Motion pictures have always been about action. If it were not so, it would have been called “still” pictures. Movement makes film what it is and we find numerous techniques developed over the years that take advantage of the medium. Between all the techniques used in chase scenes to move a story forward, dolly and tracking shots to heighten dialog, or even steadicam shots for continuous shooting, one thing stands out: Actors need action.

I’ve had opportunity to work with two kinds of actors: seasoned professionals and amateurs. Regardless of which camp they live in, the most important job a director has is to make them feel at home within their character – bolstering their self-esteem to the point where being something they’re not, doesn’t intimidate them.

Unfortunately, there are more bad scripts in the independent world than good ones. Poorly worded scripts can cut at the very fabric of encouraging the actor to his best performance. One example stated:

TERRANCE leaves with a surly expression.

TERRANCE

You are a fool.

He steps through the door.

While I can picture the shot with the guy leaving in a gruff fashion, I can’t fathom how the actor can play “surly”. Nor can I understand how a rooky director might attempt to get him to play “more” surly. If I were an actor listening to the director tell me to be “more surly”, I’m not sure what I could do to facilitate that request. Nor would I know what I had done to be surly in the first place, making me terribly self-conscious in that moment.

Actors can’t play surly because it is not an action.

Webster states that the definition of surly is: irritably sullen and churlish in mood or manner. There is no actor on this earth that can “play” anything from within the definition. And yes, I put the word play in quote marks because it suggests…Action.

Actors need actions – Verbs. Not adjectives. Just verbs.

It’s the job of every actor to research his or her lines and determine what actions are suggested within the script. The above line from the script gives a hint at it, but only the director knows which path should be followed. The director owns the creative outcome of the picture and MUST give direction to the actor in order to focus in on one of a myriad of possibilities.

In this case, I’ll chose to direct the script line by suggesting to the actor that he is motivated:

• To Rebuke
• To Berate
• To Reprimand

By giving three verbs as examples, the actor is able to get a good sense of what I’m looking for. However, sometimes I’ll give one example at a time and see how it plays out. If I need more of something, I try a stronger verb, if less, a softer verb. The key is making sure it’s always a verb that can be acted out.

To rebuke, berate or reprimand someone, requires some form of action. A softer word choice might be to scoff. A harder version might be to shame. In all cases, the verbs generate a movement or action that most actors know how to play.

For instance, the actor might turn back as he walks out the door and state his line while leaning forward with a glint in his eye. Another actor, depending on what he brings to the character, might choose to arrogantly spout his words to bring shame down on the other character. Still, another might turn with an intensity in his voice and move toward the other character spitting out each word, then turning as if nothing happened and walk away.

Telling an actor to be surly, or worse yet, how to be surly, forces the actor to play the role mechanically, which shows up in the film. By using great verbs, the actor’s creative juices flow and they are able to draw from experience and play the scene naturally. When the director sees the natural response, if it is not quite what he wants, he can’t say to give it more without making the performance mechanical. Instead, he must find a stronger verb to inspire more intensity.

Since the actor can’t see that their performance is at the right level of intensity, he must trust the director to have his best interest and performance at heart. After all, being too intense for the scene makes it look way over the top and possibly to the point of being silly. And, too little might mean the death of the scene or a lethargic character, which lacks appeal or drama.

This director and actor relationship is sensitive and requires both people to participate in the character’s development. The director must do everything in his power to draw out the best performance and protect the actor from looking mechanical or out of place for the scene. Mean while the actor must keep his character fresh and consistent with all other discussions and scripted scenes.

Together, the relationship builds award-winning performances that will be remembered beyond a lifetime. This is all made possible by a handful of verbs being used in place of adjectives. And, with the decentralization of Hollywood, the independents that can develop great action will see greater box office success going forward. So, get out there and infiltrate your stories with great verbs and practice directing your talent with verbs.

© 2012 by CJ Powers

I’ve read hundreds of scripts as a festival judge and director over the years and I’ve found 7 steps that help me determine if a script is worth shooting. The 7 steps are ideal for assessing if the story is visually compelling with believable characters.

