Actors and dialogue
Do you allow your actors to own the words of a script without any intervention or do you sometimes change the way they speak the dialogue?
–Ruble
In terms of feature films, that’s a better question for the director, because ultimately it’s the director who guides the performance. But in times when I’ve been on set as a writer (such as GO), I try to step back and let the actor find the right way to get the words out.
When you tell an actor exactly how to say something, that’s called "giving a line reading," and it’s considered one of the biggest no-no’s, sure to raise the hackles of actors everywhere. But there are subtle ways to influence a line’s delivery without explaining it word for word.
For instance, an actor might be directed to "throw the line away," (play it as unimportant, even if it’s not), or "really let it sting." Another technique is to offer an alternative line that the actor can play in his head while saying the line written. For instance, "When you say, ‘It’s really nice to see you," let it mean ‘Go to Hell.’" The important thing is to let the actor find the means – the tone and inflection – while getting across the intended message.
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May 16th, 2007 at 1:11 am
How would a writer/actor handle a conflict like this? Is it a good idea to have a few extra people to moderate this process like, an acting coach a good AD, obviously the director. What are good strategies for fostering good relationships in collaborative situations where you must in a lot of ways reconcile a creative vision? Or at least get the picture shot on time and in good spirits? I read what you wrote about the eight-year old scenario and believe that to be true. The project first. But where do you draw the line?
Any advice you have for this would be fantastic. I find this duality quite troubling. The writer as anti-social and the actor as hyper-social..arggghhh. I’m scared. While I’m good at both seperately switching back and forth might be troubling. Emma Thompson’s shoes are hard to fill.