Now, script analysis and rehearsal or later on it because as they'll make more sense once you understand how to direct actors on set. All through this course, I want you to note down things you learn and look at those next once in awhile. This might require a bit more effort, but you'll be much more likely to remember things too on this course. 2. Actor's Experience: Okay, so the actual experience, so it's important to understand what acting is like and what's going through the actors minds. Well, they're accessing, Right? So understanding them will help you communicate with them better. And learning objectives for this module are to understand where to stand onsets. Well, one of the actors biggest enemies is and what acting without listening looks like. So let's start with one interview with the actors who will be helping us out on this film course. Well, the things that people onset, especially directors do that make you feel uncomfortable. I think when they're just not around and they're not involved in, uh, especially when they get their assistance to do all the work and they're not even in the room. I think the main one is when they tend to add stuff about clearing movie first. So for instance, if they add a love seeing that, checking that both performers are okay with that. Generally when that being over critical day kind of has a bit of an effect on you because it makes you feel like you're not doing a good enough job when in hindsight, you probably are doing your best. I think communication is hugely important and lack of communication really gets on my nerves. So for instance, as an actor, I'm willing to work as long as need be. But it's always nice to have for warning that it's going to run our mind, our two Mao's, let's cover these and some more. Fair and control. Fear is one of the axis biggest enemies. If an actor has no fear, they can act without feeling self-conscious. The way to get access to this date is to make the environment welcoming and relaxing. Being honest with the actor is important as well. If they trust you, they can trust that their performance will turn out good. After every take tried to give honest but sensitive feedback to each actor. And if there's nothing to change for all 41 active, say somebody like, good job, we're on track. Even something as small as just tying an actor. Thank-you after intake is helpful. And these can all make the active field like daring, well, when filming a Clockwork Orange, Patrick Magee had to ask another axis if his performance was okay because Kubrick didn't give him much feedback. Being so anxious, probably limited How good is performance was? He said the best directors without the small folds, right? Be wary of telling an actor do again just like that, because trying to replicate a previous performance is never going to be as good as just following direction. Right? So a lot of dark just live behind the camera. Your job shouldn't be just to check how pretty the shot looks the cinematographer can handle. But much more important is to check how the acting is carrying. Now, of course, framing is important and you do want to show to look good. But you're the only one onset in charge of directing the actors. Salting out how a shot looks is usually done before you begin shooting, before the TTX, or sometimes you thought out after the first couple of tags. But after that, it should be all about the actin. Standing next to the side of the camera can make it easier to see. The acting and if the moving naturally, if the act, if they like each other. This can also make the axis feel comforted to know that you're paying a lot of attention to them. You know that you're not overlooking the acting. If you see something and act can improve, walk up to them and talk to them face to face. If you were an actor, you probably wouldn't like him much if they're acted, just shouts things that you're doing wrong, you'd probably be thinking about the erection of accrued during the next tick. And you don't want that. Freedom is something else very important to actors. So if they feel restrained, they won't be able to try out what might work for the scene. And this is the reason you want to create an atmosphere of collaboration and why you don't want the actors to feel pressure. Perhaps the most crucial thing that the actors should be doing is listening to one another. And so without this, the scene will turn into a your turn to talk, my turn to talk kind of game. So let's see an example of no listening because it will going, yeah, good. So main students were called because they hope to get them passionate in everything. But yes, gotta guy. Jerry, one of you students came to speak to me. Television. Is it true that you are after enough time? Yeah, but I'd finished for the tire is always be friendly. It's no big deal about the touching touching her. Patentable because I think Dale, what do you mean? It looks unrealistic, amateurish and can ruin accommodative. As the director, the only way to really correct this is to simply ask them to how can you tell if they're listening? Well, are they responding to the other character? So if one actor lowers the voice, tells the other character respond by lowering their voice, F1 grabs the other actors on. Does the other actor do something about it? All of the actors just waiting to say about lines. How's it going? Goods and the students were called, it's difficult to get them interested in everything, but yeah, he's got good jimmy wonderful students came to speak to me, namely della via. Is it true that you often live time? Yeah, but I've finished with a dice, so I'll study friendly. It's not a big deal. But what about the Tuczyn touching around pinup, OK. Let's Make a Deal which he made. Questions are important to an actor. So sometimes they'll ask you a question to which the answer might seem obvious. Don't just assume the actor is a lossless. They might just be keeping your performance fresh just by asking questions. And if you don't know the answer to your question during give an answer. I mean, in this case it's best to answer with I don't know. We'll explore that. If you make up an answer which actor thinks is incoherent, especially to expert actors. Well, they'll lose trust. And by saying, I don't know, you encourage them to find the answer themselves by investigating the character of directors are afraid to say, I don't know you as they think it makes them look less confident. But clarify that it's normal to explore those things together and they should be nothing but beneficial. What do actors actually used to act today? Well, there are four main things. So memory, the things that have happened in the actor's life can lend some honesty to a situation. If they remember breaking up with that X while the acting out a break-up. Well, it adds some realism. Snow materials, observations. So they play a character that they're not. An actor will find it useful to observe other people. If you were playing a nurse, you'd do well to spend time with nurses. Number three, imagination. So it has the power to turn, to transport an actor, to have full reality, and to play it realistically for is immediate experience, which means what's happening in the moment as a way of shaping their acting. It might be that they're reacting to the surroundings, what the other actors saying or doing, their emotional states, all their senses. For example, of the actor feels cold while doing seeing. And that character's supposed to mean discomfort. They might let themselves feel the cold. Now at the actor isn't about mood and they're doing a scene where the character is supposed to be angry than they used their bad mood tax. And we'll explore these later on. So to conclude this module and to answer the learning objectives, where do you stand on set? Well, you stand next to the camera and never far away from the actors. What's one? They act as biggest enemies. If actors have fear, they won't feel self-conscious. Thirdly, we've seen while acting without listening looks like. And we've also covered what makes actors feel most uncomfortable. How important freedom is to actors, how to answer questions and the full main ways to act. 3. Casting- Planning Stage: Right, so casting in this module, we'll answer the following questions. How do you find actors to audition? What kind of audition etiquette guidelines are there? And what are the four main things to consider when casting an active, right? So let's get into it before you actually make a casting call and might be worth. Basically thinking about where you're going to hold the audition. You want to acquire room with enough space for the actors to act in, it might be worth getting a room for higher. I don't recommend hosting the audition at your house as this is. And, you know, it's unprofessional and the actors would not feel as comfortable. Rooms for higher are the way to gay. Asking cafes if they have a closed-off room could work as well. And perhaps you'll like school or university has a place for you. If he didn't have money to hire a room out, you can always decide on video, auditions, casting calls. So a lot of people starting out and have no idea where to get actors or crew. Well, online isn't easy way. There's lots of websites where you can put those casting calls. Some websites on mandy.com, backstage.com, and actors access.com. You see these are either free or cheap. And the website leads you through how to make a capstone coal. You can choose whether the acting is paid or unpaid. You can also make a job listing four crew members, such as sound record this camera operators for free or not. And when you making a decent income, it's a great idea to offer money to the people you want as you get more quality that way. If you choose to get volunteers, it's expected that you provide lunch for them. And covering that travel expenses is a good gesture as well. Picking actors to audition, right? So when going through actors, try to keep an open mind. The big musty body guard in the script might be funnier if there are dual, this is after the casting goal, right? So axis should have a show real or a previous film you can watch. So how to count our axis? The axis using the ciao feature on the website where they applied, sending them an email is good too, and phoning actors isn't a bad idea. How other actors often want to know what previous work you've done before you go into an audition. So it also helps they have no idea of what the person they're going to an audition with. Looks like. People are generally more comfortable meeting up in general with others when they face to a name. This is only possible with email or messaging them on the website and on your email you can add a link to your website, oh, filmmaker, social media. And this has the additional bonus of making you look more professional. What's message them? So share your passion for your film and make it look like you're, oh, can I explain when you're thinking of filming, even if this vaguely tell them that you And the film into film festivals, if that's your plan, tell them when the audition is taking place on why. It's good to have at least two days of this options. If you can pick a 20 or 30 minutes saw and tell him the date a week in advance if possible. If another crew member is going to be there, you know, you can let me know that as well. Finally, send them section of the script. You want them to audition with. More details on that later. Number three, they bring, if possible, get someone to be with you during audition. Is such a thing is possible to have a warm own worn audition with actors. But having someone else that helps, it's how to evaluate the actor's performances while you're actually doing the seeing with the actor. And get one person to just do the scene with the ACTA while you evaluate the actors. And if you have a third person or second person as well, that opinion always helps ask you what they think. And if you have woman auditioning for roles and you are a woman, it's suggested that one of your health is, is a woman. Right? So other points have a camera to film the auditions if you have snacks and drinks for the act as well. And that's incredible. The actors would be amazed. And going back to the example, if its not clear already, touched the actors and appropriately, and then comment on their appearance. Why all this focus though, on a comfortable environment? Well, the more comfortable they feel with going to the audition, the more likely they are to come back and act as work much better in a comfortable environment. Acting these basically sharing a part of yourself with well, and they didn't they wouldn't want to open up if they feel uncomfortable. If they can open up. On the audition, you'll see the best acting at the audition. And later on Islam and not say invite more access than you think you need. So let's say you offer any payment, maybe you have a 100 actors applied for warn wealth, that's incredible. Maybe you invite 50 of them to the audition and he 25 with them will say they'll come out. So there's only 15 will actually come to you edition. It's crazy, but it's like that. It's a nasty way, but not everyone will turn up. Child actors will, however, turnip more frequently, right? So sides. When actors audition, you give them scenes which a cold sides. These are usually one or two pages long if the script formatted correctly and you can use Celtics or fade. And for my way, however, there's nothing wrong with a shorter or longer slide. Since each actor is auditioning for a different character, though need at different side. What's important is that the cosine goes to them where. So there should be a transition. Maybe a character goes from frustrated to relieved. And if a character has a specific character trait, three, the film, you'll want to check that they can do that. So you can give them aside for a second side for that. Say for example, if a character spends a lot of story being drunk, pick one of those scenes. If there's an important bit of a script that's really hard to do convincingly. That's good candidate as well. So structure of the audition. So there are resources for you to use during this course. Please go to this link to get these. However, you should have already Guston them in the welcome message to have an idea of the way in which you might conduct the audition. Look at document one audition plan. So when they enter the room, welcome them, have a chat with them if you can, if you have the time, ask them about anything that's not related to the film. Day, hobbies, other films. Tell them a bit about yourself as well, so this won't make them relax. Secondly, tell them a bit about your film and show how passionate you are about it. They're more likely to be invested in the film if they can see you that you're passionate about it. Hi. Yeah, yeah, please. Welcome. So tell me a bit about yourself subbing professional now for eight years in theatre and film. Yep, it's being one head of a journey. Picked a few skills and the wise stage combat. I've seen broad sword fighting. That's our thing. And what kind of genre tends to be a mixture of comedy and horrors. Quite funny how those two seem to go hand in hand. And some days, I mean, I'm really excited about this feature film that we're working on now. Yeah. I think we already enjoy working together. Yeah. And, you know, the whole cast and crew. Well, we have to cast members at the moment, but we're really excited about it. And the script is really good. So we've got really high hopes for it. Really. 