Since I will be writing about the “main character”, “protagonist” or “Hero” throughout this article, I’ll just call him “Mick” (the Most Important Character Known) to simplify what I share.

1. THE HUMAN CONDITION

During the first read of the script it’s important to recognize if the story points out Mick’s natural flaw. Since we’re all flawed, the film won’t be received as believable if Mick doesn’t have one. Films that have “good” people becoming “better” won’t work, as people won’t be able to relate to an inauthentic Mick. The script needs a flawed Mick who we can embrace.

A great script also reveals what makes Mick do the things he does. These motivations must be presented in a visual manner within the script with lots of verbs, not adjectives. This will give the director a quick handle on how he can visualize the exploration of Mick’s life.

2. THE ACTION PLOTLINE

The script must be clear about the story elements like who the characters are, the location of the action, what form of growth or change happens to Mick, and so on. After the first read, the following questions can be answered to clarify if the story makes sense:

• What is the story about?
• Can it be explained in 2 sentences or 30 seconds?
• Was the story easy to follow and understand?
• Are the obvious problems easy to correct?
• What is the theme of the story?
• Can all plotlines be easily listed?
• Can the story beats be easily picked out?
• Does the climax make a profound or emotional impact?

Further analysis can be done on a scene-by-scene basis. The following questions can help determine if a scene might hit the cutting room floor or survive:

• Does the scene raise a question or resolve a previous question?
• In what way does the scene advance the story?
• How many power exchanges are within the scene?
• How often does the emotional status of the scene change?

3. THE MOTIVATION

Mick must drive the action plot and requires some form of motivation to do so. Reviewing the script elements that drive Mick’s behavior to change from his flawed human condition to something greater must be in place for the action plotline to take the audience on a journey.

The script elements must infer what Mick thinks, how he feels, and thereby what his actions , which all serve to drive the story forward. To establish Mick’s motivation, the script must have some form of objective laced within the story. It needs to be clear and concise. The following questions can help determine Mick’s motivation:

• What does Mick want to do throughout the story?
• What does Mick want to do in each scene?
• What is Mick doing versus what he is saying?
• How does Mick’s choices drive the audience to the next scene?
• What is Mick willing to sacrifice to obtain his objective?

4. THE JUXTAPOSITION OF IMAGES

All great films are a series of shots that tell a story. While many think the dialog is the most important part, it is actually the selection of shots in a series that reveals the essence of the story. My favorite types of films are those that can be watched and understood with the sound turned off. Here is a shot list to make the point:

• A single long stem rose is held behind a man’s back.
• A man’s hand knocks on a door.
• A woman’s hand turns the doorknob.
• The door swings open past long legs and red high heels.
• The rose is pulled out from behind the back.
• A man’s hand places the rose into a woman’s hand.
• The man’s feet fidget.
• The rose flies across the room.
• The rose lands in a wastebasket.
• A woman’s hand pushes against a man’s chest.
• The man’s feet shuffle backwards.
• The door swings closed.

The above shot list was my rendition of Mick trying to make up for a mistake with the woman he loved. The shots suggested that she pushed him back into the doghouse for a bit more time, rejecting his attempt at reconciliation.

The simple positioning of the individual shots generates the audience’s creativity and allows them to draw on their own emotional backgrounds to understand what the shots meant. If the script doesn’t suggest a certain series of visual opportunities in the story, it may be better as a book rather than a film.

5. THE CAMERA’S PERSPECTIVE

Great scripts hint at camera movement, position and point of view. Bad scripts tell the director what type of shot to use. Determining if the writer is a would-be cinematographer or is excellent at his craft by merely suggesting possibilities will help a discerning director to determine the cinematic language of the film.

A helpful script suggests if the camera view is:

• Objective: This type of camera positioning gives the audience an outsider’s look at the story, as if they were standing at the fourth wall looking on.
• Subjective: This placement is typically within the action itself, rather than at a “safe” distance, pulling the audience into the scene. The shaky camera technique is subjective as it makes the audience feel like they are in the story.
• POV: This camera angle is typically set up by a subjective series of shots and then reveals what Mick is seeing.

