Actors are a big reason why the average viewer watches films. Actors come second to only the story. Most non-industry people discuss films as follows. It’s the relationship. Good actors connect to the other actor(s) in the scene; for a good actor, the scene is about the relationship of the characters, not about their own performances. Directors who understand this can confidently create scenes of dramatic conflict. Dramatic (or comedic) conflict builds from the emotional events in the scene, that is, the ways the characters affect each other that makes their relationship different at the end of a scene than it was at the beginning. Even while casting, if you think of yourself as casting relationships rather than casting performances, you will gain confidence in your work with actors.

A couple things. The classic one is trying to describe what emotion you want the actor to have in the scene. You never want to say, “You’re really upset here,” or “You’re really angry here.” You don’t want to go straight at emotion like that. What you want to do is give them the circumstancesand the factsthat are going to produce that emotion naturally. It can be easy to get lost in thought while they are talking to you, but make sure you are paying attention and not just half listening. The best way is actually just turn off all distractions. While communicating with the technical film crew members, these result-orientated directions can make total sense. If you say take it up a notch to the gaffer ( the person responsible for setting up the lights), they will know exactly what you mean. But for communicating with most actors, these directions are too vague for interpretation because they can mean too many things.It’s the director’s job to make sure that the actor creates an environment in which he or she can do this. Actors are very sensitive creatures who are vulnerable in front of cameras and microphones every time they perform. It’s important for a director to work with actors so that everyone is on board with his or her vision. The director should be able to explain what he wants an actor to do in terms that he or she understands.

My biggest mistake at the beginning of directing actors was giving non-usable, result-orientated pieces of direction. For example, “ Can you bring it down or take it up a notch? Can you be happier or angrier?” Directing is Speaking two different languages simultaneously. Rather than establishing the emotions your actor should be feeling, establish the circumstance of a scene. Renowned acting coach Sanford Meisner defines acting as “Behaving truthfully under imaginary circumstances.” To behave truthfully, you must allow your actors to feel genuine emotions under the circumstances you create.I told the cast members that during the shoot, I would ask them to think about the people from their past saying to them that they couldn’t do something and use that anger while performing their sport. Treat them like you understand that their time is valuable–because you do, even if it’s only a small amount of time. Treat them like they’re kings and queens, and they’ll repay that respect by giving you their best work.

You also need to pay attention to where your actors are positioned on set and make sure that they are comfortable while performing their lines. For example, if they have a hard time remembering their lines then maybe they will need some ear buds. Separate yourself from filmmaking for a moment. Look at other art forms or athletic endeavors. How many virtuoso orchestra conductors have never played a musical instrument? How many great basketball coaches have never played the game? I’m sure that there are exceptions, but if you think that you are one of them, it’s probably your fear causing you to rationalize – so you don’t have to face something difficult. If you want to be a great director that has excellent rapport with actors, how can you ask an actor to do something emotionally difficult that makes them incredibly vulnerable, like performing a nude love scene? Is that artistically justifiable when you’re afraid to take a beginning acting class? Removing Redundancy: Cutting out repetitive scenes, dialogue, or descriptions that don't add to the story. Redundancies can slow down the pace and bore the audience. This does not mean several hours of devising written character breakdowns. Paint a picture in the actor’s mind. Bring the actors into your world and how you see it.Directing actors is a specialized aspect of filmmaking. It’s not merely telling them where to stand and what to do. Like many who become interested in directing films, the thought of bringing written words to life on the big screen is an absolute thrill. You get to work with cameras and lights and do the little rectangle thing with your fingers so everyone knows you're the real deal. But what about the other side of directing: the human side where you have to direct actors? The director should also be able to express expectations in concrete terms that can be objectively judged by the actor (i.e., “I expect you to cry more,” “I don’t think you’re coming across as angry enough”). Rather than giving an actor the effect you desire, create a cause to achieve this effect. This cause can be achieved through another actor. For example, if an actor must be surprised in a scene, direct another actor to do something spontaneous that elicits surprise. For example, a serious environment on set may be more important for a method actor in a dramatic film. On the other hand, comedic actors may benefit from a relaxed, lighthearted set. Whatever the mood may be, it may be a good idea to communicate this with your crew so they may also facilitate the right environment for your actors. How to Direct Actors for Film 4. Find the directing sweet spot