4. Casting- Holding Auditions: Now it's time for the audition. So asking them to try the side the way they prepared it and that you'll give a couple of ways to play around with it. And you might be pleasantly surprised telling them that you're going to try it a couple of ways after. We'll make it seem that they weren't wrong for playing a particular way and takes away the pressure. What is the actual wants direction on the first try there? Well, tell them you want to first explore the character by seeing what they think the character through their audition. Yeah, so if you can perform side where you prepared it basically, and then we'll try it a few times, so don't worry about getting it right the first time. Yet. Nowhere as to what's it's all about them. It's about your daughter, Mom. I'm all the time in the wild. So she's been activate down recently. Mirror if you friends worried. Well, once theta on the side ones, thank them and give them some direction, we are to see how they change. Curve for the side as often as you like. Can you play to preach during the monologue? So just really preach. Like, who cares if she was a prostitute, she didn't die of HIV. She said that the U, of a bank, she lived a happy life. She had more likely to anyone else on ever mints. It's also useful to include an improvisation exercise. This tests that versatility, intelligence, and spontaneity. It's a good idea to take the film world and the character and invent Same, have an idea or two written down before you auditioned. Okay, so we're gonna do and then Prof, So in this improv view, the criminal and you're going to try to find out if your friend is an undercover cop. Martha will help you out as pretending to be the undercover cop or not. I call Tony, you know, Islam as well. And he's still in the lockup. A new route here. Isn't that good thing? I know. And he then Tony is the central list. Api goes down. I'm screwed. Ask the actor in what way they connect to the character so that they do the same job or their mother to have the same fears. So yeah. Tell me in what way do you connect to the character? I think that his reactions are incredibly human. So we've all been in a situation where we have to give bad news. And I think his militancy that goes into anger is, I think that most people can identify with after this. Thank them for the audition and tell them you'll let them know how they did. Alright, yeah, thanks for the addition. Will let you know via email how you've done. Thanks. If doing a second round of rehearsals, you invite the actors you've shortlisted and try them out with each other. So for example, if you have two options for the boyfriend until options, so the girlfriend in a script, you'd have four versions in total. Evaluating actors. So most directors and imagine a character in a particular way and want the axis to fit. And to that idea, this isn't going to happen. It's actually a big mistake. There are far better ways to evaluate an actor. So first, remember to be willing to be surprised by them. And then let's go over the things you should be taken into account and refer to document to audition school. So first is the accessibility. You'll notice all the particular skills that make up an actor's ability are written in the table. During an audition, you can SCO actors on each of these qualities. There are points to the next, each quality. And for certain qualities, the maximum points of five. So for, for that, if they were average, you'd give them a two or three. If the max points is two, you'd give an actor, an average actor, a one-point. The higher the points, the more important inequality. However, you can edit the amount of points based on what you're casting for. So for example, for a musical and active skills in voice movement will be extremely important. You should increase the amount of points for this quality. And by the way, if this table seems, don't seem there's a small table, andrew, called Table three, auditions score simplified. Let's have a look at the audition again. So for that, I like his emotional range and I think he's got a lot of fearlessness as well. No self-consciousness. There's qualities, good points. Secondly, we'll consider it, they're right for the part. So it's very important to know if they can connect with a character. So this means that they can relate to past experiences to make the acting really honest, even if they haven't experienced so that they can prove, they can prove that the connect to their character by showing a willingness to research aspects of the role. Ask yourself if the appearance of an actor is important. Such as in One Flew Over the Cuckoo's Nest, the head nurse was supposed to be fat and that day. But they cast Louise Fletcher, who was the total opposite. And she won an Oscar for her role. Thirdly, knowing how well you work together is not terribly certain, but you can have a guess and it's easier to know this with actors you've worked with before, of course, for ask yourself how well the actors work with each other. If the whole film revolves around a couple men try to cast both parts at the same time. This is when you'll be able to evaluate this. Another tip is asking actors for references. You'll be more likely to get the actors that you want. So I've given an average score for communication. I don't think you took exactly what I said to boat. That's look at the actors look so given probably a twelv for this kind of character, right? So that concludes this. Much of, let's get back to the three questions at a start of the module. Try to answer the so how do you find actors for free or for money? You can use free websites and put a casting cola. Well kind of audition advocate guidelines. Other email actors make yourself look professional and have someone with you if possible, there is a main ones. What are the four main things to consider when casting and actor? The four categories you'll see on the audition score sheet. So they are accessibility, the right for the part. How do you work together and casting the relationship? So through this module, we've also covered where to hold the audition, the structure of the audition, and things to consider when deciding on actors. A final nights. Even though you might not be in a place where you can hold an audition perfectly. Don't let that deter you. You need to pay yourself outlet temporary. So go for it, even if it means not having an assistant while you hold the additions. And the, even if he can't hold audition, you can always cast actors based on Bash. 5. Directing Mistakes: Right, directing mistakes. So a lot of direct to stick with the way they imagined the film when they read the script, they imagine character saying a line in a particular way, doing something in a particular manner when they're acting actors though. And they try to get it the way they imagined it as well. And they imagine the character saying a line in a menacing way. So they'll tell the actors to say it menacingly. This is called result there action and it's known as perhaps the worst way to interact actors. It's cold result directing because the director is telling the actor what result they want, rather than serving the C that will flourish into what they want. The problem is that it's very vague. There are dozens of ways to be menacing, sad, frustrated, or funny. And in this topic we're going to cover a variety of that direction examples. By the end, you should be able to name at least three types of bad direction. I want you to be very menacing and you to be a bit more scared is alright. If dad finds out he's going to blow his top and tell him to die its weight tomorrow it's cow. So this is called asking for an immersion. Shaping the acting becomes hard because it's so vague. If I want something that's less over the top and I tell them that they'll not know how much less. This is no different to telling them. I want something to be less menacing or less angry. Okay. So I want you to be less menacing this time. And I want you to be less scared. I'm telling you that finds out he's gonna blow, he's tall. He's weeds tomorrow. It's cow kinds maybe DO please. It's no big deal then why shouldn't I tell him? This is cold. Asking for more or less of animation, you will end up going over the scene again and again, wasting a lot of time. It's like telling a painter that you want you wold to let it look left layer right here. The issue is that when you happy though the character is menacing, It's not going to be as good as it could be. When you're starting out. You probably be impressed by MACed amateur acting. But as you work more with actors, your standards will increase. And the earlier, you can get into the mentality of getting the best possible acting out of an actor, the faster you'll become an expert result there are action isn't going to lead to truly believe will acting because it's not specific enough. Also, the actor will be thinking about how they looked the audience, rather than really immersing themselves in this situation. Let's go through some more examples of Arezzo direction. You might get more tricky. This is cold asking for an attitude. Actors will have uncertainties about which direction. They're almost never mentioned them. Unless you really proud because it would make them look stupid or because they didn't want to make you, the director look inept. Let's see what's going on in the actor's head. Just how teaching, well, kind of cheating. Even if they ask you these questions. Direct, giving this kind of direction would say something like very cheeky or in a funny way. Psy. Did he can happen. I told you she liked doing nothing. Molto Heim, that was hit. Q Did you get inside he no alike to white tissues that line where you put your Alma for his shoulder. Oh, protective and say, I could really use the mortar to stave off the hunger. The actor is now thinking about how they looking, rather than putting themselves and the character's shoes, they'll come off as guarded or that performance will seem forced. Let's look at examples of results direction. So let's try this as more of a serious saying. Those things got to be looked at. He's on drugs again. This awful step with his girlfriend who went to see him yesterday, stay in his Cano. The full focus would fiesta. Yet a breakdown. She broke down and he broke down. And that's when he said that they face fun in that. Right? This is telling the actors the emotion of the scene. The actors trying so hard to make that performance serious that you could say, and the performance is comical or over the top, even though that the director wanted to Series C. And another issue is that the Acting doesn't change three to seeing, it stays as one mood. Next example, I guess it's high. I thought I'd be honest with you. I don't think I'm a good failure. High, I fall. I'll be honest. I don't think I'm a good fit here where it's more like hi upward, be honest with you. I don't think I'm a good failure. Hi, I'm bolts. I'll be honest to you. I don't think I'm a good fit here and keep working out. So this is called a line reading, reading out line the way you want it to sound. Firstly, this takes lot of time. And secondly, it makes the active field like the no-good. It almost sounds like you think you can act better than they actor. Thirdly, even if the actor says the line sort of how you want it, they'll say with no life behind it, they need to really know whether the meaning behind the line is next type. So he begins quite suspicious and then he becomes angry. And then after this particular line, he's more forgiving. This is called an emotional map, as you've probably in their lives, giving emotions to an actor is