The emotional tone and pace of the film determines which of the above types of camera shots are best used. Regardless of the suggestion hinted at in the script, the director needs to understand how the shots would drive the central idea or super objective of the story forward. Whatever shots take away from that goal should be changed.

6. THE MOVEMENT OF CHARACTERS

Scenes that suggest movement based on human reactions greatly support the director’s vision. Since every director needs to block the actors in relationship to the camera and other characters, any suggested movement within the story would simplify the shoot.

To determine if the story is mostly made up of talking heads or physical action, the following questions can be considered:

• Where was Mick located in the last scene?
• Where will Mick start in the current scene?
• Will the juxtaposition of A and B impact the story?
• In real life, what would Mick’s natural movement be in the scene?
• Is Mick increased or diminished in the scene?
• Should Mick be closer to or farther from the camera?
• Would an angle shot increase the emotions of the scene?
• If the scene is intimate, will a steady close-up work?
• If the scene is active, would tight shots increase the emotional intensity or distract the audience from understanding the action?

It’s important to understand that the above list is a fraction of the possibilities. It should also be noted that Mick’s movement could be created by him moving or by the director moving the camera.

7. THE IT

Great films are great because of all the story elements that come together. Scripts that help the director to visualize the location and production design, the cinematography and sound with music and effects, the editing potential and pacing, and anything else highly unique like stunts, special effects, and whatever else will take filmmaking to the next level, all make up the thing we call “it”.

The “it” is the synergy that makes the story spectacular, well beyond the sum of the filmic elements that brought the film into being. It is that panache that can’t be created, but shows up. Simply put, it is those elements that make the story universal for all audiences, while being specifically unique as if no niche market has ever seen it before.

When a director finds a script that has all 7 steps showing up in strength within the story he’s considering, he finds his passion for the story growing beyond what he’s capable of holding in. He must tell the story. Anything shy of this isn’t worth the time or effort.

Copyright © 2012 by CJ Powers

This past weekend I worked on a screenplay with a producer whose list of credits includes Nickelodeon and Disney. He specializes in children and family stories. In fact, we first met when he hired me to direct a children’s picture that went on to win several awards.

More recently we’ve teamed up to write a love story that is bookended by a courtroom drama. The story requires some very intense scenes and humorous relief to keep the audience focused on how the story will end. And yes, the boy gets the girl. But the “how” is unique and worth watching to see it unfold.

This story is very much driven by the three main characters. The dual protagonists are strong-willed and the antagonist has a deep secret that is revealed in act three that drives his passion throughout the film. This hidden secret is the fuel for many intense scenes and the quirky moments that the antagonist needs for relief.

To strengthen weaker scenes, actors typically employ the concept of holding a secret from their peers. The use of a secret gives the mind additional angles to consider during a scene and visually creates depth of character from the camera’s point of view. The subtle facial changes from the mere thinking of the secret during the shoot are actually picked up by the camera. And, since the audience doesn’t know the secret, it reads like there is more to the character than meets the eye, which is true.

Cameras have always been able to detect the real and separate it from the fake or make believe. That’s why actors work so hard to find common ground with their character and play the scenes as honestly as possible.

I recall a chat with Catherine Hicks, known for 7th Heaven and Star Trek IV: The Voyage Home. She shared with me that during the shooting of Game Time: Tackling the Past, she drew from a time when her daughter was in the hospital as a little girl. This fueled he role as a wife sitting in a waiting room anxious to hear the news about a family member. The use of this technique or secret that the audience doesn’t know brought more depth to her character and created an honest scene for the camera.

Some of the best screenplays infer something unknown in the character’s background that fuels the performance and passion of the actors. This passion or edgy unknown causes the audiences’ minds to fill in the gaps based on their own experiences, which strengthens their bond to the character. Once the bond is achieved, the audience must watch the remainder of the film to understand the character’s outcome.

In the case of my recent script, the person with the greatest amount of integrity carries the greatest secret. The character seems too good to be true until the secret is revealed. Interestingly enough, once the reveal hits, the audience trusts the character all the more, since she has overcome her life’s obstacle and had everything turn out for her good in the end.

What types of real life secrets have you drawn from to fuel your creativity?

Copyright © 2012 By CJ Powers