INSECURITY is the evil heart of a bad performance.

You need the actor to feel SAFE and COMFORTABLE in the creative process. They need to be relaxed. Ask the actors to do something, not be something. The presence of a camera should never change people, it only changes the aspect or degree of a person’s response. The main job is to prepare the ground for inspiration. You can’t decide to be inspired. If you try it, it only creates tension, taking you farther and farther away. The DIRECTOR is the viewer and the ACTOR is the viewed. Let the actors help out with blocking. It solves all kinds of problems. Actor and Director must respect each others creative territory. Adjusts your beliefs about a character if the actor sees something different. WHAT DO ACTORS WANT FROM DIRECTORS? - Not to give up until you get the performance - To make sure it’s the best take before moving on - Must have confidence that you understand the script - Need clear, brief, playable direction - They want to be pushed to grow and learn

LISTEN to the actors and hear what they have to say. Actors need insight, in language that is experiential, not descriptive. Adjectives are generalizations. USE VERBS – Actions speak louder than words. Verbs describe what someone is doing. They describe experiences rather a conclusion about experience.

The instrument the actor is using is himself. The talent of acting is one in which the actors thoughts and feelings are instantly communicated to the audience.USE THESE PHRASES To believe To fear To accuse To confront To convince To beg To complain To punish To tease To soothe VERBS are also important to the basic understanding of a character Acting should be a performance of the simple physical actions that tell the story. DON’T REPRODUCE LIFE – CREATE IT CONFIDENCE is an important element in an actor's performance LEARN FROM ACTORS – SEE: -What stimulates them? -What triggers their emotion? -What annoys them? -How’s their concentration? -Do they have a technique? -What method of acting do they use? An actor's personality always comes out in their performance. Movies are made out of very simple ideas – A good actor will perform each small piece as completely and as efficiently as possible. All good work requires self-revelation. MOVMENT OF THE ACTOR – You can always tell if an actor is truly in . Never be negative. Tell them to go as far as they feel.

character by looking at his or her feet. is not faking something. mid-shot. and you have to guide them if they want to stray from it. For an artist there are two worlds – the social realm. obeying only the deepest and most private truths. A director’s job is to recognize that and facillitate it. An actor can’t lose trust in the process. uncensored in the moment. That's seldom a good idea. It’s honesty. away from concerns with result. It's tempting for actors to add or subtract words. where we live and work day to day and the creative realm. Unless they have an absolutely brilliant idea that serves the story BETTER than the original script. you need to: 1) Stay in the moment 2) Feel your feelings 3) Don’t move or speak unless you feel like it 4) Forgive yourself for your mistakes 5) Connect to the deepest and freshest meaning of the script 6) Turning themselves on and capturing their imagination 7) Connect with emotional honesty and get to the places they need to go The best moments usually come from mistakes! The scene is the event – the words are the clues . -Where is the camera? – How are they being framed .close up. they should stick with the words as written. Actors need to have a GOOD EAR Sometimes they need to just speak and try not to hit the furniture. Most actors need to know the technology that is around them. As an actor. following impulses. long shot? NEVER JUDGE A CHARACTER Acting is not pretending. They need to trust the script. To enter the creative realm one must be free of the social realm.

Camera technique .not blinking .What they observe through their senses CONCENTRATION .Understanding the whole arc of the story to know how to play the scene .Each individual is essentially unknown to all others .Eye contact is very helpful to listening WHAT DOES A DIRECTOR WANT IN AN ACTOR? MEMORY (Personal Experience) .able to alter what's not working SCRIPT ANALYSIS .Finding the subworld of behavior and feeling in the script .hitting marks .Know their habits and mannerisms.Actors allowing their memory to occur physically – 5 senses – rather than intellectually OBSERVATION RESEARCH . physical and spoken IMAGINATION IMMEDIATE EXPERIENCE .Know their history and back story .ability to repeat successful performances and built on successes .Performances are usually more successful when actors play against whatever feeling they have PROFESSIONALISM .Energy and confidence to pull off a performance and scene SENSORY LIFE .Know the character .

They don’t always know the truth. Certain questions an actor should ask about every character? 1) What is this person smart about? 2) What does this character find funny? 3) Where is his pain? 4) How does he play? 5) In what way is he an artist? 6) What does he most fear? 7) What profession has he chosen or does he aspire to? 8) What does he look up to? 9) Whom does he look up to? 10) What is the biggest thing that has ever happened to him? 11) How does this character differ at the end of the story from the beginning? WHAT IS THE CHARACTER NOT SAYING? FOUR AREAS OF IMPORTANCE IN CASTING 1) Actor's ability 2) Whether he/she is right for the part 3) Whether you can work well together 4) Casting the relationship as well as the roles AREAS OF A REHEARSAL PLAN 1) Ideas of what the film is about. They need to be aware of the function the author . the question is raises 4) What the scene is about. its emotional event and how the scene fits in the arc of the script 5) Candidates for each character's objective 6) The beats of the scenes. how you might work each beat 7) The scene's physical life and its domestic event 8) Research you have done and research you have left to do 9) Your plan of attack 10) Blocking diagram No matter how small the role is. what it means to you personally 2) Spines and transformations of all the characters 3) For each particular scene. its images.As a DIRECTOR you must stop JUDGING and begin to engage Actors should remember that characters are real people. They don’t always tell the truth. its facts. the actor should read the entire script several times.

.. What is a film director? Someone with the ability to help all actors grow. MAKE THE CHARACTER THEIR OWN . A good film director is someone who knows the power they have on set and uses it to guide a film to the best possible completion. What is a Film Director? AND. understanding what is possible and not 3) Do the same business on the same syllable of a speech in every take 4) Automatically ease themselves into the right position so that they fill the screen. THINGS THAT MATTHEW TOFFOLO LOVES AN ACTOR TO DO Matthew Toffolo loves actors to: 1) Arrive on set with their business planned and rehearsed and knowing their lines 2) Add extra ideas and business to the shoot. What is a Film Director?.intends for the character in terms of overall storyline. What is a Film Director?. not a FUTURE FILM ACTING IS BROKEN DOWN INTO FOUR CATEGORIES 1) Extras 2) Non-professional performers 3) Trained Professionals 4) Stars Know the skills and potentials of the actors you're working with. Their two-shot is maintained or they come to a perfect three-shot 5) Understand the craft of screen acting and make additions and suggestions within the framework or what is possibly both technically and in the time available What is a Film Director?. What is a Film Director?. REMEMBER: The actor is playing someone with a HISTORY. and frame your suggestions according to their level of experience.

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