How to Direct Non-Actors

[bhess]

A lot of what I've read about directing actors says that it is important to let them inturpret the script the best way they feel is right rather than to tell them how to say each line and how to react to everything written.
I can understand that line of thought but I am currently preparing to start shooting a horror film where almost all the actors involved have little to no acting experience.
I dont want to come off trying to tell these people how to say every line of every page but I almost feel afraid that if I dont it would come out the way I want.
Does anyone have any similar experience to share how they handled?
The shoot will be for several weeks and I dont want to have these actors ripping thier hair out at me b/c Im telling them how to do everything but on the other hand I dont want to be ripping my hair out b/c they arent getting close to where I want to portryal of my script!

 

[temerson]

The best way to get the performance you want out of your actors (and this is true of ALL directors and actors, not just directors working with non-actors) is to get on the floor and do what it is you want the actors to do. A lot of directors are talkers, who try to explain the way they want a scene, a shot, or a character in general portrayed. However, they spend half their time describing what they want the actor to do, and the other half telling the actor what they are doing wrong because they cannot communicate effectively what it is they want.

The best way to direct, especially non-actors, is the approach that one of my friends and I use. The first time I worked with him, we were working with non-actors. It was a chiropractor going postal on an old high school bully he knew. Instead of saying "I want you to jump on his back, grab the bat, and really ride it into him," my friend JUMPED on the bully's back, yanked the bat off the wall (pulling the set down), and really smashed it into the bully's back. Doing this achieved two things:

1. The actor knew EXACTLY what the director wanted.

2. After seeing the director really grind into the other actor, it was a visual form of both confirmation and permission to act a fool.

When the director starts acting all crazy, it allows non-actors to feel more comfortable (less like "okay, I am acting. I must act.") and less self-conscious.

When I was directing a comedy, I knew what exactly I wanted my principle actor to do. We had read through the script, and time and again I was getting close to what I wanted, but there was still this queer feel to the whole performance. Something was off. I knew I had seen the performance I wanted somewhere, but I didn't remember how to communicate it. Finally, I grabbed the movie, fast forwarded to the character that I knew resembled the performance I was wanting, and I told the non-actor "do that." He did it. He did it wonderfully. And from film festivals, he started getting offers from agents and other directors. Nobody knew that he was a non-actor, because I was able to get the performance from him I wanted.

On set, I was working with several kids under the age of ten. I use the same approach with adult actors as I do with kids. Kids, I know, won't understand if I say "a little more sad, but not sad so much as melancholy." Those words are foreign to them. So I jump on set, show them EXACTLY what I want them to do, and they have a frame of reference. Don't be afraid to get your hands dirty. You're a director, you're not blowing glass. Directors have to have a flair for the dramatic, as well.

 

[paleocomixinc]

Thanks for the advice, it actually really helped me. I know how frustrating it is to direct non-actors! heh.

 

[rogermarsh]

coupel of tips

coupel of tips

First, I like to talk to every actor - professional or not - and let them know I want them relaxed on the set and feeling comfortable. I remind them that it's a digital world, so we're never wasting film - we can always have another take.

I try early on - instead of saying exactly how I want lines spoken - to give them an idea of the look and feel of the film - like with examples of other films we've both seen - relating to characters or scenes from the other films.

As with the other reply, as director, I like to jump right into the scene, and do what I think I want done. Just to give them a feel for it.

I tend to listen to the actor's diction - is he/she pronouncing every word distintly - is there any garbling going on, which happens when an actor is a bit nervous. I talk about pace somethimes. Pick it up. Same scene, but let's run it faster, but I don't want to lose any dialogue to speed.

If a scene isn't running exactly as I want, I let it play out just to see what the actors will do. Then I might step in and say, okay, let's twist it a little this way and see what happens - asking one actor to slow his pace down, another to pick it up; I might suggest an emphasis on one particular word.

Yes, you want the actors to express themselves and not be told how exactly to say each and every line, so for me at least, I try to give grander directions - toward the look and feel and flow of what I'm trying to achieve.

Sometimes I will pull an actor aside and run lines with them - sometimes very short pieces - over and over - until I think I've heard it right - then send them back into the scene with the other actors.

I also take extra shots if I'm not sure I got exactly what I wanted - like, run a short scene again, but get each actor on close up for their line, so in editing, you can always drop in a close up for emphasis - then snap back to the two-shot or wider shot with the dialogue in progress.

 

[dcarroll29]

I was a new actor at one time and occassionally still work with non-actors and newbies and I agree with temerson's reply. If the director gets out there and shows them what they want they don't have to try to create it in their mind as trained actors do. That will also open up a shy non-actor if they see you acting it out. Giving them a character out of another movie to relate to helps a lot also.

Denise
http://www.denisecarroll.net

 

[Tim Kolb]

I would just add that in those moments when you are very frustrated and tempted to read the line the way you want it read, the actor's focus (particularly inexperienced ones) will change to parroting the way the lines were read instead of "living" them.

Sometimes getting the line read the way you envision it isn't worth sacrificing the inexperienced actor's immersion in the character and the scene.

 

[SMAKS]

yeah i am using kids at my school for my actors. it really helps them when i show them how i want it done. the film ends up just how i wanted it to be. but its also good to have them add their own touch to it makes it original.

i also use the theater students but sometimes they have trouble adjusting from the stage to the camera. i constantly have to remind them to act natural and not project as much. they also have to tune down their facial expressions cause the audience is right in front of you not yards away

 

[boo6585]

Re: How to Direct Non-Actors

A lot of what I've read about directing actors says that it is important to let them inturpret the script the best way they feel is right rather than to tell them how to say each line and how to react to everything written.
I can understand that line of thought but I am currently preparing to start shooting a horror film where almost all the actors involved have little to no acting experience.
I dont want to come off trying to tell these people how to say every line of every page but I almost feel afraid that if I dont it would come out the way I want.
Does anyone have any similar experience to share how they handled?
The shoot will be for several weeks and I dont want to have these actors ripping thier hair out at me b/c Im telling them how to do everything but on the other hand I dont want to be ripping my hair out b/c they arent getting close to where I want to portryal of my script!

In the two shorts that I have directed I worked with non-actors. It is very important first that you pick someone who can do the role in the screenplay. I am in a class right now called Acting for the Camera (I am not an actor) so I can get on the other side of the camera and learn how to direct better. The main concept to get is that a role is just a part of the actor that they are in real life, and it is very important to let them live naturally infront of the camera. If their acting or personilty have to be changed, then maybe you should try someone who fits the role better.