BEYOND ACTING
Because acting is just one piece of the puzzle.THE DP'S SECRET TOOLS
You’ve probably heard this saying before: “Theatre is an actor’s medium. Film is a director’s medium.”
We all understand why that is. But here’s the truth: most film actors don’t realize how much power they actually have in shaping their performance. Too often, I’ve seen actors walk off set unsure of how their work will come across on screen. They know their performance is now in the hands of the director and editor, and that uncertainty eats at them.
What if I told you that you’re not “just” an actor?
Acting for film isn’t just about delivering a great performance. It’s about working within a larger puzzle. You’re a collaborator in the filmmaking process. The more you understand the other puzzle pieces, the more you can elevate your part in it. The more you’re actually in control of how your performance translates on screen.
This sounds great in theory, right? Maybe you’re even thinking, “Yes, exactly! I’ve always wanted to understand more about the directors vision for the film, but they never have time to walk me through it.” And you’re not wrong. If you’re not the star of the film, it’s rare for a director to spend much time with you. Not because they don’t want to, but because the set is chaos.
There are a million other decisions screaming for their attention, and only so many hours in the day. That means actors are often left guessing — unsure of how the frame, lens, or composition might affect their performance. And when something doesn’t work, it’s often the actor who gets blamed. Unfair? Absolutely. Avoidable? 100%.
This isn’t your fault. In reality, no one has ever taught you these things. But it is your responsibility to change it.
Most actors focus on the script and their performance, which is essential. But if that’s where you stop, you’re leaving your work to chance. You need to understand how the camera sees you and collaborate with it — and that can make the difference between a performance that sings on screen and one that gets lost in translation.
• The closeup requires a smaller, subtler performance.
That’s not wrong, but it’s limiting. And sometimes, it’s flat-out wrong.
One example is lenses. The lens choice is one of the single most important creative decisions on set. The lens shapes everything the audience sees. It doesn’t just show the scene — it transforms it. It controls what’s in frame, what’s in focus, and how the world feels around you.
A wide (aka short) lens exaggerates space, making the environment feel vast or the distance between characters seem insurmountable. A telephoto (aka long) lens compresses space, creating an intimacy or tension that can be palpable.
Here’s the thing: this isn’t insider knowledge, nor should it be. The lens is one of the most basic tools in filmmaking, and its impact on your performance is profound. It’s not an actual secret, but because it’s rarely taught, most actors are left guessing — and guessing isn’t collaborating.
Let’s take it a step further. Have you ever noticed how certain closeups feel electric — alive — while others feel lifeless? That often comes down to the lens.
When a closeup is shot on a long lens (like an 85mm), the depth of field is shallow, meaning there’s nothing in focus but you. Every twitch, every blink is magnified. Subtlety becomes the key because there’s literally nowhere else for the audience to look.
But if a closeup is shot on a wide lens (like a 24mm), the story changes. Your face might occupy the same physical space in the frame, but the camera’s position is different. The environment becomes part of the story, and suddenly, being “too subtle” can get lost. This is where your closeup can easily feel lifeless. More movement might actually enhance the shot.
This is why “act smaller in closeups” is an oversimplified rule. It’s not about the closeup itself — it’s about how the lens is shaping the frame. A big generalization is that a longer lens is usually used for the closeup, which is why it’s a rule of thumb to act smaller, but, again, that’s not an absolute. So don’t think “closeup”, think “which lens?”
Here’s why: the script rarely tells you how the scene will be shot; the director most likely will not explain their choices; and the DP might be tweaking their tools on the fly; but if you understand how lenses work, you can start to anticipate what’s happening.
If you hear the DP call for a 24mm lens in a scene with two characters, you might infer that the director is emphasizing distance or disconnection between them. Conversely, if they call for an 85mm and insist on a “dirty closeup” (over the other actor’s shoulder), you might deduce that they’re compressing space to create intimacy — or tension.
When you know what the lens is doing, you can align your performance with the shot. For example, you might play into the tension provided by the long lens; the frame might feel claustrophobic, and it helps if we see that on the actor’s face.
And this isn’t something you should be left to figure out on your own. Understanding the tools of the trade isn’t about stepping outside your role as an actor. It’s about stepping into your role as a collaborator, working alongside the DP, director, and editor to craft a performance that not only shines on set but survives the cut.
Lenses are just the tip of the iceberg. Every decision the DP makes — like lenses, framing, lighting, depth of field and movement — affects how your performance is captured. By learning to work with these elements instead of against them, you can elevate your craft. When your performance enhances the shot, it becomes impossible to ignore. In the edit room, those takes will scream out, “Pick me!”
Ultimately, that’s the goal: being picked in the edit room.
I’ll say it again: Acting for film is more than delivering a great performance. It’s about ensuring that performance works within the edit. Because what good is an amazing performance if no one ever sees it?
I’ve had countless battles with directors over shots and takes they loved, only to let them go because they didn’t fit cohesively into the whole. In the cutting room, I can only work with what the camera captured — not what was intended, prepared, or hoped for.
How you work within the frame (in collaboration with the lens) plays a huge part in that. But this is only one piece of the puzzle. There’s so much more to consider.
Look out for my next post, where I’ll dive into the editor’s eye and the cutting room — where the magic (and sometimes heartbreak) happens.
At the very least, the next time you’re on set, listen for the lens callouts. Remember: the smaller the number (e.g., 24mm), the wider the lens; the higher the number (e.g., 85mm), the longer and narrower. Start thinking about how that lens might be shaping the scene — and your performance within it.