The Art of Directing Actors

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The Art of Directing Actors
Ernest Goodman
Ernest Goodman
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Published by Goodman Directing & Acting Studio
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The Art of Directing Actors
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Table of Contents
INTRODUCTION 7
What is this book about? 7
Should we study directing or is talent enough? 9
The Art of Directing Actors 10
1. TYPES OF ACTING 12
Three Types of Acting 13
2. THE GREAT TEACHERS 15
3. WHERE DO THE EMOTIONS AND FEELINGS COME
FROM? 18
4. RESULT-ORIENTED DIRECTING 20
5. TWENTY EXAMPLES OF RESULT-ORIENTED
AND GENERAL DIRECTIONS 22
6.FIXING RESULT-ORIENTED DIRECTING PROBLEMS
Inside Out 35
Directing the scene by result approach 36
Directing the scene by proper tools 36
7. MAIN SKILLS REQUIRED TO BE A DIRECTOR 38
Intuition, Empathy and Body Language 38
8. ADAPTATION OF A SCRIPT AND DIRECTING 41
9. DIRECTING ACTORS FOR FILM AND THEATER 44
10. TOOLS OF A DIRECTOR 47
Two goals of a director 49
Three requirements for the best directions 50
The list of the Seventeen Tools 51
11. Tool # 1 SUPER OBJECTIVE, SCENE OBJECTIVE 54
Examples of the SUPER OBJECTIVES 57
Examples of the SCENE OBJECTIVES 60
COMMON MISTAKES 60
EXAMPLE OF WRONG OBJECTIVE 61
12. Tool # 2 CHARACTERIZATION, BUILDING
A CHARACTER 63
Ernest Goodman
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Examples 65
COMMON MISTAKES 67
A Character Checklist 68
Another opinion about creating a character 69
13. Tool # 3 ACTION VERBS or ACTIONS 71
How action verbs work fixing Result 73
Simple list of ACTION VERBS 75
About Adjectives and Adverbs 76
About chemistry 77
14. Tool # 4 FACTS or GIVEN CIRCUMSTANCES 78
Three types of Given Circumstances 80
Actors choices 81
15. Tool # 5 IMAGES 83
The Practical Application of
the IMAGESThe Importance of Being Earnest 86
16. Tool # 6 CONCENTRATION OF ATTENTION 93
17. Tool #7 ADJUSTMENTS 96
18. Tool # 8 EVENTS 100
Woody Allen and Andrew
Tarkovsky in creating events 102
Making events by classic directing techniques 103
19. Tool # 9 PHYSICAL TASKS, THE METHOD 104
OF PHYSICAL ACTIONS
20. Tool # 10 ATMOSPHERE 108
Example of how atmosphere works in connection
with other tools 112
21. Tool # 11 PSYCHOLOGICAL GESTURE 113
How to use the PSYCHOLOGICAL GESTURE? 114
22. Tool # 12 FEELING FOR TRUTH 116
23. Tool # 13 FEELING FOR STYLE 118
24. Tool # 14 SENSORY MEMORY 121
25. Tool # 15 OBSTACLES 123
examples 124
The Art of Directing Actors
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26. Tool # 16 SUBSTITUTION 126
Example of how Substitution works in connection
with other tools 127
27. Tool # 17 INNER MONOLOGUE 129
The Practical Application of the Inner
MonologueThe Importance of Being Earnest 130
28. CASTING 138
TRAINING OF THE ACTORS 142
DESCRIPTION OF THE CHARACTER AND CATEGORIES 143
AUDITION CHECKLIST 144
RESOURCES FOR CASTING 146
REJECTION 147
IN THE AUDITION ROOM 148
CALLBACK 148
29. REHEARSAL 149
INTRODUCTIONS AND TABLE READINGS 153
Discuss OBJECTIVES with your actors 153
IMPROVIZATION 154
30. MISE-EN-SCENE AND BLOCKING 155
Mise-en-scne 155
Blocking 156
Tiny pause before the dialogue 158
Blocking first method 158
31. MAKE EM LAUGH 159
32. MAIN FUNCTION OF A DIRECTOR 161
The Kuleshov Effect 161
Eisensteins theory of editing (montage) 162
The two types of directors 163
33. PRACTICAL APPLICATION OF DIRECTORS
TOOLS FOR THE BEAR 166
Elimination of any emotional content 167
Relationship between director and screenwriter 168
Three-tier structure of film or play 169
An Overview of The Bear 170
Tool # 1 SUPER OBJECTIVE,SCENE OBJECTIVE 172
Tool # 2 CHARACTERIZATION, BUILDING A CHARACTER 176
Tool # 3 ACTION VERBS or ACTIONS 184
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THE BEAR, script with OBJECTIVES and ACTIONS 185
Tool # 4 FACTS or GIVEN CIRCUMSTANCES 218
Tool # 5 IMAGES 220
Tool # 15 OBSTACLES 225
Tool # 16 SUBSTITUTION 233
34. SOME OTHER PROBLEMS DIRECTOR
CAN ENCOUNTER 236
Miscast 237
Over directing 238
Agreements between actors
about emotional responses 239
Appendix I Action Verbs Thesaurus 240
Appendix II Classification of Action Verbs 299
Appendix III Recommended Reading 309
Acknowledgments 312
Epilogue 313
About the author 314
The Art of Directing Actors
