The Great Acting Blog: “Flipping Between Mindsets”
Before I head back to Ireland to complete filming on Rouzbeh Rashidi’s HE (which is going to be an utterly sublime feature, by the way), I intend to squeeze in a quickie short film, called Phone Box Gun. It’ll be a Kaurismakian film noir, about a jewellery heist, where I’ll finally get the chance to wave a Beretta about and wear a false beard, and further, just because I enjoy making life difficult, I’ll also be directing the film aswell as acting in it.
Whenever I’ve tried my hand at filmmaking in the past, I’ve gone into it with too aggressive a mindset, which I think is inappropriate. An aggressive mindset is very good for acting (or, indeed, writing) because acting requires short bursts of heightened intensity, which are generated in the moment of performance. Filmmaking, I believe, requires a slow burn kind of energy – a filmmaker needs to be able to function consistently well over the period of time of the shoot, making many decisions, being alive to mishaps. The filmmaker is required to manage other people, which means he needs to ensure he is available for them, and create conditions whereby they can work happily.The filmmaker is at the centre of everything, all eyes are on him. The actor need only concern himself with himself, and the singular act of his performance, and all of his attention is dedicated to that, he need not multi-task – and that’s just the way most actors like it, because most actors are minimalists, it’s the philosopher aspect of their work, favouring clarity and simplicity (this becomes very evident when actors move behind the camera), however, this is not a pre-requisite for the job, but certainly a common trait I have witnessed. It’s also worth noting that a relaxed body and mind is crucial to the actor’s work, and so another reason why they don’t want to be pre-occupied with anything else. The poor filmmaker is often under stress, as he skits around, trying to keep all the plates spinning. The life of the actor sounds positively leisurely in comparison to that of the filmmaker, which of course it is, apart from that battle with the awesome which takes place during the performance (I’ve met more than one director who started out as an actor, but switched because they could not cope with the pressure of the performance). Acting requires a laser-like in-the-moment precision, and to deliver that requires immense discipline, mental strength, and self-control, all difficult, improved only over a long period of practice. Directors need a certain kind of generosity, a magnanimity, because they are handling different personalities, with differing talents – a director needs, to a certain extent, a big tent, whereas actors needs only a sleeping bag.
To be a filmmaker requires a certain kind of humility: he is responsible for everything, yet much of the production is out of his control. Setting up the shot may take time, it may not go according to plan, but the key is to accept this state of affairs, not grind against it, which will only lead to fatigue and a diminishment in the quality of the work. It’s also being aware that everybody else is doing their best, and it is upto the filmmaker to be able to articulate what he wants in a way that is useful and practical to the person he is speaking too. Much of this then, is a preparation issue, being ready to explain yourself, being ready to communicate – if the filmmaker cannot articulate himself properly, he should refrain altogether, and let cast and crew go about their work. I think this is the aspect I need to work on most. I find managing people to be tedious, which is why I prefer to work with independent types, who think for themselves and take their work seriously, just getting on with it. Also, so much of acting is about energy conservation, and articulating what you want is energy draining. Therefore, directing and acting in the same production, requires compartmentalisation, flipping between the two mindsets as and when. The point is, committing totally to the scene when acting in it, then, when the scene is over, stepping out of it, and looking at it with a director’s eye.
On Phone Box Gun, I intend to be more relaxed about how the production will unfold, and flip flop more consciously between the mindsets of actor and director, as oppose to jumbling it all together, and pushing it through by force of will. Hopefully, this adjustment to my previous approach, will lead to greater productivity, and ultimately serve the film better.
