How to work with actors. What works, what doesn’t.
Tips on working with talent. How do you know when you can approach an actor and when you shouldn’t? What dos and donts would you suggest? How do you work with Method actors?
I haven’t worked with any method actors, so no advice with that.
I am usually the B guy, which makes for a different relationship than the A camera has. I don’t approach actors unless I have a need to. It might take several days of being on set with someone before I officially meet them, unless they introduce themselves, or the director, DP, or other operator mentions me as they are making introductions. I am quiet on set, and don’t want to get in someone’s head-space unless necessary. I try and sort out problems on my own ahead of time, assuming the actor won’t hit their marks, and assuming I’ll need to compensate.
As part of my routine, I try to observe the actors and their interactions with the director, the DP, the other operator, and actors, to get a sense of their personality, and what I should expect when I need to ask for a favor.
Actors are all very different, as is our on-set relationships with them. I did a handheld show for five seasons, where it was perfectly acceptable and encouraged to talk to, and physically touch, and/or move the male actors during the shot if need be to avoid extra takes. I wouldn’t dream of doing that on another show. You learn the personalities of the actors with time, and get to know what you can comfortably ask, and what you should stay away from and figure out on your own.
Most actors are cool helping you out if you let them know what the issue is, and why you are requesting their assistance (seeing off the set, shadowing another actor or themselves, within minimum focus, not in their light, seeing a bad reflection, etc). I’ve had an actress say that they absolutely wouldn’t sit one inch to the left on a bed to make the shot work, but most will go out of their way to help once they understand the issue, and how a small banana on their part will save them from doing the shot over and over.
You want to be careful about when you approach an actor, and avoid doing so when they are concentrating on working out something. If something came up during a take, I’ll generally try and catch them on the way back to one and show them how I need their help, but again this is all dependent on the actor and the relationship I have with them. In other words, it is case by case, and there aren’t any rules, except to be aware, use common sense, and pick your moments wisely.
The simple answer is - learn how to read the room. Every actor is going to be different, have different needs, have different quirks and in fact, an actor can be completely different from one show to the next or even one scene to the next depending on what they are having to do. Acting is an extremely personal, emotional, and complicated craft and every actor approaches it differently. So the single greatest skill you can learn is how to easily and quickly figure out what is going to work for them and how you are going to work with them.
A few simple rules. First, don’t assume you are going to be friends with them. Bottom line is you are co-workers and you are there to do a job. Don’t start in on day one telling them how much you liked them in this movie or that movie. Agin, they are at work just like you are and no matter how excited you may be to meet Katherine Hepbrun, she doesn’t care.
Personally I usually have as minimal an interaction with the actors as possible, especially on day 1. Generally speaking, as the A Cam Op, I will find a time when there is a good free moment and they are not distracted, and introduce myself. I’ll say hi, tell them my name, and any names of the people they may be interacting with on my team if it seems appropriate. If that is met well, I’ll usually ask them what they prefer to be referred to as on set (some will like to be called their character names) and if they want to know frame sizes (the answer to this will vary). This accomplishes three things. First it lets them know that I am there for them and want to give them what they need in the way they need it. Second, it gives me information that allows me to do that. And thirdly, probably most importantly, it gives me a personal interaction that is quick (if the whole thing takes more than a minute I’ve talked too long) and allows me to judge how they interact with me. How I work with them from that moment on will likely be determined by that first interaction as Iearn a tremendous amount. Then I keep very quiet for the rest of the day and simply watch and learn.
If they are method, meaning they are always in character on set and never break, it’s going to be tough. Any and all interactions should be as limited as possible and in fact, it may be best to bring this to the Director and ask them if there is a technical note if you should interact or come to them with it. Bottom line is, the actor will need you to “play along” with them being in character and that is exactly what you need to do.