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INTRODUCTION
Welcome to Te Art of Directing Actors. Tis book may be one
of the best your investments in your directing career. Why? Because
it will teach directing actors so much. I know how much Ive learned
while gathering the information for it. Te Art of Directing Actors may
look like other books youve seen but there are some very important
diferences, ones that are helpful and will make it easier for you while
directing. Tis is a handbook that has all the tools youll need to efec-
tively direct actors and to create memorable performances.
By detailing out modern and classical methods for directing
actors, youll have a complete and versatile toolbox to draw on for use
in any flm or theater production (17 tools). Te Art of Directing Ac-
tors points out the most common mistakes made by flm and theater
directors and actors, and ofers ways to do better. In addition, a full
list and classifcation of action verbs with a thesaurus, plus examples
of a full script breakdown (Te Bear by Anton Chekhov) with objec-
tives, actions, and other tools are included. Finally, there are exercises
in a useful format so you may apply your understanding of the several
methods of directing actors.
What is this book about?
Film directing is a relatively young art form, emerging almost
100 years ago. Teater art, on the other hand, has existed for thousands
of years. Tis book is about the art of directing actors, whether it is for
flm or for theater. Te inner life of the actor, acting techniques, certain
rules of human behavior, common mistakes of the director, and various
methods of directing are discussed.
As working director, I believe, as well as many other teachers,
directing actors can be taught as a craf. Te art of directing actors does
not need to be mystifed. All 17 methods of directing actors are rela-
tively easy to understand and they can be learned over a reasonable
amount of time.
Ernest Goodman
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Film school courses will ofen focus more on the technical as-
pects of directing, ofering study in cinematography, editing, produc-
ing, etc. Of course a good director must be familiar with these arts, but
they are not his or her main function. Only a few U.S. flm schools ofer
students a course dedicated to the specifc methods of directing actors.
Given that this topic is multilayered, clearly one class would be insuf-
fcient to successfully realize this rich subject. With a hundred years
of history, the art of directing actors is based on a clear and logical
structure, as well as on the science of psychophysiology. Many theatri-
cal and flm scholars have dedicated their lives to developing specifc
techniques for directing of actors. Both acting and directing are com-
plex, cumulative art forms; they must be taught and studied layer by
layer. Tis subject is best studied in conjunction with the techniques of
acting and this book is a synthesis of the concepts of many teachers and
professionals.
In order to be a director you must have special training and
intuition. Sometimes when teaching these methods, students will com-
ment that certain techniques are illogical or against intuition. Tis is
normal reaction. Intuition is very important and necessary for a di-
rector, but blindly following it usually leads to faulty results. To under-
stand and know this multifaceted art form, it must be studied layer by
layer; eventually leading to creating an exacting framework in which
intuition can work best.
People ofen confuse intuition with inner emotions and some
teachers believe that intuition cant be taught as skill. But according to
Allan Pease, an Australian body language expert and co-author of ff-
teen bestsellers, intuition is the ability to read peoples body language,
a skill that can be taught. Body language is a refection of our inner
life, thoughts, emotions and feelings. Like intuition, Pease believes that
reading body language enables you to determine whether the actors
performance was truthful or not. But more importantly, the director
should remain open and receptive to human emotions and feelings.
It can be called intuition when we are watching a performance and as
a gut reaction say, I dont believe it! On the basis of your intuition,
not your thinking, you determine whether or not the performance was
truthful.
