Actor/director Vinny Murphy talks about directing actors.
In this article, rather than give a ‘Tips for Directing Actors’ list I would like to try to take the subject seriously, just for a laugh.
As an actor, before I ever directed, I was often asked by directors for advice on directing actors. I was shocked by the questions they would ask. ‘What do you do with actors?’ they’d say. ‘I’ve heard they have their own language you have to learn,’ they’d say. A lot of these people had been to film school and some had made a few shorts already. They seemed to be dealing with some strange alien life form. I’d ask what had they done with these strange ‘others’ before: they either couldn’t remember or they said they’d done nothing – basically they didn’t know what had happened. It still holds true today that colleges spend very little, if any, time on this obviously extremely important aspect of filmmaking. It seems to be the last thing anybody making their first film ever thinks about. ‘The director got sucked into the camera’ is an old way of saying the director didn’t deal with the actors and, from what I hear and see, there are still directors getting sucked into all sorts of old and new cameras all over the country.
Why does this happen? I think the main reason is fear. Fear of the unknown, fear of this ‘other.’ It’s much easier to talk to the DOP because you’re talking about tangibles. The job of a director is so huge and so full of pressure that it’s very tempting to look for excuses when something isn’t working. It’s great, you can say ‘the actors just aren’t getting it, what’s wrong with them?’ and hey presto! If those useless actors aren’t getting it, what can you possibly do? The point is that it’s the director’s responsibility to create a situation where the actors can do their most interesting work. It’s not just when you talk to them, it’s the entire situation the actors find themselves in. If that responsibility sounds both huge and vague, then welcome to the world of film directing!
Question: How do you direct actors? Answer: ‘I don’t know.’ – Jim Sheridan
What Jim Sheridan meant was that he doesn’t have a technique that fits any situation. Every film is different, every actor has to be worked with differently. It’s much too personal an activity to be able to apply broad strokes. The worst thing an inexperienced director can have anywhere in their head is the notion: ‘They’re actors, they should be able to do anything.’
My favourite bad move by an inexperienced director is where they go over to the actor, talk at them for five minutes (or more, which is worse!) and walk away with a satisfied look as if they’ve just completed their part of the bargain and now it’s up to the actor. For a start, an actor can’t really take in that much information in one go. The actor is not looking at the script the way a director or a script editor looks at it. If I look at a script that I am about to script edit, I can read it and understand it very clearly. If I am given the same script because I’m going to be acting in the filmed version of it, that’s a horse of a different colour altogether…
The full article is printed in Film Ireland 132.