Natural reactions from actors
Warner Bros.
Jeff Daniels, who starred in “Blood Work,” remarks on Clint Eastwood’s speedy shooting process in The Telegraph:
“You know you have to be ready because it’s one take. And you can’t believe it. You’re told and you’re ready and there it is. You get one take, and you move on. You’re just like, ‘Really?’ And he goes, ‘Oh, we’re good.’ And by the time you ran that little two-line exchange, the camera’s already being moved and lights are being taken down. Lunch is being served.”
This is quite different from other notable directors such as David Fincher, who makes his actors endure nearly 100 takes. Eastwood’s methods also oppose the Meisner style of acting, which purports that the more actors repeat dialogue, the more natural it becomes. He feels otherwise, arguing in DGA Quarterly that with first takes, “It seems like [the actors are] saying it right away, instead of saying it for the 50th time.” He elaborated more on his directorial techniques to Esquire:
“Artistically, though, I like to see the person the first time the situation ever crosses their brain and the first time it goes through their eyes and the first time the words come out of their mouths. I’ve seen great actors do amazing things on the first take.”
Actors Rarely Get Second Chances On Clint Eastwood’s Sets
Warner Bros.
Clint Eastwood has been a celebrated director for over 50 years, winning the Best Director Academy Award for “Unforgiven” and “Million Dollar Baby.” Working on his film sets are unlike any others. An Esquire profile details how behind the camera, Eastwood is an authoritative yet calming presence that cultivates a fast-paced but not rushed work environment. “He never raises his voice, and never has to. Nobody argues with him. Nobody challenges him. It’s simply not done, and when it is, it is remembered,” Esquire writer Tom Junod notes. Eastwood elaborated on the importance of this type of workplace setting in the book “FilmCraft: Directing” (via Indiewire):
“For me, it’s very important to have a comfortable and calm environment on set. It’s important that the actors are submerging themselves into the character to the greatest degree and the best way to do that is to give them full confidence and ensure they don’t feel like they’re riding a ship that’s on the brink of disaster.”
Eastwood also treats his crew members like family, often adhering to a 9-to-5 schedule so they can spend time with their loved ones. He uses the same crew for most of his films, providing opportunities for career growth and creating close collaboration on a smoothly running set. But perhaps the most surprising fact about working with the director is he frequently uses first takes, expecting his actors and crew to be fully prepared for the moment of shooting so he can get what he wants as soon as possible. He also lets the camera run until the actor breaks character, and instead of saying “Cut,” he says, “Let’s move on.” Although the process sounds hasty, Eastwood has strong reasons for wanting to film this way.
Eastwood also treats his crew members like family, often adhering to a 9-to-5 schedule so they can spend time with their loved ones. He uses the same crew for most of his films, providing opportunities for career growth and creating close collaboration on a smoothly running set.
“For me, it’s very important to have a comfortable and calm environment on set. It’s important that the actors are submerging themselves into the character to the greatest degree and the best way to do that is to give them full confidence and ensure they don’t feel like they’re riding a ship that’s on the brink of disaster.”
But perhaps the most surprising fact about working with the director is he frequently uses first takes, expecting his actors and crew to be fully prepared for the moment of shooting so he can get what he wants as soon as possible. He also lets the camera run until the actor breaks character, and instead of saying “Cut,” he says, “Let’s move on.” Although the process sounds hasty, Eastwood has strong reasons for wanting to film this way.
Natural reactions from actors
Jeff Daniels, who starred in “Blood Work,” remarks on Clint Eastwood’s speedy shooting process in The Telegraph:
“You know you have to be ready because it’s one take. And you can’t believe it. You’re told and you’re ready and there it is. You get one take, and you move on. You’re just like, ‘Really?’ And he goes, ‘Oh, we’re good.’ And by the time you ran that little two-line exchange, the camera’s already being moved and lights are being taken down. Lunch is being served.”
This is quite different from other notable directors such as David Fincher, who makes his actors endure nearly 100 takes. Eastwood’s methods also oppose the Meisner style of acting, which purports that the more actors repeat dialogue, the more natural it becomes. He feels otherwise, arguing in DGA Quarterly that with first takes, “It seems like [the actors are] saying it right away, instead of saying it for the 50th time.” He elaborated more on his directorial techniques to Esquire:
“Artistically, though, I like to see the person the first time the situation ever crosses their brain and the first time it goes through their eyes and the first time the words come out of their mouths. I’ve seen great actors do amazing things on the first take.”
This is quite different from other notable directors such as David Fincher, who makes his actors endure nearly 100 takes. Eastwood’s methods also oppose the Meisner style of acting, which purports that the more actors repeat dialogue, the more natural it becomes. He feels otherwise, arguing in DGA Quarterly that with first takes, “It seems like [the actors are] saying it right away, instead of saying it for the 50th time.”
“You know you have to be ready because it’s one take. And you can’t believe it. You’re told and you’re ready and there it is. You get one take, and you move on. You’re just like, ‘Really?’ And he goes, ‘Oh, we’re good.’ And by the time you ran that little two-line exchange, the camera’s already being moved and lights are being taken down. Lunch is being served.”
He elaborated more on his directorial techniques to Esquire:
“Artistically, though, I like to see the person the first time the situation ever crosses their brain and the first time it goes through their eyes and the first time the words come out of their mouths. I’ve seen great actors do amazing things on the first take.”
