Introduction

Question 0

Whats the real scenario of the learning curve in directing?

Answer 0

Two steps forward, one step back.

Question 1

When directors are in jeopardy they want quick solutions to questions. Is it possible to have a short cut to directing actors?

Answer 1

NO. To learn to direct the short way, you must first learn the long way. And practice until you get it faster

Question 2

What’s the blueprint or secret recipe that you can decide ahead of time and know that is going to work?

Answer 2

There is no such thing. There is only principles and lots of preparation. (And then you jump off the cliff hoping that it will work.)

Question 3

What is the best way to approach directing if things are uncertain?

Answer 3

Be in the moment. Throw every scrap of your arduous preparation to survive.

Question 4

What’s the common thinking that Directors, with technical background, have about actors?

Answer 4

They think actors are not really working. (Anyone who can walk and talk at the same time can act, right?)

Question 5

Problems that writers encounter when the turn to directing.

Answer 5

They become troubled because the lines when spoken, don’t come out as they imagined they would.

Question 6

Why is it that most people think that the craft lf directing actors cannot be taught?

Answer 6

Because they think it’s a matter of instinct and intuition, and you either have it or not.

Question 7

Why does some stars lose respect for their directors?

Answer 7

Because they don’t show their hard work and arduous preparation onset or rehearsal. And usually give result direction (Which gives evidence that they know very little about actors).

Question 8

What’s usually the worst thing about a low budget film?

Answer 8

The acting is really bad.

Question 9

How can anyone learn how to direct actors? (3 things)

Answer 9

1. Learning the basic principles and tools that are objetive and simple. (Get the tools, simple and objective)
2. Learning how to prepare (script analysis).
3. Learning how to try ideas (rehearsal and set).

Question 10

How to aproach mistakes. (3 things)

Answer 10

1. Bring creativity at all costs (never run out of ideas).
2. , Think outside of the box, try something else.
3. Have a positive approach to mistakes, they are oportunities in disguise.

Question 11

What are the four words that most directors use to justify mistakes (Which are bullshit, by the way) and that takes away their freedom?

Answer 11

“I HAD NO CHOICE”

Question 12

Why is it that the phrase “I had no choice” is a lie?

Answer 12

Because there is always a choice. You can either focus the resources on getting a special effect or you can use them to get more time in the rehearsal period. (The shot blanket)

Question 13

Whats the diference between intuition and opinion?

Answer 13

Opinion requires no reflexion or past experience. Intuition is when someone accesses their deepest resources below preconceived ideas. (Theres has to be something learned in the past for the resources to be there)

Question 14

If thechnique is not an end in itself, then what’s its purpose?

Answer 14

To set the ground for inspiration.

Question 15

Can rules be broken?

Answer 15

If breaking them makes the movie better, then… By all means.

Question 16

How can your force inspiration?

Answer 16

You can’t. The strain of the effort only creates tension.

Question 17

What’s the best way to get the inspiration flowing?

Answer 17

Stop focusing on inspiration and focus on technique, if the inspiration flows in, then let it be.

Question 18

Technique does two things, which are they?

Answer 18

1. It gives you something to fall back on, something to do whilemwaiting for inspiration.
2. Aerates your brain, makes you choose, have ideas - the. Your are ready to get inspired.

Question 19

3 Tips on handling prejudices and assumptions that may pop into your mind.

Answer 19

• Monitor yourself against having assumptions or prejudices.
• Question conventional wisdon.
• Lear the rules, then forget them.

Question 20

If directing involves a lot more work than what is known as directing, what can you do to survive? (2 things)

Answer 20

1. By GOING THROUGH THE PRINCIPLES, step by step.

2. Using your DEVELOPED INTUITION. (For that you need to know how to develop it).

Question 21

How can you tell if you movie is going to be commercial?

Answer 21

You can’t really. Nobody know what’s commercial untilnthe numbers “hit” and the box office figures go to the sky.

Question 22

What happens deep inside the very crafted actors who make acting look so easy. (To those knowledgeable about the demands of performing, is a miracle, a touch of the divine).

Answer 22

There is a past of rigorous technique and careful detail, and a very deep (even unconscious) set of tools, resources and training.

Question 23

Why is it important for a director to know so much about the actors? (About their tools, resources and training?)

Answer 23

Because that way they can create a GOOD RELATIONSHIP (viewer/viewed).

Question 24

Why does most of the time some directors find hard to build a good relationship with the actors?

Answer 24

Because they break the viewer/viewed relationship.

