“So when the cameras actually start to turn, each member of the cast has his or her own characterization and its relationship to the others well in mind.
“At the beginning of each scene I sketch out verbally what the action of the scene is to convey to picture audiences. Then comes a rehearsal and often many rehearsals before it is actually filmed. But through all these rehearsals I make a point of never showing anyone how to do a thing. If an actor does something badly or awkwardly I try to locate the cause of the awkwardness and remedy that. By way of example the scene may call for an actor to be seated at a desk thoughtfully smoking a pipe. Perhaps the actor may handle the pipe like an amateur. Inquiry may uncover the fact that he is far more at home smoking a cigar. Thereupon the cigar is supplied and the scene proceeds smoothly.
“A little thing, to be sure, but between the pipe and the cigar lies the difference between a natural and an unnatural performance.
“No actor worthy of his calling should have to be shown how to play a scene. He may have to be coached; that is part of the director's task. But it is no part of the director's duties to furnish the acting model for any or every character in the play. I firmly believe that attempts on the part of the directors to show actors how to do certain things will inevitably result in bad performances and consequent damage to the quality of the finished production.”
Melbourne Spurr
CECIL B. DE MILLE
CECIL B. DE MILLE AT WORK
Mr. De Mille's comments are very interesting. It is to be supposed that he does not give copies of the picture continuity to his players that they may thoroughly acquaint themselves with the parts they are to play before actual production work begins. Today the majority of directors like to do this.
However, as Mr. De Mille says, “I tell the story with all the detail of characterization and atmosphere that I am capable of putting into it.” This appears to be an admirable course to pursue. Given the continuity an actor may get quite the wrong idea of the role he is to play. Listening to his director sketch the story, including in it his ideas as to its development, must of necessity give the actor a clear idea of his work and an idea more coinciding with that of the director's. Thus it might appear that misunderstanding and argument are well disposed of.