The Art of Directing Actors
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Most people can acquire the ability to read other peoples
thoughts based on reading their body language, and this is a particu-
larly crucial skill for a director. Te Art of Directing Actors presents di-
recting as a practical psychology: the art of managing human behavior.
Should we study directing or is talent enough?
Te artist is nothing without the gif, but the gif is nothing with-
out work. ~ Emile Zola
Im ofen asked Isnt talent enough, do we have to study direct-
ing and acting? Or some will pronounce Talent is the most important
element, many actors and directors have no training at all!
So, lets talk about talent. Is having just talent enough to be a
good director or actor? Imagine someone who has the gif of being a
musician and was also born with a good ear. He didnt study any mu-
sic theory and he doesnt practice playing any musical instruments. In
spite of being gifed, he most likely wont succeed as a musician because
in order to be truly good, even a well-gifed person needs to spend
years practicing and refning their talent. Lets use another illustration:
picture two people who are equally strong and fast swimmers with
well-developed muscles. One has spent years training and developing
a swimming technique and the other hasnt. Now ask any Olympian
swimmer who they think will be better and theyll unabashedly tell you
that the one with the best technique will swim faster and longer, have
more elegance and grace, and expend the least amount of energy. Al-
ternatively, the person who doesnt know how to swim with technique
perhaps will swim, but his natural talent and other characteristics will
not automatically give him an advantage. Tis concept is applicable to
all professions; training, practice and experience lead to the best re-
sult. Like the musician, the actor practicing his instrument (his body,
his mind, his soul) benefts from practice. Like the swimmer, without
training, even a natural born artist cant achieve true excellence.
Peter Yershov (1910-1994)a prominent Russian theater di-
rector, wrote in his book Directing as a Practical Psychology:
Te principle of least action is well known from the theoreti-
Ernest Goodman
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cal physics of the mid 18
th
century. It states that nature always fnds the
way where the amount of energy required for any physical action is the
smallest possible. Tis physical principle applies to the human behavior:
if the same result can be achieved in various ways, an individual will use
the pass that he believes will require the least expenditure of energy, and
subsequently spends no more eforts than, he thinks, necessary to achieve
the result. But unskilled person wastes a lot of energy to do a basic job.
A drowning man who cannot swim will make too many movements in
order to save his life. Such loss of energy is refected by the extreme impor-
tance of saving his life...Experience, training, and practice lead to the best
outcome. Te higher the level of professional qualifcations a person has,
the less wasteful his work will be. Tus, the costs of eforts are determined
by not only the signifcance of human goals, but also by the life experience
and training.
Tis very principle of least action applies to the world of act-
ing and directing where profcient and knowledgeable professionals do
their work easy and quickly, and expend the least amount of energy to
get a tremendous performance. It is not simple for the actors who do
not have adequate foundation and practice to do even the basics: hit-
ting marks, remembering lines, repeating gestures and movements for
coverage, and fnding their key light. Te work of actors and directors
is extremely difcult, if you lose focus for one minute and the career
consequences can be fatal. Te workload is overwhelming. You may
fnd yourself working seven days a week at 12-14 hours a day, ofen for
weeks. Too slow and you are lef in the dust. Mortality rates are very
high in a flm industry. You can easily die working hard. I am joking
about mortality...no worries. Any way, under such conditions unpre-
pared person will not even have a good chance to use his gif if he has
one.
So, is talent enough? Constantin Stanislavskis famous quote is
a good actor is 10 percent talent, and 90 percent hard work. I dont be-
lieve that the gif alone is enough. Ive seen many students who started
out with only a little natural talent, but afer years of hard work, study
and training, achieved a great deal.

The Art of Directing Actors
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The Art of Directing Actors
Meaningful and successful directing is not an arbitrary ma-
nipulation of the actors behavior. A director cant efectively extract a
specifc result from an actor in the form of an emotion such as cry, be
sad, etc. by simply commanding it. Te art of directing is expressed in
the distillation of ideas, and making the proper choices to best express
those ideas. Te art of acting and the art of directing are related to each
other as in the two sides of one coin.
Average directing is a craf; good directing is a skill; but great
directing is the Art. In the world of artistry, it is the directors vision
and creativity that transforms the ordinary into a master piece. Direct-
ing actors as well as directing by itself requires a possession of inventive
and imaginative skills. Shot selection, camera movements, blocking
and mise-en-scne as well as instructing actors are not just mechanical
skills, they are creative choices.
