Paul Holbrook: Working with Non Actors
Right from the start of my long journey into the world of filmmaking, it’s always kind of felt like a rebellious attempt at trying to infiltrate an industry that wasn’t really meant for people like me; a heist of sorts; my films being Trojan horses hiding a rag-tag bunch of local legends that have helped me get projects off the ground.It’s this mind-set that fuelled my love of working with non-actors from early on; I know they will bring something fresh, authentic and exciting to my films. They’re my kind of people, from my world. Drawing from this experience of working with non-professional actors and getting the best out of them, here’s some top tips;
1. Get the casting right! If it’s your mucker Johnny Bloke from the local boozer, or your little cousin with ADHD, cast them as no more than a slight side step from themselves.
2. Remember, these aren’t professionals! They don’t know the unspoken ‘rules’ of the job, or the on-set hierarchy. Don’t get hung up on the nonsense, let them enjoy themselves. Remember what it is about them that made you want to involve them in the first place.
3. Make friends! You have to be on their side, and them on yours. You’ve taken a massive risk on them and them on you (both of you could end up looking like doughnuts here), so look after each other, and that includes in post and once the work is out there too.
4. Get your AD on side from the start! The AD needs to understand that their usual way of doing things probably won’t fly with non-actors or their iron fist approach might dampen the atmosphere you need to bring the best out of them.
5. Let them play a part in the writing! Most, not all, but most non-actors won’t have the brash confidence or experience to riff their way through a scene, they’ll fluff a line and instantly bail. The trick is trying to give them the confidence and space to really be themselves on screen, that doesn’t come easy.
BTS courtesy of Martin Cannon
6. Don’t be afraid to spell out exactly how you want something delivered! A lot of directors prefer a conversation, an exploration of the sub-text, but I’ve found that non-actors are the opposite; tell them exactly how you want them to say it, but let them repeat it back to you again and again off camera – if it’s not quite sounding like them in the real world, recognise that. Their voice, their dialect, their slang, their flow – your story.
7. Give them space! Use longer lenses where possible and keep the equipment and the people using it out of their face where possible, they’ll freeze. Save your intense stuff for later in the shoot where possible, or at least later in the day. You want to insert space early in your shooting schedules to build confidence and comfort.
8. (This kinda fights with number 7, but...) Always shoot close-ups! It’s not necessarily for performance or for nailing an emotional beat, but for safety – it’s the opposite to shooting your wide master for safety! Don’t make the mistake of trusting your prettier coverage, even if the scene doesn’t call for a CU, get one anyway, you’ll be glad of them in the edit when you realise every wider take has continuity issues.
9. Don’t give them too much to think about! They’ll stiffen up and that look of pure concentration isn’t gonna play. You’ll want to find their flair, their energy, their personality, their honesty, that’s why you’ve gone down the non-actor route in the first place, don’t push them too hard to be anything else. Keep acting to a minimum, because these aren’t actors.
10. Shoot in locations they belong to! Try to use locations that they feel comfortable in, they’ll look more at ease on screen as a result of working in a familiar environment.
BTS courtesy of Martin Cannon
11. Congratulate them a lot! Celebrate their little victories, be their cheerleader. You have to big them up at every opportunity, non-actors can become the stars of the show, but they need to be created on set, as the shoot goes on, fuel that growing confidence as much as you can.
12. When it isn’t working, don’t panic! Step back, look at a scene, don’t be afraid to edit it on set, shorten it. Pull out the one or two lines that really sell the beat of that scene and concentrate on nailing those lines first and foremost.
13. Try a fully ad-libbed take! If they’re bouncing, buzzing with confidence, have a go, you may just find the odd bit of gold dust in there. Get what you need then try and find the time to play – get your AD on side with this approach early too.
14. Minimise complicated blocking where possible! Giving them less to think about is always better, but don’t sacrifice physical energy, find a middle ground.
15. Be open to their suggestions! Engagement is key, it’s a victory! Listen to their questions and criticisms – this is a great sign that their confidence is growing and that they’re beginning to take ownership of their character/work, don’t fight this, it’s all teamwork.
16. Show ‘em some playback! They’ll look good on that little screen, it’ll excite them and it helps to make them feel part of the team behind the camera too.
17. Manage their boredom! Recognise when they are flagging and call breaks, there is no point flogging a dead horse, especially when it comes to kids.
18. Keep the camera rolling! – Be sneaky, steal precise moments where you can. Subtlety is often the hardest thing to land from non-actors, but when they don’t know the camera is rolling, when they’re not trying to ‘act’, this is when you might snatch the puzzle piece you’ve been missing.
19. Step back and appreciate what you’re doing. It’s not JUST making a movie, it’s making memories, it’s opening doors, it’s hopefully inspiring and empowering people to do more than they ever thought they could. The process is as important as the end product.
20. Remember, there is no right or wrong way; what works, works. We are ALL just people talking to people, trying to get a movie from our head to a screen. As with all advice out there, what doesn’t work for you, bin it. I’m no guru. We are all just winging it.
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Paul Holbrook is a writer/director based Bristol
