Here are the things you should know before you face the actors in a scene.

1. The theme of the script. – A theme is a specific viewpoint about the world of the characters. An example; if the script is about love, the theme could be “you can only love if you cease to be egocentric.” A theme is not moral demagoguery, it is simply having something to say. Having something to say means you have a strong frame of reference while making the 900,000 decisions that directors make.
2. How does the scene further this theme? – In a well constructed drama, every scene moves the plot forward while illustrating the theme.
3. What is the overall conflict in the script?
4. How do the main characters represent the theme? – Each character in a good drama represents a different point of view about a theme.
5. Each character’s super-objective. – This is a very confusing concept. The super-objective is an unconscious objective, i.e. one that the character is not aware of. Delia’s classic example is of a woman who is perpetually unhappy in love. She constantly chooses men who cheat on her or make her unhappy. Her superobjective then is to validate her negative view of men by continuing to choose men who reinforce that view. Characters may not be aware of their super-objectives, but they are aware of its consequences.
6. Scene Objectives that Further the Super-Objective.
7. The why of the objective. – This can also be expressed as a need that has to be fulfilled. I.e. if I want to talk to a girl, the why is my need for love.
8. Actions played. – To get the objective.
9. Conflict within the scene. – My teacher in Berlin described drama as thus: two dogs, one bone. Two characters, two conflicting goals.
10. What are the obstacles? – Obstacles hinder a character from achieving their goals.  If I need to go to the bathroom and a door is locked, that’s a pretty simple obstacle.
11. Adjustments suggested – Also described as an “As if.” Delia describes adjustments in her book as “relatively simple suggestions played in the moment.” One example could be “play this scene as if someone were eavesdropping and you don’t want to be heard.”
12. Character’s Inner Conflict.
13. Character’s Relationship (What do they like and dislike about each other?)
14. Director’s Goal – Yes, you do need one and it has to be damn clear. What do you want to arouse in your audience? Kazan’s book has some excellent examples of these.

This is some of the extensive preparation you need to do before you meet with actors. I was bashed more than once for not having done my homework on the films I shot in Germany. It was rough, but as I’m fond of saying, that’s also how you learn.