“Directing the Film Actor” is a 3 day hands-on workshop with Peter D. Marshall and Trilby Jeeves held in Vancouver, Canada that concentrates on the filmmaker’s main task: directing the actor!

This workshop was designed for filmmakers who want to know how to get the best results from actors.

“Directing the Film Actor”

Workshop Objective – The objective of this workshop is to explore the film director’s creative process in shaping an actor’s performance.

Day One – Covers the theory behind the director’s job, the importance of script and scene breakdown, character analysis and understanding the actor’s process.

Day Two – Covers acting exercises, guidelines for the casting session, and practical blocking and directing exercises.

Day Three - Each director will block and rehearse a scene with two actors. All scenes will be recorded for review and analysis as a group.

To find out more information about this 3 day event, including the course content and how to register, please Click Here.

P.S. This 3 day intensive workshop is limited to only 10 filmmakers, so if you are interested, please register early.

Peter D. Marshall

Hi, I’m Peter D. Marshall and I’ve worked (and survived) in the Film and TV industry for 37 years: as a film director, television producer, first assistant director and Series creative consultant.

In 1999, I created ActionCutPrint.com as an Online film directing resource (articles, workshops, ebooks) for Independent Filmmakers like yourself.

I also publish the free monthly film making ezine, The Director’s Chair which is currently read by over 4600 filmmakers in 100 countries around the world.

So please Bookmark this Page Now or Subscribe to this Website to get instantly updated on the latest filmmaking articles, film and television resource links, new online filmmaking courses and the latest film production books.

The feature article in this month’s issue of “The Director’s Chair” is called “The Film Director’s Creative Process – To be a film director today, you need to know what is expected of you when you begin pre-production, when you step on the set, and when you are in the editing room.”

To read these articles, Subscribe to The Director’s Chair and get two free bonuses: (1) Day One of my 210 page Online film directing audio course, “The Art and Craft of the Director Audio Seminar” and (2) the first 24 pages (plus mp3 audio) of my 144 page “Script Breakdown and Film Scheduling Online Course For Independent Filmmakers.”

Before you can create an accurate budget for your film, you need to break the script down and prepare a shooting schedule. This “one liner” enables you to generate a cast Day-Out-Of-Days, find out how many locations you have and discover the total number of “real” shooting days.

A properly designed shooting schedule is fundamental to your budgeting process. Without an experienced Assistant Director to prepare this board, you will create an unrealistic budget which will have a negative impact on your entire production.

If you are interested in using my skills as an Assistant Director to break down your script and prepare a realistic film schedule for your project, please check out my Script Breakdown and Film Scheduling services.

201 Things You Wouldn’t Know Without Movies or Television!

#57. “Explosions always happen in slow motion. When an explosion occurs, make sure you run away from it so the blast can send you flying, in slow motion, toward the camera.”

#113. “Even if you’re heavily outnumbered in a martial arts fight – your enemies will wait patiently to attack you one-by-one by dancing around in a threatening manner until you have knocked out their buddies.”

Did you know that putting a smile on someone’s face is one of the most gratifying things in life. That’s why I created this PDF ebook, “201 Things You Wouldn’t Know Without Movies or Television!”

Along with “201 Things You Wouldn’t Know Without Movies or Television” I also included 4 additional lists for you enjoyment:

1. Actual English Subtitles Used in Hong Kong Films
2. A Dictionary of Hollywood Terms
3. The Top 28 Movie Lies
4. The Hot Air Balloon (One of the best film jokes ever!)

And after you download this free 22 page Ebook, please FORWARD it to a friend, family member or associate. It could be the highlight of their day. (As long as they have the same sense of humor you do!)

For more movie humor and film funnies, check out:
“Movie Mistakes, Film Quotes, Movie Clichés and Jokes”

I’ve been working professionally in the film and TV business
for 37 years. During that time, I’ve had the opportunity to
work on industrial films, educational films, documentaries,
commercials, music videos, episodic TV shows, TV movies, Indie
films and Hollywood features.

I’ve worked with dozens of good, mediocre and bad directors -
as well as hundred’s of good, mediocre and bad actors.

