Film Directing 121: The Director in Rehearsal

LEVEL 100 blogs are for film students and first-time directors taking on the directing role for a short film. The series is designed to help and guide new filmmakers through the director’s prep duties, pre-production activities, and principle photography dynamics.

Treat rehearsal like a fire - Build it slow and sure

If there is time to rehearse with your actors ahead of the shoot, great! But it’s important to know what you want to accomplish.

Use everyone’s time wisely, and, like an audition, don’t look for a performance.

It’s helpful to have someone who is not an actor join the group to assist with reading the description. Ideally, as the director, you will not have to read. Yes, you have a script but use it only for reference in the post-readthrough discussions.

There's a rhythm to rehearsal. It’s the rhythm of exploration, of discovery. There is much to gain if you know what you’re looking for.

Rehearsals are to find out what the actors are thinking. What are their ideas? What is going on in the scene for their character? What are their questions for you?

When the actors come in to rehearse with you, take your time. Tell them you’re going to start with a table read. Everyone can remain seated and for the first readthrough, ask them not to act. “Let’s just read the words and hear the dialogue.” “No acting, please.”  

While the actors are reading, put down your script. Do not read while they are reading. Nothing will be gained if everyone is reading. Your job is to watch and listen. So, to be clear, put your script down.

After the first readthrough, thank your actors. Gratitude will serve you well in every relationship.

Discuss their ideas. Ask questions. What do they think is happening? Listen to their answers. Listen to their questions. You don’t need to solve anything. Say what you know, what you think might be possible. This is an exchange of ideas.

Keep questions and answers short and crisp. Longer discussions may have a place as the relationship develops but, for now, get the creative sparks started and let things grow by adding small bits and pieces.

You want to keep the discussion relatively short because they’re going to read it again. If there are any mispronunciations, address them with kindness. There’s no need to embarrass anyone. No one is better than anyone else here.

Get the second readthrough underway as quickly as possible without dismissing anyone’s questions or concerns. This time, let them bring their characters to the table. Let them show the work they’ve done on their character.

The pace may feel slower than the performance you want. Don’t worry. Let them take their time. Enjoy. Build trust. Constantly build trust.

Step into the moment with your actors. Engage as they engage. Learn from them. Watch them like newborn babies.

Thank them, as usual. Have a quick review of the second read. What did you like? What surprised you? What surprised them?

Find out what they know, and how they feel. Take mental notes. Or scribble notes with a pen if that’s your style. (Please do not take notes on your phone, tablet, or computer.)

Move on to a third readthrough. You might ask your actors to adjust their seating, to move closer or turn and face each other. Ask them to look at each other as much as they can this time through. Let them bring their energy.

Again – you ARE NOT looking at your script. Turn it face down on the table. Listen and watch your actors.

The third read will have different energy as the actors give more to each other.

Look and listen for bumpy areas or trouble spots. If an actor is struggling with a line, make a note but don't stop the read. Just keep going. You may end up changing the dialogue or shooting an alternate line when the camera is rolling but encourage the actors to stay as true to the dialogue as they can.

Thank them again. Tell them how you feel after hearing it a third time. Did you feel the dynamic of their relationship? Did you notice a difference in their connection? Was there a pause that worked?

Do they have any questions or comments? Manage the time here and keep it short but polite because you want to get them up from the table.

The actors have connected with the material and each other in the previous readthroughs. Now get them out of their chairs. It’s an energy thing.

When the actors are on their feet there’s usually no need to have the description read aloud – unless you feel it’s necessary. Description will slow the pace and the reason the actors are on their feet is to find the pace and pick up their cues.

Let the actors work. This is when the creative fire starts to grow stronger.

With these beginning ideas and suggestions in mind, you can be confident in building a plan for rehearsal. One hour maximum.

•   Build a plan that fits the allotted time frame.

• Allow time for questions and answers.

• Have questions for your actors.

• Exchange ideas on the scene and characters.

• Consider possible meanings and subtext.

Above all, establish an authentic connection.

Don’t overstay your welcome in a rehearsal. Call it quits before the energy drops. You don’t have to stay for a whole hour, but if the time and energy is there – you may want to use it.

Wrapping up a rehearsal on a positive note is important. Say something like, “I think we're on to something.” “Excellent work.” “This was a great run at the material.” “Thank you so much. That was fun!”

The next time you all meet will likely be for the shoot, so be sure to offer a send-off that gets everyone excited to get together and see each other again. There will be lots to think about.

Rehearsals can be the key to building better performances. Stay relaxed and have fun.