Working with Actors: Personality Traits

The first time a director works with an actor is usually during the
casting session. One of the first things I do before a casting session
is to make a note of each characters personality traits the inner
patterns and workings of their psyche.
Because all individuals have personality traits, knowing what type of
person you are dealing with is an important first step to
understanding the inner world of a character and the actor!
There are four main functions of the psyche and each approaches
reality from a different point of view and with a different question
each holds onto a different part of reality.
The four functions of the psyche are:
1) Intuition
2) Thinking
3) Feeling
4) Sensation
Each of these four functions can operate in two areas:
1) Extrovert energy flowing towards the outer world
2) Introvert energy flowing towards the inner world
And each function has a further possibility of operating in either:
1) a positive, Conscious way (Stable)
2) a negative, Unconscious way (Unstable)
All psychological evidence so far suggests that these two major
factors, Extrovert/Introvert and Conscious/Unconscious, are
interwoven in each individual according to a pattern a pattern that
can be graphed out.
It means you can create a chart that will clearly display the four
functions, and their personality traits, which you will then be able to
reference anytime.
To get a copy of this quick reference personality chart, go to
http://www.actioncutprint.com /chart.html and print out the page.
Once you have printed out the chart, you can then add the following
descriptions of the type of people that form each of the four
functions:
1) The Intuitive Type creative people whose chief concern is
with future possibilities; people who have a nose for the
invisible; people who can encompass a lot quickly.
2) The Thinking Type a person whose ultimate value is order
and organization; everybody must say what they mean.
3) The Feeling Type they have a proper evaluation of the
Cosmos and an appropriate relationship with it; they handle
their feelings expertly; they express their feelings by style; they
know the value of beauty and relationships; they need attention
love or anger.
4) The Sensation Type they are a master of observing detail;
they absorb impressions deeply; they are sensitive to tastes,
pain, noise, and physical sensations.
This chart will give you a clear understanding of who your character
is and what their motivations are as well as help you with the
actors interpretation of the character!
A good performance happens when both the inner and outer self are
portrayed. So when dealing with any character, remember these
three important words: Motive Determines Behavior!
Motive (inner-what a character thinks) DeterminesBehavior (outer-
what the character does)
Character Personality Chart For Film
Directors, Actors and Writers
Unstable Introverted Unstable Extroverted
(Feeling Type) (Intuitive Type)

rigid active
sober touchy
quiet restless
moody excitable
anxious optimistic
reserved impulsive
unsociable aggressive
pessimistic changeable
Stable Introverted Stable Extroverted
(Thinking Type) (Sensation Type)

eventempered leadership
thoughtful responsive
controlled easygoing
peaceful outgoing
carefree talkative
reliable carefree
passive sociable
calm lively

Feeling Emotional Past Intuitive Future is All

Memories and Emotions Anticipation and Vision

Sadness Angry
Depression Hot-Tempered
Water Fire
Cool Warm
White, Gray, Black, Blue Red, Brown, White, Gray,

Thinking Time Flows Sensation Time is Now

Process and Ideas Immediacy and Concrete

Apathy Confident
Sluggishness Hopeful
Air Earth
Cool Warm
Green, Blue, Purple, Violet Red, Pink, Orange, Yellow

