Such great tips into the mind of an actor thru the eyes of a director. I would LOVE to see more like this! Great job to the two actors too, they were awesome sports!!!
I dont mean to be offtopic but does anyone know a tool to get back into an Instagram account..? I stupidly forgot the account password. I would love any assistance you can offer me
@Will Otto i really appreciate your reply. I found the site through google and im trying it out atm. Looks like it's gonna take quite some time so I will get back to you later with my results.
Hmmm. I think those questions after the 1st reading were premature. What I saw was a situation that is full of emotion. The actor's sensed that but they don't know specifically how the characters feel at this phase of rehearsals. So the trick is to build a situation that produces the emotions and point of view that best suits the dialogue , what the scene offers as it unfolds, and furthers the story being told. I think the given circumstances are a great source of understanding and information. They should be used to serve the performance. And I think a somewhat technical discussion about character, plot, style can be helpful at the early stage to keep those aspects in focus. What the characters go through from beginning to end. How you may need to set up later scenes. You start with a more wide open approach that you clarify throughout the process.
@@josuebenvindo Says the guy with a fake RUclips account. I know what directing is. I've directed over 60 productions professionally and won numerous awards. Academic theatre instructors are notoriously clueless about actually directing a real play. or acting.
@@mikep-9995 Why are you so insecure? If you really love cinema, you know that each director has its methodology. From John Ford to Kubrick to Spielberg to Kurosawa to Godard to Coppola... each works on its own way.
@@mikep-9995 let me go off tangent here, and spew my awards and self absorbed insecurities by letting ppl know my acting experience 🤣🤣🤣 dude get a grip
How to become an actor director. Go in front of the camera. Be Don't yell directions over the camera and don't have your sets be mostly jokey. Acting is reacting. Notice real acting. During rehearsals, do quick exercises asking questions to the characters (actors as the characters.) Think about P.O.P.E - people objects, places and events. Exercises: The Monitor exercise Think of POPE. Looking for emotional point of view. Emotional relationships. The energy and connections, listening and acting as well as reacting and the actor's mask all in an actor. Tell the actor's to ask questions to each other and watch the reactions, mannerisms and movement as well as the connection. You will know that the actor isn't listening, when they widen their eyeballs. Give the actor the chance to fail. Tell them to not hold back. Once you have got your script and done your analysis as a director, you analysis it as an actor, as if you, yourself is going to play that character. It helps you understand that motive determines behaviour. Behaviour comes from motivation. Result orientated direction. E.g. wlak here, cry. Say this lovingly. Rhis makes the actor self aware what if you want him to give you a hug or what if you want to warm or warn him. Something lovingly could come out. Before you have the actors. our process with the script will be the facts. Gocthorugh and understand the facts of the script and the characters of that point of view. Go through it with questions. Before we go through wit the facts go through who, what, where, why and why. Who are you? Who is your relationships with? What is your/the relationship? What are each of your relationship? When is it? Where are you? What is the moment before? The journey? (What? - the objectives - super objective overall script: internal core needs/motivation. Then there's the scene objective - my purpose of this conversationis to blah blah blah. Get the scene right. Get or know your why.) So the scene objective is often because of your motivation behind the same objective which is because of your super objective when your motivation, behind that. Its a really core human need. Looking for Popeand internal imagery and relationship to that and using the tools of "as if" - use this in rehearsals. After this. Tear it up and rediscover this with the actor. Shouting Action! Also known as tactics isn't important if you haven't got all the connections and drives of the actors. Now casting is done and you have spoken to each of them individually/one on one and now they are meeting each other. Talk about the text but not about how you see it. Discover it. The actor may have done it themselves. State the facts with them. Know all the questions you've made up. So go over the script and expand on questions with the actors, discuss. Note: actors have different perspectives or ideas on what has/may have happened with scenes, objects that they may be unsure about or the facts are unclear. Remember that motivation determines behaviour. Both actors' goals are to empathise with each other. The actors may have gone through the facts by themselves. So you, as the director, are watching/listening and reacting, discovering and connecting to the actors to each other. After the actors have read their lines, have gone over scenes or a page