Learning methods for directing actors is not difcult by itself.
Te main difculty lies in the application of the methods. By continu-
ous practice and experience over time, good directing will follow in an
easy, elegant and graceful way. Being graceful is a supreme goal of an
artist, and a director is an artist and the reason this book is called Te
Art of Directing Actors.
And while its absolutely okay to read book in random order, I
suggest you start from the beginning so you have a better knowledge of
the sublime art of directing actors.
Ernest Goodman
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CHAPTER 1
TYPES OF ACTING
Only a performance warmed by the real living of the actor
on the stage can afect the audience emotionally. ~ C. Stanislavski

Acting is not faking or pretending. As a director, it is important
to understand how actors work. Tere are diferent schools and meth-
ods of acting as well as directing around the world. Almost all of them
are based on the ideas and the method developed by Constantin Stan-
islavski (1863-1938), a great Russian actor, director, and teacher. Te
Stanislavski Method is unique and versatile, and it is fully based on the
science of human psychophysiology.
His method emerged in the beginning of the 20
th
century and
spread throughout the world in the 1950s and 1960s. Some historians
and scholars believed that he adopted the main principle of his method
from French philosophers. Now, Stanislavski centers are found world-
wide. In the USA, they are located in New York and Los Angeles. Other
methods such as Stella Adler, Michael Chekhov and Sanford Meisner
were originally developed from the Stanislavski system.
Many teachers tell that directing actors, as well as acting it-
self, cannot be taught in nutshell but is learned over a long time, layer
by layer. I believe that the elementary learning of directing begins by
studying acting; starting with the principles of creating the character.
By understanding and studying how actors work from an inner per-
spective, a director can give the best directions to elicit the best perfor-
mance.
But what is a direction? Directions are the instructions to the ac-
tor which includes basic explanations, descriptions, and specifc orders.
Sometimes it is quite lengthy and sometimes only a few very important
words. Learning how to give instructions is important in developing
the art of directing and the basis of this book.

The Art of Directing Actors
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Three Types of Acting
Current acting is taught in a variety of ways as each teacher
interprets the Stanislavski method slightly diferent. But it is of impor-
tance to note that the core of each method always originates with the
Stanislavski method.
Te Stanislavski method is recognized with three types of act-
ing:
(1) Te Art of Living
(2) Te Art of Performance
(3) Te Art as a Craf
Although these terms are well known in Europe, its not com-
monly labeled as such in the U.S. Its my belief that approaching acting
with these expressions is a very important starting point for actors and
directors.
In the beginning of the twentieth century there was crisis in the
theater of Russia, people had stopped going. During this time, Stan-
islavski was a prominent actor and director of the Moscow Art Te-
ater. In facing this crisis, he began to work on developing specifc tech-
niques of acting. In over 40 years of research and practice, he developed
a method that was used by his students and Russian theater became
world renown.
Stanislavski believed that in the theater that there are two main
streams: the art of living and the art of performance. Acting mastered by
professional actors that mixed the streams of the art of living and the
art of performance are called the art as a craf.
Beginning with the physical actions that are generated by the
given circumstances or events, a primary foundation for the develop-
ment of the character is begun. However, Stanislavski taught that in
order to master the of the art of living is not just to depict life as in its
external manifestation, but mainly to create the scene depicting the inner
life of the character in the play, adapting the characters alien life to the
actors own human feelings, giving all the organic elements of the actors
own soul. Terefore to develop the character further, the actor must
Ernest Goodman
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be fully alive in the role, experiencing similar and natural feelings on
the stage, every time and at every repeat. By making the connection
between actions and feelings, the actor in his role is then united and
becomes a logical, consistently perceived character, and emotionally
thought as the real person by the audience.
In contrast, when actors use the art of performance, it is a more
formal, mechanical action where the actor just imitates emotions. It
does not require living in the space between the actions and the feelings
of the character. When the art of performance is mastered properly, it
can be impressive and expressive in form. But more notably, there can
be no spontaneity and improvisation, and it ofen leaves the audience
indiferent and unafected.
Of course, a clear division of theatrical art for these types is pos-
sible only in theory. In actual practice, the actor can mix the elements
of these two acting types. Te Stanislavski Method exerted a strong in-
fuence on the development of modern schools of acting and directing
throughout the world by defning these two acting types. Te changes
in the flm and theater worlds were enormous. In the silent flm era,
there was mostly Result-Oriented directing, that continued even into
the early period of the Hollywood 1930s and 1940s movies. Its easy to
notice the diferences in acting if you compare American movies shot
during the 1930s and 1940s (before the Stanislavski Method came to
US), and movies shot in the 1950s and 1960s when actors were trained
according Stanislavski, and his method became the grammar for acting
and directing throughout the world.
