Next Week: Directing Workshop Continued...

Next week we will continue to work with actors from Truthful Acting Studios, but this time you will be the ones directing the actors!

Here is the neutral scene we will be working with. Please come prepared with several workable scenarios for the scene that you'd like to direct. Keep in mind that the best scenarios are ones which specify the actors' relationship to one another in the scene.  

Also due next week is Group D's production notebooks. GROUP D: you must have every required form completely filled out and signed in order to be approved to rent equipment.

Group A: Heads up! Week after next, we will be screening your dailies or rough cuts!

October 2 - Workshop with Actors, pt. 1!

Tomorrow we begin a two week workshop with Marco and Robb of Truthful Acting studios!

Class will be meeting on the UCF Main campus soundstage, at our usual time. This week, they will go through some directing exercises with actors from their studio. Next week, those of you who would like to step up to the plate, can prepare a blank scene to direct.

Before we begin our work with actors, we will be hearing from Group A about their shoots this past weekend! So Group A, come prepared to dish about your production.

Group C, a reminder that your production notebooks are due tomorrow! All paperwork MUST be signed to be approved for shooting!!

See you tomorrow!

URGENT: VOLUNTEER DEAL MEMO

This form - VOLUNTEER DEAL MEMO has just come down from UCF legal and is now a production requirement for all sets. I'm sorry to throw more paperwork at you, but this covers everyone on your set under UCF's worker's compensation policy. We have been required to have all film students in production use these forms. Even Capstone just got these to add to their paperwork. 

EVERYONE MUST HAVE THE VOLUNTEER DEAL MEMO SIGNED BY ALL VOLUNTEERS (UNPAID) ON YOUR SET - THIS MEANS CREW AND CAST. This does not substitute for your crew and cast deal memos, but is an additional document. 

The form is long, but you need to fill in everything. Accidents happen and these forms will help you and your team if someone gets hurts. 

GROUP A & B: Bring copies to your rehearsals and shoots and fill them out there. 

12 Tips for Working with Non-Pro Teens

12 Tips For Working with Non-Professional Teen Actors

Found the above article today and thought it would be useful for those of you working with teens and especially non-actor teens in your cast. As I prepare my lecture on directing non-actors, I'm finding a lot of the advice is the same as working with professionals. I also think the advice in this article about working with teens could easily translate to working with adults and children.

! Added bonus: Scroll to the bottom of the article for a few good exercises you could try on your sets or in rehearsals to warm up your actors.

See you all tomorrow! Group B, hope you got those notebooks ready for me! : )

Week 5 Recap / Production Book Requirement Changes

Happy Friday!

I hope everyone enjoyed class this week and got a lot out of Tim's lecture, our in-class activity, and John's visit. Below, I have transcribed some of the tips and ideas he touched on in class.

BUT FIRST - A CHANGE TO THE PRODUCTION NOTEBOOK REQUIREMENTS!
It has come to my attention that though you are required to provide proof of your professional cast member in your notebooks, I neglected to write it out as part of the actual notebook requirements. It is stated in the Vow of Chastity but nowhere else. I apologize for this lapse!

From this point forward, make sure to include a headshot and resume (or just resume) of your professional cast member in your notebooks. This can be placed in the section with your cast deal memos. Groups C, D & E will be required to have this element in their notebooks in order to be approved for shooting. Group A & B get a little slack since it's such short notice.

Please email me with questions or concerns. Below are John Goshorn's notes:

BOOK TO GET:

Directing Actors: Creating Memorable Performances for Film and Television by Judith Weston

-Be aware of the emotional strains that go along with directing actors. For those of you directing dramatic performances, be prepared to “go there” with your actors. Think about how you would treat the living, breathing character, if they were in the setting you created and responding to the obstacles you’ve put before them. Working in this way gives your actors the trust and security to let their guard down and give you truthful, affecting performances. Working in this way will also create a bond between you and your actors - this bond can sometimes lead to personal drama on set or down the road - just be aware of this context. 

-Remember that, unlike the other aspects of the film, there is no backup for the director. You alone are responsible for the performances of the actors. John says this (and I second it!) so that you remember that it’s okay to trust your crew to make sure the lighting, camera, sound, etc. is good - but you must make directing the actors your first priority. 

-Some practical production tips to help you get better takes:

1. Consider shooting in sequence, if the option is available to you. It will help your actors maintain their momentum and save time getting into the moment. 
2. Get as close to the action as possible, preferably right next to the camera. As the director, you are the one watching performance, so you must be there to catch every detail! This also helps you stay in the moment with your actors. 
3. Do a HH master shot early on, in addition to your planned coverage. A HH master can often be a safety net in the editing room. Some actors may become tired as you work through your coverage set ups. The HH allows your DP to move in and follow, as certain moments require. It also gives the actors to freedom to do the entire scene and move around as they wish. 
4. Give yourself 30 seconds of pre-roll and 30 seconds of post-roll, if time allows. You can catch so much magic before and after the lines or action. If needed, give your actor something to do in that 30 seconds - like what would the character being doing right before the scene kicks in? What would they be doing right after?
5. Indulge your actors when possible. If you can prevent conflict or tension through diplomatic use of this idea, then do so! Even if every idea the actor gives you on set is crap, find a scene somewhere in your day to let them try it out. 