bad. But the other problem is that you're telling an actor to remember three things there. And it's overwhelming. And you should really only be giving one or two things to act just to remember after every take. The other issue is that it turns the scene into a connect the dots kinda again, which come coat, which comes off as contrived and predictable. It's better to give an act to objectives, which we will discuss later. Can you play hockey? And also time two things at once can be done. I mean, if the actor tries to do this, the t directions will cancel each other out and lead teraflop performance, you're out. But we are looking for fuel pieces of artwork. Do you think you get a two more done for us? Right? These you take three or four days to finish. H. I can probably get one done. They really for 12 pieces of all. Well, you can either have one, read a good one, or t by k 1s p, not leave it forward by week two by Monday. Okay, fine. I'll see. If they tried to alternate between the 21 or both directions will seem fake. Let's move on to being critical of a character. Your character is manipulative. The actor should be able to identify and sympathize with the character they're playing by saying negative things he had distancing them from their character. Also, in real life, people getting great lengths to justify themselves. Not many people would call themselves the manipulated. When they can feel better by calling themselves smart, charismatic, or persuasive instead. In addition, telling an actor that a character is something negative or even something positive, concern that character into a stereotypical one. Don't judge a character. Avoid giving adjectives when talking about a character. Also talking about explaining attitude to enact, it. Just says you should avoid coordinating a character on manipulator. Avoid saying a character's attitude should be obsessive or controlling. The other issue is that with adjectives, they're subjective. So the way you see manipulative as different to the way the actor sees it. Instead, you can give facts about phrased positively, such as he likes to get what he wants. If an actor wants to know what the character is like, tell him that you're going to discover that together as you work together because a character is never fixed. Otherwise, you can discuss what a character is like in a particular moment. Now, sometimes you might actually try some result direction and it actually works. Why? Well, if you haven't experienced actor, they might be skilled enough to, to interpret but direction and translate it into direction they can use. You know, it might work, but it's unoriginal and there's not much change in the scene because of that, and it's rare. Also the meaning might be lost in translation. Some actors actually act to using result direction, and they usually less experienced who've not been trained better ways to act if they are, try to evade them away from this, but then be disheartened if this is difficult, right? So this concludes the section on results direction. So what a free examples of result direction. Some choices you could have had are asking for animation, asking for less of animation, asking for an attitude. The act is the emotion of the scene. Giving a line reading, giving an emotional map, asking for two things at once and being critical about an act as a final note. So sometimes you might be stuck and your only option is to give result direction. In this case, tell the actor that you know, it's result direction, give them enough time to translate it. However, the best thing to do is to come prepared with good direction beforehand and ways to get to give good direction of the next thing that we're going to cover. 6. Effective Direction- Action Verbs, Facts And Senses: Alright, affective directions. So the tips I'm going to give here are helpful in different ways that playable, repeatable, CH, usable, adjustable, and specific result there actually does occasionally work, but usually only works once. The following techniques are far more effective. And by the end, you should be able to name and give examples of all six of these techniques. So the first one, action verbs. So verbs describe what someone is doing. Let's take five different verbs to persuade, to inform, to fair to contemplate, and taught. The verbs that are helpful interacting actors are called action verbs. There make a character do something to someone else. We'll call verbs. There are not very helpful normal verbs. Normal verbs in this context usually describe what's going on in someone's head. They don't have an effect on another character. Now let's look at those five verbs we have. And can you guess which the action verbs are? To persuade, to inform, and to taunt or action verbs. You can do them to someone else. To fair and to contemplate cannot be done to someone else. They are normal verbs. Now why are action verbs better to use than normal verbs? Well, in this example, I gave no more verb to the actor. Okay, so let's try playing to hope. Okay, cool. Hi. Look under, be honest, I don't think I'm a good fit here. There are always gonna be people that you don't like that. I'm sorry, you're experts here, but that's just the way it is. Then. Look, I'm sorry. But I don't think I can work here anymore. It backed and there'll be honest, I really need that severance package. So to put it bluntly, if you could just fire me or via her evil way, cafe, either of you, if you want to leave and you should quit, please look, it's just one little favor. Happy, so grateful. We don't throw severance packages around. Since the hope is mostly just playing itself out in the mind of the character, there's nothing really visually interesting. That's take an action verb. Okay, so let's try playing persuade, okay? Okay. Hi. I'm gonna be honest. I really don't think I'm a good fit here. There are always gonna be people that you don't like. I'm sorry, you're experts here, but that's just the way it is. Then. I'm really sorry. But I don't think I can continue to work here. I'm going to be completely honest with you. I really need that severance package. So split plant. Can you fire me or via either wine? I can't find either of you. If you wanted to leave and you should just quit. Just one little favor, please. I will be so grateful. We don't thrive severance packages around. You can see that the axis acting, especially as voice, is much more expressive. The action verb makes him engage more with the other character. If you want him to be even more expressive way. Can use a stronger words such as to beg. If that doesn't work, you can use to plead and well, if you want them to be less pushy, well, you can use light words such to entice or TOM form. It can be hard to have all these words at the forefront of your mind, of course, which is why before shooting, you should write down several options to try out for most lines. You can check out the list of action verbs in document for action verbs. Now these don't owe include the world's action verbs on total, but it's a good place to start and add nuance you come up with. Instead of emotions, you can use action verbs. Action, the emotion, the action verbs late to come across as much more believable is also better than being judgmental or giving a line rating. Acting is, of course subjective, but I hope you get the point. The first technique is already better than all of those bad direction techniques. The second technique you can use is facts. So this is an important part of script analysis which we'll cover later. There are two types of facts, so factual backstory, these effects in the script and you have clear evidence for imaginative backstories and a second one. So these are made-up facts since the audience is never going to know them. It's okay to use. Here I only telling them to the actors. Now let's have a look at how you might use these two facts. We're going to use a new scene for this one. Let's try this just the way you prepare it. First of all, let's Wilson. I know I told you to pretty badly last night. At least you can do is look at me. My answer is not going to change. There comes a time when we have to put aside our beliefs and accept the truth. I'm sure your husband would have wanted him to save your life. I'm sure he would trade places with you like that. Alright, so let's have a look at what a factual backstory effect is. Okay, so remember the last time you met his character actually betrayed you. That see how you'd use an imaginative backstory fact. So why do you think your character 1's herds look at him. He wants to see Medicine and no race, especially from the gods. Okay, yeah, well maybe it's because he wants to see how bad she's been had is possible, you think? Yeah. Yeah, sure. Sure. Tunnel I go yet. So let's explain some advantages of using facts. So firstly, it's better to use a facts then being descriptive of a character. So rather than saying she's not easily broken, you can say she used to be a boxer. And this is much more specific and therefore easier to play and definitely be better than saying she's confident, which is an emotion. Secondly, investigating the script facts is much more insightful than making quick assumptions. For example, if we were to make a quick assumption in this scene, we might think that the man in the scene doesn't want to kill the woman. However, with access to the entire script and with investigation, if might be that A's bluffing, maybe he does not care for her and he's just pretending Hill that I gave before deciding against it as some sort of mental torture. Third, fuck, so great to use instead of judgment saying, instead of saying he's a nice guy, you could say he values other people's time more than his time. Once again, the specificity of this helps the acting. Now, how do you make a character do more or less with the acting using facts? Well, let's start with an example where the actress plays the scene at baseline level. So maybe you cheated on your husband with this guy. Okay. My answer isn't gonna change. There comes a time when we have to put aside our beliefs and accept the truth. I'm sure your husband would want you to save your life. I'm sure he would trade places with you like that. See what direction you could give if you want to feel more torn between the two guys. Okay. So maybe instead, you had the two-week love affair with this guy. Okay. Ms. wilson? I know I told you Jean pretty badly last night, but at least you can do is look at me. I answer isn't going to change. There comes a time when we have to put aside our beliefs and accept the truth. I'm sure your husband would want you to save your life. I'm sure he would trade places with you like that. Where is a either that or I'm going to have to go and get my gun. Sophie. Please. Just give me a random location and I can let you count. Right? So another great technique is Senses. Now by this I mean the five senses, sight, smell, sound, touch, and taste. But humans actually have more than five. So you can use stuff like the sense of pain, sense of space, and sense of hunger, et cetera. Senses that work for actors. The sense is brought up by the script. Imaginary census and the census active brings to this situation. So I'll give you an example of census brought up by the script. For example, on love, the smell of NAPL in the morning. Clearly it has some sensory information. So let's take a line from The Dark Knight, when the Joker crashes a potty five, how beautiful you must be Harvey school. You are. And you look nervous. Is it the scars? If the actor and director cheese to go the rate of using his senses, the accident might recollect different senses as the saying that lines the word beautiful brings to mind and visual images. And it will squeeze another way of saying partner for the actor, this might bring up sensory information out that partner or ex-partner. For example, memories of kissing, sound of their voice, and the smell of perfume. The director might tell the actor Tim, remember kissing their partner when the Teslas, right? So, but you look nervous. So nervousness is in the sense, is it discussed. So scarves bring up visual memories, discuss memories of touching skulls, memories of pen. The second option is using census, the imaginary. So for example, the interactive might ask the actress to act as if she's got a bad taste in their mouth, even there, it has nothing to do with the character. Thirdly, we can also use the census the active brings to the situation. For example, as the woman is listening to the Joker, if her closer, HE onset, she might embrace that, say that she comes off as more uncomfortable. Let's use an example of acting without using senses than acting with it. We're going to use imaginary sensors. On the second type of scene is an encounter between a couple going through a divorce lawlessness that she'd rather live in London with ME. Can we talk about this later? Replace the added up with some of the schools that I just get really excited. My lawyer said that be lucky to see a twice away, which is a pretty good offer. Obviously, you'd have to find work there unless quiet not Job's and stop. Just stop. Canal. Thank you. Try matching by most repugnant smell. Yet Cheng Lada said that she'd rather than move to London with me. Can we talk about this later? We've been looking at some of the school, was it she's getting quite excited. My lawyer said that you'd be able to say a twice a week, which is a pretty good offer. Obviously, in order to make it work, you'd have to either move that arrow live in London. There's not many jokes. Stop, just stop. Get