As some people may or may not know, I am making a Battle of the Bulge movie quite soon. I have written maybe a quarter of the script, but in it I am adding a lot of dry wit and the sort of grim humor that comes to people in times of war. I am afraid, however, that my freinds who are going to be in this movie are going to kind of make it seem like they're blandly stating lines I just told them to say... Dont get me wrong, all of the people I work with are great, just for the fact that they put up with my bossyness and bitching about stuff that's not right, but what if the people I know just dont have what it takes? I dont think I have the right people to fill in the three main roles, which are a cynical and blunt Corporal, A Private First class with experience behind him and has a sort of happy-go-lucky attitude, and a Regular private who only has the experience of being attacked and fighting to survive for days before he meets the other two men.
Eh, I guess I'm just paranoind since I really want this movie to be something more than a B-plot war movie thats all about action... I'm really trying to give it a more personal focus.
Actors- What if they suck?
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foxwood
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Well eather
A: you could look for better actors, check a Drama department
B: you could retool the charaters to fit your friends, in war
C: Sit down witht them before hand, and go over the lines.
Acting is always the hardist part, and as long as its well writen it can come across fine. Also if it has a B-movie feel don't be bummed out, its only and amature movie it happons.
A: you could look for better actors, check a Drama department
B: you could retool the charaters to fit your friends, in war
C: Sit down witht them before hand, and go over the lines.
Acting is always the hardist part, and as long as its well writen it can come across fine. Also if it has a B-movie feel don't be bummed out, its only and amature movie it happons.
Bad acting didn't prevent Chemical Ali from getting any awards 
If the acting's gonna be bad, ham it up, Bruce Campbell style.
If the acting's gonna be bad, ham it up, Bruce Campbell style.
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U.S.Amateurfilmaker
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johnstonRJP
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Usually what I do, is hook up with the local high-school theatre departments. You can find great talent and dedication there.
As far as the Directing the actors, if you can show them what you want(IE: Act it out how you want it yourself), then it's much easier to direct. Physically showing people what you want, for whatever freaking reason, is the easiest way to get them to understand. Even if you have to jump off a cliff......
As far as the Directing the actors, if you can show them what you want(IE: Act it out how you want it yourself), then it's much easier to direct. Physically showing people what you want, for whatever freaking reason, is the easiest way to get them to understand. Even if you have to jump off a cliff......
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johnstonRJP
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Grant
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hey all actors need a start somewhere and your film may be it. Give all a chance 
I find it hard for actors to express pain and distress well. In The I-Team in the HQ scene Josh Lloyd (Agent Johnson) was having trouble acting the fact that he was struct in the stomach and dropped, so i had Paul (Agent P) twist his arm behind his back for while to help him feel real pain.
I find it hard for actors to express pain and distress well. In The I-Team in the HQ scene Josh Lloyd (Agent Johnson) was having trouble acting the fact that he was struct in the stomach and dropped, so i had Paul (Agent P) twist his arm behind his back for while to help him feel real pain.
.
Well ...For one you must be desperate for help with your huge type paragraph.And Well all actors suck unless they are good.All my freinds suck too.Don't feel sad.Movies are hard to get them to evenm do some bad scenes that may seem embarrasing.Like in Titanic and all the romance in that , most people won't do that stuff.
Please don't swear.
Hope i helped.
Famous
Please don't swear.
Hope i helped.
Famous
Tropical Films/Short Film Industries.
Director, Editor, Producer, Camera, Actor, Script Writer.
Since 2003.
Director, Editor, Producer, Camera, Actor, Script Writer.
Since 2003.
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SgtPadrino
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I think sometimes the problem is our actors are trying to act. Most people at sometime or another have acted and been very successful about it. We've acted as if we've liked someone, knew nothing about the broken window, how the gas tank of the car ended up empty in the driveway after we got home. Put some one in front of a camera with a script tho and they want to act, and look stiff, deliver their lines very flat or overly accentuated because they are more concerned about what the line says rather than how it is said.
A couple of ideas you can apply as director when you know one of your weaker actors is involved in the scene...
1) Keep the dialog simple. Short simple exchanges are easier for the audience to follow and the actor to deliver.
2) Turn the tally light off on the cam. That little red light intimidates people. I've used that during interviews, they think I'm still just giving them the question rundown.
3) Reherase rehearse reharse. After the first one or two runthrus, and during the rehearsal your cam operator should be doing his thing to, start shooting after the first couple run throughs. Never know when you are going to get that perfect delivery, if the camera isn't running you don't get it.
4) Particularly where we are both writer and director, the vision of the film is ours. We've sreated the characters and have some understanding what those characters are supposed to be feeling. We've also got a preconceived idea what the scene should look like and feel like.Our toughest job is communicating that to the actors. Some people need very little direction to understand that vision, others need it repetitively. I know some of you don't use a script and try to improv the entire thing or large chunks of it, but for a lot of people that just won't work. The writer/directors job is to design the production, the actor's job is to execute that design. To expect our actors to do our job is going to throw even more of a burden on them, they don't have to worry about only what they are doing now, but what they are going to do next. A complete script and good direction let's them forget about what to say, they already know what to say, they can now focus on delivery of the current line only. To effectively communicate that vision...
a) Do a readthru of the script with the entire cast. Inside, just sitting around, read thru each scene. Set your vision of each scene then let the actors just read thru it to each other. Point out what you think are critical areas of dialog.
b) During rehearsal, if the actor deosn't get it the first time, show them what you want, don't just try to explain it to them. Demonstrate.
c) Don't rush production! Yeah, it may be tough to get everyone together, but unless it's for a festival, we really don't have any deadlines other than we we impose on ourselves.
d) Plan your shooting schedule. It helps maintain conitnuity and keeps people from getting boredTry not to have actors hanging around on the set when they aren't in the scene. This is just another distraction for your actors. If possible have an area away from the cams that those not in the scene can hang out. If they have to be on set, then give them a job, even if it doesn't really need done. Something as simple as babysit a light stand. They will be less obvious to a weaker actor who is in the scene and may be worrying about what is going on on the other side of the cam. Most people seem to ignore the crew, but an audience can be as intimidating as the cam. Make everyone look like crew not an audience.