Working with Actors: The Casting Session
Last article I discussed the importance of knowing a characters
personality traits and how you can use a character personality
chart to help you.
(To get a copy of this quick reference personality chart, go to
http://www.actioncutprint.com /chart.html and print out the page.
This chart will give you a clear understanding of who a character is
and what their motivations are as well as help you with the actors
interpretation of the character.)
In this article, I will discuss the casting session and how to quickly
find out if an actor is right for a part.
But first, here is a quick guide on the casting process.
When a director first gets a script, you read it through several times
to get a feel for what the story is about and who the characters are.
(NOTE: In future articles, we will discuss the Directors script
breakdown in more detail.)
As you read the script, you will get an impression of the characters.
You then have a meeting with the Producer(s) and the Casting
Director to share your ideas of the characters.
(NOTE: This is an important meeting for the Director, because it is
where you find out what the Producer(s) are thinking and if you are
on the right track. Remember: television is a Producers medium and
they have the final say in everything including casting!)
After the meeting, the Casting Director goes away and puts together
a list of actors that fit the character traits and specific looks
discussed in the meeting with the Producer(s).
The Casting Director then has her own casting session where she
videos a short list of actors for you and the Producer(s) to
view.(Sometimes you will only cast from these tapes other times
you will make a short list from the tapes and then to go to a casting
session.)
Okay you have now arrived at the casting session. You walk in
with the Producer (usually late because you had to get a Starbucks
latte) and you meet the cameraman (who puts the actorson tape) the
reader (who reads the script with the actors) and the Casting
Director.
You then get a piece of paper listing all the auditioning actors and
the roles they are portraying then the actors enter and do their
thing!
When the session is done, you have a headache, the Producer(s)
dont agree with anyone you like, the casting Director is already on
the phone setting up another session, and there is a message from the
production office informing you that there is a complete revision of
the script waiting for you when you get back!
Whew!Okay, lets back up a bit.
The Casting session (actors call it the audition) can be a terrifying
place for any actor. It takes a lot of guts to walk into a small,
windowless room and have about 5 minutes to show your stuff in
front of complete strangers some of whom could make or break
your career!
But it is just as tough for the Director as well! How can you decide,
in less than 10 minutes, who is right for a particular part? Because
you never have enough time to work with the actors in a casting
session, here are three qualities you should look for in an actor when
they audition for you:
1) do they look the part?
2) do they have range?
3) can they take direction?
Yes...I know there are many, many more, but these three can usually
give you a enough information about an actor in under 10 minutes!
 1) Do they look the part?
I call this the 50% rule 50% of any role is cast when an actor
enters the room! He(or she) doesnt have to say anything they just
LOOK like the character (they ARE the character) when they come
in!
This is especially true of a TV series. You dont have a lot of time to
build a character in Television, so if an actor looks like the
character, that is the first step in making them believable to a TV
audience.
2) Do they have range?
This is basically saying, Can they act? and you need to find this
out quickly. Can an actor give you both ends of the spectrum. Are
they believable when they are in a tense, dramatic scene? Are they
believable in a comedy?
3) Can they take direction?
Any good actor will make a choice when they enter the casting
room. They will decide who this character is and give you their
interpretation.
Many times, this is not what you had in mind, BUT...they were
great! So, what you need to do is give them some direction ask
them to read the part again but do something totally opposite from
what they just did. This gives you an idea if they have range, and if
they can take direction.
Some actors have a problem getting through the audition. They are
very good actors but they are nervous and tend to blow their
audition. And other actors will always give a great reading but hey
end up a dud on the set.
Remember casting sessions are not perfect. You will never be able
to fully tell if an actor has the qualities you are looking for in just 10
minutes. But these three tricks will help you to see if an actor has
range, and if they can take direction in less than 10 minutes.
TIP: If you are seriously interested in an actor, ask for a call-back
where you can work with this person one-on-one for a longer period
of time. This will help you decide if the actor is right for the role.
A good performance happens when both the inner and outer self are
portrayed. So when dealing with any actor, remember these three
important words: Motive Determines Behavior!
Motive (what a character thinks-inner) DeterminesBehavior (what
the character does-outer)

Script Breakdown: Script and Scene Analysis

There are many facets of a Directors prep on any film or TV show
from location scouts and creative meetings to casting and
scheduling.
But the first, and most important part of your job, is to understand
the script what the story is about; the themes; the story points; the
characters.
A) Director is a story-teller, and to be a good story-teller, you need
to understand every detail about the story you are telling. Theres an
old expression that says if it doesnt work in the script, it wont work
on the set and boy is that true! Understanding the story requires a
lot of work on your part because you need to rip the script apart to
find out what it is about, what works and what doesnt.

B) Script Structure
Here is the traditional Three Act Structure of any story:
ACT ONE THE SET-UP (Boy Meets Girl)
ACT TWO CONFRONTATION (Boy Loses girl fights to get
her back)
ACT THREE RESOLUTION (Boy Gets Girl)
NOTE: There has been a lot of debate lately on script structure
how many acts there are in a script! Because this is not a writing
course, (and every story ALWAYS has a Beginning, Middle and
End), I will refer to all scripts as having the traditional Three Act
Structure. Even Television scripts follow the Three Act Structure
they are just divided into Act Breaks because that is where the
commercials go.
Here is a general guide to the physical structure of TV scripts:
1) Half-Hour Episodic TV (22-25 pages and Two Acts)
2) One-Hour Episodic TV (50 65 pages and Four Acts)
3) Two Hour TV Movie (100 110 pages and Seven Acts)
Television scripts can also be broken down further by using a Teaser
and a Tag. So a one-hour TV Script could be divided up like this:
a. Teaser
b. Act One
c. Act Two
d. Act Three
e. Act Four
f. Tag

