This is so validating to hear a director who recognises how exposing and vulnerable it can be for an actor being on set seperate to every other department (and the director is your Bridge!)
Jason gives such amazing advice. He's the one that made me realize I can actually direct. To not be afraid .I'm not great at the more technical aspects yet. But I love actors and am great at connecting with people. His tips showed me I can lean in to what I'm good at!
I used to be a professional actor and everything he says here is absolutely correct. There's nothing worse than to work your butt off on set, and the director never recognizes your work. It's a very disheartening experience.
It also just feels awkward. On my mark, with the lights on me and I can’t see anything in the dark or hear what anyone is saying. Please tell me what’s going on. Am I completing your vision? Do I need to change it? Are we moving on? Doing another take? From which line? It doesn’t make me angry at all, but I think it becomes very inefficient.
God bless you, Sir. This is incredibly well-articulated. As an actor, this was music to my ears. This ep should be used as an educational video at film schools everywhere (seriously) because for some surprising reason most directors are out of touch, and really awkward in this department.
I know as someone who wants to direct, I am terrified to actually direct simply due to asking people to do anything outside of what they have alrwady done. My own insecurity so I know I have to work on myself so that I can be a good director. I LOVE THESE VIDEOS.
Every single thing that Jason's saying here is incredibly valuable! But I would love to hear him talk about this point of editing that you asked about in the beginning 😂
Great interview. Directors should also take an acting class, you'll understand the process more, where actors are coming from and how to speak their language. If you're not ready to take a class, read Judith Weston's book "Directing Actors". I'd even suggest film directors regularly direct actors in scenes or even a one act play to keep your skills honed. It also helps to have lots of actor friends who can give you advice.
In the film school I went to we had to take a course on acting to help us understand how to direct actors and boy was that unhelpful! I'd love to learn more on the topic!
I'm working on a text only short story. My plan for the actors/actresses of their part is to live a total lie behind the text. Because if you remove the imagery, you control much more of the unexpected from the audience. For example: Someone is going to read this comment and think to themselves. Maybe he's right. He's an idiot. He could definitely be on to something, but I would rather not think on it much longer. That example represents the reader and the possibility of a range of perspectives. Not being able to pinpoint an ending unless the writer indicates an actually ending. "Say it's like a book, but there is no picture to be painted." - CTC
Directors who are ineffective or inefficient at interacting with actors on set have most likely had no prior experience in theatre - both as a director and as an actor. Actors are the very core of a movie, for heavens sake.
Может надо учиться этому как отдельному навыку. Надо знать что должен делать актер так хорошо, чтобы не думать про актера как актера. Надо думать про актера как персонажа фильма
I’ve never heard this before. I’m not sure why you would be a director if you can’t speak to actors. It’s irrelevant who they worked for. That’s just my opinion. This has nothing to do with Jason, his advise always on point. I just think you should not be a director if you can’t do your job.
Well, they could be a Kubrick type: a glorified cinematographer who simply got out of hand, to the point where they actually tell actors to stop asking them questions about performances because “You’re the actor, so you should figure it out on your own” (as Kubrick once said to Malcolm McDowell). To their loss, of course, but still.
Another anecdote is from Ben-Hur which was directed by William Wyler. In one scene Charlton Heston kicked a pot and Wyler asked for another take. Heston stopped kicking the pot because he thought that wasn't what his director wanted. However eight takes later he found out that WAS what he wanted. But my question is why did we need Take 2
@@reptongeek Variety in the shot possibly. If the director doesn’t communicate what he wants, it becomes a problem for the any actor who is not psychic. I’m not familiar with the relationship between Mr Heston and Mr. Wyler. Maybe they didn’t have a good relationship which could have made communicating more of a problem. A good director in my opinion would have communicated better. I wasn’t there so I’m just speculating😅🤓.
@@reptongeek Variety in the shot possibly. If the director doesn’t communicate what he wants, it becomes a problem for the any actor who is not psychic. I’m not familiar with the relationship between Mr Heston and Mr. Wyler. Maybe they didn’t have a good relationship which could have made communicating more of a problem. A good director in my opinion would have communicated better. I wasn’t there so I’m just speculating😅🤓.
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Here is our full interview with Jason - ruclips.net/video/sxR8EJnMKkE/видео.html
This is so validating to hear a director who recognises how exposing and vulnerable it can be for an actor being on set seperate to every other department (and the director is your Bridge!)
Jason gives such amazing advice. He's the one that made me realize I can actually direct. To not be afraid .I'm not great at the more technical aspects yet. But I love actors and am great at connecting with people. His tips showed me I can lean in to what I'm good at!
I feel like this is applicable to anyone who manages people
I used to be a professional actor and everything he says here is absolutely correct. There's nothing worse than to work your butt off on set, and the director never recognizes your work. It's a very disheartening experience.
