Stealth Directing: Getting the Most out of Real People (page 2)

It's best if the set is fully prepared before the talent ever arrives. Stagger your call times, call the talent in as late as possible, and, by all means, do not over-rehearse your talent. Repeat your technical run-throughs separately until they are consistently on the mark. This is where the sneaky part starts: With the talent arriving fresh and full of anticipation, the director should focus all attention on the talent, perhaps assigning a production assistant specifically for the talent if possible. The whole crew should be welcoming and relaxed. This first impression cannot be over-estimated. Setting an inclusive stage makes every difference, so always provide the time for the talent to be fully introduced to the crew and the environment.

Next, get the talent off the set. Applying makeup, tending to hair and wardrobe, or even wiring a concealed mike may make the talent feel important, but it also ups the pressure. These tasks are all best accomplished off-set. It's also a great time for the director to distract the talent by casually discussing the shot and how the talent will deliver their part.

With the crew in position, the tape cued and everyone at the ready, escort the talent to the fully-lighted set. As the director leads the talent through their blocking, perhaps even giving an example of how lines are to be delivered, the crew is on full alert, keenly watching for the roll cue which may be as subtle as a silent nod or a flick of the hand. With the talent slowly and carefully massaged into place, the director should casually call for a rehearsal; that's often the cue to roll tape too. No tally lights, no calls for "Action!", no extra pressure.

If all goes well, you may have your shot finished before the talent even knows you've started. Recording "rehearsals" sometimes yields the freshest, least self-conscious delivery. Of course, many performances improve with a little work and encouragement from you, but even when conducting interviews, you'll find that the best performances come from talent that is fully prepared in advance of ever reaching the set and is then gently coaxed through short segments with as little hoopla as possible.

After all, real people are often very talented, attractive and capable, if only the director and producer take the time to conceal the pressures of the process and prepare for what may be the performance of a lifetime.

A thoughtfully catered table can offer needed liquid refreshment and nourishment. Find out your talent's preferences ahead of time and provide meals which are appropriate for the time and length of the production day. The talent may be a strict vegan or allergic to the almond torte you specially prepared. You want to fuel the performance, while calming the performer, so have choices. Snacks of fresh fruit are always crowd pleasers. Carefully regulate the use of sugar and caffeine, and save the champagne for when the shot's in the can. Whatever you do, give the talent plenty of water, but don't let them use ice, as it may constrict the vocal chords.

Interview subjects are usually experts in their fields, but most experts aren't performers, so it's up to you to give the talent every encouragement. Choose your questions carefully. Don't put your expert on the spot, and, if an answer is difficult, move along and come back to a rephrased version of the question later on. Your body language is very important: Attentive, upright posture and focused eye-contact, coupled with an open, pleasant smile and nods of encouragement, will all help your talent to feel relaxed and conversational. Have them tell their stories to you in their own words, and have the stealth camera crew there, almost invisibly capturing every nuance.

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