Keeping actors happy

A difficult task.

Not that actors are generally an unhappy bunch, but they do tend to be a bit on the sensitive side.

Unlike writers, who of course are massively robust and don’t crave attention or validation in any way, shape or form.

The thing I’ve learnt recently may be blindingly obvious to everyone else, but it’s something that’s only just been pointed out to me: when you first introduce a character and describe them physically, don’t be insulting.

Whereas it may be accurate and fitting to describe BOB (67) as short, fat and ugly; you’ve then got to hire someone to fill that role. Okay, so once again the rules are probably different for a multi-million pound feature; but here in the shallow end, where the money’s tight and you can’t afford huge fees, you have to be a bit more sensitive.

The last few films I’ve worked on have had a provisional cast in place before the script’s written, so I’ve known who will probably be playing what. What I’ve done in these circumstances is to find out the actor’s official age from IMDb (which can differ from their real age, sometimes by up to ten years) and knock a few years off.

The number of years deducted is on a sliding scale, if someone’s in their early twenties, then it’s one or two years; if they’re in their sixties then I’d deduct ten or more. It’s a simple thing to do, everyone likes to think they look younger than they are. Of course, for the smaller parts or if the actors haven’t been cast, then you can be a bit more honest.

After that it’s a question of finding a brief description. I tend to find two or three words which describe the character, rather than comment on physical features. Occasionally it’s important to note that someone’s beautiful or handsome or whatever; but I find it easier to say they’re ‘lively and quick-witted’ and let the reader fill in the details.

I think I’ve always described the main characters by personality rather than physical attributes, since in the movies nearly all women are beautiful and all men handsome; but I’ve been a bit lax with supporting characters - roles which can sometimes be even harder to fill.

I recently caught myself describing a character as chubby and balding - which may be accurate for the kind of look I wanted, but it’s not conducive to attracting a name to a low budget film.

On a final note, I’ve also learnt (ages ago, but I keep forgetting) to name all the characters. Even struggling beginners want to put the role on their CV and MAX sounds a lot better than GUARD #1.

In a low-budget world where money is not massaging people’s egos, it’s nicer for them to think they’re playing a proper role, even if it’s only one line. MAX is a small, but vital role; GUARD#1 is just a glorified extra.

There is a difference.

All this may sound pointless and unnecessary, and to a certain extent it is; but it doesn’t hurt. Anything which makes anyone else’s job easier (agent, producer, casting agent) without creating much extra work for you has got to be worth doing. It really doesn’t hurt to be nice in this world and keeping actors happy can only help the finished production.

So go on, spread the love.

Sex and the actress

With the shoot for K kicking off tomorrow, my days are mostly full with tweaks and adjustments to the script - none of them major, most of them just revolve around the practicality of filming in a certain location or the availability of a certain actor on certain days.

For example: if a certain scene is inside rather than outside, then a night shoot could be scheduled during the day and they don’t have to call the actor back for an extra night.

Or

Can we change the order of bits of dialogue to fit in with the geography of the location, so that it can all be filmed in one take?

Stuff like that.

It’s nothing too taxing, but it’s fiddly and takes up time. Time which I was going to use to start a new project; but will just have to wait a few days.

I’m back on a rather steep learning curve at the moment, with all sorts of interesting (at least to me) little tit-bits coming to light. The sort of things not really covered by screenwriting books* because they’re only peripherally connected with writing. I’ve decided to start a new series of blogs about these curious little bits of info.

I thought I’d start with sex.

I’ve always been of the opinion a well written sex scene should leave the reader feeling the need to go off and have a little fiddle.

I’m not talking about a sex scene in a family comedy or a film intended for a wide audience - you could argue they shouldn’t have sex scenes in them anyway; but sometimes they are necessary and a quick snog, fumbling partial disrobing and a dive beneath the covers is all you need.

But what about a film which demands a proper sex scene - sweaty, writhing, dirty sex?

Well, if an action scene should take your breath away, a funny scene should make you laugh, then a sex scene should give you the horn.

Obvious.

Except, maybe not.

I don’t know if this is just confined to my shallow end of the pool, but it seems sex scenes make actors and actresses† nervous. In the specific case I’m thinking about, it refers to an actress; but I’m assured the same applies to both men and women.

A sex scene, with even partial nudity, is something people have to think about. Do they really want to do it? How will it affect their career? What will their mum think of them? Will they be typecast as a slutty girl from now on? Do they really feel confident enough about their own body to put it on display for all and sundry? There isn’t even a huge paycheck to soften the blow.

Obviously, some sex scenes are crucial to a story - but do they have to involve nudity? Can the scene be written in such a way that it’s obvious no one will see anything? If the scene is written using words like ‘quivering’ and goes into a lot of detail about ‘things being inserted into gaping orifices’ then it’s bound to make someone stop and think about the type of movie being made.

So how do you write a sexy sex scene without making it sexy?

Do you make your script reader-friendly or actress-friendly?

If it’s a spec script, then I guess you write the hottest sex scene the story demands and wait and see what any future potential producer thinks.

If it’s a script written to order and plunging headlong into low-budget production, then you might have to think again. Obviously in this case you can ask the producer or director; but how an actress might feel about it is something I’ve never really had to consider before.

I don’t really have a point to make, it’s just something which came up recently and I thought I’d share.

And I’m back to revising the script. Those of you who read regularly might find it ironic to learn I’ve just been asked to put more swearing into it.

Another fucking first.

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* Or at least the few I’ve read - I’ll happily admit I’m no expert.

† Or should I say actors for both genders? I don’t know, it seems to upset some people and not others.