I’ve read 100′s of film scripts before they were produced:
some which were so terrible I couldn’t get past the first 10
pages, to scripts which went on to win Academy Awards.

I’ve also had the opportunity to spend months at a time
teaching and mentoring film students as they write, prep and
shoot their own short films.

I believe my years in the “film production trenches” has
given me a unique insight into finding the answer to the
question: “Is there a formula, or guide, that film directors
(anywhere in the world) can follow, that will help them make
successful and compelling films?”

Well, I believe the answer is Yes!

And by the way, my definition of a good film (a documentary or
drama) is “the art of visually telling a compelling story with
believable characters.”

In my opinion, most inexperienced (or experienced, but lazy)
film directors spend the majority of their time figuring out
how to shoot the film first (cool shots and creative camera
angles) before understanding what the story is about and
knowing what the characters really want.

I’m going to be bold here and state publicly that this is the
wrong way to direct a good film!

Why?

Because I strongly believe that to successfully direct a
“visually compelling story with believable characters”,
you need to follow this 7-step formula:

STEP 1: THE STUDY OF HUMAN BEHAVIOR

What do I mean by the study of human behavior?

“Human nature is the concept that there is a set of inherent
distinguishing characteristics, including ways of thinking,
feeling and acting, that humans tend to have.”
http://www.ask.com/wiki/Human_nature

In other words, the study of human behavior is about:

a. What makes us tick?

b. Why do we do things?

Once you know the answers to these questions, you will have a
better idea of how the characters in your script should
interact with each other, as well as having the proper
“psychological tools” to direct actors on the set.

The good thing about human behavior is that it is observable,
and as storytellers, we must first observe the way people
react to different situations and circumstances in order to
understand How and Why their behavior changes.

As a film director, you must be a “witness” to human behavior.
You need to get into the habit of observing people going about
their daily lives, so you can find out what motivates them to
take action.

Once you know what motivates a person to achieve their daily
needs, you will have the knowledge to better understand the
story you are telling, and you will feel more confident
helping your actors achieve believable performances.

STEP 2: STORY

There are many facets of a Director’s prep on any film or TV
show, but the first, and most important part of your job, is
to understand every detail about the story: where it takes
place; who the characters are; and what happens to them.

When you first read a script, here are just some of the many
questions you will need to answer to help identify and solve
potential script problems:

a. What is the story about?

b. Does the story make sense?

c. What problem is to be resolved?

d. What event hooks the audience?

e. What is the plot? (the action)

f. What is the subplot? (the theme)

Understanding the story requires a lot of work on your part
because you then need to take dig deeper into the story and
it’s structure by analyzing each individual scene in the
script to find out what it is about, what works and what
doesn’t by asking questions like:

a. What is the intention of the scene?

b. What are the story points?

c. Where are the scene beats?

d. Where is the climax?

e. What is the resolution?

f. What are the important lines of dialogue?

Your script breakdown will be a never-ending process. Each
time you read the script, you will find something else you
didn’t know about the story or the characters.

And the script will also constantly evolve. It will change
because of your creative notes, writer changes, actor changes,
producer changes, studio changes and location availability.

But as long as you know what the story is about, and where the
story is going, you will be able to adjust to all the changes.

STEP 3: PERFORMANCE

I believe that almost everything you need to know about
directing actors is explained in these three words:

MOTIVE DETERMINES BEHAVIOR

When we break these words down, we see that:

MOTIVE (our inner world)
DETERMINES (controls)
BEHAVIOR (our outer world)

And if we break them down even further, we see that:

What our needs are (MOTIVE)
Will decide (DETERMINES)
What actions we will take (BEHAVIOR)

One of the main responsibilities of a Director is to help
actors achieve a realistic performance, and a good director
does this by “listening for the truth” and by always asking:

a. Do I believe them?

b. Do the words make sense?

c. Are the characters believable?

And the key to getting a realistic performance from an actor,
is by first understanding a character’s objectives.

a. There should be one main objective per character per scene:
What do they want in the scene?

b. Objectives should be clear, concise and stated in one
simple sentence: “To discover where the gun is hidden.”

