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