Life of an Actor on the Set While Shooting

Q: How much direction do actors get on a set?

A: Well, let's be honest - you're not going to get a whole lot. - Interview with Harvey Laidman, Director

Big cities, move over. There's no lonelier time or place than a first day on a set. It's kind of a combination opening night/first day on a ("regular") job. If you feel a sense of alienation, you're not alone. You'll sense a curious arm's-length between you and everyone else on the set - until you work. Then you become one of the family.



You stand where you started when you rehearsed. (Called "first position." "Second position" is your next "stopping point"; "third position" your next and so on.) Often they'll strap a hidden microphone on you - this is "being miked" - and the following (in order) will occur:

• "Roll camera!" or "Turn over!": Is called out by the first A.D. Either term means the cameraman is to start running the film through the camera. (When it does, you'll then hear: "We're rolling!")
  
  
• "Speed!": Is called out by the sound man to let the director know his tape recorder is running and recording properly.
  
  
• "Marker": Standing a few feet away, the man with the legendary clapboard (called "the sticks") will snap it (sometimes in your face if they're doing a close-up) to synchronize sound with picture. (Somebody always then quietly says, "Settle, please." Who is that guy??)
  
  
• "Action!": Is said by the director. That's your cue to start.
  

And what are you shooting? A take called…

OTHER SHOTS - "COVERAGE"

A cardinal rule: Time is money, but film is cheap. In other words, a director will try to "cover" a scene using as many different shots as the clock will allow. His least concern is "wasting film."

Here's a brief list of the most common shots that'll involve you. Remember, each one requires the camera to be placed differently, the lighting to be changed, etc. (called "a new deal.") That's why filming is so time-consuming.

• Two-shots/three-shots, etc: A two-shot has two actors in it; a three-shot, three actors, and so on.
  
  
• Long shot: Takes in your whole body.
  
  
• Medium shot: From the waist up.
  
  
• Close-up: (Usually) head and shoulders.
  
  
• Choker close-up: The top of your head to your chin.
  
  
• Extreme close-up: Anything from an eyeball to a pore.
  

Since you can't always tell by the location of the camera which is being shot, "Where are you cutting me?" is the question of the day, for two reasons:

1. To scale to the shot: The closer in they go, the smaller you must get - both in movement and acting.
   
   
2. To always have things "in frame": Important props such as letters, books, etc. must be held at the right height to be seen.
   

SEMPER READY

Does all this sound tough? You betcha. To illustrate how tough, here's an example of what can happen to you on one line:

You've shot the master and they're ready to shoot your close-up. As the final seconds tick off, the cameraman says, "Listen, you're slightly off your mark and, when you say that line, cheat over a little into the light." You nod. (Now you're thinking, "Let's see: mark, cheat over, I'm angry in this scene...").

The sound man approaches. "Listen," he says, "try not to drop your voice so low on that line; I'm not getting you." "Right," you reply. (Now it's "Mark, cheat over, voice up, angry...").

The director passes by and says, "Don't do that line quite so angry." "Gotcha," you say. ("Mark, cheat over, voice up, less intensity...").

The makeup artist slips in and pads the perspiration off with a Kleenex as the cameraman adds, "And be sure to hold that cup up high enough so we can see it." "Uh huh," you reply. ("Mark, cheat over, voice up, less intensity, hold up cup...").

The assistant director says "Stand by."

Your costume begins to itch.

You hear "Roll camera," "Speed," a man snaps a clapboard in your face, saying "Marker," the director says "Action"...

…And the star changes your cue.

The next time you're watching television and you think the actors are "phoning it in," remember this example. And get training. Lots of it.

And one other word about keeping up your energy. If you're working on a feature film, and the director keeps re-shooting the scene, after the fifteenth take it's easy to stop caring about what you're doing. Care. Inevitably, the take you got sloppy on will be the one they use - because the rain was just perfect.

THE UNGO

As you're shooting, here's some other terms you'll be hearing:

• Wild track: To prevent calling you back another day because of sound problems, you'll occasionally do a "wild track." You'll stand at the microphone saying your line(s) as the sound man tapes it/them.
  
  
• Looping: Is done in one of two ways. Let's say you're looping one line. You hear that line on a "looped" tape that plays over and over like a short version of your home answering machine. You listen to the way you said it during filming, then try to duplicate the line reading so your words will match the way your lips move.

The other method is done in a projection room, with the scene shown on a screen. Wearing a headset, you'll hear four "beeps." You start after the fourth, matching your words to the movement of your mouth as you see it on the screen.

• Key light: That's your own personal "spotlight." (Daytime, outdoors, it's the sun.) If you don't know where you're key light is, ask, and try to make sure you're in it when shooting.
  
  
• Horset: When shooting is suspended the set will be labeled "hot." This means nothing is to be moved, so that everything will match when shooting resumes.
  
  
• Honeywagon: The trailer(s) containing dressing rooms.
  
  
• Call sheet: Given out toward the end of the day, it's the list of actors, their calls, and other crew and items needed the next day.