Danielle Fishel Says 'Boy Meets World' Taught Her the Do's and Don'ts of Directing Kids on 'Wizards'

US Weekly

Transcript

00:00One thing I try to pivot away from that we did a lot on Boy Meets World was super fast-paced dialogue.

00:08There were a lot of scenes where the people talking to each other were rapid-firing things,

00:13and maybe, depending on what's being said, that timing could increase the funny,

00:19but it also gives the idea that no one's really listening to the other person.

00:24And being a good actor is all about listening to your scene partner and hearing what they're saying

00:30and letting what they've said affect you in some way.

00:32And so some of the super fast-paced dialogue I've tried to shy away from.

00:36I really want my actors to feel like they're living in a reality.

00:40Even if that reality involves magic, it is the reality for their character,

00:45and so I try to ground people as much as possible.

00:48And one thing I definitely try to incorporate whenever possible

00:52is I try to have some movement.

00:55It can be kind of difficult in a show where you've got a lot of characters in one set

01:01and everyone has to talk to each other.

01:03How are you finding natural and organic places for people to cross and to move?

01:08And one of the things I think we did pretty well on Boy Meets World

01:11were the crosses our actors made felt organic.

01:15They didn't feel like, well, why did they just do that?

01:17So whenever possible, I try to incorporate an organic cross,

01:20and I work with the actors right at the beginning of the day,

01:23saying, listen, I've got it blocked in my mind.

01:26I'm going to walk us through the paces, but you're the expert in your character.

01:29If something I'm telling you to do doesn't feel good for you

01:32or doesn't feel natural for you, I want you to tell me,

01:34and let's come up with something else.

01:36You make a suggestion. Let's try it.

01:38This is a safe space, and let's just find the best way to do it.

01:41And it's worked very well for me thus far.

01:44I think one of the really important things

01:46is having conversations with each kid in—

01:52not in front of everybody.

01:55So when you're rehearsing, you're on a set,

01:58and everyone is standing around.

01:59There are crew members, the parents of the children are there,

02:02or their guardians, whoever's there watching them that day,

02:05the teacher, and, you know, the general—

02:08then the director, and possibly some guests.

02:12And when you are giving notes,

02:14and you're trying to make a scene better,

02:16sometimes it can feel like everybody's eyes are on me,

02:19and I was just given a note,

02:21and I never want them to think that if I've given them a note,

02:23it's that I'm correcting something they've done.

02:26There is no right and wrong approach.

02:29There are just different approaches and different things to try.

02:33And so when I can tell that an actor is maybe feeling a little insecure

02:37or needs a bit of a pep talk for whatever reason,

02:40they have so much on their shoulders,

02:42I will take—I will ask the parent or guardian and that actor

02:46to step aside where nobody can really see us

02:48and just have a one-on-one conversation where,

02:51tell me what's going on for you.

02:52I can tell you're not comfortable.

02:54Let's talk it out.

02:55What can I do for you?

02:56And I let them know right off the bat when I start a week,

02:59my door is always open.

03:01You have my phone number, you have my email address,

03:03and you know where my office is.

03:05Anytime something is on your mind and you want to talk about it,

03:08my door is always open to you and I am here to be your advocate

03:11and to speak up for you.

03:12If there's something you need, you can always come to me.

03:15And I just make sure every person knows that I'm there for them

03:19and I have an individual relationship with all of them.

Category

Transcript

Recommended