Presently, one notices that actors in most TV shows and stand-
up comedies are mainly using the art of performance. Te theater be-
fore Stanislavski consisted of numb clichs that represented certain
emotions, and directors asked for each scene-specifc emotion during
a play. Today, we can identify badly mastered stage plays and low-level
acting movies; they are boring, mostly because there is no art of living.
As an exercise, watch old movies, bad movies, be attentive and
try to distinguish the art of living and the art of performance. One
of the most important skills for a director is the ability to recognize
whether the behavior is natural and believable or not.
The Art of Directing Actors
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CHAPTER 2
THE GREAT TEACHERS
It serves a director to know history and the techniques of act-
ing. In the U.S., most methods are based on the art of living. Within
this are two types of concepts, inside and outside approaches. Te
inside approach generates from the idea that the source of acting draws
from the actors past emotional or sensory experiences. Te outside ap-
proach is based on the notion that the source of acting comes from
within the human imagination. But there is no hard line defning these
two concepts, rather it is a generalization of approaches to acting.
Constantin Stanislavski (1863-1938) was a Russian actor and
theater director. He pioneered acting based on the art of living and en-
couraged that actors use their imagination in their craf which defnes
this method as an outside approach.
In the early decades of the 20
th
century in the U.S., most of the
actors were prepared through the British school of acting. Tis includ-
ed sets of specifc exercises that involved mimicking in front of a mir-
ror. Most flms of this period refect visibly poor acting and unnatural
emotions. Stanislavski changed this, revolutionizing the acting and
directing worlds. Stanislavskys method of acting supported actors in
breaking from the exact lines and actions of the script but it also de-
manded that they pay closer attention to the important unsaid mes-
sages within the writing. Eventually, Stanislavskis method substituted
the British school everywhere, most notably by WWII. Tere were no
more fake reactions, no more clichs in the theater and flm. Only real
passions and feelings were the norm afer his method has been dissem-
inated throughout the world.
To further illustrate the outside approach lets take an actor
who has a role as a policeman. Although hes never been a policeman,
he fnds ways to play it; from the imagination, by making observations,
doing research, and using clues (unsaid messages) from within the
script.
Ernest Goodman
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Michael Chekhov (18911955) was a Russian-American actor,
director, author, and theatre practitioner. He was a nephew of the great
Russian playwright, Anton Chekhov and Stanislavski referred to him
as his most brilliant student. He starred in flms directed by A. Hitch-
cock and was nominated for an Academy award for his role in the flm
Spellbound (1945). His acting technique has been used by actors such
as Clint Eastwood, Marilyn Monroe, Yul Brynner, and Robert Stack.
Although born in Russia, he moved to England, and then to USA. In
New York, he founded an acting studio and became the director of his
own theater.
Michael Chekhov invented his own method of acting based on
the imagination (an outside approach) and was strongly infuenced
by the German philosopher, Rudolph Steiner. Steiner, authored many
books on child education/development (and was a founder of Te Wal-
dorf school/education system.) Chekhovs method: Psychological ges-
ture and Atmosphere will be discussed later.
Lee Strasberg (19011982) was an American actor, director
and acting teacher. In 1969, Strasberg founded the Lee Strasberg Te-
atre and Film Institute in New York City and in Hollywood, teaching
the work he pioneered. Tis popular school (or method) of Lee Stras-
berg, is based primarily on emotional memory, an inside approach.
Actors exercise recalling from their personal memory emotional events
that happened to them in their lives.
Stella Adler (19011992) was an American actress and an ac-
claimed acting teacher, who founded the Stella Adler Studio of Acting
in New York City (1949) and the Stella Adler Academy of Acting in Los
Angeles (1985) with long-time protg Joanne Linville. Her grandson
Tom Oppenheim now runs the school in New York, which produced
alumni including Marlon Brando, and Robert De Niro. Adler met with
Stanislavski when he was touring the U.S. with his famous theater. She
took classes and began to learn from him, eventually writing and pub-
lishing the frst book in the USA about the Stanislavsky method. Stella
Adler and Lee Strasberg began their journey together as directors of
Te Group Teaters. But Adlers viewpoint prompted her to start her
own school of acting based broadly on the imagination and sensory
memory. Strasberg opened his own acting school based only on the
The Art of Directing Actors
17
sensory memory. As a result, they split and never communicated till
the end of their days.