out. 7. Effective Direction- Events, Physical Tasks And As-If Situations: To make the active field a motion of discomfort, we used a sensory image. So another thing you could do is to fix certain parts of the scene. Okay. So imagining the bad smell is going well. But I don't know. I mean, your character, if you remember, they didn't like going to school. So maybe it's like you think of the school bell when he when she says the word school. Okay. That's fine. But I was going to say something like the screeching of the chalkboard. But I don't know if you had any chalkboards. Noticed school bell party, what Batson. Yeah. Let's do that. Can we took place? I think she's yet twice. What are the advantages of using sensors? Well, they're better than just asking for emotions because there are a lot more specific. They are better than long explanations. So instead of explaining the psychological toll of a harrowing moment in a character's life. You can just take a glimpse of that harrowing moment for the actor to imagine. Telling the actor to remember the smell of the grandparents house is better than remembering the good times ahead there that joy there had the activities they did, et cetera. It's way too much to remember all at once events. So another technique you can use to tell the actors is telling the actors the central event of the same. What events? Well, by asking what the scene is about your understand the central eventual the scene. So it's the reason that the scene exists. It's not the same as incident or plot point. Examples are a failed love affair and nostalgia for home, etc. This can be phrased as a theme, an image, a paradox to dress up like a woman, to be become more like a man, like in Tootsie, a Christian, a character, spine, et cetera. Forrest Gump for example, is about the feather as a symbol, faked. Everyone should be told what the film is about. Otherwise, the old making a different film or different scene. Now, the good thing about using events is that the actors will be able to bring their own ideas to the table. And it's like telling a friend that you want to make peace together. Your friend will bring his, his ingredients right? The way you'd say this till the actor is. So the scene is about how your partner's changed since the war. You don't necessarily have to ask axes what ideas they have. Because you can't just ask them to play out the scene after giving them that direction. But it can be helpful if they verbalize their ideas and you discuss what the central event is. Seen or whatever, take a scene from Lady bid. So they debated and a mother are looking for a progess and see if you can guess the central event. Too tight up. Well, I suggested you not have that second helping of past mom. How do you seem upset about it? And I'm sure our eating disorder. I wish I could get an eating disorder. Is it to ping? Why can't you say, I look nice? I thought you didn't even care what I think. I still want you to think I love good. Okay. I'm sorry. I was telling you the truth. You want me to lie? Knowing I just wish I just I wish that you liked me. Of course, I love you. Like me. I want you to be the very best version of yourself that your VP pulls this course and take a second to figure out the central event. So in my opinion, this scene is about a relationship between two characters. Both characters are unable to be the person or the person wants them to be. The dosa isn't the dose of the mother wanted and the mother isn't the mother. That the tools we want. Now to put it simply, it's about the incompressibility. Now, let's see what direct aggressive going and the actors might've done to work together to really push. The idea is that they're incompatible. Well, I suggested you not have that second helping of pastor. Yeah, so I like the fact that the characters are separated by UDL in the same, I think it shows that there's a barrier between them. Mom, how do you seem upset about it? And I'm trying any eating disorder? I wish I could get an eating disorder. Where it said the Director Marta till the actress playing the mother to act shocked at her daughter's attitude, obviously using an action verb or similar. I think this would have highlighted that the mother cannot accept her daughter sometime eating disorder. I wish I could get an eating disorder. Yeah. So your bike gang, the actress playing the daughter, to seem very happy with the address, it would create a stock contrast when the mother gives her negative comment. Yeah. So if you try the scene a particular way and it doesn't work, you can always try out different way. Maybe the daughter wants to test how flamboyant lady she can dress and get away with it. All right, so moving on to physical tasks. So the way the character physically behaves says a lot about them. You can ask for a change in what they're physically doing to improve the acting. One reason to do this is because by focusing on a physical task, the words they say will seem less forced. Another reason is the scene feels more natural or that a person's emotion is more clear. That start with a C with no direction. So cheesy and get the coffee cup limb. And this morning, I'm already went in April when a jump in the car, I drive one miao and then I got the call and now is not the tias. It's the main tech mechanic. He tells me that economies be written off after one day of driving. And I think there's no cars can be written by this a1. All right, so let's do it again. But maybe you'd like, we'll grab some props and you can start making yourself a coffee. You because your goal is trying to make him listen to you. You are trying to stop them from making the coffee. Tuesday, I buy the car for me this morning against my car. I drive one miao and then I write down a gallon. And now it's not the tiniest. It's the engine. I drive to the mechanic. Yes. Well, my colon has to be written off after one day of driving IV ethics. This is as your car is going to be ruined by this evening. He might want to use the technique of using physical tasks when the actors aren't doing much in terms of body language or movement. So some examples of physical tasks of reading the newspaper, making a snack, walking, mowing the lawn, but proving out watching TV because you're not really doing much physical that. The idea is you can also use a physical task to highlight the central event of a scene. So if someone's talking about collecting so more than the central event is how that person's become evil. Maybe you can do the same while the flattening steak. Well, isn't that up as if situations similes to something going on in the script. So let's take a quote from the film micro LA. I like the dot-com makeup on your eyes. Now, how do you imagine that being said? You're probably imagining That being said by a man to a woman as if he is flirting with them. Well, if you tell an actor that you're already directing them using a zip situations, you want the man to play as if he's flirting with a woman, right? However, you may want to try out in a different way. So for example, as if the woman is a young child, that would lead to a different type of acting right? This see what Jake Jim Hall ended up doing? I like the dark makeup on your eyes. I also like the way you smell for this genital is probably acting it out as if he's giving an employee a performance review. And like the dark makeup on your eyes, I also like the way you smell. Remember it's assimilate. So if he's used the exact direction, he's probably replaced the lines in this heads with lines she'd give in a performance review. So maybe instead of, I like to talk with you on your eyes, he's imagining setting. I like your motivation while lot work. This is a very effective acting technique. So you can tell you don't actually have to replace the lines for the act today. You just have to give them the assembly and the actor will do say if they feel the need to keep it alive, I'm sure. Right. We'd never get in there. There'll be starting the CGC. Why did we get that subway tunnel much maybe. But even then we will see. So this scene is like a general talking to a soldier and you're doing the general pot and you're doing the soldier but I Tom yes. No. The indoor light. Yes. We've actually gets in there that we start in the speeches. Sue, why don't we just go back to the hotel and we can watch them Ebay, but then no one will see you. Good. I'll see you inside. Enjoy the film. Tom, get me drink fast. There are thousands of possible as if situations as if you're getting divorced, as if the other character is your mother, et cetera. The difficult thing is picking one that will work while you're on set. And unless you've written some down beforehand, can be a little bit challenging. 8. Effective Direction- Delivering Direction And Directing Comedy: So those are the six main acting techniques. Let's have a look at how you actually deliver directions. So a great way to actually talk to actors is by using questions. So this reduces the pressure on an actor to get it right and helps act as make a particular direction. That, for example, you could say something like, Is it possible that these two characters are best friends? And this is less pressure than telling an actor acting out late. You two are best friends. And also makes the axis feel confident and have unhappy because they feel like it's and elaboration. You're not just giving them things to do. You're asking them questions. If the AP test says something you disagree with, for example, No, I can't see them being best runs. You can discuss it with them. And if you have facts that suggests as possible, Tell them to the active. And if the axis still disagrees, ask them if they want to just try out and see how it turns up. Now there's always the chance that the actor is right and you're wrong. And if there's a chance, then try it the actors way as well. The great thing is that you can combine two or more acting techniques. So here's an example. We don't want to involve the Council in this situation. So this is actually from a film I made. So I told the actors playing the couple, they'd just, how does chat ten minutes ago. And the degree of the man would take over if the woman couldn't work. Magic. I gave them a fact. Then not told the male actor to play intimidate when saying his line on action, right? We don't want to involve the Council in this situation. It's for you to decide when to use one technique over the other. It also depends on the actors. So you should ask them what they prefer and mainly use the acting techniques. But they like. Sometimes axis can have resistances to your directions. So the best way to overcome that is to work closely with the actor. So maybe they hate that character, so they can't fully commit to this situation. Or maybe they don't believe the character would do a particular thing. Actually, another thing is maybe they disagree with you on something, or maybe they're confused about what they should be doing. Ask the act if they have something they're having trouble with. And the solution after this is quite straightforward. Just, for instance, make them like their character. They don't really listen to questions from your actors as well. Say ask yourself what the subtext is. As with any situation in life, a person might only be saying what they mean and subtexts if they ask what time lunches, the HIV might be tired. Be honest with actors and hopefully there'll be honest back. So Onset directing tips. So use the language of permission, Safe Stay stuff like it's okay to walk a bit faster rather than walk a bit faster. This means there's less pressure. Approach saying action differently. So after giving act as direction, ask them if they're ready for another take. You might want to tell them early on that you're fine with them taking a second. If they need to process something. For example, it might be that the actor needs time to imagine the cold on my toes, the breeze around her neck, and the direction you've given him. If you give an act to new information that completely changes, but maple and shell action, five seconds later, the scene will only be worse. Ask actors if they're ready and offer the option of more time at the actor seems initial on competent. When you say action, say differently based on the scene, say if it's a sad, seems a quieter, and if it's seeing where does a shootout, you might want to shout it loudly to inject some energy, but generally say it with a sense of permission not to force for the, you don't want to put pressure on the actors to act and to entertain. You want to allow them to be honest. Sometimes instead of action, I'll tell actors whenever you're ready, which allows them to take a few seconds if they want more time. Amateur actors especially feel the pressure to act immediately after the direct Tish outs action. And that's unfortunately because it's completely acceptable for them to take a few seconds before that. Pay attention to how you talk about the takes. So saying stuff like let's do one more. Puts crushes on axis. They feel like they have to get it right in one take. This will make them nervous. It's better to say stuff like this will probably not work, but let's try it anyway. Or let's do this one for fun. Or I think we've got it, but let's try it a few more times. The final tip is to be inventive. So for scene isn't working even with the act of saying the lines the way that character probably it would switch things up. Don't follow your plan so rigidly that you limit yourself. Even though you might have spent OWL was writing, blocking and finding the truth of the See. If it