Beyond method, you will find that actors are all over the map when it comes to their process. Some will tell a joke right up to the camera rolling and then switch it on and others will be deep in thought for most of the day. The bottom line is you need to be a chameleon and change with the needs of the performers whoa are often 3 feet in front of you. It is a very personal experience and you will find that you actually connect with many, but that should never be your goal.
Another thing that I often do, once I know someone and they have a tough scene, is to ask them if there is anything they need from me. Its an open ended question but many times there will actually be something that helps them. If nothing else, it lets them know that you are right there with them and are willing to do what they need.
One specific note that I will offer is this. If an actor comes to set and you have a camera hanging over them (an overhead shot on a bed looking straight down for instance) I will always make sure to specifically let them know that it is there and that I have personally checked to make sure everything is safe and secure and nothing can fall (and of course only say that if I have). Its very likely that someone else (director, key grip, dp) may say something as well but since you are the one 3 feet from them all day they know that you are someone who is looking out for them and this kind of reassurance is key.
In the end, learn who they are and how they work and then adapt, adapt, adapt.
I was a shy kid and in my early operating career I was pretty nervous about having to interact with big-time movie stars. I had a great interaction with Robert DeNiro on one of the first days of shooting on The Fan that cured a lot of my shyness. We were working on an insert car in San Francisco. I had a shot through the driver's side window raking across DeNiro to the boy playing his son in the front passenger seat. During the first take DeNiro kept leaning forward and blocking the boy. I was nervous about saying anything, but I knew the director Tony Scott wasn't going to be happy with another take like that so I tentatively mentioned the problem to DeNiro. He was perfectly understanding and put me right at ease. First of all he told me to call him Bobby, then he said that if he leaned forward during the take all I had to do was tap him on the shoulder. I was surprised he was okay with that, but it was his suggestion. And it worked! He blocked the kid a couple of times during the next take, but he leaned back each time I tapped his shoulder. At the end of the take he asked if it had been okay and I gave him a smile and a thumbs up. The actors who get it will help the camera operator. Sometimes they may forget to do something they said they would do, like signal when they're going to move, or stand a little more slowly, but reminding them politely has never been looked at as an annnoyance by those willing to work with you.
What to do when the actor isn't so willing and does get frustrated by requests like these? I find that when an actor is reluctant to consider what's needed for camera, I need to be hyper-vigilant. I put my reflexes on overdrive and do everything I can to set myself up for success. If I can't nail the shot because of something the actor keeps doing that I've mentioned is an issue, I will bring it up with them again. I like to point out that we're doing multiple takes because of this specific issue, and we're wasting the actor's performance. They may get frustrated with me, but if they understand the process at all they will usually give you what you need. Not always, but eventually.
I had an actor who had delved deep into method technique and didn't want to be bothered with anything technical before a take. They had become deeply obsessed with winning an Oscar for the performance early in the making of the movie, and it drove everyone nuts. I was framed up on a piece of art on the wall and the actor was going to enter and do something with the art, but I had no idea where the actor was going to enter frame, and I was on a pretty tight lens. I asked the actor to show me where they were going to be and I got a cold look that said, "Don't bother me." I told the actor I understood what they were trying to do in terms of performance, but that I was likely to miss the shot and require another take if I had no idea what was coming. Would he rather show me, or do another take afterwards? Right after the slate the actor ran in and showed me how he was going to approach the artwork. He'd come in crouched well below the frame I had imagined so it was a good thing he showed me or I'd have complaetely missed him. He thanked me later for being persistent. He wouldn't have thanked me for blowing the take.
I now have the confidence to ask any actor to help me if I need it. They don't always agree to help, but I'm perfectly happy to mention that making a movie is a group effort and it will go more smoothly if they're willing to help. I haven't been fired yet for that. If the actor makes it very clear that they want no interaction with me at all, then I just get on with my job the best that I can, and I let the director and DP know what's going on.
