This video discusses the challenges that arise when an individual is tasked with both directing and acting in a production. We explore how to act effectively while simultaneously managing the responsibilities of a director, highlighting the unique difficulties filmmakers face. It's an insightful look into the art of directing 101 and mastering how to direct actors, offering valuable acting tips for those wearing multiple hats.
Discover the challenges and strategies of directing yourself as an actor. Learn how trust and collaboration with your crew are key to a successful, experimental project.
[102:10-102:43]
now the when you're directing something that you're acting in, how, when you're wearing both of those hats at the same time, how difficult or how easy is it to kind of Because you're directing other people? you have to concentrate on that. And when it comes to part, to doing the thing that you really love the most, the acting part of it- how difficult or how easy is it to just kind of give yourself completely to the acting- Forget about directing at this point and just say: this is what I love.
[102:43-103:07]
Let me enjoy my moment. Do you ever get that? And if so, how difficult is it? Yeah, So I've only done that with one project. It was a very kind of lofty. I didn't even call my. I called a bunch of friends to collaborate with me And I actually called them and asked them to do an experiment for one day. I said yeah, I said I don't know if this is going to work, It's a really experimental idea.
[103:08-103:32]
And we rehearsed it. um, which you don't always get a rehearsal, this was one of my only pieces where we actually- well, no, i guess leash, we rehearsed because we had a fight choreographer come in to do, like the choking scene, so nobody would get hurt. and um, you know, dump water, we didn't. no, we didn't really rehearse um penis fairy, we didn't rehearse at all.
[103:33-103:56]
so i did get everybody to come in rehearse. we figured out the blocking, so where everyone's going to move, where the camera movement's going to be. we figured all that out first outside of the studio, because we just had one day. my friend gave me his sound stage and all the equipment for free, um and it. it was a little challenging, but i also saved.
[103:56-104:32]
i worked the whole day with everybody else and inserted myself at the end of the day, so by that time i had a rhythm with my crew. i had a rhythm with my cinematographer. My cinematographer was a friend of mine. We'd worked on a few projects together before We had a good shorthand. I trusted her And I think that's that's the main thing- is surrounding yourself with a team of people who understand your vision, who get what you want to do And that you can trust you don't have to micromanage them, You don't have to constantly be looking over their shoulder.
[104:32-104:56]
I'm not a micromanager, I really don't like it. I like to hire people who I respect as artists and that I trust and that they're going to do better than I could ever hope for. And you know- and I think my lucky stars, you know that that's how it's been on every project that I've worked on. But I also tend to work with people that I've worked with before.
[104:57-105:19]
You know, I've never really just worked with somebody. you know that I, that it was just that one project when it came to my own, because I do produce quite a bit for other people and for other projects, or I get cast in things. So it's kind of like from that pool of and it is. it's, it's a who you know, kind of business.
[105:19-105:32]
But it's not just my business. I think it's any business. You know, when you really need to trust somebody, you're going to go with somebody you've either worked with before or a friend or colleague has worked with them and really trust them.
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