Sanford Meisner (19051997), also known as Sandy, was an
American actor and acting teacher who developed a form of acting
based on the Stanislavski method which was termed the Meisner tech-
nique. Te goal of an actor to live truthfully under imaginary circum-
stances he borrowed from Stanislavski. He founded a school of acting
which is still active and wrote many books about acting.
In the feld of the directing actors, the studio of Judith Weston
is located in the Los Angeles. She is known worldwide and has trained
more than many directors. Her two books, Directing Actors and Te
Film Directors Intuition are required reading for classes in directing
actors at many flm schools in the USA.
Ernest Goodman
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CHAPTER 3
WHERE DO THE EMOTIONS AND
FEELINGS COME FROM?
You cannot hold the feeling. ~ Constantin Stanislavski
Te main assumption in directing is the idea that human emo-
tions and feelings only appear spontaneously, and therefore cannot be
called up by the director from the actor.
Stanislavski would tell this story when teaching to emphasis on
this point: Te wife is waiting for her husband to come home afer work
at the factory. She has cooked a nice dinner for him. Abruptly, she gets
a phone call telling her that her husband was killed in an accident at the
factory. And what do you think was the frst thought of the poor woman?
She thinks what will I do with dinner now?
Stanislavski used this to demonstrate how thoughts and emo-
tions can be spontaneously illogical. Did we always cry when we
should? Really, sometimes in life we laugh or behave very diferent-
ly when crying would be more logical. So what is a natural and real
behavior is what also works in the theater or flm. And because it is
natural, it afects the audience as such. Mistakenly, many new directors
will ask for a particular expression from the actor or actress. Unnatural
and imitated emotions ofen leave the audience indiferent and cold.
In ordinary life, we dont think about our reactions and feelings, they
usually appear afer our thoughts. Tere are certain people who train
(like religious monks,) who can control their stream of thoughts for
short periods of time. Or they can be in mental silence which means
a mental state without any thoughts, but the average person cannot do
it.
Please understand that Im not saying that people cant control
their thoughts at all. Indeed we control them to some degree, but usu-
ally we are just reducing the external expressions which are our feel-
ings. But our feelings still are visible, even when we reduce them the
The Art of Directing Actors
19
emotions are evident in some way, through some clue in the body. So,
by controlling and creating new internal thoughts and following objec-
tives under imaginary circumstances, actors can subsequently create
very realistic performances. Tis is the art of acting.
We typically dont hold or stop the stream of thoughts in our
head. We are always thinking, and thoughts are what shape the inner
world of humans. Tis inner world is in unity with the physical body. It
is through this unity that the behavior of an actor is as natural as it is in
real life. Tis is where the truthful expressions, feelings and emotions
are born. However, if an actor over-thinks about his emotions, or ru-
minates about how he looks, he loses the necessary connection (chem-
istry) with other actor. Ultimately we will have fake emotions on the
screen or stage. Terefore, true emotions and feelings are spontaneous,
and sometimes illogical.
To make a point about how this process works, lets do this lit-
tle scenario as an example. Remember your last wonderful vacation.
Tink about it and you can begin to feel it again in your head. And as
you think more deeply about it, eventually, you can also feel it in your
body. So it is through intentionally recreating situations, thoughts and
images for limited period of time that a method for constructing a suc-
cessful performance comes forth. Actors will draw on these methods
over and over again to create truthful performances.
Ernest Goodman
20
CHAPTER 4
RESULT-ORIENTED DIRECTING



RESULT-ORIENTED DIRECTING is an old method of directing
in which directors demanded that actors play a particular result such as a
specifc emotion, feeling, or expression.
Tis is a common mistake of a director. More than 100 years
ago in the theater before Stanislavski, acting existed as a dead clich for
each emotion and feelings, and was based only on external expressions.
Tis type of acting is still in use in some old ethnic forms of theater like
Italian Del Arte and Japanese Kabuki.
Today, the quality of acting and directing has moved to a much
higher level. Te principle of showing emotions is substituted now
by the standard of living truthfully under imaginary circumstances.
