Deja vu:<\/i> we’re a full week out from shoot.<\/p>\n
Last night was a read-through with the cast, with Mr Hargreaves<\/b>, Ms Oliver<\/b> and Mr Forster<\/b> attending. Read-throughs are always interesting. Actors will either read their lines flat, conserving their energy, or with a bit of energy to feel out whoever they’re trading lines with. For my part, I have to remember that a read-through is just that: everyone literally reading through the script out loud. It’s not the place to give notes; it’s a time to note secretly to yourself what’s dead in the script and to get a feel for how the actors are approaching their characters.<\/p>\n
After the read-through there was a Q&A where relationships were discussed and defined. I used to dread such conversations. I used to think, I, the Writor<\/b>, have conured these words to come out of the mouths of yon characters, and they are what they are<\/i>. Actors need more than that. As do the production designer (“What sort of vibe<\/i> do you want in this location?”), the cinematographer (“How do you want to pace<\/i> this scene?”) and so on.<\/p>\n
Sure, it’s fun to quote Harrison Ford<\/b>‘s “acting school of ‘let’s pretend'” and write actors off as a bunch of high-maintenance nonces but remember that they’re not just your mouth-piece – nor are they some Hitchcockian puppet who must respect your authoritah.<\/p>\n
They’re a fellow collaborator<\/b>.<\/p>\n
Treat and direct ’em right, and they’ll make you<\/i> look good.<\/p>\n
Enough pre-prod avoidance. Kirk out.<\/p>\n","protected":false},"excerpt":{"rendered":"
Deja vu: we’re a full week out from shoot. Last night was a read-through with the cast, with Mr Hargreaves, Ms Oliver and Mr Forster attending. Read-throughs are always interesting. Actors will either read their lines flat, conserving their energy, or with a bit of energy to feel out whoever they’re trading lines with. For … <\/p>\n