Peter Kiwitt explains the three categories of direction a director can give an actor, playable, result and demonstration, and when each one works best.
The casting ideal is to find a talented and skilled actor whose soul matches the soul of the character. The further away from the part, the greater range of the part, the more vital talent and skill. But sometimes you cannot or do not want to match the soul of the character. (No one wants to work with a sociopath!) And great actors are often in scarce supply— even in the largest production centers. To compensate, care and skill is required when directing actors.
Ranked in order of desirability there are three broad categories of direction: playable, result, and demonstration.
Playable direction has its roots in theater. While playable direction is generally much better than result direction, result direction has a worse reputation than it deserves when used in film directing. The reasons lie in the differences between theater and film.
Theater should have a relatively large amount of rehearsal. Film may have none before the day of shooting. Theater wants a great performance every night. Film needs it just once. Theater actors perform for an audience without the director present. Film actors perform for a director without the audience. Theater blocking (position and movement) only needs to be generally repeated. Film blocking should be more precisely repeated for continuity (so different shots can be edited together). Theater actors must be able to project their performance. Film actors must be able to give an intimate performance.
While the danger of result direction is that actors might “indicate” their performance (work too hard to show you what a character is feeling) rather than “be in the moment” (truly listening and reacting), the danger of playable direction is that, because it is less defined, it can take longer to get what you want.
something specific they can mentally or physically do that will produce the result you want. Most notably this includes giving an actor an active verb (rather than saying, “be angrier,” you might tell her “to accuse”). Other types of playable direction include: Describing the given or imagined circumstances preceding the scene, particularly as actions (rather than saying, “he’s dishonest,” you might say, “he steals from the tip jar”). Pointing out a scene’s central event (rather than saying, “be sad,” you might say, “they realize they don’t love each other anymore”). Giving tasks to move concentration from the actors’ lines and help them “be in the moment” (instead of saying, “be preoccupied,” you might tell him to “polish your trophy”). Giving an image (instead of saying, “be insane,” you might say, “treat the corpse like you’re on a date”). You could also ask questions. Rather than saying, “be in love,” you might say, “do you think she still loves him?” Or you might use the “magic if.” What would you do if you were in this situation?” the result you want—how you want their character to be rather than what their character is trying to do. The actor must then convert it into a playable direction or intuitively do it. So “be angrier” and “be more loving” are examples of results direction, as are requests for such things as talking faster or slower. In effect you are describing the vision of your film that lives in your mind rather than telling the actors how they might achieve it. While playable direction is preferred on set, it is sometimes better to concisely tell an actor how you want them to be rather than ramble on trying to find a playable direction if one is not clear to you. Besides time on set being at a premium, it can be worse to get an actor thinking too intellectually or risk confusing them than to give a simple result direction. (actually saying the line) or otherwise acting out the part for the actor to imitate, is a far worse form of direction. The best direction engages an actor’s imagination so the performance has life and gives you more than you imagined. Demonstration is asking an actor to copy you copying the film you see in your mind. First of all, if you feel the need to use this technique it is quite possible you lack the skill to effectively demonstrate what you want. Even if you can, however, you increase the chance of getting a superficial, unconvincing performance. That said, it is important to keep direction simple and concise on the set so, in rare circumstances, it can be useful.
So do your prep. Divide a scene into its beats (separate parts) and think about the active verbs and other playable directions you might use before you start working with your actors. But once you are on set, avoid talking your actors to death. Use more concise means of communication if you can’t quickly find a simple playable direction.
Keep learning filmmaking
Want more lessons like this? Join StudentFilmmakers free for live webinars with working pros, and stream on-demand filmmaking classes in cinematography, directing, screenwriting, sound and post.
