Written instruction in the script — actor movement, gesture, eyeline, set use. Director interprets or deliberately rewrites these cues on set.
A screenplay contains more than just dialogue. The screenwriter notes how a character enters a room, where they sit, what glance they cast — these stage directions are the skeleton of the scene's action. On set, they become a point of negotiation between the writer, director, and actor. Some directors adhere to them slavishly; others see them as suggestions they can discard in the moment.
The quality of a stage direction determines shooting efficiency. Precise notation — "She stands up, walks to the door, stops" — saves discussions. Vague notation — "She is nervous" — forces improvisation with the actor and camera later. Experienced screenwriters write for the camera: they know that a movement from left to right in the frame feels different from the reverse. They don't just note *what* happens, but already imply something about power, emotion, and dynamics through the direction of movement.
In practice, conflicts arise when stage directions block the art of acting. An actor might have a more intuitive idea of how to handle the scene — a different gait, a different stance relative to their partner. Your task as director (or DoP, if you are on set with the director) is moderation: keep the dramaturgical core of the direction in mind, but give the talent space. Sometimes this leads to better takes.
The camera reacts to stage directions. A character moving sideways through a room requires different camera work than one approaching you head-on. You plan coverage based on this — whether you notice while reading the script that the noted movement works for your planned shot, or if you need to rethink. In the edit, it becomes apparent whether the stage direction was dramaturgically sound: Does the movement feel natural? Does it direct the viewer's eye correctly?
Stage directions are often adjusted in the late production process — after location scouting, after camera tests, after the first rehearsals with the actors. This is normal. What remains is the fundamental intention: that physical action makes a character's inner state visible. A stage direction is good if it achieves this — whether it is then executed as written is secondary.