doesn't work, forgets about it. And why don't we take this boring scene and see how we can improve it? Don't always thinking that we could take the kids for a day on Sunday. Yeah. Sure. I see if I get it off my Wikipedia page recently, she believed me when I was sick last time. Yeah. Woman EVA. Good. Even listening. So how can we make this thing better? Well, we can add some creative blocking. If he didn't know. Blocking means the movement of the actors in front of the camera. So this is something we can change. Chunk. We take the kids out on Sunday for day out. Yeah. That sounds good. Thus, if I can get off work and he's been a right bitch upon it today, believing the other day when I said that I was CEQ. John. Yeah, I hate that woman as well. Know of 1 second. I'm listening to what I'm telling you. I am not working. I am just noting down everything you are saying. Anything else? By changing the blocking and physical action. And we immediately changed the scene. And this will sound the very next take, say, do a few more takes and you'll be able to perfect it. Changing the goals of the character can do wonders to, in this first date scene, do you think should be explored and put them? Why explore the world where you can explore yourself? Yeah, but my exploring the world, learn about yourself, I guess. Okay. So I'd like you to interrogate him. Maybe I say interrogation and you're basically trying to find out something about him. And when he's drinking his coffee, he's not able to express them software. So maybe one way you can do is by stopping him drinking his coffee, okay? Do you think should be explored? Then why explore the world when you can explore yourself, that by exploring the weld, you can learn about yourself, I guess. Say, by changing the direction you made the scene feel different. Right? So directing comedy, say since directing comedy is one of the hardest types of acting here, some extra news on it. I'm referring to the way that they're in Britain, although it can be used for other types of comedy as well. When directing comedy, the community situation has to be played with honesty, which means the active tried to be funny and have to treat it as a serious situation. Also, axes have to make sure they listen to each other. This is very important with comedy. Also. With comedy, the actors have to feel liberated, did not try things which might not be funny. So make it clear that, you know, you'll be the safety net for the actor. So they'd ever react in comedy. Straight man and a funny money, she said the straight men access to setup for the jug. And the funny man usually delivers a punchline. So in this example, Michael is the firemen and Toby is the straight man. Miami, you still can't make fun of people for race or gender or sexual orientation. Who let the lemon head into the room. You are a waste of life and you should give up is what I want to say, but I won't. Because that is why. We're doing this right now. So tell me Welcome to sensitivity training for real, some ways to inject humor into a scene. So number one, playing opposite to the London reading, say if a line has a particular meaning at the act, it says line as if it means something opposite, it can work. And my partner when he talking. And then number two, giving an as if so you can over-exaggerate to, under our exaggerate to moon by making the act of play something as if it's something else. It's a long way towards me. And thirdly, using action verbs. So this way you get enacted to play a scene away that's silly or unexpected. I believe they've been adopting black people, brainwashed, you know, make it a work form is six leaves the ship. Sorry about the xi. Sorry. Hold on a second. There he sent me some weird pigeon on that. All males Andre is where there's been missing for six months, right. So I do all my research as a TSA agent, know you guys are detected. I got the same training. You know, we might know Monty, awesome dad, you know, can we deal with some terrorists yet? So we're not necessarily different story. So look, I go do my mum detective work, right? And I start putting pieces together and see, this is what I came up with. There probably abducting black people, brainwash, you know, and making them slaves or sex lay, not just regular slate, but sex laser shit wasn't next move. So these techniques are most likely to help me with comedy, right? So let's cover what we did in this module. Can you name all six effective techniques you went over and give examples, if so, pulls action verbs. So for example, telling an actor to interrogate or Tibet facts. So telling an actor they haven't seen them but they were in he is events telling the inactive seen as about one character finding out the other characters to your intentions senses. So telling an actor to imagine the smell of the grandparents house or sound a favorite song. Physical tasks. So telling act is to make a sandwich during a C. And as if situations, so telling enacted to act as if they're being proposed to by someone they dislike. 9. Script Analysis- First Impressions, Associations And Clarification: Write script analysis. It's very over-looked parts of directing films. Whether you write the script tool, not, it's a way of understanding it further. And to be creative with it as well is normal to hear the lines of a script in your head. The tendency is to stick to that line reading the way you imagined it initially. But this actually limits how good your film will be. As we covered before. There's almost definitely a better way to act something out. And the first and only way that you imagined it. And to understand the options, you have to analyze the script first. Otherwise you end up with characters that unoriginal or stereotypical. In this module, I'll give you the answers to what to cross out and the scripts to boost your creativity. Ways to come up with imaginative, imaginative choices and other analysis methods. And also how to create a blocking plan. Right first read. So for this part, please refer to document 5, first impressions. And also please refer to the script in resources which we're going to use throughout this module. When first reading the script, write down any ideas you have and first impressions of the story. So if you yourself have written the script, then tried to read it like someone who hasn't read it before. Okay, so hopefully you've now read the script. I'm now going to go into my first impressions of it. So yeah. I mean, tell me says I didn't sign up for this. Say yeah, they probably just arrived in Colombia. That was my first impression. And then the colonel says, don't waste my time. So yeah, maybe he doesn't have time for trivial matters. That was my one of my first impressions. I'll give you another one. Say the kernel says they've given me a personal chef. So I'm thinking he's probably lying, but not clearly enough for me to notice. That's my first impression anyway. So after this, go over the script and cross out most stage directions. So there are four different kinds of these. So directions that describe the character's way of doing something or they're emotion. So some examples are lovingly lifted with rage or quickly. These are all adjectives. So the right to my lay the basis for a character, but it's the job of the director and actors to make this character work well on screen. And active might try to play something as it's written in the script, but they might not work well. Sometimes a character works great on paper, but just works less well in a visual medium like film. By crossing out these adjectives, you actually open yourself up to a whole load of other ways of playing something. You might find some interesting choices that you might, you might want to try. For example, maybe someone doing something quickly could work, in that case, crossed it out, but put a question mark next to it. So anything that you think might work. Question mark next to that number to cross out their actions that depict camera movement, action or character movement. So examples are the camera moves backward to reveal and she picks up her coat. You should consider more than one option for camera movement and the same for Character Movement. If it's not important that, for example, she puts on her coat, then cross it out, but keep it in if it's part of the plot. So for instance, if someone's hidden bomb in her, okay, then you keep it in. Once again, put question marks next to things that might work. Number three, circle any personal objects. So for example, if the character gets into his Ferrari, you would circle Ferrari as an object of his. But you wouldn't circle an ATM as it doesn't belong to him. These will be helpful later on. Okay, so tell me spirits out some stereo. So I actually circled spoon auto spins because it shows that he's using a spoon properly and that must belong to him. He spits it out violently. So I crossed out spits and I crossed out violently. These thing, these are actions for a character and a describing an action. So, and so Spit somewhat used vomits all spits. And instead of violin Ni I crossed the out and write quickly, or maybe he spits out after chewing. I can go on with giving you examples, but I'll leave that for you to do. And you can see the rest of how I've annotated it in the resources that I've given you weren't association. So a useful exercise is to write down all the nouns and verbs the character says in a scene. So for this use, documents six associations. Go through the words one by one and write down any words that your mind associates with it is important for your imagination to run wild. Try to think of 15 to 20. When's. It's also helpful to think about the words from your own perspective and think about the words from the perspective of different characters in the scene. Bunch them all together. Maybe only 10% of the words will be useful. But you do now have a lot more images in your mind and ideas, which will help you if you have questions about a script. And we'll help with originality. Ok, so associations. So I picked food because that's a very prominent parts of this whole sing. So yeah, first things that came to mind, essentially images, images or associations. So at will, you're disgusting, delicious, healthy, unhealthy, hot, cold gum off, packed lunch, airplane food, et cetera. And you can see the rest of the day is there. And then I'll say picked I gave it to Riley. Say I gave it. So maybe robbed or gifted, favor or traded, kind, generous, hungry, starving temptation. And you just kind of follow along that subconscious path and just throw down any word that you can associate it with. It, even if it, if it doesn't really make sense how your mind has associated with it. That's fine. Clarification. So it's very important to understand the basic meaning of every line that you come across. Sometimes you will come across the line that you don't like or that either understand. Now. And in that case, underline it and we'll come back to it during the section of facts and questions. Okay, so talking about words, I end the line say, when on the first page, third of the way down telling me says, of course you say it's an ICU, a Spanish everyday until you came here, raises question of, you know, did he really eat spinach or is he just joking to something at the moment that I don't understand. Okay. Secondly, for the most important characters in the scene tried to understand the psychology. So refer to documents seven. Clarification for this. Usually this is only one or two characters going through the whole scene. I'm pig, one or two lines for these characters. These lines have to be the most eccentric or unusual lines that the character says. It can also be an action by a character. So once again, the most eccentric by this, I mean an action or line that most people wouldn't say in this situation. So if a waiter says, I'll you to a couple and then asks, What can I get you? I'd say the first line is definitely the most unusual of the tea. When analyzing the lines, it's important to really think like the character. So start with the phrase. I'm a character who come up with three possibilities or more if you can. And if you're able to do this exercise with every line, that's even better. This means you can really understand the characters. When you're doing your scene for real. You can make the actors see the characters in a different light. 