I hope these tips work for some of you! See you next week!

On Set Direction Tips by Tim Ritter

Here is Tim's presentation from today's class:

Directing Actors

Next week, I will follow this up with additional info about set procedure and tips for directing non-actors!

Notes from Marco and Robb's Visit / Week 4 Updates

A few reminders:

-Production notebooks are due next week for Group A only! Please get in touch with me ASAP if you have questions or concerns about the notebook or your production!

-The following link is a location agreement that can be used in your notebooks! Thanks, Lacie, for providing this to the class!
Location Agreement Form

-NEXT WEEK: Read the rehearsal reading, found in Changing Directions AND please bring a current copy of your script to class next week. We will be doing an activity that requires everyone to have a physical copy of their script to work with.




NOTES ON REHEARSAL - From guest speakers Marco and Robb of Truthful Acting Studios:

CALLBACKS:

-Give actors a side from your script OR two contrasting sides from the script

-take out action and scene descriptions

-do not send the entire script, but give them the context of their side

-Improv: choose scenarios and “as if”s that are close to your project

-If you can’t decided who they should read for, give them two roles to prepare

-Callbacks are a time to push them, test them, see if they are someone you want to work with - not just someone who is right for the character.

REHEARSALS:

• “open mode,” a discovery period - this is a time to play and be open to suggestions
• There is no such thing as too much rehearsal, but actors can get stuck in a rut of doing lines and movements the same way over and over again. If this happens:
• open it back up to play mode
• (esp. for dramatic scenes) get them to push passed the target performance and get as over-the-top as they can (think soap opera acting). Then bring them back  down.
• DON’T FOGET TO PLAY! 

-The Process:

1. After they are cast - send them the full script IMMEDIATELY - give them at least a week with it.
2. Tell them to come the first rehearsal off-book
3. WORKING READ - actors sit down and read through the script together a few times. 
1. Do not direct/do no let them act! - this is about the actors really talking and really listening to each other. 
2. Do not let them look down at their scripts unless it’s their turn to speak and need a reference. 
3. The goal is make sure they aren’t thinking about what or how to say their lines, they are just listening to one another and talking. They should be becoming familiar with their scene partner and connecting with them.
4. LINE REHEARSAL - lines should be instinct, not memory recall for the actors. This activity will help strengthen that.
1. Have actors toss a ball back and forth, as fast as they can
2. While tossing the ball, actors should go through their lines as fast as they can
1. No emotion, just flat, inhuman line readings, as fast as they can
2. Make it hard! Focusing on the ball should consume all of their mental energy. Add extra balls or difficulty if it’s too easy for them
3. The goal is to help them exercise their line recall, so that is instinctual on set - they never have to think about what their lines are, they can be present in the moment.
4. Do this exercise at the beginning of rehearsals and on-set, as an actors’ warm up
5. The stress on the ball toss, imitates the physiological stress of a film set, where a nervous actor can easily forget their lines. So this exercise is also a way to condition them to handle on-set stress better.
5. After lots of working reads - give the actors to opportunity to stand, if they wish
1. Do not rush the rehearsal process! Go slow
6. Remember that rehearsal is an open-mode process, but principle photography is a closed-mode process. DO NOT LEAVE ANY REHEARSAL TO BE DONE ON-SET. WORK IT OUT AHEAD OF TIME.

ON SET:

-Actors = emotional athletes

-Remember that good actors must be very vulnerable and sensitive to their surroundings in order to perform well. Find tactful ways to give constructive feedback!

-negative feedback will shut an actor down

-build trust on set, reassure them that you know what you are doing (even if you have to fake it!) - tell them you will make them look good!

-Always give some kind of feedback - never say nothing to them! even if it’s just “we got what we need, let’s move on.”

-If time, do a play take - have fun with the scene

WORKING WITH CHILDREN:

• Schedule lots of time for on-set prep and things to go wrong!!
• Take rehearsals in smaller chunks, don’t over work them
• Have parent of guardian at all rehearsals AND on set
• Keep it fun for them! Acting should be fun for all actors, but especially children
• Use theater games in rehearsal and for on-set warm ups. There are tons of books out there with game ideas.

STUNTS:

-Rehearse A LOT - if possible, get a stunt coordinator!!

-Establish very clear safety boundaries

-STORYBOARD EVERYTHING!