FROM FILMMAKER MAGAZINE: 10 TIPS FOR DIRECTORS SEEKING TO GET THE MOST OUT OF THEIR ACTORS. BY ADRIENNE WEISS

As a feature film director, your relationships with your actors may be the most delicate ones of your entire production – especially if you are a first-timer without much prior directing experience. From teaching workshops in acting and directing, I’ve noticed that directors make the same mistakes over and over again. These subtle – and sometimes not so subtle – behaviors often sabotage their chances of getting good performances.

The following 10 suggestions – some practical and craft-related, others simply glorified leadership and communication tips – should help you avoid some of the most common pitfalls.

1. Be Prepared To Talk To Your Actors.

One of the most common mistakes directors make is failing to be prepared to work with their actors. After all, you know the script inside out, maybe even wrote it over a period of several years. So, isn’t it safe to assume that you know enough about the story and characters to direct the actors? The answer is: most probably not. Directing your actors will require an entirely different kind of information than you needed when you were writing your screenplay or making other directorial decisions.

In order to work with actors, you must create a subtext for them, providing each actor with insights into the inner workings of their characters. But in order to do that, you must first answer a few basic questions: What does each character want, and how is he or she going to get it? Actors need the answers to these questions in clear, simple and active language. But these answers aren’t always obvious – you must give yourself the time to think through the script, scene by scene and character by character. If you don’t take this time, odds are you’ll talk too much on set and only succeed in getting random results.

I once watched a director ramble on about the metaphorical meaning of a prop to an actor. The actor stood there nodding, making polite, intelligent sounding noises. However, when the director finally finished, not only did the actor have no idea how to play the scene, but her energy was confused and dispirited. The director had left her with no practical insights as to how to play her scene. Winston Churchill once ended a very long letter with the comment, "I’m sorry this letter was so long – I didn’t have time to make it short." The only way to be brief and to the point with your actors is to take the time to crystallize your thoughts before opening your mouth. (read more)

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"The play's the thing wherein I'll catch the conscience of the king."