Almost one year to the day of the “Thrill of Victory and the Agony of Next Time” I achieved my goal and was hired to direct a pilot for Disney XD called “Kickin It.”  The pilot was picked up for 21 episodes and we start in January 2011.  On the first day of rehearsal I gave the cast a list of guidlines that would prove very helpful for the shoot and show.  Here is that list. 

“Kickin It Rules to Comedy”

Helpful Guidelines on how to work on set

By

Eric Dean Seaton

1) Enjoy this experience and acting with all your heart and soul.

2) It’s okay to have a bad day, bad take, and bad moment.  We can always try again.  Things will always get better.

3) It’s okay to be afraid but not okay to not try.

4) Try first!!!!

5) After you try, don’t be afraid to question anything.

6) Know what your character wants.

7) Don’t pass judgment on your character.

8 ) Don’t forget the moment before.

9) Project your voice!  Don’t whisper unless it says whisper and even then we have to hear you.

10) Get the answer to your question.  Don’t quit or give up.

11) Believe in what we are doing and know we will get there by the end of the week.

12) Hold for laughs!!!

13) Don’t stop a scene until you hear cut.  If you are out of lines, stay in character, create something funny, say or do what you think would happen next.  Sometimes the best blow (end to a scene) is what the actor comes up with.

14) Learn Up Stage vs. Down Stage.  Camera Right vs. Stage Right

15) Stay open to cameras.

16) Safety first.  We don’t need heroes.  We need actors!!!!

17) Emphasize words that are underlined, bold or in italics. It’s that way for a reason.

18) Don’t rush through your words.  Everyone needs to understand you.

19) Have fun on set.  Get to know people.

20) Say good morning to the crew.  TV is a family.  The crew responds to open people and wants to work hard with you to make the best show possible.

21) You are the leaders.  When it goes to series learn everyone’s name.  Find out what they do.  Take interest in people and they will take an interest in you.

22) Always have a crew list and important numbers with you or with your parents or guardians.

23 Don’t be afraid to ask your Director anything.  He/She should have the answer and if they don’t they will find out.

24) Hold your script at all times.  Writers need to hear the words.  Even in a Run-thru.  We don’t need you to be off book until we shoot.

25) Prepare your script!!!  All your lines must be highlighted. Everyday!!!  No exceptions.

26) Wrinkle the bottom corner of your script so it’s easy to turn the pages.  If this does not make sense I will show you how to do it onstage.

27) This should be one of the best times of your life.  Enjoy it because… IT’S ONLY THE BEGINNING!!!!

I recently interviewed for my first pilot at a big network.  I was very excited and really prepared by reading the script and breaking down the scenes and I really came up with some great ideas.  All the things I do for a normal episode but with a keen eye for creation because everything we show would be for the first time.  I also did a few other things that go beyond the normal interview but I won’t mention (have to keep some secrets) because I plan on doing them again the next time I get the chance to interview for a pilot.

I had a really great meeting and even bonded with one of the Executive Producers over the Cavs because we are both from Cleveland.  (Which means we have that wait “till next time gene” inside us)  I even knew the guys who created the show.  They are wonderful writers and it’s great to see them finally get their chance to take it to another level.

I was also pleased that the network recognized all my hard work and asked me to come in.

After the interview, which went really well, you go through your usual, “I rocked it” day when you feel you are the one, followed by the “Oh no, I’m not going to get it” day where you feel you totally blew it and how could they not pick you.  If you are smart you end up somewhere in the middle with a “relax, relate, release” day and you keep it moving from then on.  Look if you lay it all out on the table, there is nothing else you can do so why stress?

In the end did I get the job?  No.  They went with another really good director with whom they had a prior relationship.  What is the lesson learned?  The same one they always say…  It’s all about relationships in this town.  But honestly it’s also about the work because good work gets you more relationships.

What do you lose when you don’t get the pilot job?  You don’t get the perks like a payment for every new episode, the marquee of saying you are a pilot director and a big fat check for your work on that first one.   You also don’t get to collaborate in the creation of something from scratch.

Is there a bright side?  Absolutely.  I will get to direct the show.  I have now made a pilot list.  (There is a list for everything in Hollywood.  There is even a list to get on the list).  And I know that everything I have done thus far has led to this moment so I must be doing it right.

A year ago I was not a “go to” guy but just somebody “in the rotation.”  Now I am.  In life you look at your path and if it’s still going up, then it’s a good road to stay on.

So as we say in Cleveland, next time.  Next time… I will be even better prepared.  Next time… I will be even more determined.  Next time… I will be beyond passionate.  Next time… Will be my time.

First I read the script several times.  The first reading is just to get the feel and understand what the story is about.  It’s more enjoyment than anything else.  After my first reading I go back and read the script again, this time dissecting it.  I mark jokes and dramatic moments.  Visualize where I can add style or images.  Where the dramatic moments are and what the characters are searching for.  With each character I pull back and ask what is it they want in relationship to what the story is about.  How does it all work together?

The next step is blocking. Sometimes it comes to me in the first and second pass but for the most part I wait until my third read to concentrate on it.  In the shows I’ve done, story and performance are the most important things, but I always find a way to add style and come up with interesting angles with camera shots.  I try my best to not let the confines of four camera sitcoms determine what I can and cannot shoot.  I’ve also found that by having an understanding of four camera style when I shoot something single camera style I can almost cut the piece in my head and I don’t miss any shots or coverage.

Although I encourage natural movement from the actors I always have my blocking done in my script.  I do this so I can always have an understanding, always have an answer and always have a suggestion so I can guide the actors and always make them feel comfortable and confident in themselves and me.  If you come to set sometimes you will see me walking the set and acting out the characters.

Because most of my experience is in four camera sitcoms the first day of rehearsal I spend concentrating on the blocking and general character notes.  The second day is a strong rehearsal where we put everything in it and the third day is just tightening up the beats, answering changes from the writers and executives and doing my camera shots.  When the two-shoot days roll around everyone is prepared and ready to go and we get the work done very fast.

I found the more prepared you are the better you can find new things and experiment and the more the cast and crew have confidence in you and the better director you will be.