Making movies is a collaborative effort. This is not some epiphany I’ve had or discovered all by myself. It is an axiom that has been going on for the last 100 years or so in the history of filmmaking; unless of course, you truly make films as a one-man crew with no actors.

But if you are making or plan on making a feature or short film you have to learn to collaborate, especially if you are going to be directing actors. Actors are the one necessary evil in any production. I say this fondly of course.

So how does one go about eliciting a performance from an actor, whether a well trained and seasoned professional, or a first time novice? I learned early on that you are not allowed to hit them or prod them like cattle. As it turns out, actors tend to be rather sensitive and some actually have very good instincts. All kidding aside, if you are working with an actor, chances are they’ve done their homework and know their character inside and out. They tend to think in character so as you’re directing you may hear, “I don’t think my character would say/or do that.” Listen to them. Hear what they have to say because their instincts are kicking in. Of course you can always over rule their instincts but give them a chance. This is a collaborative medium.

So back to the question: How do you learn to work with actors? How do you get that right performance? The real secret here as I mentioned above is to listen to them. Working with actors is learning to deal with people—it’s just that these people are playing a character. If you come to set with too many preconceived ideas you will lose spontaneity in the performance. It won’t be fresh or new each take. Actors like to experiment, so let them. You can always pick what works later in the editing room. But if you let them do their thing, you might just capture some magic.

I like to rehearse my actors. This can be a simple table read before you ever get to set. It also allows you to hear the characters and to try things out. This is different from rehearsing with the crew and camera. That is a technical exercise for lighting, camera and blocking. But if you can rehearse the actors in preproduction you might be able to help the actors find the character you are looking for as well as help refine the scenes.

I like to break down the characters into archetypes or paradigms, (maternal, paternal, vindictive, etc.) and then when rehearsing the scene, give these instructions to the actors, while they are “in character.” This helps direct them in the direction you want to go and allows them to try the performance a different way. This then carries over to the set when you are shooting. If they start to go another way, you can steer them or guide them in the direction you, as the director want the performance to go.

The mood on set is also a contributing factor to performance. If you are doing comedy, it is important to keep things light. If the scene turns to drama, a jocular mood is probably not appropriate, especially if the actor is staying in character between takes. I don’t mean to say you need to have a dark cloud over the set, be refrain from loud noise or talk. It really does help the performance.

It also helps to be in tune with your actors. You should see if they are struggling or have questions. An open dialogue is always important. Actors also respond to praise. I know this might sound trite, but if you see something you like let them know, so they know they are on the right track with the performance. This is positive reinforcement and it goes along way.

The opposite side of the spectrum is the new or novice actors. Here you tend to see over performances— over acting. Or perhaps the actor is theatrically trained. They are used to making sure the person in the last row of a large auditorium gets the same nuances as the person front row center. It helps to let them rehearse. I find that if you explain to them that they are in this tiny box, the size of a 35 mm frame of film, they can learn to tone down their performance. They don’t have to over gesture. Less is truly more in cinema.

What about improvisation or improv on set? As a writer – director this can be a touchy subject. Many time there is a reason I wrote a line a of dialogue or turn of phrase a certain way. However, I am not opposed to improv if it really will improve a scene. When we are rehearsing on set the actors my stumble upon something instinctively in their character and a scene can take on a whole new meaning. If it improves the scene then we go for it, but if it changes the nuance of the script too much, I will rein it back in. There are no bad ideas out there, but as director it is your job to sift through them all.

Improv will help the actor find that inner voice of the character so it is a good rehearsal exercise, even if you never use it in the film. It allows the actor to become the character and it can be a fun game to play. Ask your actor questions and have them answer in character. It is also in an exercise such as this that you can really help the actor understand what you want out of the character, out of the performance.

I mentioned earlier that I break down the character into archetypes. It is at the rehearsal stage that we go through the script and discuss these character beats. Where are they “paternal,” “mad at the world,” “suicidal,” etc. These are the beats I want out of the performance. Once filming begins, I can hit upon those beats top help the actor stay in character throughout the scene.

An example, I put up a film on my website a film called A Family X-mas. The film is about a Mafioso played by veteran actor Robert Costanzo. When we rehearsed the scenes I kept telling Bobby that I wanted him to play the character like a spoiled little child that is used to always getting his way. I wanted to start the confrontation scene as if “Aha! I got you” no matter what transpires, he has to be on top of the cat and mouse game. Then the scene down shifts and Bobby’s character becomes the little boy, then the spoiled little boy who must get his way at any and all expense. On the receiving end is another veteran actor, John Capodice playing Santa Claus. My instructions to John were simple. “No matter what happens to you, no matter how dire, you must stay Paternal and sympathetic throughout the scene.” And I think it paid off.

Every director will have their own style of dealing with actors. I am a people person so this helps a lot. I like to collaborate and this collaboration translates to some great performances. But I never forget I am steering the ship. I don’t have to be a taskmaster. The simplest suggestion or reminder does go along way. If you are really serious about your profession as a director or filmmaker, I’d suggest taking an acting class. By learning a bit about the craft of an actor, it will help you in your craft of dealing with people.

Warren Eig (Writer, Producer, Director and Editor) is an award-winning director who has been involved in feature films and television for many years.  A native of New Jersey, Eig graduated Boston University’s College of Communications, Magna Cum Laude, with a Bachelor of Science Degree in Broadcasting and Film.  It was in Boston that he directed the shorts: Ronnie & Friends,Running in Circles and Pact.  All his films screened at the Redstone film festival, (named for Sumner Redstone).

Eig honed his knowledge of the movie making process by working in all facets of production from Production Assistant and Key grip to Assistant Editor to Editor— in television, music videos and feature films.

Continuing his pursuit as a Writer-Director, Eig was a Quarter Finalist in The Academy of Motion Pictures Arts & Sciences Nicholl Fellowship in Screenwriting competition with the script Babes With Guns. Eig then sold the treatment, Safe Haven, to Kamin-Howell Entertainment and more recently wrote the treatment Pastime for Jericho Entertainment.  He has worked as a segment editor for the 66th Annual Academy Awards, before moving to Jacobs & Gerber, Inc.  He went on to freelance at Playboy Entertainment as a writer/producer for on-air promos on the Playboy Channel.  Eig Produced and Directed a short film for the Getty Museum.

Eig’s last film, the award winning comedy “A Family X-mas” has played around the country in more than seventeen film festivals, most notably the Florida Film Festival.  Eig won Best Comedy Short at the WorldFest-Houston international Film Festival and was Best of the Fest at the Newport Beach International Film Festival, Best of the Fest at the Wine Country International Film Festival, and Top Ten nominated films at the Rhode Island International Film Festival (an Academy Award© qualifier).  Eig was also a Finalist the USA Film Festival.

“Knit Wits,” currently on the festival circuit premiered this year at the Newport Beach International Film Festival.  It has also played at Big Bear Lake International Film Festival, Marcos Island International Film Festival and Pacific Palisades Film Festival, and the Palm Beach International Film Festival.

Eig has also worked on such films as The Mask (with Jim Carrey), Sam Rami’s Army of Darkness and in television on WB’s Angel, and HBO’s Tales From the Crypt to name a few.

For more information check out: http://babyboompictures.com/