or couple, give notes/constructive criticism. Sometimes when they are reading, they may impose their ideas. Make sure the actors are connecting with each other and the 5 W's. After reading, ask the actors, what just happened, what's it like on a day. When talking to them, Refer the actor(s) to the characters themselves using I and you. Another question you could ask what life been like since so and so has occurred? If The Answers of the questions you ask (Similarly or differently) are different, it doesn't matter. One of the best ways to become an actor director is to take acting classes. This way, you will connect with the actors. Hot seating is a great way to connect with a child or themselves as a child. Quizing them as their character. This rehearsal is not about how the actors say it, becuase one the most magical performances come of the moment. They happen when an actor surprises themselves. Whatever tactic they play comes form a reaction. The goal of rehearsal is for the actors to conect with their characters, each other, given circumstances and their Pope. Allow the actors to also review themselves. You are helping them connect. Really important, don't ask the actors anything the actors wouldn't do. Do not prompt the actors by sharing information for the scenes. Use it to access that emotions. A way to enter that. Don't allow the actors to share their personal information or process of getting there. After going through heaps of investigation and fact finding, establishing what questions there are. There are still questions. Now understand your beats, and the W's. Actors beats are different from directors beat. A beat is a shift in the scene. A guy called Anthony said in life, I don't play the beats but the beats play me. Read through and feel through the script and see what the beats and objectives, the relationship and motivations. At this point, please cross out any parenthesis (when you are 1st looking at the script). Identify the shifts and do mini objectives with beats. Who are you talking to? One exercise is to make the actors to eye contact whilst saying their lines. Do 36 questions whilst doing something like getting coffee or going for a walk. Have a break. Relax, breathe, release tension then Start. Have them smile then slowly go into the script. Now, with the beats, we will label the events from the actors perspective. The most important part is the connection of the actors. Identify the obstacles. Now you can do, improvisation, once you have done everything above. Could utilise improvisation of the moment before the scene. Objectives is important. From the actors perspective is all about whether the gut punch will hurt. Ask your actors what they think the purpose of the scene is. Take a phrase and apply it to a universal term. Become femoral. Directors favourite question is why? Ask What does having that thing or person close or with them mean to them? What does the character need from the other character? It is important for the actor to connect with her why. Why do you need that thing as a character/actor? In an actor, it is: this is what it is and why, why, why, why, why, why? One of the most exciting things is not letting the actor kerry sbiut how they ate doing something but it is actually seeing this great acting. Magic. We went from Seeing objective and purpose in the conversation to asking why and leading to that super objective feeling to go to what, connecting with the truth and then from there we speak that. Naturally say the lines not act it out. All these are tools to use on set. Let them play and permission to fail. Transitive verbs - great tools to have as a a director. Don't go and rant on set to say or shout how you see it as an actor is vulnerable and nervous. If you rant at them, they will go AAAAAAAA. Words: try to deflect, beg, order, twist it, big, big, seduce him/her. An example of a way you can talk to actors. Talk about their motivations and see what comes out. Give the actors the chance to play around and fail. Give them the chance to ask question.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
Such great tips into the mind of an actor thru the eyes of a director. I would LOVE to see more like this! Great job to the two actors too, they were awesome sports!!!
watching this right before I shoot the main dialogue scenes of my new short film! thank you for this.
I'll have mine in two weeks! Good luck ✊
Wow, you pulled such an honest emotion out of him, the male actor did super amazing. This was incredibly helpful.
Oh thank you!
WOW this was such a hidden gem!!! So helpful as I prep my capstone short film. I need more Pip Edwards in my life!
I dont mean to be offtopic but does anyone know a tool to get back into an Instagram account..?
I stupidly forgot the account password. I would love any assistance you can offer me
@Alexander Cairo instablaster :)
@Will Otto i really appreciate your reply. I found the site through google and im trying it out atm.
Looks like it's gonna take quite some time so I will get back to you later with my results.
@Will Otto It worked and I finally got access to my account again. Im so happy!
Thank you so much, you saved my account !
@Alexander Cairo you are welcome xD
The magic is right there. I just need a little help getting it out.
Thank you so much for this!