So, to summarize, you need to talk to the actors as early in the production as you can to gage what their level of cooperation is going to be. Don't be afraid to press for what you need until you receive a clear indication that going further would be detrimental to your employment. This will be uncomfortable, but it's part of the job. I had a very strict DP tell me early in my A camera career that it was my resonsibility to get the actors to do what was needed to keep them properly in frame, and I took that to heart. It resulted in some unpleasant moments, but I got better at doing it, and you will too.
Consider this when you're struggling with the idea of possibly making the actor angry: the actor is unlikely to be the one to hire you in the future, but the director and DP are, so you don't wan't them upset with you for not being able to get the shot. So do what you need to do to get the shot.
One caveat to that is that you may have an actor and director who want to keep the crew out of the process as much as possible. In that case, do your job the best that you can knowing that the director should be well aware of the limitations that have been placed on you.
We're all there for the same reason: to make the best movie we can. Actors that understand this make life easy, actors that don't, make it unnecessarily hard. May you deal with more of the former than the latter over the course of your career. I've been lucky, and have dealt with very few of the latter. Most actors do get it and are a pleasure to work with. Remember, they are people there trying to do the best they can, just like you.
First and foremost, it's crucial to remember that actors are a unique breed of individuals engaged in an unconventional job. As a film crew, our primary purpose, and the reason we get paid is to capture the performances of these talented individuals. I was once told this by a cinematographer and the notion really stuck with me. I believe it's an essential mindset for every crew member to adopt. The reason we‘re all there is to capture these performances. It always reminds me where and how to set my priorities.
On set, actors come in all forms and headspaces. Each has different methods and creative processes. Until I understand a particular actor and their approach, I'm careful about what I say and how I engage them. For crew members whose roles don't require interaction with the actors, my advice is simple: leave them alone. Let them work and avoid distracting them. Acting demands intense focus, even if it may not be evident on the surface.
However, there are specific crew members who need to interact with the actors, and one of those is the camera operator. I believe it's part of my job to develop a friendly rapport with actors. Of course, this dynamic can vary depending on the set, but generally, the main rule is to treat actors respectfully and considerately for the job they're doing. They are working professionals, and our role is to support them and accommodate their needs.
As the A operator, I make it a point to respectfully introduce myself to the actor as soon as we are on set together. Make them feel at ease and supported. They need to know who I am, as we'll be working closely together.
When engaging with actors, keep in mind that they may be deeply concentrating on their performance or working on their lines, even if it doesn't appear so. Avoid unnecessary conversations until you've developed a comfortable rapport and feel that it's appropriate. Even if an actor appears to be just sitting there, they might be mentally preparing for a scene. Remember it’s a professional (and sometimes intense) work environment, not a cocktail party. Don’t engage in small talk and banter until you’ve established a friendly rapport and feel comfortable doing so. Even then, choose your moments and make sure you’re not interrupting their focus and preparation. Avoid approaching or interrupting an actor in the middle of a rehearsal or while they’re discussing the scene with the director and/or the other actors or if they are running lines in their head, studying their script or appear to be concentrating. If an actor engages in conversation with you, great, enjoy. Otherwise, be mindful.
When the actors step on set and you’re ready to shoot, be quiet and encourage your team to settle down. Take superfluous conversations and banter away from the camera. We’re done setting up. Actors are here to do their work now so it’s time to shut up and focus.
Before we shoot or rehearse, sometimes the actors need to be familiarized with what the camera crew will be doing. Sometimes, the director or DP may handle this task, but often it falls on the “A” operator, and personally I prefer when it does. Politely and briefly discuss important information about the shot that the actor should be aware of. Brief the actor on the choreography of the shot, including adjustments to marks, camera movement that affects their positioning, or potential obstacles in their path.
I believe it’s part of our job to have an eye for certain aesthetic issues involving the actor. Let wardrobe or hair/makuep know if the actor is a little “glowing” or has a flyway hair or their tie is crooked. But be as discreet as possible about this. Don’t yell it out across the set. Whisper it to the AD, or one of the vanity team. The actor will appreciate that you’re looking out for their best appearance and are discreet about those matters.
