My Expensive Lesson in Dialogue Direction {#story}
I’ll never forget the table read for “Going Home.”
My lead actor looked up from the script, confused. “Nobody talks like this,” she said, tapping the page. She was right. The dialogue I’d spent weeks perfecting on paper sounded like a robot having a stroke when spoken aloud.
That’s when I learned something crucial: writing dialogue and directing it are two completely different skills.
The words on the page died the moment they hit the air. What sounded profound in my head came out flat and lifeless in the room. My actor stumbled over phrases that looked fine in 12-point Courier. The rhythm felt wrong. The pauses landed in weird places.
I’d written dialogue. But I had no idea how to direct it.
Common Mistakes in Directing Film Dialogue {#problem}
Most filmmaking advice treats dialogue like it’s just good writing. Get the words right, and you’re done.
Wrong.
I’ve seen brilliant scripts turn into unwatchable scenes because the director didn’t know how to shape the performance. I’ve watched talented actors deliver lines like they’re reading a grocery list because nobody showed them what the subtext was.
The dialogue might be perfect on paper. But if you can’t direct it—if you can’t guide actors to make it feel real, breathe life into the pauses, and find the emotion underneath the words—it dies on screen.
Here’s what nobody tells you: directing dialogue isn’t about the words. It’s about what’s happening between them.
It’s in the hesitation before someone answers. The way they avoid eye contact when they’re lying. The beat of silence that says more than a monologue ever could.
During “Married & Isolated,” I had a scene where two characters fight about dishes. Just dishes. But the scene wasn’t about dishes—it was about their failing marriage, buried resentment, and years of unspoken disappointment.
The first take? They argued about dishes.
The problem wasn’t the actors. It was me. I hadn’t given them anything beneath the surface to play. I hadn’t created a space where the real scene—the one happening under the words—could exist.
Why Film Dialogue Feels Unnatural {#cause}
Here’s why most dialogue scenes feel fake:
We treat them like tennis matches. Character A says something. Character B responds. Back and forth. Clean. Organized. Completely unnatural.
Real conversations don’t work like that.
People interrupt. They trail off mid-sentence. They say one thing while thinking another. They fill awkward silences with “um” and “like” and nervous laughter. They change subjects without warning. They avoid answering questions directly.
Real conversation is messy.
But here’s the catch: you can’t just transcribe real conversation and call it good dialogue. I tried that once. Recorded actual people talking at a coffee shop, transcribed it word-for-word, and dropped it into a script.
It was unwatchable. Boring. Meandering. Full of pointless tangents about the weather.
The “Real-ish” Sweet Spot
Film dialogue needs to feel real without being real. It’s real-ish. The best version of how people talk—capturing the rhythm and flow and messiness of actual speech, but without all the pointless stuff that makes real conversation so tedious.
Think about Tarantino. His characters in “Pulp Fiction” have that long conversation about burgers in Europe. It feels natural—like you’re eavesdropping on two guys talking. But it’s not how people really talk. It’s too sharp. Too perfectly paced. Too memorable.
It’s heightened reality. The conversation real people wish they could have.
Most directors miss this. They either make dialogue too polished (formal, perfect, unnatural) or too realistic (boring, rambling, pointless). The magic happens in the middle.
Dialogue Is a Physical Performance
The other problem? Directors forget that dialogue isn’t just words—it’s a physical performance.
When I was shooting “Noelle’s Package,” I had an actor deliver this heartbreaking monologue sitting perfectly still. Just… talking. Like a podcast.
It was technically perfect. Every word clear. Great delivery.
Totally lifeless.
I realized the dialogue needed a body. The character needed to do something while talking—pour coffee, fold laundry, stare out a window. Something. Because real people don’t sit motionless and recite their feelings. They fidget. They look away. They busy their hands.
The words are only half the scene. The other half is everything the actor does while saying them.
The 3 Pillars of Directing Authentic Dialogue
Directing authentic dialogue comes down to three things: rhythm, subtext, and space.
Rhythm is the natural flow of conversation. It’s pauses and interruptions and overlapping speech. It’s knowing when to let silence sit and when to speed things up.
Subtext is what’s really happening under the words. The actual scene beneath the apparent scene. What characters want vs. what they’re willing to say.
Space is giving actors room to discover the moment organically instead of locking them into one specific reading.
