I came across a post today that criticized Darren Aronofsky’s approach to working with actors Natalie Portman and Mila Kunis on the set of Black Swan, my favorite movie of all time. The comment section was filled with people condemning the acclaimed director’s methods. The post described how, in an attempt to generate authentic hostility between the lead actresses that would translate to on-screen tension, Aronofsky would send each actress text messages claiming that the other was doing a far better job. This was intended to engender jealousy and resentment, but Portman and Kunis caught on quickly. Someone likened this to the “Kubrick technique,” referring to the way in which Stanley Kubrick treated actress Shelley Duvall on the set of his 1980 horror film, The Shining. Duvall was said to have experienced intense psychological and emotional torment from Kubrick while shooting. Many have denounced this style of directing, questioning the purpose of hiring actors if you don’t trust them to act.
David Lynch has said that screaming at actors or tricking them somehow to get a performance is “such a joke – it’s pathetic and stupid at the same time.” He feels that “when people are in fear, they don’t want to go to work…the fear starts turning into hate, and they begin to hate going to work. Then the hate can turn into anger and people can become angry at their boss and their work.” Lynch explained that if he ran his set with fear, he would get “1 percent, not 100 percent,” of what he gets. He believes that making a film “should be fun” because “in work and in life, we’re all supposed to get along.” This is interesting, considering the fact that Kubrick is one of Lynch’s all-time favorite filmmakers, and Kubrick called Lynch’s first film, Eraserhead, his favorite.
So, what is the role of a director? As a filmmaker, I often find myself contemplating this. To me, the director’s job is to articulate a specific vision and execute it to the best of their ability. This looks different for everyone, but if your cast and crew are not all on the same page, it is damn near impossible to make the kind of film you want to make. That is why I value collaboration over manipulation. When it comes to working with actors, every situation is unique. You have to be able to adapt. Most importantly, it is crucial to establish trust. In order to achieve their best work, an actor must feel the freedom to fail. This goes for everyone on set, to an extent. I’m open to feedback from anyone. You never know where the next great idea or solution to your problem will come from. It is in moments of unbounded creative exploration that real breakthroughs happen and true discoveries are made.