I've started doing short films because it's fun to create and collaborate. Since these are totally amateur and no-budget, most actors are absolute shit (even though I usually audition a few dozen before picking). How far am I allowed to go in extracting a better performance from them? I remember reading that a good director never tells their actors what to do beat-by-beat, but I'm tempted to do that.
>>69615700
Have you seen Friends? Serious question.
>>69615700
What's the point of doing shorts instead of just writing an indie film?
Beat the shit out of them. They'll appreciate it once you are a super successful director making millions of dollars.
>>69615783
Yes, but what about it?
>>69615811
To learn, because I'm not good enough yet to make a feature.
>>69615906
Joey's acting tips aren't great but they might actually help the total amatures with no talent your presumably using.
Tweezers in the pocket for crying etc.
>>69615906
you git gud at writing indie films by writing indie films. Try to purposely write shitty films, it'll take the pressure off of trying to make a "good" one
>>69615700
>I remember reading that a good director never tells their actors what to do beat-by-beat
Where the fuck did you read this? Of course you should tell your actor what to do. The only thing you can't tell your actors is how to feel in determinate scene. Ask them to seek the character in their emotions, but the corporal language is up to you, the director.
>>69615906
> To learn, because I'm not good enough yet to make a feature.
You ain't gonna believe this, but you used to fit right here in my palm. I’d hold you up to say to your mother, “This kid’s gonna be the best kid in the world. This kid’s gonna be somebody better than anybody I ever knew.” And you grew up good and wonderful. It was great just watching you, every day was like a privilege. Then the time come for you to be your own man and take on the world, and you did. But somewhere along the line, you changed. You stopped being you. You let people stick a finger in your face and tell you you’re no good. And when things got hard, you started looking for something to blame, like a big shadow.
Let me tell you something you already know. The world ain’t all sunshine and rainbows. It’s a very mean and nasty place and I don’t care how tough you are it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain’t about how hard ya hit. It’s about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That’s how winning is done! Now if you know what you’re worth then go out and get what you’re worth. But ya gotta be willing to take the hits, and not pointing fingers saying you ain’t where you wanna be because of him, or her, or anybody! Cowards do that and that ain’t you! You’re better than that!
I’m always gonna love you no matter what. No matter what happens. You’re my son and you’re my blood. You’re the best thing in my life. But until you start believing in yourself, ya ain’t gonna have a life. Don’t forget to visit your mother.
>>69616004
Thanks anon, but I'm looking for more nuanced subtetly than tweezers and hard math problems.
>>69615823
I probably won't be DESU but I still have high standards for things I make.
>>69616066
What does that mean? Does that mean I can't tell them "be sadder" for a particular line?
>>69616135
>Does that mean I can't tell them "be sadder" for a particular line?
In terms of dialogue, you should let the actor respond to what he understand of the line. He must have total comprehension of the scene so that he can act with all the subtley of the script. How does he get the comprehension? You have to discuss every aspect of the character with him.
Try reading Stanislavski books.
>>69616426
That can be difficult when a short film offers only 10 pages of material, don't you think?