10. Script Analysis- Questions And Answers, Imaginative Choices And Events: Okay, so how do you find excentric lines, right? So I, I chose if the line, if I'm giving it to anyone, I'll give it to the man who's not eating. Where's your food, Wayne? Okay, so I write down the three possible meanings after that. So that was maybe he's concerned for wayne. Al, maybe he seeks justice in the world or maybe he just has a grudge on Riley. Ok. And the second one was I'm not eating this. This isn't what I signed up for. So I don't think my soldiers say this isn't what I signed up for. And they're usually very patriotic. And you say, Yeah, I write down a few options. So maybe he signed up to join the army. Maybe he was actually forced to join the army. And that's why he is annoyed. Alright, questions and answers. So this Paulus cryptanalysis, we're going to look at what is true and what might be true. So referred to document eight questions and axes. Finding out the facts and the script is important. So it's very helpful for you to remind actors about the truth so they can see more triple, facts are actually much harder to deduce than you think. So where trying to list as money possibilities as become when you have one, phrase it as a question, put it in the question column to find out whether something is true or not. There's some things that you have to consider. So firstly, even though a character might say something is true, it's not a concrete fact. They might be lying. Number two, so things that occur in a scene or cold events, not facts. And thirdly, something's might seem to you, but they're not definitely tree is so Such as the goal of a character, this would be disputed, say, can't be put down as a concrete fact. Write down questions you have about the characters. So if they swear, do this route a lot. Did the father used to swear? What was his relationship like with this? Follow what about his brother, et cetera? And remember to adding questions about facts which might be true here. Also write down questions about lives too didn't understand earlier. So I write down the line and the question in the question and answers table. Now, do you have, you do have any better idea of what they mean? Well, do internal, external and script research to find the Mansa. So internal research is going into your perspective on life and finding possibilities. While external research means becoming a historian, sometimes understanding a topic. Script research means going back to the script and finding the answers there. Okay, so let's use that previous example. Let's use this isn't what I signed up for. Say has these signed up for the army or not? That's the question, right. Has told me recently joined the Army. So yeah, there's conflicting evidence, so I guess So. Tell me it doesn't seem like he's used to AMI fate. That's script analysis. The amusing that he's comrade Wayne is naive to think he can go on a diet and tell me, seems naive to complain to the kernel. So that kind of suggests that maybe they are kind of recent recruits in the Army. I don't think it's because the friend's him and the kernel. Because the kernel doesn't like him. And I can, I can soul sort of sorts of imagined him, him going into the kernel and complaining if they were friends, but clearly they're not. So that's not an option. He says, don't waste my time. So that's all kind of in scripts use essentially to find out that fact. And in the end, I decided, yeah, Tammy has recently joined the army. So another example of a potential fact is let's use the line. They've given me a personal chef. And the question is, does the colonel have a personal chef? Now, for this, we really used much script analysis because I was struggling a little bit to find anything through that. But I did some real research. I became a historian and I found out that, yeah, kernels don't get personal chefs. Say for the moment, yes, it's the fact that the kernel doesn't have a personal chef. Say it was probably just joking about law. Now, the reason we go to all this effort of investigation is that we come up with new ways of playing the singing and playing in line. So often telling an actor to play it in a new way can improve the scene. Imaginative choices. So please refer to document nine imaginative choices. For this section, we're going to focus on imaginative choices that you can make. So write down as many possibilities as you can think of about the characters. Now these will give you options for when the scene is acted out to adjust the performance. There are some categories that you will want to investigate. So firstly, backstory, possible choices for backstory. Think of things that happened in the character's life that might change a moment in the scene, whether true or not, just happened. Say, think of possibilities of what happened between two scenes. Number three is objectives and needs. So there's always something a character wants in a same think of possible objectives or possible needs that a character might have. The objective chosen has to engage the other character. So scratching your back isn't a good objective, but holding her hand is better. You should find objectives for each character in the scene. Same obstacles. Holding her hand would be better if she is sitting with her boyfriend or if she's crossing her arms. The objectives that need to be realistic that what people want is not necessarily something that they can have. Remember that these are, these have to be technically right or wrong. They just have to work for the acting. Right. Remember for obstacles could be standing in the way of each character. And then number five, action verbs to find possible action verbs to use each time that the beats in the scene changes, which we'll cover later. We're afraid of choosing one that seems totally opposite to what you expect it. Number six, adjustments, so come up with as if scenarios. So for example, two ways of playing a scene where boyfriend is controlling his girlfriend as if he is a psychiatrist and as if she's a child. Number seven is physical life. So consider how characters might connect two objects, light, sound, and the physical and mental state. For example, you might get the actor to imagine a clock ticking when they're in the waiting room. The whole exercise works great for lines that are cliched because finding an original meaning behind the line will, will make it last cliche. It's also important for the lines that are supposed to be funny to make them actually come out as funny. This is also the point where you find alternatives for any words that you crossed out. So you can do this on the script or on the table. Ways of analyzing to get an answer, to look at the behavior, to unlock occurrences and actions. Now go through their script line by line. Okay, so for this, let's use kernel Lee's line. What else were you thinking when you tell me? It's suggesting food, say history, backstory kinda stuff. So maybe Tony has a reputation for being a narcissist. So maybe kernel Lee is playing along with him, essentially old or just kind of accepting of his narcissism and just make him making him feel okay. It's possible. What just happens? Maybe something happened before. Say, maybe the kernel has had to go to great lengths. So there's soldiers wouldn't stuff just before this sin, I think now it completely changed the way that you would play the scene if you are the kernel objectives. So maybe he wants to test timing or he may be, he wants to make everyone in the tenth if there's loads of people in the tunnel and see his power by the end, right? Action verbs and intention. So possible ways that you could play that line. So to encourage or to big up, told me maybe to test or to challenge as well, their possibilities and then adjustments. So some ways he could play it is as if as if the kernel thinks of telling me as his child or maybe as if there's nothing they can do about the feed, then physical life. So maybe pulling out a piece of paper to rights. I think though it perhaps live in missile moment's events. So you use document ten events for this section. Go through the script and work out the BCE. This is when you might want to go back to action verbs. Once you've figured out the beats, identify these main b's. So this comes with practice and write down the subject of each beat. So this is done so you can think about making each beats different. So for example, one often used technique is to change the character movement or the blocking every time that the beat changes. If at the starts, the characters are talking about how much they love each other and thus the first beat. And at the end, the last b is then talking about how much they hate each other. You can make it a point to make them acts at the extremes to make this change even more shocking. Okay, so established the three beats in the scene. Say, as you can see, the first one goes from the start to waste my time. What is it? By current only? Say the subject of that beat is establishing that tell me doesn't like his food. It's brought up by telling me and what happens. Well, tell me decides to visit the kernel. The second beats. It goes from there. And it ends when telling me hands over his water flask. So I'd say that the subject of that is Tell Me tries to get the kernel to make changes to the food. And Tommy brings it up and what happens? Well, the kernel plays him basically and degrades him. And the third one is just on the end from what's the flask to the and basically that subject is about Tommy game punished for his behavior. And it's not really brought up by anyone. And wow, happens well, it can't drink his water and ends up eating his food, right? So, yeah, it'd be interesting if you had the same BCE as I did. 11. Script Analysis- Events, Spines And Reanalysis: After doing this, consider scene and the film is about the central event. To recap, this can be phrased as a theme and image paradox. A question, or a character spine, such as The Godfather, is about family or loss. And Forrest Gump is about the feather as a symbol of tight against the central event of the same price as a question of does tie me know his place in the army, the stuff he doesn't and he does character analysis. So look at document 11, character analysis. There are certain things that you might want to ask yourself and your balance a character. So, what is this person smart about? What does this character find funny? Where is the pain? How do they enjoy themselves? In what way are they an artist? What do they most fear? What profession do this by T, we there they look up to there are so many of these questions that you can actually use. Let's do this with the Wolf of Wall Street. Since this is easily done with a whole film as an example, hopefully you watched it. Okay, so it looks like Jordan Belfort, the main character, is smart about convincing people. He gets himself in interview at a very respectable company. And you can also convince people to spend their money on stocks when they probably shouldn't. Four thousand and forty thousand shares junk at you fuck and do that. What does he find funny? So he likes relatively extreme humor. It's saying, especially if it's got to do with other people being in competent. So some examples, parading around dwarves and his wife having to pay with real money. Tragedy on me all my god. You probably had to pay them in cash where there had his friend being silly. And then where is his pain. So he's probably most campaign when his reputation is getting tarnished. So such as when the FBI starts accusing him of being unlawful, I'm gonna apply to you like some caveats off my balls. In the meantime, you guys want to take some labs as we arrived on Hawk and miserable breaks. I thought. I'm going to when you sir, are what's known as a Grenada, you're looking at real prison time. It's also important to determine what a character's spine is. Now, a spine is the thing that really drives the character's actions. This is something that dictates a lot of what a person does. It's usually different to an objective. So for example, a faded pops down might get a spine of having attention. So he or she might have been young when they became famous and they've become addicted to attention. They might go to your reality shape for the attention rather than the money. And they might wear flashy clothing for attention. And that a popular celebrity, partly for the attention. Look at the facts surrounding a character and make a list of possible spines. Then go through the events of the script and see which possible spine makes more sense. Pay special attention to the transforming event, which should be at the end of this script. This is an event where a character changes a lot, add new possible spines as you investigate. So some examples binds to consider. Loves, success, freedom, survival, power, spiritual attainment, respect, and revenge. For more information on spine. So you can watch a TED talk on YouTube called Andrew Stanton, the clues to a great story. So let's look at Sam in Lord of the Rings. Is spine, I'd say is to do what's best for Friday. So let's look at some examples. So firstly, he motivates Friday. There's good in this world was different for me. And it's worth fighting. And they also goes back to save further more than once. Actually. Not if I stick you first. Once this is done, returned to the clarification exercise, flax and questions, imaginative choices and filter them. Decide what you want to try and rehearsal and what not. Decide what facts are true and which ones aren't. The reason we have to do all those exercises twice, because the first time you finding information. But much shine a light on what the scene is about. And the second time you are actually applying that knowledge, we can only really begin to understand the sin once we've seen what all the scene analysis techniques have to say. So at this stage, we basically go through the scene again, right? Through the scene analysis and do it a second time, which does not actually take too long. So I would really focus on on this kind of second Go is as a director, I would highlight the fact that tell me, thanks himself as a big man at the start. And he's basically totally belittled at the end and to highlight that change. So when Tony spoons out some stew and tastes it, he, he should vomit it out. I think we want them to seem as disrespectful as possible, essentially. And it doesn't chew it, perhaps maybe vomited out quickly. And then after that tie me. We used to have him cleaning his mouth with water. Do we still want not or do we have in cleaning his mouth with spirits or by spitting? And I'd say by spirits, I think that would be a bit more extreme. I think share essentially how much he hates the foods. And so he's willing to use some alcohol instead of water to clean his mouth of the terrible taste. And for example, at the end, things we might do. So in a, when he, when he's back camp and he's eating his food. We didn't think we would have eats, but we could have him swallowing food or perhaps devouring his food. I think that would work really well actually, because there were a huge contrast, wouldn't. It also shows that he's learned his lesson. And then we also have a look at some other things. So I'm going to do this very quickly. So let's go through this. So I am looking at the clarification documents. Let's look at the first one. Is it concerned for weighing? Does he seek justice in the world? What does he have a grudge? Joan Riley. Well, I don't think him having a virtual variety would really do much for the central event of the scene. And I think he, he seeks justice in the world. I think that would be a good one. Because that's one of the attitudes that changes by the end of the scene. Okay. So let's look at document seven clarification. So for that, we decided that the fact was that tell me as recently joined the Army. I think we can keep that. I don't think it makes a huge difference to the central event of the scene. But yeah, I think it would show is naivety. And I think it would actually illustrate, you know, how, how it goes from being imager to becoming much understanding his place. 