Why Self-Directing Is One of the Most Important Skills an Actor Can Learn

A lot of actors long for auditioning in the room, like in the good old days.

And one of the things I hear all the time is:

"I'm just so much better in the room."

Or:

"My booking ratio was much higher when I could actually audition in front of the Casting Director."

So let's analyse this for a second.

What is actually different between auditioning in the room and doing a self-tape?

I think a huge part of the answer is very simple:

Direction.

In the Room, Someone Was There to Direct You

Most actors rely on direction. And of course I understand why.

Our job as actors is to listen to the director, understand their vision and bring it to life.

When you audition in the room, you might do your scene and then hear:

"Great. Let's do it again, but this time..."

Suddenly you have something to respond to. You have another person's perspective. They might give you a completely different intention, change the pace, ask you to hold something back or push you somewhere you hadn't even considered.

And very often, that's when an actor comes alive.

But with a self-tape?

Nobody is there to say:

"Try it again, but this time..."

You have to decide that yourself.

And suddenly, without really agreeing to it, you are doing part of the director's job.

Self-Taping Requires Actors to Become Their Own Director

This is where I think a lot of actors struggle with self-tapes.

They prepare the scene as an actor, but they don't necessarily look at it as a director.

What is the story of this scene?

Where does it change?

What is visually interesting?

What isn't working?

Is my first choice really the most interesting one?

Could this scene be played completely differently?

Am I actually telling the story, or am I just saying the lines well?

Being able to step outside of your performance and look at your work objectively is a completely different skill.

And, in my opinion, it's a skill worth developing.

Because I actually think actors who are able to self-direct are more exciting to work with.

Don't Be an Actor Who Needs to Be Led Everywhere

After more than 20 years working in the film and TV industry, one thing I've noticed is that the bigger the set, the less direction you might actually be given.

That might sound strange, but think about everything a director on a large production has to juggle.

Camera. Lighting. Producers. Locations. Schedule. Crew. Hundreds of decisions being made every single day.

Sometimes you will get incredibly detailed direction.

Sometimes you won't.

And in those moments, the director needs you to bring something to the table.

I don't want to be an actor who arrives like a sheep waiting to be led in every direction.

I want to arrive with ideas.

Choices.

Possibilities.

I want to understand the scene well enough that I can offer something interesting, while still being completely flexible when the director wants something different.

And I think learning how to self-direct your self-tapes can help you develop exactly that muscle.

You Can Mourn the Old Audition System — Or Get Better at the New One

I completely understand the longing for the good old days of auditioning in the room.

You got to meet people.

You could feel the energy.

You could charm them.

You could respond to direction immediately.

There was something wonderful about that.

But we can spend our precious energy mourning the way things used to be...

or we can do something about it.

And I am a doer.

When self-taping became such a huge part of our industry, I found the transition frustrating too. But once I started learning more about the other aspects of filmmaking — cameras, lenses, framing, editing, lighting and directing — I very quickly noticed something.

That knowledge was making me a better actress.

I wasn't just thinking about my performance anymore.

I was thinking about the whole picture.

I started understanding what the camera needed from me.

I started seeing scenes differently.

And most importantly, I became much better at looking at my own work and knowing when something wasn't working — and what I could try instead.

So How Do You Learn to Self-Direct?

Here's something you can start doing without spending any money:

Offer to help other actors with their self-tapes.

And don't just be their reader.

Direct them.

Watch their take and ask yourself what you would change.

Give them an adjustment.

Try a completely different version.

Look at what happens when you change the intention, pace, eyeline, physicality or relationship.

Then watch the takes back.

Which one is more interesting?

Why?

You are slowly training your director's eye.

And there is another huge benefit to doing this.

You are creating a supportive community around yourself.

Instead of actors constantly feeling like they are competing against each other, we can help each other get better.

You direct someone's self-tape today.

They help you with yours tomorrow.

Everybody wins.

Self-Taping Isn't Going Anywhere — So Learn to Master It

Maybe one day we will go back to doing more auditions in the room. I would personally love that.

But I'm not waiting for it.

Self-taping is a huge part of the modern film and TV audition process, and I would much rather put my energy into becoming brilliant at it than wishing it didn't exist.

So if you feel like:

"I'm much better when someone directs me..."

Maybe that's telling you exactly what you need to work on next.

Learn to direct.

Direct other actors.

Watch performances.

Study filmmaking.

Experiment with your own self-tapes.

And slowly, learn how to become the actor and the director when you need to be.

Because the more tools you have as an actor, the more interesting you become.

Good luck!

Taking direction is something you can only really improve by doing it. At my weekly Screen Acting GYM in London, you work through multiple takes with direction and redirection, then watch the results back.

Sending you a BIG HUG,

Natalia

Owning It Acting Studio

If you enjoyed my blog and it resonated with you, I’d be truly grateful if you shared it on your social media so it might support other actors as well. My goal is to create a safe, encouraging space where actors can feel seen and supported.