Its very visible in the old theater and flm worlds that which was the
product of the Result-Oriented Directing era, before the Stanislavsky
method had been embraced and disseminated throughout the world.
Nowadays, its a fault of the director to ask for a specifc result
for an actor to play out. However, it can be diferent in the modern
form to have the actor play out a similar old style. Tere are no rules
The Art of Directing Actors
21
that cannot be broken as creativity itself allows the breaking and mix-
ing of almost anything.
Lets take a look at the example of the Result Direction. Assume,
the director tells to the actor:
I want you to be mad in beginning of the scene, and as you open
the door to the kitchen you will see your girlfriend, you become look hap-
py...On the line I like you... you should smile and go to her to give a
warm hug.
For ordinary people and aspiring directors it is intuitively ob-
vious and may sound logical to direct actor based on such expressions.
But professional actors would not even understand what the director
wants at all. It is very difcult to reproduce a stream of emotions truth-
fully thinking about every gesture and reaction requested from the di-
rector. Instructions like: be mad, look happy, smile, and give a
warm hug are not playable from the actors viewpoint. Afer receiving
direction like this many actors would say that, the director should play
the part himself.
Actors do not like it when a director requests a specifc Result.
Robert De Niro, and many other famous actors have spoken about this
problem in their interviews. Eric Morris, in his book Being and Doing:
a Workbook for Actors referred to this issue many times. Morris writes
about dealing with Result direction as hard even for a master crafsman
(professional actor), and for less experienced actors it is almost impos-
sible not to fall into the trap of playing out of acting concepts.
Can you imagine how serious this problem is? Many of my
friends who are actors complain about result-oriented directors. I have
been asked many times, What can you do when you encounter a re-
sult-oriented director? My advice to actors is to interpret the result into
the craf terms. Craf terms are acting tools.
Te concept of result and general directions are difcult to un-
derstand without experience of acting or directing. However, you can
get it if you read the next chapter Twenty Examples of Result-Oriented
and General Directions.
Ernest Goodman
22
CHAPTER 5
TWENTY EXAMPLES
OF RESULT-ORIENTED
AND GENERAL DIRECTIONS

Here, I give you twenty examples of Result-Oriented and Gen-
eral Directions, examples from real life and what not to do when you
direct. Tese mistakes do happen on professional flm sets and theater
stages, and even well-experienced directors can sometimes make these
errors. Actors as well as directors would be best served to know these
examples too.
Before you turn to the next chapters, take a moment to read
through the following twenty scenarios. Te information provided
here is important in order to understand basic principles of directing
actors. Even though presented explanations are relatively short, you
will understand why they do not work afer reading the whole book.
Te concept of Result-Oriented and General Directing is difcult to get
without careful studying these examples. From an educational point
of view, learning of techniques of directing actors starting from these
common errors is more advantageous and benefcial.
1. Can you say it louder, quieter?
It is okay if the director asks this, but it should be asked of all
actors on the flm set or theater stage rather than focusing on just one.
Why?...because requesting only one specifc actor to act louder (or
quieter) is not a direction at all, because you are demanding a Result
from the actor. Instead of giving this direction to the actors use the
objectives, action verbs, images and adjustments or other directors tech-
niques. For instance, if you want from the actor a more intense perfor-
mance, try diferent objectives or another action verb rather than asking
him to say it louder (See chapter 13 Tool # 3. Action Verbs or Actions,
on page 71).
Usually it takes a signifcant amount of time for an actor to cre-
The Art of Directing Actors
23
ate a character. Sometimes it can take three months, sometimes even
more. When the character has been created and the actor is perform-
ing, he/she is concentrating on him/herself and at that time, loses con-
tact with the partner. Listening is a most important skill of an actor.
Stanislavski called it communion between actors. It is also known as
chemistry. It is very important to have that chemistry connecting actors
in order to make the scene truthful, and to stir feelings and emotions.
Keeping actors connected is crucial for the director and any direction
that risks destroying this communion risks ruining the movie as well.
One of the characteristics that distinguish a good movie from a bad one
is the strong connections and engagement of actors with each other.
Again, it is absolutely okay when the director asks all actors to
make it louder/quieter. But this is not considered to be proper as a di-
rection.
2. Cry, yell, shout!
Telling an actor to cry, yell, etc. are too general to be playable.
