Just started filming this horror project with some actors and actresses I've known for a while now. We have themes of insanity, possession, and witchcraft. But we have scenes coming up that we need to film, and they might be challenging to the talent. How should a director approach an actor who is pushing their boundaries but isn't giving a realistic nuanced performance??
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Ooooh good question! Personally I've acted and directed, so I've come at this problem from both sides of the fence. As an actor, I remember having a scene 7 years back when I was pretty new to film. There was a gun in my face, and the other actor was pulling my hair back in the scene with force. I was supposed to cry, but my instincts made me angry instead. We did several takes, no tears. I became frustrated with myself and the crew (small student film). I asked for a break, went into the bathroom and messed with my eyes until I was crying - the emotions followed and we nailed the scene. My experience here taught me sometimes it isn't about what headspace you are in, but about allowing yourself to let go. I was too stressed trying to cry to allow myself to cry, and I was becoming to angry at myself for that to happen. As a director, I've found sometimes that repetition is key. If someone isn't delivering a line accurately or realistically, maybe go through a series of line deliveries without cutting. When they hit it, you'll know, and they will know. David Fincher usually does so many takes, all pre-conceived ideas of how to play the scene are broken down until it's second nature for the actors - a lot of times, brilliant things can happen once an actor has dropped their ideas on what the scene should be. Fincher uses these takes as a discovery tool - he has said he doesn't always know what he wants in a scene, but he knows what he doesn't want. That is when the beauty of collaboration between actor and director really takes the cake.
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Depending on how fragile their ego is (or your relationship is), you can just veil your direction under the guise of "let's play" or "let's explore" so that you have "options in the editing room." Then ask them to play an opposite choice (go small instead of big, play the opposite emotion, whisper instead of yell, yell instead of whisper, etc). If you explore enough alternatives, you should hopefully stumble upon a more truthful delivery. And by making the actor feel like they're collaborating it should keep the mood positive on set.
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I agree with Cait Brassel. I also think it would be beneficial to get together with the actor and discuss what it is you are both trying to display in the scene. The amount of emotion, the "not so obvious" emotions behind what is happening, etc. You should also inform the actor of what you are expecting from the scene. In the kindest way possible, inform the actor of what they are doing that you do like, and inform the actor on what you are not entirely keen on for the scene.
privately & early. do it with candor and tact. don't wait until you get on set to push the boundaries and don't shame them in front of the other cast members. actors are fragile and can clam up