Resolving set conflict #1
My star wants it shot one way and I want it shot another way. How did this happen? What should I do?
This is not a new phenomenon, but just because it’s common doesn’t mean it has to paralyze a shoot.
First, realize the following piece of Amazing Advice that was offered to me by my friend Crystal: the director drives the mood of the set. So, if you want a set that runs smoothly and professionally, then act smooth and professional. No matter what you do, the way you act will set the mood of the set, so even if you feel grouchy or grumpy on the inside, even if you’ve been having a shitty day, do your level best to keep your mood on set smooth and professional. If you can’t manage that, then give everybody a lunch break, and go take a nap or something.
But, back to the set conflict.
I suppose for a lot of sets, the best solution is to be, well, the Director. You’re in charge of this situation and it’s your job to keep the whole gestalt in mind. Follow that plan — people are simply going to have to trust that you know what you’re doing.
However, pretty much all of what I do is low- or no-budget, and that means I have to be a lot more tactful and careful, because people are volunteering their time and energy for my projects, and I believe I owe them a good time. There might be a lot of work, but I will do what I can to make it as pleasant as possible. This might be a good tack to take on your set.
In some cases, the best solution is to listen carefully to the objection. It might make sense, or it might not, but understand that it makes sense to the actor, just as the original version makes sense to you. A quick minute or two of discussion isn’t going to kill your schedule that much, and if it clears up a point and everyone moves on with the same plan, then it’s a win scenario.
Maybe the objection makes sense. Sometimes — as hard as that must be to accept — the Director misses something or something makes more sense a different way. It can be tough to find that out, but it is what it is. Certainly you can consider shooting the alternate take, but — and this is very important — always shoot what you planned to shoot first.
So, sure, even if the suggestion makes perfect sense, shoot the original plan first, then shoot the alternate (assuming it doesn’t gobble up too much time) idea. I can almost guarantee you you’ll never regret shooting the original plan.
From a purely pragmatic sensibility, weigh the amount of time spent arguing with a member of the cast versus shooting a variation of the scene. Chances are, you’ll spend less time shooting the alternate (and you might earn nice marks when people interview the actor and they talk about how well you work with them on set). And, even if you think the alternate stinks at the time, in the back of your mind, you can be thinking “I’ll ignore it in post,” and that’s okay too, because when you’re on set, your primary goal is to get the footage in the can (or “little plastic box” or “portable hard drive” or whatever).
Now, all that said, if there’s too much kvetching about the script on set, then there’s trouble starting, so trim that down or you won’t get anything shot. Occasional bits of serendipity is one thing, but constantly second-guessing the shooting script is another. Keep an eye on this behavior and prevent it from paralyzing the shoot.
Everyone is there to make a movie and yes, it’s true that making a movie can be a collaborative effort, but that doesn’t mean fiddling with production on set. Even in the low- or no-budget world, that is a very expensive place for people to be messing with things. So, if at all possible, shoot the plan.
Shoot alternates if they seem reasonable and quick and if you think you have the time, but keep focused on shooting the plan, and remind everyone else, if it gets a little crazy with suggestions, that you are all here to shoot the plan, to make the movie, and to go home at a reasonable hour that night.