Quick Reference: The Dialogue Director’s Framework
| Element | What It Does | Example |
|---|---|---|
| Rhythm | Controls pacing & emotional flow | Pauses after revelations, overlapping in arguments |
| Subtext | Reveals hidden motivations | Fighting about dishes = fighting about marriage |
| Space | Allows organic discovery | Letting actors find their own delivery vs. line readings |
| Physicality | Grounds dialogue in action | Cooking while confessing, packing while breaking up |
| Listening | Creates authentic reactions | What the silent actor does matters as much as dialogue |
Case Study: The Dish Fight Scene
When I finally cracked the dish-fighting scene in “Married & Isolated,” here’s what changed:
I stopped directing the words and started directing the emotion. I didn’t tell the actors how to say the lines. I told them what they wanted in the scene but couldn’t directly ask for. He wanted her to admit she regretted marrying him. She wanted him to fight for the relationship. Neither of them could say that out loud.
So they fought about dishes.
Script Text vs. Subtext Breakdown
Understanding the hidden meanings beneath dialogue
| Line (Text) | Subtext (Actual Meaning) |
|---|---|
| “You never clean up after yourself.” | “You don’t care about our life together.” |
| “I was going to do it later.” | “Nothing I do is ever good enough for you.” |
| “You always say that.” | “I’m tired of making excuses for you.” |
| “What do you want from me?” | “Tell me you still love me.” |
Key Insight: The subtext reveals the true emotional stakes of the scene, while the text shows how characters avoid saying what they really mean.
Once the actors understood the real scene, everything clicked. The dialogue I’d written—which hadn’t changed at all—suddenly had weight. The pauses felt loaded. The simple lines about cleaning carried years of resentment.
Same words. Completely different scene.
That’s when I realized: my job as a director isn’t to tell actors how to read lines. It’s to help them understand why their character is saying those lines in that moment.
The how takes care of itself.
10 Pro Tips for Directing Authentic Dialogue {#techniques}
Here’s how I actually direct dialogue now:
1. Analyze What’s Really Happening (The Verb Test)
Before rehearsal, I go through every dialogue scene and write down:
- What each character wants (their objective)
- What they’re afraid to say
- What they’re hiding
- What they hope the other person will do
- The active verb driving each line (to sting, to plead, to deflect, to seduce)
For a pivotal scene in “Going Home”—where two friends, now divided by homelessness and professional success, reunite in a restaurant—my character desperately wanted to bridge the gap but was terrified of admitting her own failure. Once my actor understood that every line of small talk and deflection was armor against that vulnerability, the whole scene transformed.
The Dialogue Director’s 60-Second Checklist:
- ✅ The Verb Test: Can you describe the character’s goal with an active verb?
- ✅ The Physicality: Is the actor’s body doing something that contradicts their words?
- ✅ The Silence: Have I allowed a 3-second beat for information to “land”?
- ✅ The Overlap: Is there a moment where they should talk over each other?
Practical tip: Don’t tell actors how to say lines. Tell them what their character is avoiding.
2. Rehearse for Discovery, Not Perfection
During “In The End,” I made the mistake of locking in readings too early. I’d hear a line delivery I liked and say “Do it exactly like that.”
Big mistake.
The actors started performing the reading instead of living in the moment. It felt rehearsed because… it was. They were repeating a thing that worked once instead of finding it fresh each take.
Now I rehearse to explore options, not cement choices. We try different approaches. We improvise around the scripted lines. We find the rhythm organically.
Pro tip for rehearsals: I use a portable audio recorder like the Zoom H5 to capture every rehearsal. Listening back without visuals reveals when actors slip into “performance mode” vs. authentic conversation. Game-changer.
Practical tip: Do a full scene completely improvised—no script—so actors understand the emotional journey. Then bring the actual dialogue back in.
3. Use Silence Like Punctuation
On “Blood Buddies,” I had this tendency to fill every gap with words. If there was a pause, I’d add a line. Silence made me nervous.
Then I watched a film that changed everything: “Drive.” That opening elevator scene is mostly silence. The tension is unbearable.
Silence isn’t empty—it’s full of anticipation, discomfort, unspoken emotion. A well-placed pause can hit harder than the best-written line.
The 3-Second Rule: After a big revelation or emotional gut-punch, force yourself to count to three before the next line. It feels like an eternity on set. On screen? It’s perfect.
Practical tip: After a big revelation or emotional moment, resist the urge to fill the silence immediately. Let it breathe.