12. Script Analysis- Creating A Blocking Plan: Okay, let's look at document nine, imaginative choices and let's use the coffee, of course. So things that we might actually use more than prioritize when we're doing the scene. And things that I think would probably work better would be yeah, I like the idea of maybe he sees Columbia in a touristic light. I think that could be quite funny and all say, once again, illustrates how naive heres to impress the kernel. I think that goes against some of the ideas we had. And I think he hasn't learned to his far lower than the kernel yet. I didn't think he finds a priority to impress the kernel yet, maybe at the end of the scene. So I wouldn't necessarily use that. Yeah. Maybe he just saw an amazing coffee machine in a shop. I think that goes again, like Along with that naivety idea. Right? So that concludes that kind of recap of the scene analysis, how you do it, obviously going over everything, not just those few examples. So notes, be wary of assuming things. So instead, phrase it as a question to be investigated. Secondly, research things you're not sure about. So does a character mentioned an obsolete product? Well, find out what it was. Thirdly, do questions need answering. Well, go into your own past. And that might help you find an answer. All this research is so you can really understand the script, that's it. So a lot of the ideas you might get from this analysis, you will throw away. But it's all worth it for the gold dust that you get, it puts all kinds of ideas in your head. I know it's a bit difficult to go over it twice, but you can't cut it down if you're short on time. Any little bits of script analysis will help you. Okay, so blocking plan, think of ideas or a blocking plan. You might want to test these ideas during the rehearsal. Three different plans for how you want the characters to move around. Porcine is great. Trying these out for real can help you find out which idea works best. If you're shows some time, you might not be able to try out all the different blocking before picking one of them. To design a blocking plan, you'll just have to grab the sheet of paper and pencil, recreate with location. First of all, symbols, et cetera. Consider the pace for each beat of the scene. So you might want to change the movement at each point of the scene. So I started with the layout of the room. As you can see, this over here is the window. This over here is the DOE and the camera is over here. These two lines, they show basically how far left the angle of the camera can go and how far right the angle of the camera will gain. That's the shot that I would want. And then the green squares, they are the chairs. And then I differentiate the woman from the man. The woman is in blue, the man is in red. So the woman starts here next to the window. And this circle is have faced the way she's facing. This arrow shows that she's going to rotate to face the man. Yeah, there's other arrow shows that she's going to move next to the chair. And then this area shows that she's going to sit down in a chair for the man, he starts seated on a chair. Then he gets up and moves to this position. Then he moves to third position. And then he moves and sits down again. And meanwhile, the woman, she gets up from her chair, I'm used to her final position here. What we are actually going to do because I mean, I don't want to get good nicely. And that's the whole scene cell. Let's conclude what we covered in this module. What stage directions do we cross out? Verbs are the most likely to go. How do we come up with imaginative choices by thinking of possible obstacles and like creating a blocking count was shown to word association clarification, questions and answers. Events and character analysis were other things that we covered. 13. Rehearsals- Full Rehearsal Plan: Alright, rehearsal. So what are we going to cover in this module? Well, hopefully by the end, you'll be able to answer the following two questions. What's the purpose of a rehearsal and what is a suggested structure of a full rehearsal. Now, some directors say they don't like warehouses. This is due to a misunderstanding of the function of a rehearsal. So when a director says they don't have time to rehearse, usually the truth is that they don't know how to rehearse to get the most out of it. Now, what do you most people think of rehearsal is, well, an opportunity to nail a performance before she's saying, no. So the goal shouldn't be perfection. You're going to lose any spontaneity of performance if you drill it into the actors. It also ruins the freshness of a new idea. By the tenth time you're told to imagine kissing your crush, it won't be as exciting. It's also impossible to truly replicate a performance from Hudson. So let's consider what it should be. In two words, is an exploratory process, is an opportunity to give actors the chance to explore, open up possibilities of the script, find its physical and emotional structure. It's supposed to get the actors and the director in a habit of coming up with imaginative ideas. It's supposed to make the actors feel more relaxed and free. And in a technical sense is also that help you sort out the blocking. Right? But first, let's take a step back. Do you even have the time or the money to have an audition? Well, for a feature film, a week-long rehearsal is good and poor. Short film, one or two days usually works. All you need is a room, right? Considered the costs of this and whether you can afford it. If filmmaking is more than the Havi. Remember that you're investing into your career. Ask yourself if it makes sense to invest. This will depend on what you're hoping to achieve with your film. If you're good at directing actors and looking to pick up prices for your soul film. You do well to invest. But what are the other options? Well, you can shorten the rehearsal to one day or a few hours. Or you can always go to a cafe and just explore the script with the axis there. This is covered later. Another option is to rehearse on the day you're shooting, say perhaps before everyone arrives or just before going on to take 30 minutes. 2010, it's all helpful. Will work through these options, but we'll begin with the full rehearsal option. First. Decide what seems to rehearse, decide what order to rehearse them. It might be helpful to rehearse them in chronological order. So you can help actors imagine the scripts, OK, then write out the rest of them rehearsal plan. So go through Document 12, rehearsal questions. Document that team rehearsal plan. You don't actually have to write up each answer as long as it's somewhere in the script or written down somewhere else. So if you've written the scenes physical life somewhere else, that's fine. This table is the essay. You can check that you've prepared everything. It doesn't have to be followed the dot either. Right? So let's go to the table read. So a table read means reading with the script, with everyone involved. Doing a table read generates excitement for the actors involved. And you should in fact be doing it with your crew as well. That the table read will also let actor's head word spoken for the first time. Before doing the read. You can tell them about your passion for the project. Tell them you want them to be open with you and to tell you and the problem. Tell them also your how lucky you are to work with them. When talking about the read. Tell them to relax and not to make it a performance. And lastly, try to have forever on sat in a circle without tables. And this helps shape creative and welcoming environment, say the rehearsal stage. So firstly, set some boundaries. So if you have violent sexual scenes that you went to us, tell actors that you don't want any kissing, sexual touching, hitting or slapping. You don't want to, you want to create a space that feels safe. And if you're working with very dedicated actors, they might wanna kiss for real. In this case, if they're acting partner is willing EMI allow it or maybe not. I mean, maybe doing it the first time on set might make it more real for any hitting, slapping him, fighting. You have to get a choreographer. He didn't want people getting hurt. And even if nothing goes wrong, taking precautions is a nice way of looking after your actors. Ok, so next pos of rehearsal. So first, explore questions, problems, and meanings of lines. Ask actors what they want clarified or disgust. Second, so the structure of the scene services events through lines and beats. What's a three-line? Well, it's a goal that the character has through the scene and explains most of what they do and what they say throughout a scene. We've covered other two. Okay, so disgust these with actors, seeing if they have different opinion about what. These are. Also listened to the axis ideas. That's all that part too. And towns. It's hiphop, three, blocking in physical life. So blocking for bilking the scene, it works best if you stand up and actually block it out with the actors. We'd be just focusing on the movement of the actors if they walk from one place to another, finding the physical life, that means explaining what non-working stuff that in, say this could be holding a phone or clicking. Here, you'll have the actors in that position's already. Hopefully. You've had the chance to create two or three blocking plans, but maybe you just have one. Going through the scene slowly, focusing on where they're standing and what they're doing as it progresses. They'll do the scene while saying that lines without emotion. Makes sure that the actors are, however, listening to each other. All right, so that's your starting position. Uses just here. Yeah. So you walk through the door and then we're gonna go through a scene very slowly. Okay. So do you want to start at the other side of the dome? Okay. Yeah. Come on and say your line. And then you approach up till you walk towards her, and then you say you will. Next line is o minus lowercase. Okay, so that's when you stand up and you walk towards the window and you sell your life on a roll. Here. That's right. Again, carry on me. Why don't you tell me that you went to the grocery store. So now you sit in the chair and you approach him and then you say your last line. Okay. Yeah. So that's the whole scene movement. Okay. Yeah. All right guys. So now we're gonna go through the C And again, but with your prompts, I'll let you know what to do with them, okay? Okay. So Nick, do you wanna walk up to him and say you're lying? Well, I will. You sell your line. You you are reading your book by the way, up to a page and say your line. And so now you put your clothes, you umbrella, you put it down there, and you walk towards her again. And you sell your line. Is at that point, maybe you open up your phone and look it up. All the meantime, you just all you do is you turn the page of the book. You keep staring at it. Okay. So let's do that. And then you say, oh, next line, case. At that point you stand up, you fill your book. Let's say on the flow for now. Okay. And you walk to the window, you you're no longer distracted by phone. So you put your phone away and walk towards her. Well, saying your next line. Ok. So now if you turn around and you say your line, okay, so at this point, when you say a work, of course. And I think we can inject two striking how hat to show that you care about how good. Okay, good. And point. You sit down in the chair and you approach him and you say your last line. Okay. So that's the movement for the same. Is that okay with you guys? 14. Rehearsals- Improv And Other Rehearsal Options: If you liked a particular movement, a character did. Write down what direction you gave that led to it. If you did, right? So well-known set, you can give them that same direction and hopefully it will lead to a similar result. This works boom naturally than saying something like stroke face and actually telling people what to do like that. Bring props to rehearsal by the way. So look at what objects are in the sink and find them. So if they're supposed to hold the box and you don't actually have one, it's okay to replace it with something else is definitely much better than nothing. If blocking or movement isn't working, the act of probably doesn't