<CabooseHOST> 

Ilar and Linda comment/ask: You seem to capture the essence of Ben and Viki's characters and storylines so well--Are romantic storylines your favorite to direct or do the actors themselves and how well they work together (Erika Slezak and Mark Derwin) make it appear easier? I love your work Jill and I think you're the best director OLTL has ever had. I'd like to ask you what Viki and Ben scene that you've directed has been your favorite?

<Jill> 

Favorite B&B scenes were the day they admitted the truth to each other and the conversations before they made love the first time after the surgery. I think because it showed how the best relationship between a man and a woman should/could be the honesty, intimacy, delicacy, tenderness and understanding from Ben is what most women would want from a relationship and I think that's why it struck such a chord with the fans.

<Jill> 

Have you read my interview for Erika's newsletter? In it, I went through many specific choices I made that created that feeling- too many details to include here, but it shows how a director can open up a scene.

<Jill> 

I never thought about this before, but I guess my favorite type of sequence would be dreams and fantasies because they give me an opportunity to delve deeply into the subconscious and to use the camera to mirror the inner state. I know many of you have really enjoyed the love scenes I've directed, so sorry to disappoint you, but those are not my favorite to do. It is very tough to figure out exactly what to do, what to see

<Jill> 

with such sensitive subject matter and with the aspect of possible discomfort from the actors who have to be undressed. It takes a lot out of me to figure them out and after doing so many I wonder if I have anything left to bring to them without repeating myself. (of course I'm sure I will be given more to do, so I'll keep on trying)

<Jill> 

Love scenes are always very technical and not very romantic in the shooting ("put your hand here, move it more slowly, etc.") It sounds more like a traffic cop directing the actors exactly what to do with which parts of their bodies. But if it's planned and choreographed correctly, in tune with where the characters are at that moment (i.e. Viki and Ben love scene before the wedding was very different

<Jill> 

from the love scenes early on in the attic) the final result after editing and music are quite magical or erotic (depending on what's required).**

<onelifetoliveADM> 

I can imagine the love scenes would be difficult, but you do a fantastic job!

<Ann> 

That one certainly was magical.

<pj> 

It was like watching a beautiful ballet!

<Betsy> 

You sure do

<Sheeglah> 

You sure do

<Diane1> 

The Attic 3 scenes were beautifully done and choreographed

<llanfan> 

and erotic is right LOL

<JillNotMitwell> 

They are all beautiful

<Christina> 

you do an amazing job with the love scenes

<lindam> 

I can see where all aspects come together to make the scenes best

<Dawn> 

they are wonderful...very moving

<llanfan> 

ES said you like to do pieces and then put them together

<Jill> 

Thanks - I do think of it as a dance and I'm very specific with the actors so that everyone is as comfortable as possible.

<vtgrammy> 

Some loves scenes are magical, but Ben and Viki's are the best I've ever seen on Daytime.

<Jill> 

It was certainly a new experience for Erika to do scenes like that!

<Renee> 

Wow, for something that isn't your favorite thing to do, you sure do it very well!

<Diane1> 

You sure do

<CabooseHOST> 

I loved the intensity of the love scene after Grace's death

<Jill> 

I think she thought her days of being pushed against a chimney were over.

<vtgrammy> 

LOL

<llanfan> 

LOL

<Sheeglah> 

LOL but she did it so well!

<JillNotMitwell> 

Too funny

<vtgrammy> 

Never too old. <G>

<Jenna> 

More please :)

<lindam> 

But it's so nice to see those scenes for someone other that 20s

<Melissa> 

LOL

<Christina> 

yes, please more

<Betsy> 

I'm so glad those days aren't over

<llanfan> 

Me too

<Diane1> 

Me too

<Jill> 

Yes, that's right. Just want to add that since I'm the only ""girl director"" there I make it a point of showing love scenes from the woman's point of view and I try really protect the actresses

<vtgrammy> 

Well your succeeding beautifully Jill.

<CabooseHOST> 

and as woman viewers we appreciate that angle

<Betsy> 

ita

<JillNotMitwell> 

ditto vt

<llanfan> 

amen

<Diane1> 

We sure do

<lindam> 

Too many times things are only from the male point of view.

<Melissa> 

And it shows...in both ways...but really protecting the actress.