It also just feels awkward. On my mark, with the lights on me and I can’t see anything in the dark or hear what anyone is saying. Please tell me what’s going on. Am I completing your vision? Do I need to change it? Are we moving on? Doing another take? From which line? It doesn’t make me angry at all, but I think it becomes very inefficient.
God bless you, Sir. This is incredibly well-articulated. As an actor, this was music to my ears. This ep should be used as an educational video at film schools everywhere (seriously) because for some surprising reason most directors are out of touch, and really awkward in this department.
Jason's on set tips are superb. Logical and practical advice that humanizes the filmmaking experience.
Jason summed up working with actors and having sympathy for them so well in such a short video. He's insightful as always. Thank you for sharing FC!
Thanks Sam! We love this one!
Loved this -- the subtlety and precision of these notes
Love his attitude👍
I know as someone who wants to direct, I am terrified to actually direct simply due to asking people to do anything outside of what they have alrwady done. My own insecurity so I know I have to work on myself so that I can be a good director. I LOVE THESE VIDEOS.
Every single thing that Jason's saying here is incredibly valuable! But I would love to hear him talk about this point of editing that you asked about in the beginning 😂
this guy speak pure gold
'How To Direct Actors Part 1' - ruclips.net/video/9iRb9wjt7Wc/видео.html
Do you have a difficult time speaking with actors on set?
really great advice!
Great interview. Directors should also take an acting class, you'll understand the process more, where actors are coming from and how to speak their language. If you're not ready to take a class, read Judith Weston's book "Directing Actors". I'd even suggest film directors regularly direct actors in scenes or even a one act play to keep your skills honed. It also helps to have lots of actor friends who can give you advice.
In the film school I went to we had to take a course on acting to help us understand how to direct actors and boy was that unhelpful!
I'd love to learn more on the topic!
Great notes for any manager
AMEN!!
Great video. Thanks for sharing this knowledge 😎✌🏾
Thanks Peter!
This is an extremely helpful video. Thank you.
What great insights!
facts
I am an actress, director, and a writer***
The director is the ONLY person who’s job it is to monitor the performance of the actors
are Directors there for dually blind folded? the page / Continuity's.
I'm working on a text only short story. My plan for the actors/actresses of their part is to live a total lie behind the text. Because if you remove the imagery, you control much more of the unexpected from the audience.
For example: Someone is going to read this comment and think to themselves. Maybe he's right. He's an idiot. He could definitely be on to something, but I would rather not think on it much longer.
That example represents the reader and the possibility of a range of perspectives. Not being able to pinpoint an ending unless the writer indicates an actually ending.
"Say it's like a book, but there is no picture to be painted."
- CTC
I'm about 2 do my debut acting role & can't find my caravan with ⭐ on the doors
Directors who are ineffective or inefficient at interacting with actors on set have most likely had no prior experience in theatre - both as a director and as an actor. Actors are the very core of a movie, for heavens sake.
Может надо учиться этому как отдельному навыку. Надо знать что должен делать актер так хорошо, чтобы не думать про актера как актера. Надо думать про актера как персонажа фильма
Действительно, вот целое интервью, которое мы сделали на эту тему. - ruclips.net/video/lg4yPWan1j4/видео.html
I’ve never heard this before. I’m not sure why you would be a director if you can’t speak to actors. It’s irrelevant who they worked for. That’s just my opinion. This has nothing to do with Jason, his advise always on point. I just think you should not be a director if you can’t do your job.
Well, they could be a Kubrick type: a glorified cinematographer who simply got out of hand, to the point where they actually tell actors to stop asking them questions about performances because “You’re the actor, so you should figure it out on your own” (as Kubrick once said to Malcolm McDowell).
To their loss, of course, but still.
Another anecdote is from Ben-Hur which was directed by William Wyler. In one scene Charlton Heston kicked a pot and Wyler asked for another take. Heston stopped kicking the pot because he thought that wasn't what his director wanted. However eight takes later he found out that WAS what he wanted. But my question is why did we need Take 2
@@reptongeek Variety in the shot possibly. If the director doesn’t communicate what he wants, it becomes a problem for the any actor who is not psychic. I’m not familiar with the relationship between Mr Heston and Mr. Wyler. Maybe they didn’t have a good relationship which could have made communicating more of a problem. A good director in my opinion would have communicated better. I wasn’t there so I’m just speculating😅🤓.
@@reptongeek Variety in the shot possibly. If the director doesn’t communicate what he wants, it becomes a problem for the any actor who is not psychic. I’m not familiar with the relationship between Mr Heston and Mr. Wyler. Maybe they didn’t have a good relationship which could have made communicating more of a problem. A good director in my opinion would have communicated better. I wasn’t there so I’m just speculating😅🤓.
Makes me wish for a great director. 🥹