Chapter 6 of 17 from Mira Nair

Directing Actors

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Learn how to direct both child and adult actors, develop natural and honest chemistry with actors, and incorporate background action.

Topics include: Create a Cocoon of Safety for Your Actor • Child Actors: Reach Each Child Individually • Combining Non-Actors and Actors: Take Away the Ego • Work to Keep It Fresh and Honest • Create a Natural Dynamic • Professional Actors: Ask for What You’re Not Getting • Direct Background Action

Learn how to direct both child and adult actors, develop natural and honest chemistry with actors, and incorporate background action.

Topics include: Create a Cocoon of Safety for Your Actor • Child Actors: Reach Each Child Individually • Combining Non-Actors and Actors: Take Away the Ego • Work to Keep It Fresh and Honest • Create a Natural Dynamic • Professional Actors: Ask for What You’re Not Getting • Direct Background Action

Mira Nair

Mira Nair Teaches Independent Filmmaking

The Oscar-nominated director teaches her methods for directing powerful performances, maximizing budgets, and bringing authentic stories to life.

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Harness the power of your roots

Oscar-nominated filmmaker Mira Nair approaches directing with the “heart of a poet and the skin of an elephant”—spurred on by rejection and fighting to bring uncompromising stories to film. In the Golden Lion-winning director’s MasterClass, learn to make a big impact on a small budget, evoke the best from actors and non-actors, and protect your creative vision so you tell the story that can only come from you.

In her first-ever online class, Mira Nair teaches you to find the strength in your unique story and draw the best from your budget and creative vision.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Mira will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Very inspiring, she gave us great analysis of individual elements, I loved it.

As an aspiring Independent Film Maker, this course delivered brilliantly by Mira Nair helps me be grounded and prepared for what awaits me on my film making journey. Embracing the opportunities and working with the challenges to tell 'Your Story'.

I felt like Mira Nair was having a private conversation with me in my living room. She's a goddess! I feel privileged to have picked her brains. The course was really well-structured and thorough; it exceeded my expectations.

Mira Nair was engaging, interesting, honest, and authentic. I really appreciated her demeanor, her approach, attitude and willingness to share. You can tell she's happy to impart knowledge and share her inspiration. A very good class.

Comments

Franco E.

There’s so much to unpack here, way beyond simply directing actors. What a great lesson. The anecdotes really drive it home as well.

R.G. R.

This is one of the best and most important lectures on directing that I have ever heard. Her insights have opened my eyes to an array of what it means to be a director under different circumstances (children, well-known actors and directing background action) and has also confirmed what I have done in my own directorial experience, especially her insights on dealing with children who are inexperienced (or even those who are).

Saba

I love that she talks about activities, like chess with the children and others in different scenes. One of the first lesson I remember as an actor, was to really do what the character is supposed to do, unless it would harm myself or another person. It always helped me to stay true and honest to the role.

pavniatwork@gmail.com

What a powerful life and visual arts lesson, Mira! "Ask for what you are not getting" Thank you!!

Dex D.

Just ordered my copy of Games for Actors and Non Actors. Very curious which exercises Mira personally employs to illicit performances from her actors. If you haven't watched the documentary on Rabbit Proof Fence, highly recommend. Very interesting to see the casting process and how they determined their final actors.

Gay Camille G.

How can you have that tortured yelping dog in the background with no one acknowledging it? Animals live in Hell, thanks to non-vegans, and that’s what my movie is going to be about. 💔✊🏿

Victoria W.

Terrific advice for a director and a writer! Directing the child with a mindset and then to eat the biscuit without tasting- displays the hatred of the character toward another character.

Primwatee G.

She's an excellent teacher. The way she explains things and the example she uses is very helpful in my own work. I'm learning so much from her.

mbrstudio

"Think every through layer of the frame." How many indie filmmakers, myself included, just throw the background out of focus to add significance to the primary actors? Tapestry. Choreography. One-word filmmaker metaphysics! Fantastic lesson.

Thomas M.

Your approach of creating a space where the actors feels safe is intriguing. It enables them to play and be natural. And you get excellent performances. Very powerful.

Transcript

I like to create a space in which they are comfortable to take risks, to sometimes make a fool of themselves, to leap into that transparency of showing us what's going on inside. Professional actors can cope with any amount of mayhem around the set. But often, child actors, or non-actors, or new actors to the game cannot. So when I'm asking for something that is really demanding, and emotional, and heartrending, it's about creating a sense of almost a cocoon with the actor, finding whatever they need for them to have the space to listen and to even meditate and contemplate on what has to happen. Oftentimes it's also to do with the relationship with the other actors and creating that sense of safety, you know? David Oyelowo, as Robert Katende the chess coach, was absolutely extraordinary in that quality of almost fatherly love and protection of the children that he played opposite. They still call him "the coach," because he gave us-- he's a father of four. He's an extraordinary father, actually, himself. And there was that safety he provided, and how he would say even things to Medina that he had gone through as an actor to get to where I was asking her to go. So that type of safety, to be able to lean on him, was very valuable for the young actors. So it's about creating that kind of cocoon of safety. It also has to do with love. Again, I'm talking now of child actors, and I'm talking of people who are not professional in every consummate way. But that's what you have to do for certain things. Otherwise, you get a kind of cute performance. You get a kind of cheery, superficial-- something that doesn't plumb your heart. And I think it's to do often with just human connection. Never really do I show them what I want because that does not feel-- that feels sort of limited and borrowed, you know? It's just finding a way to speak to them that will elicit a thought that will help them to get beyond. Each child is different. So the way I speak to each child is particular to that person than to everyone else. First, when we have created an atmosphere of trust, and safety, and, actually, love-- there's no other word for it but that. And the kids know me, know us, know that I'm pretty tough love sister is my nickname "Salaam Bombay!," which means "tough sister." So they know they can't sort of-- I'm not a pushover. They know me, and I know them. So there are various ways to speak to the child actor. One way is to not speak about the situation exactly and directly but to ask them to refer to something that they might have experienced in their own childhood or in their own day, and to actually get them to go to that place. Remember when your father left and you still have not heard from him. I'll only do that if we have that relationship, if we have created that bond-- and which is my duty and my job as the director of a bunch of non-actors who are children-- to create. I have to create that haven, that cocoon, that trust, that f...