<onelifetoliveADM> 

Okay, next question is:

<onelifetoliveADM> 

Diana asks: How do you achieve reality in a scene? In other words what can you do to make a scene look like something is really happening instead of two actors simply saying words?

<Jill> 

Your question addresses the heart of what directing is. Making the moment feel real. It's hard to give a brief answer and it's all very esoteric. Here goes.. For a detailed answer, check out tyonline.org. over the next few months (Directors Chair section) they will be including answers I gave re: my directing technique; each week adding another question and answer I think. Unless it's just plot or ex

<Jill> 

position scene (in which case you just put the person on camera who is speaking), I try to figure out the emotion behind the words, between the lines and that's what I stage and shoot. I create a visual dynamic on your 2dimensional rectangular screen that helps you feel the third, unseen dimension.

<Jill> 

I create this through the size of the shots, the number of shots, the rhythm of cutting, and when I have actors move. If my choices are organic, meaning they come out of the emotion in the scene, they can actually help the actors and the audience feel their way through the scene.

<Jill> 

It could be as simple as seeing the person who is reacting on camera instead of the person speaking. Or possibly creating a space in the middle of a speech or between speeches; or having the character move as he/she is feeling, expressing, or processing something internally. So I'm actually kind of turning the scene inside out, turning the internal feelings, which have the motion of thought in them, into external moves.

<Jill> 

(of course there's also working with the actors on performance) You might have to re-read this. It's pretty dense!**

<lindam> 

reaction shots sometime get the message of the scene across better than the speaker

<DianaB> 

wow, that's amazing. it makes sense, but seems difficult to do

<llanfan> 

thanks Jill

<Diane1> 

True Linda

<DianaB> 

thanks!

<CabooseHOST> 

I think some of the music montages that have been done, have said so much without words. I don't know if they are your work, but I can see the emotions in them.

<Diane1> 

I like music montages

<DianaB> 

does music influence what you do

<Ann> 

I miss those.

<vtgrammy> 

I think often the facial expressions tell more than the words do for me when watching an actor.

<lindam> 

some of Jess and Viki's stuff -- the empathy comes through so well

<CabooseHOST> 

The next question is:

<CabooseHOST> 

Christina asks: Hi Jill, Great to have you here! Okay, here's my question - When you are directing a scene - What do you look for? Is it different directing a love scene compared to a fight scene or a very emotional scene? Do you look for different things in each scene? Thank you for coming and chatting with us.

<Jill> 

It's a delicate process deciding when to use the words and when they may get in the way. I also love using music and the spaces between the words to convey the emotion.

<Jill> 

Again I try to isolate the emotion and choose staging and shots that will express that emotion and help the audience feel it. An example for a fight scene would be bodies in a tight shot falling through the frame and out of the

<Jill> 

frame would give you more of the feeling of falling than a wide shot in which you see that same action. A stair fall feels more intense if you edit it to extend the feeling of going down down down, by using many angles and by repeating some of the action (i.e. Colin's fall, the 2 last shots of him rolling over are the same moment repeated on 2 different angles and the repetition made it feel more violent/lethal).

<Jill> 

When Gabrielle dreamed of Max, the script said something like they move together in a torrid kiss. What you saw was a slow motion close-up of each moving towards each other looking at the camera's, this increased the sense of him intruding into her thoughts, and then I staged the kiss as a series of pushing, falling moves (they fell into the chair/he pushed it back so it almost fell over/then fell to the floor/then

<Jill> 

they rolled over!!) these moves helped you get a sense of the force of intense passion drawing them together. Imagine me sitting at home trying to choreograph all this is my mind!**

<lindam> 

it must be hard -- but the mind can do wonders

<JillNotMitwell> 

Sounds like more fun than my job

<Christina> 

it sure can....thanks Jill

<Diane1> 

You are doing a good job of it

<kermit> 

yah

<Diane1> 

Mine too

<Sheeglah> 

AndI love what your mind does!

<CabooseHOST> 

and it looks so easy on TV.

<llanfan> 

very easy...and on the eyes too LOL

<Jill> 

Yes, I have little stick figures getting into contortions in my head.

<vtgrammy> 

LOL

<Renee> 

very funny

<Betsy> 

LOL