Calling for a specifc emotion is the utterly perfect example of asking
for a Result by directors. In most situations, it is very difcult, even im-
possible, to get believable acting this way. Although common among
amateur directors, this is not a playable direction. Stanislavski, Chek-
hov, Meisner, Strasberg, etc. as well as other prominent and successful
modern day directors agree on this. Tere can be thousands of reasons
to cry, such as be you lost your wallet, or your child, or your job. Te
back-story of the character can vary signifcantly; and each time it will
be a diferent feeling, and with diferent emotions.
Tere is an important rule to know: an audience should cry afer
watching a performance, your actors shouldnt. Did you get it? Te view-
er may be impressed and attached to the performance even without
exposing over-the-top emotions from the actors (they should not over-
act).
3. A director reads the lines out loud and then
wants the actor to say the lines with the inflec-
tion and intonation the director gave it, asking
the actor to repeat it
Ernest Goodman
24
In this scenario the director is expressing total disrespect for
the actor, his preparation, skill, and training. Aside from asking for a
Result from the actor, the director is ignoring the creative contribution
and components of the actors profession. Tis is so called line read-
ing, avoid it and use an action verb or other methods instead.
Te look and sound of the actors expression must be unpre-
dictable and sovereign. Reactions, subtle impulses and responses are
spontaneous and they dont come from the head, they come from the
heart. Leave all emotions and feelings to the actor.
Harold Clurman, in his book On Directing, describes this type
of scenario. He had a private conversation with Stanislavski on the same
subject and subsequently concludes that demonstration can be used,
but not for this purpose. Proper use of demonstration or line reading is
not for copying by the actor, but rather that the director wants to com-
municate to the actor in order to fnd the intention of the speech. For
instance, the demonstration can be used as the way of fnding out the
proper objectives for the actor.
Instead of giving an intonation to the actors use the objectives,
action verbs and adjustments as your tool.
4. A director asks an actor to repeat or copy
the performance of another actor.
Truthful reactions are only what we want from actors. Tis type
of direction will never give you that. Real emotions are spontaneous
and cannot be copied and generated on demand. You can ask this from
an actor if you are working, or have worked with him/her previously,
and then ask for a repeat of something that was done in another scene
or in another flm by him. But again, dont ask the actor to play a spe-
cifc expression.
Te only exception is when an imitation of other actors perfor-
mance is the part of your plot. It allows you to give this type of direction
to your actor. For instance, in Due Date Ethan Tremblay (Zach Galif-
anakis) successfully copied opening monologue from Te Godfather,
parodying Don Corleone (Marlon Brando), because it was a part of the
story. In the flm Ethan shows his acting skills to his new friends by
The Art of Directing Actors
25
reading lines of Don Corleones monologue.
Ofen, aspiring directors, afer reading a script, watch a mini
movie virtually projected inside their heads. Tey see the faces of their
heroes, usually played by an A-list of Hollywood actors, they call it cre-
ative vision. Tese directors hear, in their heads, the lines usually read
with the right intonation and specifc facial expressions. Tis is not a
good thing.
Why is this approach so bad? Tis type of vision is limited and
fat. It denies and eliminates all creative eforts of actors. Such creative
vision does not work because it is made by artistic choices based on
what directors know about another movie rather than on what actors
can deliver to you as independent artists.
We need to understand that actors are real people, and they
cannot truly duplicate other actors performance. If they try to repeat
and copy emotions and reactions, it takes the truth out of your movie.
Te actors will appear to have phony emotions, thereby leaving the au-
dience cold. Emotions, impulses, feelings, reactions and responses are
spontaneous and they dont come from the head, they come from the
heart. Leave all emotions and feelings to the actor. Let him be in the
moment and create all necessary conditions. Its better to help him to be
a real person that gets you a truth in the scene. If you want your actor
to be natural, or aggressive, etc., give him diferent objectives, images,
action verbs or use other methods (tools), and you will ultimately get
what you want. All techniques will be explored in this book.
5. Can you do it funny, unusual or quirky?
Asking for a certain efect, such as I want to make this scene
funny, I want you to be more frightening, dangerous, horrible, and/or
ridiculous, etc are all asking for one thing: a Result from the actor.
Why is this wrong, you may ask? First, because when an actor considers
your directions, he frst begins by thinking about your request. He then
begins to realize himself in the scene, that is, he begins to think about
how he looks. Tis thinking about how he looks induces a self-con-
sciousness which causes problems not only for beginning actors, but
for experienced ones as well. Self-consciousness can lead to acting that
is not truthful or believable and thereby destroys what the director is