5) Casting - Everyone should read for the part, give them a little direction. Base your choices on their skills.
6) There was a question on what to do when you need adult actors. Most of us have some community theatre. If not in the town you live, somewhere close by. Contact them, tell them what you are doing. Most people involved with the theatre would be more than happy to help out encouraging younger people. If you get several adults who are willing to help as actors, also take the advantage to learn from them. Many tinmes in community theatre these people also take a turn as director of a production. Soak up any suggestions they may have, in fact encourage them to discuss things with you. Ask their opinion and be willing to listen to their advice.
A lot of colleges also have a drama or performing arts department, even communications majors may be willing to help out.
Finally .. take your time. since none of us probably has to worry about going over budget by extending our shooting schedule, keep the pace slow and relaxed if you can. Sometimes we have to shoot those ten- twelve hour days to maintain continuity, but most of our actors will lose their focus in very short order.
Finally, there are some people who just don't belong in front of the camera. Handling that situation with friends can be tough, but it's something that has to be done. Hopefully you only have to do it one time. If they can't handle a role, give them a minor part and use them as a grip
A couple of ideas you can apply as director when you know one of your weaker actors is involved in the scene...
1) Keep the dialog simple. Short simple exchanges are easier for the audience to follow and the actor to deliver.
2) Turn the tally light off on the cam. That little red light intimidates people. I've used that during interviews, they think I'm still just giving them the question rundown.
3) Reherase rehearse reharse. After the first one or two runthrus, and during the rehearsal your cam operator should be doing his thing to, start shooting after the first couple run throughs. Never know when you are going to get that perfect delivery, if the camera isn't running you don't get it.
4) Particularly where we are both writer and director, the vision of the film is ours. We've sreated the characters and have some understanding what those characters are supposed to be feeling. We've also got a preconceived idea what the scene should look like and feel like.Our toughest job is communicating that to the actors. Some people need very little direction to understand that vision, others need it repetitively. I know some of you don't use a script and try to improv the entire thing or large chunks of it, but for a lot of people that just won't work. The writer/directors job is to design the production, the actor's job is to execute that design. To expect our actors to do our job is going to throw even more of a burden on them, they don't have to worry about only what they are doing now, but what they are going to do next. A complete script and good direction let's them forget about what to say, they already know what to say, they can now focus on delivery of the current line only. To effectively communicate that vision...
a) Do a readthru of the script with the entire cast. Inside, just sitting around, read thru each scene. Set your vision of each scene then let the actors just read thru it to each other. Point out what you think are critical areas of dialog.
b) During rehearsal, if the actor deosn't get it the first time, show them what you want, don't just try to explain it to them. Demonstrate.
c) Don't rush production! Yeah, it may be tough to get everyone together, but unless it's for a festival, we really don't have any deadlines other than we we impose on ourselves.
d) Plan your shooting schedule. It helps maintain conitnuity and keeps people from getting boredTry not to have actors hanging around on the set when they aren't in the scene. This is just another distraction for your actors. If possible have an area away from the cams that those not in the scene can hang out. If they have to be on set, then give them a job, even if it doesn't really need done. Something as simple as babysit a light stand. They will be less obvious to a weaker actor who is in the scene and may be worrying about what is going on on the other side of the cam. Most people seem to ignore the crew, but an audience can be as intimidating as the cam. Make everyone look like crew not an audience.
5) Casting - Everyone should read for the part, give them a little direction. Base your choices on their skills.
6) There was a question on what to do when you need adult actors. Most of us have some community theatre. If not in the town you live, somewhere close by. Contact them, tell them what you are doing. Most people involved with the theatre would be more than happy to help out encouraging younger people. If you get several adults who are willing to help as actors, also take the advantage to learn from them. Many tinmes in community theatre these people also take a turn as director of a production. Soak up any suggestions they may have, in fact encourage them to discuss things with you. Ask their opinion and be willing to listen to their advice.
A lot of colleges also have a drama or performing arts department, even communications majors may be willing to help out.
Finally .. take your time. since none of us probably has to worry about going over budget by extending our shooting schedule, keep the pace slow and relaxed if you can. Sometimes we have to shoot those ten- twelve hour days to maintain continuity, but most of our actors will lose their focus in very short order.
Finally, there are some people who just don't belong in front of the camera. Handling that situation with friends can be tough, but it's something that has to be done. Hopefully you only have to do it one time. If they can't handle a role, give them a minor part and use them as a grip
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Epsilon
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Yeah, remember: The trick to acting is to not make it look like acting. They should act normally and with their own personality. Actors that look like they are trying hard to act is horrible! Actors need to believe they are who they are acting.
WW2 Reenacting:
AAA-O :: Anything, Anywhere, Anytime, Bar Nothing!
AAA-O :: Anything, Anywhere, Anytime, Bar Nothing!