How to choose objectives:

a. Ask yourself “What does the character want in this
situation?”

b. A character’s objective should create obstacles for the
character.

c. Look at what the character does (his behavior) rather than
what he says.

d. Look at what happens in the scene, and how it ends.

e. Look at what people want out of life: what are the things
we will sacrifice everything for?

On the set, actors want to work with directors who understand
their vulnerability, so it’s incredibly important to create a
good relationship with every actor on your film.

And what do actors want more than anything from this
relationship with the director? TRUST!

If actors feel they cannot trust the director to know a good
performance from a bad performance, they will begin to monitor
their own performances and  begin to direct themselves: they
will become “Director Proof!”

Remember, to find the character they are playing, actors must
surrender completely to feelings and impulses, and a good
director understands an actor’s vulnerability and creates a
safe place for them to perform.

STEP 4: THE PRINCIPLES OF MONTAGE

One of the key elements of being a good director, is to
understand the “principles of montage” – the juxtaposition of
images to tell a story.

In 1918, a Russian filmmaker called Lev Kuleshov conducted an
experiment where he shot and edited a short film in which the
face of a famous Russian matinee idol was intercut with three
other shots: a plate of soup; a girl playing ball; an old
woman in a coffin.

And Kuleshov made sure that the shot of the actor was
identical (and expressionless) every time he cut back to him.

The film was then shown to audiences who totally believed that
the expression on the actor’s face was different each time he
appeared – depending on whether he was “looking at” the plate
of soup, the little girl, or the old woman’s coffin; showing
an expression of hunger, happiness or grief respectively.

So what does this experiment tell us?

By carefully using the juxtaposition of images, filmmakers
were able to produce certain emotions from the audience by
manipulating an actor’s performance.

As a film director, understanding the principles of montage
will help you to: create a more visual script; to decide your
camera placement; to block your scenes; and to get layered
performances from actors.

STEP 5: THE PSYCHOLOGY OF THE CAMERA

What I mean by the Psychology of the Camera are the visual
meanings of shots and angles. In other words, where you put
the camera can either enhance or detract the audience’s
understanding of what the scene is really about, and what the
characters are feeling. For example:

There are three angles of view for the camera:

a. Objective: The audience point of view. (The camera is
placed outside the action.)

b. Subjective: The camera acts as the viewer’s eyes. (The
camera is placed inside the action.)

c. Point of View: What the character is seeing. (The camera is
the action.)

Audiences will assume that every shot or word of dialogue in a
film is there to further the central idea, therefore, each
shot you use should contribute to the story or the idea you
are trying to convey.

Since viewer emotion is the ultimate goal of each scene, where
you place the camera involves knowing what emotion you want
the audience to experience, at any given moment in the scene.

STEP 6: BASIC BLOCKING AND STAGING TECHNIQUES

Very simply, blocking is the relationship of the actors to the
camera. Blocking is not about getting the dialogue correct or
discussing an actor’s motivation – unless it directly involves
the movement of an actor.

I suggest you start thinking of blocking as the choreography
of a dance or ballet: all the elements on the set (actors,
extras, vehicles, crew, equipment) should move in perfect
harmony with each other.

Before you start to figure out your blocking plan, you must
know these five things:

a. When, and where, were the characters last seen?

b. What is the last shot of the previous scene?

c. What is the first shot of the scene you are working on?

d. What is the last shot of the scene you are working on?

e. What is the first shot of the next scene?

Your blocking plan will also be determined by:

a. Whose POV is being expressed at the time? (Is it the
writer’s, the character or the director?)

b. What distance are you from the subject? (What is the size
of shot: close or far?)

c. What is your relationship to the subject? (What is the
angle of view – your choice of lenses?)

When you first start directing, blocking a scene can be one of
the hardest parts of your job. But like anything else in life,
blocking takes practice, and the more times you do it, the
more comfortable you will become.

STEP 7: TECHNICAL

By technical, I mean everything else it takes to make a movie!
(Locations, Cinematography, Editing, Sound, Costumes, Stunts…)

Yes, I know I’m putting the majority of the filmmaking process
into one category, but without understanding the first 6 steps
of this formula, you are setting yourself up for “filmmaker
mediocrity” – which is writing unimaginative scripts with
unbelievable characters that create boring and dull films.