4. Block Dialogue with Action (The Triangle Method)
People talk while doing things. They’re not just standing there having conversations in a void.
For “The Camping Discovery,” I had a pivotal conversation happen while two characters set up a tent. The physical activity grounded the dialogue. It gave the actors something to do. It created natural pauses (hammering a stake, untangling ropes). It made the scene feel real.
Blocking Techniques That Work:
Walk-and-Talks: Moving through space forces natural rhythm changes. Directors like Aaron Sorkin (“The West Wing”) built entire careers on this.
The Triangle Method: Instead of actors facing each other directly (stagey), position them in a triangle with a third point of focus—a window, a task, an object. They can look at each other OR the third point. Creates natural eye-line variation.
Task-Based Blocking: Cooking, packing, fixing something, building something. The task dictates the rhythm of conversation.
Practical tip: Give characters a practical task during important conversations. Cooking. Fixing something. Packing. Walking. The activity makes the dialogue feel more natural.
5. Direct Listening, Not Just Speaking (The Kuleshov Effect)
Your actor says their line perfectly. Great.
But what’s the other actor doing while that line is being delivered?
Most directors forget to direct the listener. They focus on the person talking. But reactions are half the dialogue. A raised eyebrow. A subtle smile. Looking away at the wrong moment.
During “Chicken Surprise,” I realized my best dialogue moments weren’t the lines—they were the reactions to the lines. The way one character’s face changed while hearing something they didn’t want to hear.
The Kuleshov Effect in Action: The audience projects emotion onto a neutral face based on what they just saw. A listening actor with a blank expression can convey grief, joy, or suspicion depending on the preceding shot. This is your secret weapon for subtext.
Directing the Listener Exercise:
- Shoot the speaker’s coverage
- Do a pass where you ONLY watch the listener
- Ask: “What are they thinking while hearing this?”
- Adjust their micro-expressions, eye-line, breathing
Practical tip: Do a pass where you only watch the actor who’s NOT talking. Are they listening authentically? Or waiting for their turn to speak?
6. Know When Dialogue Isn’t the Answer
Sometimes the best direction is cutting dialogue entirely.
I had this scene in “Closing Walls” where a character discovers a betrayal. My script had a full page of dialogue—accusations, explanations, defenses. All very dramatic.
I shot it. It was… fine.
Then I tried a take with no words at all. Just the actor’s face processing the information. The silence was devastating.
When to Cut Dialogue:
- Information the audience already knows
- Emotions better shown than spoken
- Moments where words would undercut the visual
- Transitions that don’t need explanation
Practical tip: If a scene feels overwritten, try shooting it without any dialogue. Sometimes the unspoken version is stronger.
7. Record Rehearsals (Your Ears Don’t Lie)
This changed everything for me.
I started recording our rehearsals on my phone—not for the performance, just for the audio. Then I’d listen back without watching.
Suddenly I could hear when dialogue sounded fake. When the rhythm was off. When someone was “acting” instead of being.
Your ears catch things your eyes miss.
My Setup: I clip a Rode Wireless GO II lavalier mic on each actor during rehearsals. Clean audio, minimal setup, and I can listen back immediately on my Sony MDR-7506 headphones (industry standard for dialogue monitoring).
Practical tip: Listen to your dialogue scenes with eyes closed. If it sounds like a performance, it probably looks like one too.
8. Embrace Imperfection (The Overlap Technique)
The messiness of real speech—interruptions, crosstalk, unfinished sentences—makes dialogue feel alive.
For “Watching Something Private,” I let actors talk over each other. Step on each other’s lines. Not constantly, but in moments of heightened emotion or quick back-and-forth.
It felt chaotic in the moment. But in editing? It felt real.
When to Allow Overlapping Dialogue:
- Arguments or heated discussions
- Multiple people reacting to shocking news
- Fast-paced comedy or banter
- Family dinner scenes (controlled chaos)
Technical Note: If you plan to overlap dialogue, record each actor on a separate audio track. You’ll thank yourself in post when you need to adjust levels. A Zoom F6 field recorder handles up to 6 inputs with 32-bit float recording—basically impossible to clip audio, even with shouting.
Practical tip: In emotionally charged scenes, try a take where you let actors interrupt each other naturally rather than waiting for clean line deliveries.
9. Match Technical Choices to Emotional Tone
Dialogue doesn’t just live in performance—it lives in how you shoot it and cut it.