Question 25

How does the viewer/viewed relationship works?

Answer 25

The director is the viewer and the actor is the viewed. The director has to decide if it works or not, and the actor needs to surrender to his impulses, feelings and choices. He depends on the director to tell him whether his efforts succed.

Question 26

What’s the paradox of the viewer/viewed relationship?

Answer 26

That the actor depends on the director, but this dependency frees him, because he get to focus on his impulses, choices and feelings, without the need to evaluate himself.

Question 27

What problems can originate from breaking the viewer/viewed relationship?

Answer 27

The actor stops focusing on his tasks and starts to direct himself. He can’t surrender his attention to his own job. He stops living moment by moment because is focusing on evaluating his own performance.

Question 28

What if the actor is very bad? Should the director give acting lessons on set? What’s each other job?

Answer 28

No. The job of the director is to protect performance, make adjustments, give playable direction, know when to say “print”.
Its the actors job to find his performance, surrender to his resources, feelings and choices; and make the adjustments needed, in a believable way.

Question 29

What does it mean for a director to protect an actor’s performance?

Answer 29

He lets the actor know that he is there to:

1. EVALUATE PERFORMANCE (a very complicated mission) and
2. IMPROVE THE SCENE (give adjustments when necessary).

Question 30

What’s the director’s main responsability?

Answer 30

To tell the story.

Question 31

Main advantage of a director who understands actors and knows their resources.

Answer 31

He can help when the actor is having trouble finding his performance. (Can guide her to use various techniques, but not giving acting lessons, only guiding her to find her performance through techniques)

Question 32

Whats the actor’s main responsabilities? (3 things)

Answer 32

1. Create truthful behavior
2. Follow direction
3. Fulfill the requirements of the script.

Question 33

What happens when the actor agrees with your direction (find it logical) but cannot excecute it without contradicting his feelings and impulses?

Answer 33

The performance quality decreases.

Question 34

What does it mean to compromise a scene?

Answer 34

To settle for something less than what you desire.

Question 35

Even if the director and actor are very prepared because of their homework, they can disagree… How do you prepare for that? How do you find synthesis?

Answer 35

With an OPEN MIND and enough ideas.

Just make sure that both of you are making the same movie

Question 36

What if the actor doesn’t have the resources necessary to find the performance that lives in your mind? What can be done?

Answer 36

Open your mind. Let go the ideas you have about the character, and adjust the image to something reachable to the actor,something she can play truthfully. That will lead to a better performance, sometimes greater that the one imagined.

Question 37

What do actors expect from a director? (4 things)

Answer 37

1. They want him to know when to say print.
2. And for him to push them. They don’t want you to be happy with something less than what is possible.
3. Him to understand the script deeply, with very imaginative ideas and intelligent.
4. Actors want to have permission to make the direction their own.

Question 38

Whats the idea of a profession with no cookbook (like directing)? What can you strive for?

Answer 38

1. To trigger your understanding, insight and ideas about life.
2. To awaken your powers of suggestibility and invention.

Question 39

What does it mean to be an actor’ director?

Answer 39

It means to take everything you know about directing, about relationships and about life, and give it all to the actors, with love, passion and humility. To give yourself entirely to the process, not leaving anything behind… When they take a risk, you take it with them.

Question 40

How can you help if the actor agrees logically but cannot execute direction without contradicting his feelings and impulses? (3 things)

Answer 40

1. STOP REPEATING the same direction.
2. Know those impulses.
3. MAKE A CHANGE. Even try something wrong (you need a ton of alternatives to approach a scene).

Question 41

How do you develop your intuition? (2 things)

Answer 41

1. By learning and growing every day, because its never enough.
2. Not only develop wisdom in the craft but in life as well.

Question 42

What’s the SECRET to be a good director, one that doesn’t compromise the scene?

Answer 42

NEVER RUN OUT OF IDEAS.

Question 43

Let’s say the actor agrees with you, and appearentely he understands, but his performance is not good. What’s happening?

Answer 43

He agrees because it makes sense logically, but the instruction is contradicting his FEELINGS and IMPULSES.

Question 44

Word of WARNING to those afraid to make mistakes:

Answer 44

YOU WILL MAKE MISTAKES.

Question 46

What can you do to never run out of ideas? (2 things)

Answer 46

1. Prepare, prepare and prepare.
2. Encourage actors to prepare, prepare and prepare.
   With both parties prepared and bringing their best understanding of the script, there should be lots of ideas to try out.