C) Script Analysis
When you first get your script, find a nice quite place and just read it
through once from start to finish. Your first pass is to get an idea
of what the story is about, where it takes place and who the
characters are. This is when you form your first impressions of the
story and it is probably the only time you will ever enjoy the script
as a story because from now on its all work!!
Then, read the script again (and again, and again...) and start making
notes and jotting down the answers to the following questions:
1) what is the PLOT? (what is the story about)
2) what is the THEME? (what is the message)
3) what is the LOGIC? (does the story make sense)
4) what is the EXPOSITION? (what are the characters
doing/thinking)
5) what is the COMPLICATION? (what is the drama in the
story)
6) what creates the TENSION? (what will happen next)
7) what is the MAIN QUESTION? (what problem is to be
solved)
8) what is the MAIN ACTION? (what event hooks the
audience)
9) what is the CAUSE OF THE ACTION? (what happens to the
main character)
10) what is the RESULTING ACTION? (the answer to the main
question)
11) what is the CONCLUSION? (how does the story end)
12) who is the PROTAGONIST? (the main character)
13) who is the ANTAGONIST? (could be one or more
characters)
14) who is the MOST INTERESTING CHARACTER? (not
 always the main character)
15) where does the story TAKE PLACE? (location, time period)

D) Scene Analysis
Once you have an understanding of what the story is about, you then
need to analyze each individual scene in the script.
1) what is the INTENT of the scene? (what is the scene used for
dramatically)
2) what are the PLOT POINTS? (points that move the story
forward)
3) what is the CLIMAX of each scene? (what is the turning
point)
4) what is the RESOLUTION? (how is the theme resolved)
5) what is the CONCLUSION? (how does the scene end)
6) what are the important LINES OF DIALOGUE? (contain
story points)
7) which character CONTROLS the scene? (who pushes the
story forward)
8) what are the BEATS/UNIT CHANGES? (where does the
story change directions)

E) Other Structural ElementsHere is a partial list of some other

elements you need to look for during your script breakdown:
1) foreshadowing
2) recurring motifs
 3) scene transitions
4) counterpoint
5) repetition
6) contrast
7) clarity of information
8) action and stunts
9) comedy scenes
10) special effects (explosions etc)
11) visual effects (CGI, green screen etc)
12) locations

F) In Conclusion
Your script breakdown will be a never-ending process. Each time
you read the script, you find out something different about the story
or the characters.
The script will constantly evolve. It will change because of the your
creative notes writer changes actor changes producer changes
network changes location availability and on and on and on...
As long as you know what the story is about and where the story is
going, you can adjust to all the changes.
Script Breakdown: Character Analysis
In the last article, I talked about the first, and most important, part of
a Directors job understanding the script: what the story is about;
the themes; the story points; and the characters. In this article, I will
focus on Character Development and Analysis.
After reading the script and working through the script structure and
scene analysis, its time to figure out the development and objectives
of the characters.
1. Character Functions
Each character has at least one function (or role) in any story,
such as:
a) protagonist
b) antagonist
c) best friend
d) love interest
e) confidante
f) partner
g) catalyst
h) mentor
i) comic relief
There are many more, but this is a basic list for you to start with.

2. Character EmotionsHere are the three main character emotions:

a) Sympathy the audience IDENTIFIES with the characters
problems and triumphs
 b) Empathy the audience UNDERSTANDS the emotions that
drive the character
c) Antipathy the audience wants the character to GET
WHAT THEY DESERVE

3. Character ComponentsThese are the Internal and External factors

that shape each character:
a) Interior form character
b) Exterior reveal character

4. Character Background
a) where is the character from (background)
b) what was he doing just before this scene
c) what does the writer say about this character
d) what do others say about this character
e) what does the character say about himself

5. Character Objectives (Most Important!)These are the main needs

and wants of a character (what people want out of life)
a) SUPER OBJECTIVE (example: Power over People)
what is the primal motivation of the character what are the
main needs of the character
b) OBJECTIVES (example: Wants to Dominate Character A)
what does the character want (motives) what are the active
choices to achieve the Super Objective
 c) MAIN ACTIONS (example: What they DO to Character
A) what the character DOES... to get what he WANTS...
to fulfill his NEEDS