understand the reason behind it. Or perhaps you've just pick the wrong blocking all the sin. Talk this through with the Octa. Once you've done this and you're happy with the blocking, as well as the physical life. The actors listening to each other as well. Move on. So why don't we add emotion to the mix? Well, the reason is that we don't want to lose the freshness of those ideas, right? So let's keep the ideas down my lead to emotion, etc. etc. to the shooting day. The only exception is through lines, since the, since the very important as a component of the same. So for part four, let's look at the three lines and start shaping and the acting. Remember that a through line is a character's goal. Say, ask the actors what they think is going on in the scene for that character. If they have no idea that might work. Even if it's different to your idea. Try it out and then try the scene with your idea. By trying out the actors ideas, you're opening yourself up to more possibilities. And you also make the actors feel valued. Remember to ask, act as Christians to lead to what you want. So you want access to make the direction there. I mean, use backstory and the situation to identifying the through line. And Acts asked for only wanted to changes from each actor every time you go to the same, more can be overwhelming. So what do you think you'll characters through Linus was the through line. So it's goal your character has and the scene so big or small. Okay. So I think that his goal is to get affection. Okay. Yeah, we can try though. I yeah. So do you think she respects him? And why is that? What does she not like bomb these manipulative? Yeah. I guess I can say that. Yeah, absolutely. Well, if that's the case, how would you want him to change going from manipulative to Onyx? Yep, Alright, so in that case, what kinda go? Might we want to inject in the scene queer character? Maybe he's honest form. You have to kind of get them to be honest ruins. Yep. Alright, so let's try it that way. Alright? When rehearsing, work on one beat at a time. So don't go the scene again and again and again. Isolate the part of the scene that you need to work on. And just repeat that. This'll section five. So you can use improved to make the actors feel more liberated. It gives them deep permission to live in the moment. And this is important when doing scenes with lines for real as well. In Prof Can be used as a rehearsal tool, even though you plan not to use it when you're filming. Improv can give you insight, give you new options of waste to play the scene and make the actors Live in the moment. Now here are some improv exercises that you can use paraphrasing. So this means putting the dialogue lines into their own words. Can't say, I'll bet and then use cheap it. Some way of running lie. He and ray will shut you off to my friends and families. So maybe we should go in makeups, not done. But if I don't take you inside, they'll never believe I got the game. Like you. I don't like the way I look. Not writing, right? Like Mondays up again. But at least I'm seeing inside. Alright. Sky yea, improved based on facts they give act as defects in the scene. If you've done scene analysis, you'll already have a list of facts. Tell them to forget anything else as they improvise, you might get a totally different scene. Okay, so now that we've discussed it, remember your characters never been on a date and his life, and your character has never left the house without makeup, filename improved to create backstory. So they make up a scene that must have happened in the character's past. So maybe it's based on the character's backstory or facts. For example, if a character is mourning his dead father, but he's never actually in the script make the character improvise a scene of when his father was alive. Get an actor to play the father. If two characters might have been in love ones, for example, again, to improvise a seen him probe is where the boundaries that you sets come into play. So if ACT is anxious. That scene partner is going to try to kiss them. That improve will suffer and the actor feel that comfortable. Since Suharto as sciency, we could have, we could recreate a scene from his class. Maybe I'll ago when he was 18 and she tell you rejects them. So I pull conference. I somehow was involved in that. I don't know if you get an all-time 04, it's now really nice because I work at the weekend take kinda guy. Well, I mean, if you have a fancy break, I mean cain. Okay. Well, he didn't judge lines. You say I'm drinks on time or why would I want to go and drink with a Y will just fall model. Think of quite a few reasons. Why not? Well, perhaps I Preview rows will be changed. My enzyme. Let's say that you want to the scene in the script to be played as if two characters were in loved ones. Once you've done the improv scene of when they were in love, they'll probably be able to play the original seen much better. Okay, so improved to a parallel. So let's say you want the character to play a scene as if the firing another character. Why not improvise him firing the character? Right? So let's go into some notes. Say the pace of the rehearsal should be slower than onset. The actors need to take time to build connection with actor and the material. Give act his permission to do something. So for example, it's okay to slow down or let's try, or what if, or maybe you can try. All this might not work. Remember these phrases, take the pressure off the actor. So when praising actors, say that was perfect or you know, that, that makes it sound like they shouldn't keep trying that they're great already. You want to say we're on the right track. Also, then the act is direct each other, say let them know to talk to you about it. Alright, so the cafe script exploration. So let's say you have a limited amount of resources and you don't have a rehearsal space, you can still meet in a cafe. The following is an outline of what you should achieve. So let's start with part one. Read the script with no emotion. Then we'll guarantee to of rehearsal. Say, let's go over what that is. So firstly, exploring questions, problems, and meanings of lines. Ask actors brought they weren't clarified or discussed. And then secondly, solving the structure of the scene, events through lines, beads. Discuss these with actors, seeing if they have different opinions about what these are. And then thirdly, listen to the actors ideas, other parts like acting it out, active, adding three lines, impro, physical life and blocking out went be possible. However, you will have giving yourself time to hear the actors insights, given them information, conveyed your passion, and made them feel more comfortable with each other. Rights. All these are hard on set, by the way, when you've got limited time. So this is really worth it. Onset rehearsal. If you've only got a few minutes before sheeting, there are only a few things that you should be focusing on. So you get actors to read the lines with no emotion and go through the blocking. Look for movements that look unnatural. Okay, that's it. So in conclusion, what's the purpose of rehearsal? It's an exploratory process. What is a suggested structure over full rehearsal? Table read, exploring the script, blocking, three lines and impro. We've also covered too short rehearsal options. 15. Acting Styles: Alright, acting. So, so there are different acting styles of techniques that different actors hollow. So some of the most popular of those, Stanislavski system, Lee Strasberg method, psychological method, miasma technique, and Atlantic's practical aesthetics. There are different ways of acting something else. So for example, remembering a situation in your life and focusing on the current Immersion can both greener seem to life. Every actor prefers a different kind of acting. And the acting techniques that we'll briefly discuss here form a blueprint for actors to follow. To get the most out of their preferred style. And mature actors might or might not know about this, but professionals should. So for a director, it's helpful to know about these techniques. You can better help our actors. If you know exactly what technique they are following and how the technique works. You can even introduce actors to one of these techniques if they're not following one. When working with expert actors, knowing these techniques. Great, because it gives actors faith in you. By the end of this module, you should be able to explain what all five types of acting techniques rely on Stanislavski system. So for this method, actors analyze the character situation, then they use emotional memory to relate to a situation. Actors ask the following questions to themselves as a character, right? Who am I? Where am I? When is it? What do I want? Why do I want it? How will I guess it? And what do I need to overcome? All right, so now let's go to Lee Strasberg. So this method suggests actors live like a character to understand the situation and feelings of that character. So it's a type of method acting. We start with choosing a person, a subject. You then observe them. After this, you begin imitating that person or subject. You use your senses to vary your behavior based on scene or situation. In this, you replicate another subject. Next is psychological method. So in this method, you also change your life to become like the character. Wear the clothes they might wear, or visit a location where the character lives. Volunteer, where the character would. Think about the way the character would, all of these kinds of things. The biggest method actors do this 24-7, you begin adopting mannerisms By the way, that the characters would have. After that, you start talking the way the character would, paying attention to your accent, your voice, tone, pitch, et cetera. Actors record themselves to see how they come across the system in Daniel Day Lewis does. So when acting for real, they recollect how things felt when they were living as the character. And this is a motion in a character rather than replication, which is the basis of Lee Strasberg method. Now this gets Meissner's techniques, say this technique focuses on guessing actors to focus on acting through emotional impulses. So it allows for varied and specific acting as well as realistic facial expressions. It works especially well with improvisation. You have to really listen to the, to the other actor and work off them. If they aren't, then you will have to use your imagination. Write Atlantic's practical aesthetics. So this focuses on the situation in the script. So the ACT is, consider a few question. So what is happening to the character in the scene? Say an example is they want to leave the house and the material. So what does a character want from the other character EEG to let them leave? Number three, essential action was the deepest psychological reason why the character, once that goal, or as you might have guessed, what's their spine? Eeg. To avoid, again, I'm using a zip situations so they're relates the essential action to a situation, memory or not, EG as if your child and your parents are about to punish you. These techniques work best if reliving a situation, remembering it vivid, the focusing on the details. In this technique, actors should not try to think about the outcome of the situation if they use as situation in the memory. So EEG like the day after the situation they broke up, they want to have a specific situation in mind. So rather than imagining when they talked to them, either it should be one particular time they talks, right? Okay, so I'll give you a quick explanation of how to improve acting by knowing the acting techniques then act to users. So let's take the last technique at Mount takes practical aesthetics. Since this uses as if situations you want to give direction as an, as if situation, alright? If an actor is struggling, ask them what as if situation they're using them maybe had some recent out before. It doesn't seem specific enough. You could suggest using a more specific one. Right? So let's recap the five acting techniques. So standards left key system is all about analyzing the characters situation. Lee Strasberg method is all about copying another person, person's behavior. Psychological method is about living like a character. Mice no technique relies on emotional impulses. Practical aesthetics is about focusing on the situation in the script. 16. Conclusion: So this concludes all the modules on this film cause we colored actor experience, casting, directing mistakes, affective direction, script analysis, rehearsals, and acting styles. Hopefully you now understand what makes axis uncomfortable. Ways. You can analyze the script and the characters. Ways you can find actors and how to pick them, where you might have gone wrong with directing actors in the past, and how you can improve it with effective direction. How you can make acting twice as good with the great rehearsal and the quick overview of the acting styles that axis followed. Now, the fun part begins. So go out there and make films, work with actors. Don't be afraid of making mistakes and breaking rules. As Director Mike ficus once said, there's nothing quite like the idea of failing spectacularly excite. A filmmaker gave back to the information provided here once in a while to refresh your memory. And with practice and applying the knowledge, you will see yourself improve. You might be a little bit slow to apply initially, but you will get that. So take ten minutes, think about three ideas for a film that you want to make and pick one. I wish you all the best.