Norman Buckley

NORMAN BUCKLEY, director of tremendously successful television shows (multiple episodes of GOSSIP GIRL, CHUCK, MAKE IT OR BREAK IT, GREEK, MELROSE PLACE, 90210, PRIVILEGED, THE MIDDLEMAN, ROCKVILLE CA, THE O.C.), came to the Judith Weston Studio, for a free event on Wednesday April 14.

Norman has taken a number of classes with me and has been for years one of the most generous supporters of my classes and books – a lot of people who have taken class with me were sent by Norman!

Norman came to directing from editorial. His first job as an assistant editor was on the 1983 film TENDER MERCIES, and he established himself as an editor of many films, television series, and made-for-TV movies. It was while he was editor on THE O.C. that he started taking classes with me, in preparation for a directing slot on the show. From there he has become a directing mainstay on delightful and popular shows GOSSIP GIRL, CHUCK, MAKE IT OR BREAK IT, GREEK, the new MELROSE PLACE, the new 90210, PRIVILEGED, THE MIDDLEMAN, as well as web-series ROCKVILLE CA. He has recently begun directing commercials as well.

His blog The Buckley Bulletin offers Norman’s wide-ranging, rich, and incisive observations on film aesthetics. He traces the connections from Degas to Picasso to advertising executives; from THE O.C. to REBEL WITHOUT A CAUSE; from GOSSIP GIRL to Edith Wharton. I love his blog – an exploration of the authentic emotional, intellectual, and artistic underpinnings in popular culture. Norman, who also teaches part-time at UCLA, is a fascinating, warm, sweet, enthusiastic, and loving man who says of his work as a director: “I learn more about my own psychological development by studying others.”

This event was so helpful and practical and energizing and inspiring - his generosity itself was an inspiration. He screened several scenes from GOSSIP GIRL, bringing us into his process and work ethic - invaluable to everyone there! I loved how he so thoughtfully divided his attention equally into things that were helpful to directors, and things that were helpful to actors.

Following are some notes (thank you to Allie Smith for taking notes for me!).

FOR DIRECTORS:
In episodic television, there isn’t much time for rehearsal, so he arrives on set PREPARED – with ideas of what he thinks will work – plus back-up choices – plus back-ups for the back-ups!

He has faith in his preparation, so he doesn’t worry if the actors seem “off track” – he lets them go and has faith in his preparation, that they will come back around.
When actors resist he’s prepared to hear them. This creates trust. Keep a vibe on set of safety. Make sure the actors are seen and heard.

He will not push an actor to do something inauthentic.

Besides preparation, the other most important ability for a director is to be able to LISTEN. To be a good listener, you must be genuinely interested in other people’s ideas and feelings.

FOR ACTORS (AUDITIONING):
He wants to see what an auditioner brings. He doesn’t mind if they hold the sides. But he wants them to make clear choices.

Actors should make eye contact with everyone in the room. Norman says that, as strange as this may sound, some actors come in and only relate to the casting director (because that’s the person they know). This is a mistake. Actors should take in and relate to all the new people, director, etc, that are in the room. When they don’t look at the people in the room, it makes them look ill at ease. They should acknowledge the people in the room, interact with the people in front of them.

He is open to questions from the actor, but doesn’t like it when an actor starts with meaningless small talk.

Actors should have a POV [a choice] even if it’s wrong. They should have a POV and also a willingness to be flexible with that POV.

Be prepared, obviously.

He looks in casting for whether actors can hit marks with ease. He wants actors to be precise, and says younger actors are often better at this. [I interpret this “precision” that Norman talks about to be something that is based on fearlessness – JW]

He loves to see joyfulness in actors.

Actors and directors alike loved this event and got so much out of it. Thank you so much, Norman, for your generosity and knowledge and wisdom and kindness!