BILLY RAY

BILLY RAY had come to our studio for Q&A’s twice before, in March 2007 when his film BREACH was released (starring Chris Cooper, Laura Linney and Ryan Phillippe), and in September 2003 when SHATTERED GLASS (starring Peter Sarsgaard, Hayden Christensen and Chloe Sevigny) came out. His candid and insightful stories and advice inspired both directors and actors – especially the revelation of his now legendary “Weston 3X5 Card”!

The event in June 2009 was different and unique – an auditioning class, as invented by Billy. The actors who participated (all of whom were currently or recently in class with me) read roles from Billy’s script CONJURE WIFE, which he hopes to direct as his next project. Directors from our Studio were invited as well, to observe. Here is how Billy describes it: 

“I let all of the students read for me as if they were auditioning in a casting office. And I treated each student just as I would treat any actor who came in to read for me. Each got an adjustment or two and was asked to do the scene again. What it gave the students was some insight into how a director views them, and how a director views the process itself.” 

Billy got input and focus for the development and prep for his project. The actors and directors who participated got invaluable advice and training.

The event started at 7:00 and went until after midnight. It was extremely intense and exhilarating! It was a great experience for the actors to get to work with Billy, and for the directors to get to watch his process. Many remarked to me that Billy used all the tools and principles that I teach in class and that are in my books. His use of them was completely natural, confident, and organic – he makes all these tools entirely his own. He was living proof that the process-oriented tools and principles are practical and time-saving on a professional set. 

I’ve written down a few of my observations of his process:

• His abundant positive energy and loving attention toward each actor. He was honest and kind. He was always present;
• Almost all the direction he gave to actors was phrased in the form of questions. And – he listened to the answers.
• His love for and insight into each character. No judging!
• His commitment to the principle that “what the film is about” is not just the plot, but a passionate and personal understanding about life.
• His ability to see what the actor was offering in their first read, and build on that when he gave adjustments.
• His consummate skill in using the process-oriented tools for giving direction. For instance, describing the characters in terms of emotional history rather than emotional result.
• He constantly used “as ifs” and verbs (intentions, objectives, spine). He used “opposites.” And it was all natural and fluent.

Billy has been kind enough to say often and publicly that my book Directing Actors has been helpful to him in his work. (Here is the link to the MovieMaker Magazine article where he first started talking about me.)

The beautiful work in his films of course speaks for itself, but seeing him in action was validation that a director can be an “actor’s director” and maintain his commitment to his vision.

I was so proud of all the actors – it was wonderful work. Amanda Sickler served as assistant and reader for all 38 actors who read. Dani De Carlo helped me get the sides to the actors ahead of time to prepare. A number of students came early to help us set up. Thank you so much to everyone, especially, of course, Billy.