Camera Choices for Dialogue:
- Close-ups intensify dialogue and reveal micro-expressions
- Wide shots create distance or isolation
- Over-the-shoulder shots pull us into the conversation
- Long takes let moments breathe and build tension
- Quick cuts create urgency or disorientation
I learned this the hard way on “Elsa.” I shot an intimate conversation in a wide shot. It felt cold. Distant. I needed to be closer to see the micro-expressions, the doubt flickering across their faces.
Lens Choice Matters:
- 50mm: Natural perspective, what the eye sees
- 85mm: Intimate close-ups, flattering for faces
- 24mm: Environmental context, “in the room” feeling
- 135mm: Voyeuristic, observational distance
I typically shoot dialogue coverage on an 85mm lens for close-ups and a 35mm for wides. Keeps the visual language consistent.
Practical tip: Save close-ups for emotional peaks. You can’t sustain intensity for a whole scene—let the camera breathe with the conversation.
10. Collaborate on Line Readings (Never Demonstrate)
Some directors think they need to read every line exactly how it should sound.
I did this early on. I’d perform the line for the actor, showing them the exact inflection I wanted.
It’s controlling. And it rarely works. The actor ends up doing an impression of you instead of inhabiting the character.
Now I describe the emotion or intention behind the line and let the actor find their own way there.
Instead of: “Say it like this: ‘I LOVED you.'” (demonstrating)
Try: “You’re trying to hurt them without them knowing you’re trying to hurt them. It needs to land like a knife wrapped in silk.”
Let actors translate that into their own delivery.
Reference Point Direction: Instead of line readings, I’ll reference other performances or real-life moments. “Remember that feeling when someone cancels on you last minute and you say ‘No worries’ but you’re seething inside? That energy.”
Practical tip: Instead of “Say it like this,” try “You’re trying to hurt them without them knowing you’re trying to hurt them.” Let actors translate that into their own delivery.
Modern Dialogue Challenges: Remote & Virtual Production {#modern}
The industry changed. Fast. Here’s what most 2020 articles won’t tell you about directing dialogue in 2026.
Directing Dialogue for Remote Auditions & Self-Tapes
COVID didn’t just pause production—it permanently changed how we cast and rehearse.
The Problem: You’re directing someone via Zoom. There’s lag. You can’t read their full body language. The intimacy is gone.
What Actually Works:
- Send Video References, Not Text Notes
- Record yourself giving direction on your phone
- Show, don’t type
- “Here’s the energy I’m feeling for this moment…” (then demonstrate the MOOD, not the line)
- The Two-Camera Self-Tape Setup
- Have actors set up their phone as the “scene partner” (eye-line reference)
- Their actual recording camera is slightly off-axis
- Creates more natural eye-line than staring directly into the lens
- Pre-Record the Other Character’s Lines
- I record the other side of the conversation
- Send the actor an audio file to play during their self-tape
- They respond to actual dialogue with real timing, not silence
Tool I Use: Frame.io for script-synced video feedback. I can draw on their self-tape, add time-stamped notes, and they see exactly what I mean.
Maintaining Authentic Dialogue in Green Screen/Virtual Production
Virtual production is everywhere now. But here’s the problem: actors talking to tennis balls on sticks rarely deliver authentic dialogue.
The Green Screen Dialogue Problem:
Your actor is standing in a green void, talking to an X made of tape, pretending to have an emotional conversation with a CG character that doesn’t exist yet.
It’s absurd. And it kills authentic dialogue.
What I’ve Learned:
- Pre-Visualize with AI Voices
- I use ElevenLabs to generate the other character’s voice from my script
- Play it back on set so actors have something real to respond to
- Timing is locked in, delivery feels natural
- Virtual Production = Real-Time Puppeteering
- If budget allows, have someone puppeting the CG character in real-time during the take
- Actor sees movement, even if it’s rough
- UnrealEngine + mocap suit = game-changer
- Shoot Scenes Traditionally First, Then Green Screen
- Rehearse/shoot the scene in a real location with a stand-in
- Capture the authentic performance
- THEN do the technical green screen version with the real performance as reference
Reality Check: If your dialogue feels dead in green screen, it’s not the actor’s fault. You’re asking them to perform in a sensory void. Build the world around them as much as possible, even if it’s temporary.
