One of the key duties of a film director is to, well, direct the actors. Sure, you should have a vision for what the end result will look like visually, as well as the tone and atmosphere you want to convey; but it’s also extremely important for directors to help bring out the right emotion, pacing, and energy from their cast.
Here’s the thing, though: Actors have their own interpretation of the script and character. Perhaps they go Method, draw on the Meisner technique, or subscribe to Bogart and Landau’s Viewpoints.
So, how do you avoid conflict? James Bond might have the answer.
In an interview with Backstage’s “In the Envelope: The Actor’s Podcast,” Daniel Craig candidly discussed how he likes to be directed:
“I like to be left alone, but I also want very specific notes. It’s like a bit of both. I want everything. I want you to fucking leave me alone. Let me present you with what I think this is. And then, the director comes in and says either ‘No’ or ‘Why not this? Try this, try this.’ That I love. Once I’ve sort of done my thing, I don’t need to do that anymore. Let’s do this. There’s some part of me that wants to present, like a good show-off does. ‘I’ve been working on this; let me show you what I’ve been doing.’ You want to get that out of your system. And then for the director to come in and go, ‘Right, good; let’s use it.’ ”
Craig’s words offer a glimpse into the mind of a performer, providing some advice that directors can take away.
Keep an open mind.
Remember that filmmaking is a collaborative experience. No doubt you have read the script dozens of times, storyboarded every shot, and visualized exactly how the actors should bring these scenes to life. But the actors have also spent quite a bit of time in their characters’ heads. Let them show you what they’ve come up with. Don’t shut anyone down the moment they stray from what you initially pictured. Who knows—they may have tapped into something you never thought of. Trust them and you’ll gain their trust in return.
Avoid both over-directing and under-directing
As Craig’s insights show, this is a delicate balance. In the interview, he praised his “Queer” director Luca Guadagnino for his ability to “corral” his cast. “In a scene, you ask these questions: What are we doing? How big is the emotion here?” he said. “That’s why having a great director like Luca on hand is [important]. It’s like they say: Give an actor enough, they’ll hang themselves.”
It’s essential that you guide your actors without limiting them. Set parameters, and then leave room to play inside of them.
Embrace the emotional process.
Regardless of technique, emotional recall is a key aspect of the process for many actors. This is true for Craig, who said: “My acting comes from my emotional life. Every actor delves into their own experiences to bring that to the work they do.”
As a director, it’s important to remember that your collaborator’s emotional truth might not necessarily be something you’ve experienced. That’s OK. But be wary of telling someone that their emotions are wrong for the scene; there’s a reason why they’ve tapped into it.
Know when you’ve got it.
Discussing a pivotal scene in “Queer,” Craig noted: “We did it in one. I said to Luca, ‘Are we good?’ He was over-the-moon happy. ‘Let’s move on. Let’s not do it again. Let’s not fuck it up.’ ”
It can be tough to move on as a director; you want to make sure you got everything exactly right. But you also need to develop a sense for when it’s time—even if you nailed it in one take. You also need to be looking out for the actors, especially on emotional scenes. It can be difficult for performers to tap into something dark or complex over and over again, just so you have options in the editing room. Learn to recognize when it’s right (and your producer will thank you).