Thanks!
Great content! Thank you for sharing your experience! I’d love to see some more!!
Oh I love this! Thank you so much 💜🤍
lovely transformation..great job young actors
awesome video! well directed, I could just see how their acting got to a next level because of you.
Oh fabulous, thanks!
Loved this Pip thank you so much
This was great! Thank you so much!
This was amazing. Thank you!
Thank you dear. I used your method and it worked! I appreciate
This was so great!! I really hope you do more of these covering more techniques to direct actors. It would be amazing!!
Yea. We can have a platform where we discuss more of the techniques.
Thank you so much for sharing this I've been searching for something this wonderful for a long time
Oh thanks!
Very useful! Audio has been mixed a tad low.
Thank you Pip!
The intro needs to be much longer and louder and more cuts. Apart from that very interesting
thank you so much for this class!!!!!!!
Great talk...... Thank you ....
very helpful, thank you so much
Solve a lot of problem I met . Thanks a lot !
where can I get a list of the 36 questions that you use?
very very interesting....once it got going
Amazing watch.
a bit exhausting..the beginning monologue from the director...can the actors begin please!
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They sound like they’re underwater.
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this is fucking amazing, thank you so much
:)
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💕
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Hmmm. I think those questions after the 1st reading were premature. What I saw was a situation that is full of emotion. The actor's sensed that but they don't know specifically how the characters feel at this phase of rehearsals. So the trick is to build a situation that produces the emotions and point of view that best suits the dialogue , what the scene offers as it unfolds, and furthers the story being told. I think the given circumstances are a great source of understanding and information. They should be used to serve the performance. And I think a somewhat technical discussion about character, plot, style can be helpful at the early stage to keep those aspects in focus. What the characters go through from beginning to end. How you may need to set up later scenes. You start with a more wide open approach that you clarify throughout the process.
Dude, this video is an one-hour class about a preparation that would last for weeks with actors in a real production.
@@josuebenvindo Says the guy with a fake RUclips account. I know what directing is. I've directed over 60 productions professionally and won numerous awards. Academic theatre instructors are notoriously clueless about actually directing a real play. or acting.
@@mikep-9995 Why are you so insecure?
If you really love cinema, you know that each director has its methodology. From John Ford to Kubrick to Spielberg to Kurosawa to Godard to Coppola... each works on its own way.
@@mikep-9995 let me go off tangent here, and spew my awards and self absorbed insecurities by letting ppl know my acting experience 🤣🤣🤣 dude get a grip
Yeah.....yeah.....yeah...yeah....hhhhh
.
How to become an actor director.
Go in front of the camera. Be
Don't yell directions over the camera and don't have your sets be mostly jokey.
Acting is reacting. Notice real acting.
During rehearsals, do quick exercises asking questions to the characters (actors as the characters.)
Think about P.O.P.E - people objects, places and events.
Exercises:
The Monitor exercise
Think of POPE.
Looking for emotional point of view. Emotional relationships. The energy and connections, listening and acting as well as reacting and the actor's mask all in an actor.
Tell the actor's to ask questions to each other and watch the reactions, mannerisms and movement as well as the connection. You will know that the actor isn't listening, when they widen their eyeballs.
Give the actor the chance to fail. Tell them to not hold back.
Once you have got your script and done your analysis as a director, you analysis it as an actor, as if you, yourself is going to play that character. It helps you understand that motive determines behaviour. Behaviour comes from motivation.
Result orientated direction. E.g. wlak here, cry. Say this lovingly. Rhis makes the actor self aware what if you want him to give you a hug or what if you want to warm or warn him. Something lovingly could come out.
Before you have the actors. our process with the script will be the facts. Gocthorugh and understand the facts of the script and the characters of that point of view. Go through it with questions. Before we go through wit the facts go through who, what, where, why and why. Who are you? Who is your relationships with? What is your/the relationship? What are each of your relationship? When is it? Where are you? What is the moment before? The journey? (What? - the objectives - super objective overall script: internal core needs/motivation. Then there's the scene objective - my purpose of this conversationis to blah blah blah. Get the scene right. Get or know your why.) So the scene objective is often because of your motivation behind the same objective which is because of your super objective when your motivation, behind that. Its a really core human need. Looking for Popeand internal imagery and relationship to that and using the tools of "as if" - use this in rehearsals.