Other things worth mentioning are what NOT to do. Sometimes it’s appropriate to ask the actor to hold that photo slightly higher to get it in frame, or to lean a bit more forward in their chair to catch the light. But don’t constantly inundate the actors with technical direction or ask them to adjust themselves to serve the needs of your shot. These requests should be minimal and saved as a last resort after you’ve done all you can to adjust around them. Some may disagree with this M.O., and some actors are very happy to constantly accommodate your shot. Others can be quite the opposite. Read the dynamics of the set and proceed accordingly. Diplomacy and tactfulness are huge here. Frame your questions or requests in a respectful way. Thank the actor after the take if you made a request which they delivered on, like leaning a little further forward into their light or raising that notepad slightly higher.
Another thing to avoid is giving the actor performance notes or sharing your opinions about the scene or their character or how they should play the scene or anything of the like. This is a big no no. You’d be way outside your lane and would be stepping on the toes of the director and/or screenwriter and other high-ranking people who would be very offended. Even with compliments, tread carefully. It may be tempting to say “Wow, you were amazing on that take”, but the actor may not agree, and your false assurance isn’t helping. The director may disagree as well and might have their own notes and improvements and be irritated by your compliment. So even with compliments on a performance, be careful. If you’re not sure, best keep it to yourself, leave the performance notes, both negative and positive, to the director. Some directors don’t want you interacting with their actors at all, so be mindful and adjust accordingly.
There's a little thing known as "Method" acting. It's a technique where actors become fully immersed in their roles, psychologically entering the headspace of their characters. They remain in character even when the cameras aren't rolling, sometimes throughout the entire day or shoot. This approach is quite common, and many of our greatest actors adopt this way of working. As camera operators, it's essential for us to embrace and adapt to it. While it may sometimes seem unusual and catch us off guard, understanding and accommodating Method acting is part of our job. Method acting can vary in intensity, from total immersion (like Daniel Day Lewis portraying Lincoln or Jim Carey becoming Andy Kaufman) to milder degrees, where actors let the emotions of the scene permeate them in the moment. Actors must constantly manipulate their emotions, and it's no small task. Hence, you may encounter instances when an actor appears extremely upset, angry, delirious, introverted, or even plain weird. It's crucial to grasp that this is all part of their creative process. In the end, as professionals in the creative industry, we are there to capture, document, and immortalize these extraordinary performances.
I always let the actors take the lead. They will be my dance partner and I will follow. The perfect scenario is to meet during hair and make-up tests before the show starts. If that isn't possible, I will try to introduce myself on the first day. You don’t want to force it. A really good time is when they are doing off camera dialogue and they are right next to you. I try to let them know that I am there for them, sometimes verbally, but usually just through my actions. I always want them to know that I am going to work with them to get the best performance possible. I always listen to their concerns, even if it doesn’t involve me directly. It’s so important to know the script and know the scene. Once they know you genuinely care, they will trust you.
These days, the operator, the dolly grip, the boom person, and the first assistant director are the only ones near the actors during a take. The first AD will make sure the operator is ready and call out to roll sound. (If B camera is to be used, then another operator and dolly grip may also be there.) As you roll the camera, make sure your small group is ready and that the actors are ready to do a take. Don’t ever say “set” if anyone in your group, or the actor isn’t ready. If they are checking their sides, give them a second to gather their thoughts. At this moment it is all about them. You want to capture the performance. Always try to be accommodating. And if they want another take, be ready to do another take. Don’t ever make it about you. The actors should never be aware of the complexity, or simplicity of a shot. Try and do the technical stuff before they arrive on set. You really want to protect them from the reality of the moment so they can feel comfortable enough to be the character and give a real performance. The performance is what you should always focus on. It’s the most important thing for the actor and the one thing the audience feels.
