Train the kids, also, is what I’m trying to say here.
Animals are very tricky to work with.
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You can rehearse until you’ve lost the feeling in your genitalia, but unless the Actors understand and have integrated the characters, the performance will never be better than memorized lines. The Director must work with them to help them understand the characters.
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Don’t fight. Seriously. Yes, there will be disagreements. Yes, there will be frustrations. Yes, there will be setbacks. That is normal. But please, don’t fight about it. There’s no need to yell or shout or scream or whinge on.
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There are a lot of things you can fix in editing, but crappy line delivery isn’t one of them.
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If you’re actors want to try a variation of a line, get the scripted line first, and then let them try their variations (assuming you have the time, of course).
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The easier it is to get in and out of your ground-breaking weird sci-fi costumes, the less the actors will curse your name whenever they have to pee.
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Before you do stunts or other physically demanding action, take a few minutes to stretch and limber up. There’s a reason zombie hunters do it!
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Don’t sleep with your leads, your stars. Sure, they’re attractive as crazy, but right now, your priority is making a movie.
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If you can’t cut around bad acting, the best you can hope for is to be saved by your cutaways, and by the reaction shots of other actors. Another alternative is to rewrite the scene on-the-fly to be one of those moody contemplative scenes with billowing cloth and slow-motion cigarette smoke. I suggest you grab lots of cutaways, though.
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Have prize drawings for extras, if you have more than half a dozen. Everybody puts their name in a hat, and at the end of the shoot, draw for prizes. Movies are good prizes. Must be present to win. Helps ’em stick around longer, too.
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