Which leads into my favorite filmmaking quote from the
legendary director Frank Capra: “There are no rules in
filmmaking. Only sins! And the cardinal sin is dullness.”

From what I have witnessed over the past 37 years, I believe
that if you follow this 7-step film directing formula, you
will see how any director, even someone with very little
experience, can create a visually, compelling movie with
believable characters.

And if you have a story that has Universal themes, and the
passion to tell this story, you can make a movie, in your own
language, and audiences around the world will watch it.

It’s your choice!

This article is from my “Script Breakdown and Film Scheduling Online Course For Independent Filmmakers” – a 137 page manual that takes you, step-by-step, through the proper process of breaking down a script and creating a realistc shooting schedule.

I have learned many things during my career in the film industry, but one of the most valuable lessons I have learned was to remain human at all costs. And by this I mean to treat others as you would like to be treated yourself.

During my 35 years in the film and television business, I have worked as a PA, grip, electrician, assistant cameraman, commercial production manager, first assistant director, TV series creative consultant, television producer and director.

I have also had the opportunity to work on all kinds of productions, from industrial films to documentaries; television commercials to music videos; TV series to Hollywood feature films.

Making a film is a stressful job and you have to remember that there are many careers and a lot of money on the line every time the camera rolls.

When you enter this business, you are stepping into the world of “entertainment.” TV and movies are just one part of this “make-believe” environment – dance, theatre and music are some other examples.

This is a business of artistic expression, massive egos and huge amounts of cash – a recipe for disaster if I ever saw one! It is also a business where you can lose your soul if you’re not careful.

Remember the often cited (and industry changeable) quote of Hunter S. Thompson: “The (television) business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”

With that in mind, I created “The Ten Commandments of Filmmaking” which is my way of showing you how to work and survive in this business – without getting OR giving ulcers!

NOTE: This list was written primarily for First AD’s and Directors.

C1) It’s only a movie – no one gets hurt.

This one should be obvious. Making any kind of film or TV production can be risky because there are many natural hazards on a film set. Crew members can trip over cables, fall off platforms, have equipment tumble on them, burn and cut themselves, slip on stairs and slippery surfaces etc.

Then there are the added hazards that are specific to our industry: breathing atmosphere smoke for long periods, accidents involving insert cars or process trailers, accidents from stunts and special effects and noise hazards such as loud explosions and gunfire.

All crew members should be aware of the safety issues working on any set. If you have any concerns, you should talk to your shop steward, union rep or the 1st AD who is the set Safety Supervisor.

C2) Ask lots of questions – never assume anything.

Don’t be afraid to ask questions. Like the expression says, “The only dumb question is the one that was never asked.” If something doesn’t feel right, or it doesn’t ring true, or it doesn’t make sense, ask questions. Solve it now.

Assuming it will all work out “on the day” is wrong. If something in the script doesn’t make sense, or you feel something is not working, deal with it right away.

Fix it, change it, eliminate it, solve it, get rid of it. Whatever IT is, do something about it before you go to camera.

C3) There are no rules in filmmaking – only sins!

This is probably my best piece of advice. It’s not original – it’s a partial quote from the legendary director, Frank Capra:

“There are no rules in filmmaking. Only sins! And the cardinal sin is dullness.

I want you to always remember this quote, and as you get up each morning and walk onto that set, refer to it often!

C4) Listen to the people who know more than you do.

When was a Second AD on the TV Series “Hitchhiker” in 1985, I had to run the set for the First AD while he did some scheduling. Well, after a bit I got a little flustered, as this was my first time running the entire set.

Suddenly I heard my name. When I turned around, the dolly grip was waving me over to him. As I came closer, he smiled and said, “Peter, it’s block, light, rehearse, tweak, shoot!” Words I will always remember. (Thanks Mike!)

The crew work on the set – all the time! That’s what they do. They see directors and First AD’s come and go. They know more than you do. Always will. Listen to them and you will become a better AD.

C5) You have to EARN respect – not demand it.

The hierarchy of a movie is very much like the hierarchy of an Army: General’s at the top and Privates at the bottom. And just like the Army, there are certain people in the higher positions that you are unable to get along with.