After this. Tear it up and rediscover this with the actor. Shouting Action! Also known as tactics isn't important if you haven't got all the connections and drives of the actors.
Now casting is done and you have spoken to each of them individually/one on one and now they are meeting each other.
Talk about the text but not about how you see it. Discover it. The actor may have done it themselves. State the facts with them. Know all the questions you've made up. So go over the script and expand on questions with the actors, discuss. Note: actors have different perspectives or ideas on what has/may have happened with scenes, objects that they may be unsure about or the facts are unclear. Remember that motivation determines behaviour. Both actors' goals are to empathise with each other. The actors may have gone through the facts by themselves. So you, as the director, are watching/listening and reacting, discovering and connecting to the actors to each other.
After the actors have read their lines, have gone over scenes or a page or couple, give notes/constructive criticism. Sometimes when they are reading, they may impose their ideas. Make sure the actors are connecting with each other and the 5 W's. After reading, ask the actors, what just happened, what's it like on a day. When talking to them, Refer the actor(s) to the characters themselves using I and you. Another question you could ask what life been like since so and so has occurred?
If The Answers of the questions you ask (Similarly or differently) are different, it doesn't matter. One of the best ways to become an actor director is to take acting classes. This way, you will connect with the actors.
Hot seating is a great way to connect with a child or themselves as a child. Quizing them as their character. This rehearsal is not about how the actors say it, becuase one the most magical performances come of the moment. They happen when an actor surprises themselves. Whatever tactic they play comes form a reaction. The goal of rehearsal is for the actors to conect with their characters, each other, given circumstances and their Pope. Allow the actors to also review themselves.
You are helping them connect.
Really important, don't ask the actors anything the actors wouldn't do. Do not prompt the actors by sharing information for the scenes. Use it to access that emotions. A way to enter that. Don't allow the actors to share their personal information or process of getting there.
After going through heaps of investigation and fact finding, establishing what questions there are. There are still questions. Now understand your beats, and the W's. Actors beats are different from directors beat. A beat is a shift in the scene.
A guy called Anthony said in life, I don't play the beats but the beats play me. Read through and feel through the script and see what the beats and objectives, the relationship and motivations. At this point, please cross out any parenthesis (when you are 1st looking at the script).
Identify the shifts and do mini objectives with beats. Who are you talking to? One exercise is to make the actors to eye contact whilst saying their lines. Do 36 questions whilst doing something like getting coffee or going for a walk.
Have a break. Relax, breathe, release tension then Start. Have them smile then slowly go into the script. Now, with the beats, we will label the events from the actors perspective. The most important part is the connection of the actors. Identify the obstacles.
Now you can do, improvisation, once you have done everything above. Could utilise improvisation of the moment before the scene.
Objectives is important. From the actors perspective is all about whether the gut punch will hurt. Ask your actors what they think the purpose of the scene is. Take a phrase and apply it to a universal term. Become femoral. Directors favourite question is why? Ask What does having that thing or person close or with them mean to them? What does the character need from the other character? It is important for the actor to connect with her why. Why do you need that thing as a character/actor?
In an actor, it is: this is what it is and why, why, why, why, why, why?
One of the most exciting things is not letting the actor kerry sbiut how they ate doing something but it is actually seeing this great acting. Magic.
We went from Seeing objective and purpose in the conversation to asking why and leading to that super objective feeling to go to what, connecting with the truth and then from there we speak that.
Naturally say the lines not act it out. All these are tools to use on set. Let them play and permission to fail.
Transitive verbs - great tools to have as a a director. Don't go and rant on set to say or shout how you see it as an actor is vulnerable and nervous. If you rant at them, they will go AAAAAAAA.
Words: try to deflect, beg, order, twist it, big, big, seduce him/her. An example of a way you can talk to actors. Talk about their motivations and see what comes out.
Give the actors the chance to play around and fail. Give them the chance to ask question.
God bless you!!! Thank you so much!!
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