NOTES ON OBJECTIVES:
a)there can only be one objective per character per scene
b) the simpler the objective, the easier it is for an actor to play it
c) objectives rise out of the characters needs and feelings
d) objectives help actors react to each other rather than just
say the lines
e) an objective should be an active choice for an actor
f) an actor should always play their objective in every scene
When coming up with character objectives, ask yourself: what does
each Character want in this story in this scene?
a) look at the characters behavior (what he does)
b) look at what the character talks about (what he says)
c) remember my Director Mantra: Motive (inner life )
Determines Behavior (outer life)!

6. Character Breakdown
Go through your script and write down all the characters. You
should list the main characters first and the secondary characters last
and then assign them a function. Your first character should be the
main character or the protagonist.
NOTE: if you are doing a TV Series, the main characters will
already be established for you. They are usually numbered 1,2,3...
on any call sheet.

7. Script Breakdown (Per Character)Answer these question about

how each character fits in the story:
a) what is the story function of this Character
b) what is their Super-Objective
c) what is their Main Objective (in the story)

8. Scene Breakdown (Per Character)Answer these questions about

how each character fits in every scene:
a) what is the character objective in this scene
b) what are the characters main actions in this scene
c) what are the results of their actions in this scene

9. Character Dialogue
I am a firm believer in the rule Less is more! As the Director, it is
your responsibility to take a written document (The Script) and
translate it into a visual format (Film or Video). This means that we
can sometimes use visuals instead of dialogue to make a story point
or to show what an actor is thinking.
After you have done all your homework on Script, Scene and
Character Analysis, make another pass at the script to see what
dialogue can be omitted by using visuals to get the point across. It is
always better to SHOW the audience what a character is thinking,
than have them talk about it. (Motion Pictures!)
WARNING: on a TV series, the producers are usually the writers
and they are, for the most part, very hesitant to have any dialogue
removed. If you have done your homework (Scene and Character
Breakdowns) and can show them that your idea will make the scene
better, go for it they can only say no.

The 5 Stages of Shooting a Film Scene

When I was a Second AD (many, many years ago) I learned a
valuable lesson from a dolly grip on how a film set works. Very
simply, every film shoot is divided into five parts: (6 if you include
lunch!!!)
1) Block determining where the actors will be on the set and
the first camera position
2) Light time for the DOP to light the set and position the
camera for the first shot
3) Rehearse camera rehearsal of the first set-up with the
actors and crew
4) Tweak make lighting and other adjustments
5) Shoot shooting the first scene (then repeat the process)