Essential Tools for Directing Dialogue {#tools}
Here’s the gear and resources that actually help me direct better dialogue:
On-Set Tools
For Recording Rehearsals:
- Zoom H5 Portable Recorder – Captures clean reference audio, runs on AA batteries
- Rode Wireless GO II – Wireless lavs for each actor during rehearsals
For Monitoring Dialogue:
- Sony MDR-7506 Headphones – Industry standard, $100, reveals every flaw
- Zoom F6 Field Recorder – 32-bit float recording means you’ll never clip audio
For Shot Planning:
- Shot Designer App – Block scenes digitally before arriving on set
- Celtx – Script breakdowns with dialogue analysis tools
Books That Changed How I Direct Dialogue
- “Respect for Acting” by Uta Hagen – Teaches you how actors think, which helps you direct them
- “Directing Actors” by Judith Weston – The bible. Read it twice.
- “The Actor and the Target” by Declan Donnellan – All about objectives and actions (the verb test)
Online Resources
Free Masterclasses:
- No Film School’s dialogue direction series
- FilmSkills YouTube channel (practical tutorials)
Paid (Worth It):
- MasterClass: Jodie Foster Teaches Filmmaking – Her section on directing actors for authentic dialogue is gold
- Aaron Sorkin’s MasterClass on Screenwriting – Understanding how writers think about dialogue helps you direct it
Wrap-Up
Directing dialogue isn’t about control. It’s about creating conditions where authentic moments can happen.
The best line readings I’ve ever captured came from rehearsals, not from my brilliant direction. They came from actors who understood their characters deeply enough to find truth in the words.
Your job is to help them get there. Then get out of the way.
Also, for the love of everything holy, do a table read before you shoot. If dialogue sounds wrong out loud, it’ll look wrong on camera.
Save yourself the heartbreak I went through on “Going Home.”
What’s your biggest challenge with directing dialogue? Drop a comment below—I read every one.
FAQ: Directing Film Dialogue
How do you direct dialogue in a film?
Direct the emotion and intention behind the words, not the words themselves. Tell actors what their character wants and fears, use active verbs (to plead, to sting, to deflect), and let them discover how to deliver the line organically.
What makes dialogue feel authentic in movies?
Authentic dialogue has rhythm (pauses, interruptions, overlaps), subtext (what’s unsaid matters more than what’s said), and physicality (actors doing tasks while talking). It feels real-ish—heightened reality, not transcribed reality.
How do you write believable dialogue for film?
Read it aloud. Always. Believable dialogue sounds natural when spoken, uses contractions, includes incomplete thoughts, and reveals character through word choice and rhythm, not exposition.
What is subtext in film dialogue?
Subtext is the real meaning beneath the spoken words. Characters rarely say exactly what they mean—they fight about dishes when they’re really fighting about their marriage. Subtext creates layers and makes dialogue interesting.
How do directors work with actors on dialogue delivery?
Through objectives and obstacles. Instead of demonstrating line readings, directors explain what the character wants in the scene and what’s preventing them from getting it. Actors then find authentic delivery based on those intentions.
What's the difference between realistic dialogue and good dialogue?
Realistic dialogue is boring—full of “um,” repetition, and pointless tangents. Good dialogue captures the feeling of real conversation (rhythm, interruptions, natural flow) while cutting all the boring parts. It’s real-ish, not real.
How do you avoid exposition in dialogue?
Give characters reasons to withhold information. Use subtext and implication instead of stating facts directly. Make characters talk around important topics rather than addressing them head-on. Show don’t tell applies to dialogue too.
What role does silence play in dialogue scenes?
Silence creates tension, allows information to land, reveals discomfort, and lets actors communicate through reactions instead of words. A 3-second pause after a revelation often hits harder than the next line.
How do you create distinct character voices in dialogue?
Each character should have unique speech patterns based on background, education, emotional state, and objectives. Different word choices, sentence structures, rhythm, and what they avoid saying all contribute to distinct voices.
How do you shoot a dialogue scene?
Start with coverage (master, over-the-shoulders, close-ups), match technical choices to emotional tone (close-ups for intensity, wides for distance), direct the listener as much as the speaker, and save your tightest shots for emotional peaks.
Related Links From PeekAtThis:
- Working with Non-Actors: Capturing Genuine Performances – Extends dialogue techniques to non-professional actors
- Directing Actors On Set like a Pro: 10 Essential Tips – Broader actor direction strategies
- Going Home: Behind the Scenes – The actual production referenced throughout
- Essential Filmmaking Gear for Indie Directors – Equipment recommendations for dialogue production
Unlock the secrets of storytelling and master the art of dialogue with Aaron Sorkin in his Screenwriting MasterClass – embark on a journey to craft compelling narratives that captivate and resonate.