Directors, 1st AD’s and DOP’s form the “Triumvirate” of any movie set. They are the people in charge. And many times you will be faced with the difficult task of working for months with one (or more) of these people who are egotistical, abusive, or sometimes not even very good at their job.

This will happen – and sometimes it happen’s a lot. How I deal with this, and suggest you do the same, is to remember this military expression, “You need to respect the Rank – but you don’t have to respect the person.”

C6) Don’t abuse your power – use “Power Through” not “Power Over.”

As a First AD, you have a very powerful position in the film industry. The Director hires you for your organizational skills and your command of the set; the Producers look to you to make sure the movie comes in on time and on budget; the crew look to you for leadership.

The “rank” of 1st AD means you get to carry “a big stick”. But a lot of AD’s will abuse this power and yell and scream and make everyone’s life miserable. In other words, they will take advantage of their position and use their power over people.

My philosophy is to take the other route. In other words, use “power through.” What this means is to work with your crew and bring them all together as a team and work it out together. The crew know you are in charge. You don’t have to flaunt it.

C7) Don’t be afraid to change your mind.

I read a self-help book once that also had a set of ten commandments and one of them was “It’s okay to change your mind.”

This makes a lot of sense. Especially when you are a Director or First AD because you are making decisions all the time and some of them may not be the right ones after you get more information or listen to other people. The problem happens if let your ego get in the way.

I did that once. I thought I had the right answer and I didn’t want to change the schedule even though the director and the PM thought we couldn’t make it.

Well, they were right and I cost the production money. Not just because I didn’t want to do the extra work, but also because I was afraid the crew would feel I didn’t know what I was doing (which turned out to be correct in this instance anyway.) Lesson learned!

C8) A healthy Ego is necessary – self importance is unnecessary.

There is an important distinction between Ego and Self-importance.

Ego can be defined as “your consciousness of your own identity.” You need an ego in this business because Ego is important for your survival. Ego helps you to believe in yourself, it helps you to get up in the morning knowing that you still have things to learn but you are good at your job and you will get through your day by being fair and respecting others.

On the other hand, self-importance (or what I call misplaced ego) is “an inflated feeling of pride in your superiority to others.” I believe it is this trait (more than anything else) that makes working and surviving in the entertainment industry harder than it has to be.

C9) Have a sense of humour – learn to laugh at yourself.

This rule should probably be #1 on this list.

In my experience, the best sets are the ones that have a relaxed and professional atmosphere presided over by a creative director with no insecurity issues; an experienced 1st AD with no attitude problems; and a DOP who loves the collaboration process and realizes that “making a film is not all about the lighting!”

Making a movie is hard work, and the occasional break from the stress and intensity of it by a film crew having a laugh pays for itself many times over.

I have found that my sense of humour (and my large repertoire of bad jokes) have gotten me through some very difficult times.

C10) Take 10 at lunch – and change your socks and shoes.

As a First AD you stand on your feet all day. Taking a moment after lunch to change you socks and shoes is a blissful moment – it actually re-energizes you. There is probably some psychological or chemical reason for this that I don’t understand, but whatever it is, try it because it does work!

I like to take about 10 – 15 minutes on my own somewhere off set during lunch to have a quiet time. This is where I can “recharge by batteries.”

All day you have to be on your game and make hundreds of decisions with the crew constantly asking you questions. Taking time some time for yourself is really, really important to keep your body relaxed and your mind sharp.

Twitter Film Quotes

Filmmaking Quotes 2009 – On March 18, 2009, I started to ask everyone who followed me on Twitter to send me their favorite filmmaking or movie quote.

The result is a 36 page PDF ebook filled with 470 filmmaking and movie quotes submitted by over 430 ‘Twitterers’ from around the world. Click here to download your copy of Filmmaking Quotes 2009.

For 2010, I will continue to ask for film quotes from people who follow me on Twitter. So please keep your quotes coming in and don’t forget to send this Ebook to your friends so they can also share this wonderful collection of filmmaking and movie quotes.

Oh…and my favorite all time filmmaking quote comes from director Frank Capra: “There are no rules in filmmaking, only sins. And the cardinal sin is dullness!”

Follow Peter on Twitter: http://twitter.com/bcfilmmaker