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explore character and relationships. In film, at this point in the process, there isn't time for dissection of your role. You use rehearsals to show the director and other actors what you're proposing to do physically and more or less how you're going to say the lines; you use rehearsals to show the thorough preparation that you've been hired for.

    Usually rehearsals are used to set blocking, which is the process of working out the moves for each scene. Don't be cowed by technical considerations here; the actor's instinct is vital to this process. Move where and how you feel it is comfortable and right for the role, because they can put the camera on top of St. Paul's Cathedral, if necessary, to suit your moves. Of course, if the director says, "I want you to end up on that spot, no matter how you feel about it," then you had better follow his instructions and get there.
PRACTICE WITH DANGER AND YOU LOSE IT
    Do not use rehearsals to give your all as an actor. In theatre, a director will often encourage you to get to performance level well before opening night. In film, it's no good hitting those high notes before the take because film acting is about danger. If you practice with danger, you lose it. If you rehearse a risk, it is no longer a risk. You also deprive the other actor of his spontaneous response to that extra something you are going to zing in there when the camera rolls. You should only take that ultimate risk, provide that real surprise, when someone says "action." Then, by all means, push yourself a little further than you want to go.
    In theatre, it's natural to worry about what the other actors are giving you on stage because an important part of live theatre is that immediate give and take. But in film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were. If you feel the wrong actor has been cast in the part, recast him in your mind. Other actors may feel the same about you! Try to hang on to your contribution without being distracted. I know how difficult this is because the only time I ever "dry" is when I get over-fascinated by bad acting. But you really don't know what the director has in mind, and he's the guv'nor here. He may end up using all the shots of you reacting and just use the other fellow's part as a voice off camera. Or it may never have been his intention to have you both in the shot. Regardless of his original intention, he may change his mind during the editing. So always act and react as if you were getting the ideal response because you never know what's going to be used once the editing begins. The director's going to do what's best for the picture, and if you have been at your best, you may find that you get to be shown in the final cut.

    When a scene is blocked to everyone's satisfaction, marks are made on the floor, or strategic twigs are placed on the ground if you are outdoors, or you will be required to line yourself up with a fixed object because you must end up either in that preordained spot or else be out of focus. Obviously an actor can't look down to see if he has hit his mark, so the way to ensure accuracy is to stand on the mark, then say your line at performance pace while walking backward to an earlier position. When you go forward from that earlier position, saying the same line, you wind up on the mark. If you practice the rhythm of this a few times, you won't go wrong. You won't forget your line, either, because words and movement will be married in your head, like a song and dance.

    HANNAH AND HER SISTERS
    Directed by Woody Allen. Orion, 1985.

THE STAND-IN
    Once the blocking is fixed, the lighting technician goes to work. At this point, you get out of the way and a stand-in who has been watching your moves during rehearsal takes over. Sometimes lighting a scene can take an hour and a half to two hours, and no one expects the actor who's in the scene to stand there that long. My stand-in is