Demystifying the Dialogue: A Glossary of Essential Terms
Navigating the world of dialogue direction can feel like deciphering a foreign language at times. Technical jargon and unfamiliar terms can leave even seasoned film enthusiasts feeling lost in translation. But fear not, aspiring auteurs! This handy glossary serves as your Rosetta Stone, decoding the key terms that unlock the secrets of crafting compelling cinematic conversations.
General Terms:
- Dialogue Direction: The art of guiding actors’ deliveries, from the subtle shift in tone to the powerful pause, to weave meaning and emotion into every spoken word.
- Subtext: The hidden layer beneath the surface, where unspoken thoughts and feelings simmer, adding depth and intrigue to every exchange.
- Character Voice: The unique symphony of words, rhythm, and inflection that makes each character’s speech a distinct melody within the scene’s orchestra.
- Action Lines: The stage directions in your screenplay, painting the picture of movement and setting that frames the spoken word.
- Parentheticals: The whispered asides within dialogue lines, offering glimpses into a character’s internal world through fleeting gestures or emotions.
- Subjective Camera: A peek through a character’s eyes, drawing the audience into their perspective and amplifying the emotional impact of every spoken word.
Technical Terms:
- Cutting: The invisible editor’s hand, shaping the rhythm and pace of dialogue by seamlessly transitioning between shots.
- Staging: The deliberate dance of actors and props within the frame, visually reinforcing power dynamics and emotional undercurrents.
- Blocking: The meticulously planned choreography of movement, ensuring clarity and emotional resonance in every spoken exchange.
- Diegetic Sound: The soundscape of the film’s world, from the clatter of coffee cups to the crescendo of a character’s outburst.
- Non-Diegetic Sound: The invisible orchestra, adding layers of emotion and atmosphere through music, narration, and carefully chosen sound effects.
- Fourth Wall: The invisible barrier that separates the audience from the story, occasionally breached by a character’s direct gaze or a moment of raw emotion.
Advanced Terms:
- Internal Monologue: The unvoiced symphony of thoughts and feelings swirling within a character’s mind, sometimes revealed through voiceover or the flicker of unspoken expressions.
- Counterpoint Dialogue: A layered tapestry of voices, where characters speak over or against each other, building tension and revealing hidden agendas.
- Beats: The pregnant pauses, the thoughtful silences, punctuating the dialogue and allowing the unspoken to resonate in the space between words.
- Subliminal Cues: The fleeting flick of an eye, the subtle tremor in a voice, hinting at hidden depths and motivations beneath the surface of spoken words.
- Call and Response: The rhythmic back-and-forth of dialogue, building tension, revealing conflict, or establishing a hypnotic rhythm that draws the audience in.
With this glossary as your guide, you can confidently navigate the technical terrain of dialogue direction, transforming your conversations from mere words on a page into powerful emotional journeys that resonate with audiences. So, go forth, aspiring director, and craft dialogues that sing, that whisper, and that leave audiences breathless with their depth and power. Remember, the magic of cinema lies not just in the grand spectacle, but also in the intimate dance of words, emotions, and the subtle language of dialogue direction.
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About the Author:
Trent Peek is a filmmaker specializing in directing, producing, and acting. He works with high-end cinema cameras from RED and ARRI and also values the versatility of cameras like the Blackmagic Pocket Cinema.
His recent short film “Going Home” was selected for the 2024 Soho International Film Festival, highlighting his skill in crafting compelling narratives. Learn more about his work on [IMDB], [YouTube], [Vimeo], and [Stage 32].
In his downtime, he likes to travel (sometimes he even manages to pack the right shoes), curl up with a book (and usually fall asleep after two pages), and brainstorm film ideas (most of which will never see the light of day). It’s a good way to keep himself occupied, even if he’s a bit of a mess at it all.
P.S. It’s really weird to talk in the third person
Tune In: He recently appeared on the Pushin Podcast, sharing insights into the director’s role in independent productions.
For more behind-the-scenes content and project updates, visit his YouTube channel at https://www.youtube.com/@trentalor.
For business inquiries, please get in touch with him at trentalor@peekatthis.com. You can also find Trent on Instagram @trentalor and Facebook @peekatthis.
