The article, Actor and the Director by Mackendrick (2004), was an interesting article to analyze. The relationship between the director and the actor is incredibly important in a film production. One of the most vital roles of a director is to get the best performance out of the actor. In the article there is a statement explain that “perhaps the most important [part of directing] is to appreciate that the actor is the director’s most valuable collaborator, to the point where I believe the director should go out of his way to ensure he has a rudimentary understanding of the craft of acting”. I agree with this point, I feel as if it is important for the director know the acting side of a production. However, I do feel as if the director, through experience of directing would learn to understand actors how actors perform best. However I also feel as if each actor is different so the directing style would change each time, the relationship between the director and the actor is more important than the director having a ‘rudimentary’ understanding of the acting craft. But the relationship between the actor and the director would come hand in hand with the director understanding acting.
One point a came across which the article makes is ‘a director contributes not by directing the actor but by inspiring him.’ While this is an interesting point the writer makes I somewhat disagree with this statement. Of course the actor needs to make the performance their own but it is also important to remember that it is the directors vision not the actors. If the director wants the actor to perform a certain emotion, for example but the actor disagrees and wants to play it another way, it comes down to what the director wants. The director is the person who has the final call for all the decisions. So it is important to understand that the actor needs to make the character their own but making sure it is within the directors vision for the production.
Mackendrick, A. On film-making: an introduction to the craft of the director, (p. 179-194). London: Faber and Faber, 2004