Blocking is the first, and most crucial, aspect of this 5-part sequence.
When you first start directing, blocking a scene can be one of the
hardest and most embarrassing parts of your job.
Get it wrong here, and you could waste valuable shooting time
trying to get out of the mess you created!
Director Prep Before you step onto any film set, you need to first
do your homework on Script and Character Analysis. In the last two
articles, we talked about Understanding the Script (what the story is
about; the themes; the story points) and Character Development and
Analysis (the development and objectives of the characters).
Review Script Structure, Script Analysis, and Scene Analysis
Review Character Development and Analysis
Blocking a Dramatic Scene The first thing I do when the actors
arrive for a blocking is to get them in a group and read the scene: no
moving, no acting just reading the scene through. This makes
sure everyone is on the same page. (Sometimes actors do not have
revisions and this is a good time to find that out.) Also, by reading
together, the actors start to feed off each other and you get to
watch the process.
After the actors read the scene, I ask them to show me what they
want to do. I just step back and let them go for it. If it is a set no one
has been in before, I take a few moments to discuss the physical lay
out of the room the door an actor will come through; a window
they can walk up to; which desk they can sit at etc.
The actors then begin their first walk through they read the scene
and walk around the set to get a feel of what they want to do and
where they want to be. During this initial blocking, I try not to make
any suggestions to the actors it is important that they show me
what they have in mind.
Remember, this is the first time the actors have been together on the
set and they need their time to explore. As you watch the actors, you
get a feel for what they want to do, where they want to go and how
they are relating to each other.
On the next blocking, you begin to make your changes. Maybe you
want an actor to sit in a chair by the window instead of on the couch;
you ask an actor if it would be okay to pace beside an actor and not
infront of him so you can save a set-up; you make a suggestion to an
actor to move across the room instead of standing by the door etc.
Once you have discussed the scene, and everyone agrees with the
suggestions, the actors do it again. This time, you begin to figure out
your camera placement based on their movement and what you first
had in mind.
As the actors go through the scene, you walk around them looking at
all your camera positions. Usually the DOP is with you to discuss
camera set-ups and positions. This is also a time where you can
stop-and-start the actors move them around to get a better
background. During this blocking, a camera assistant will place
marks on the floor whenever the actors stop.
When everyone is satisfied, the actors leave and you discuss the first
set-up in more detail with the DOP and the camera operator. When
the DOP begins to light, you go over all your set-ups with the First
AD and the Script Supervisor.
Blocking Tips
1. having a shot list will help you during the blocking process.
The shot list is like a map: it gives you a path to your destination
but you dont always have to follow it
2. let the actors show you what they want to do first, then, when
you make a suggestion, it is based on something you have
already seen
3. in Television, speed is essential, so try and block some scenes
so that your action takes place in one direction (to avoid turning
the camera around for reverses)
Rehearsing on the Film Set
In the last article, I discussed Blocking the first part of a five stage
process of shooting any scene:
1) Block determining where the actors will be on the set and
the first camera position
2) Light time for the DOP to light the set and position the
camera for the first shot
3) Rehearse camera rehearsal of the first set-up with the
actors and crew
4) Tweak make lighting and other adjustments
5) Shoot shooting the first scene (then repeat the process)In
this article, we will discuss the Rehearsal process.When the
DOP has finished lighting, the 1st AD calls the actors back to
the set for the rehearsal.
This is when all the elements of the scene are rehearsed together
actors, camera, sound, stunts, effects etc.
When the actors arrive, it is important to tell them of any changes
that have happened since the blocking. For example: in the blocking,
an actor might have stopped on the left side of the window and
turned around for his line. But during lighting, the DOP had to move
his mark to the right side of the window.
Because the rehearsal process is for both cast and crew, the first
rehearsal will sometimes be a stop-and-start rehearsal: a technical
run-through with the actors (especially if there are complicated
camera moves.) The actors should walk through their positions and
let the Camera Operator stop them to adjust their end marks or let
the Sound Man find a better position for his mic. Once the crew is
happy about positions and lighting, begin a full rehearsal.
During this first full rehearsal, watch the camera movement and the
placement of the actors in the frame. Are you getting what you had
imagined? Should you tighten up the lens? Should you delay the
dolly in? Should you change the actors positions slightly?
Once you are happy with this rehearsal and the crew have made their
adjustments, begin another rehearsal and watch the performances.
If this is a TV Series, this will probably be your last rehearsal, so
concentrate on the actors and make your notes.
Unless there is a technical problem, I like to shoot after the second
rehearsal. (I hate great rehearsals why didnt we shoot it!) I usually
dont give notes to actors during the rehearsal stage unless it is about
movement because cast and crew will only give 100% once the
camera starts rolling and that is the only time you will see if the
shot really works.
The 1st Ad calls for Finals and the pretty department goes to work
on the actors. This is also the time any technical adjustments are
made: the camera crew gets final focus marks and the DOP adjusts
his lighting.
During the first take, you watch everything camera movement,
performances and background action. Does the shot feel right? are
the actors making the right choices? does the dolly move come at the
right time? Very rarely does the first take get printed this is your
first true rehearsal with cast and crew.
After the first take, make any technical adjustments and talk to ALL
the actors. This is the first time you have seen them working up-to-
speed and it is important that you give them all some feedback.
Talk with the DOP and the Camera Operator if you have any
concerns about the camera moves or the framing. (The DOP usually
watches the monitor with you and if he sees anything wrong he will
deal with it after each take.) Discuss the extras with the 1st AD or
any line changes with the script supervisor.
If things are going well, the second take will be your first print.
Make a note of where you want changes and focus on those areas for
the third take. If you are shooting a oner, get at least two prints for
safety. If you are shooting coverage, concentrate only on the parts of
the scene you want corrections.
Once you are happy with the shot, and you have at least 2 prints,
move on to the next shot. Tell the script supervisor what takes you
like or what portions of several takes you like for the editor. And the
five-part process begins all over again!