I find that when working with models, as opposed to actors, it’s best to isolate key story moments to have some room to play and improvise. Getting a model to loosen up and have fun is actually a way to tap into his or her beauty. First, we find our key performance shot, usually a medium close up. Shooting on a longer lens through a window or doorway often creates an air of observational authenticity. I prefer, when possible, to avoid giving the actors hard “marks” to hit. I rather ask the cinematographer to react to their placement with the camera. I might create challenges for the actors and look for the visual moments right after something was communicated. There’s still a relationship lingering in the “moment after”. Once we have set the shot, we run the scene a couple of times to give the actor an idea of the rhythm.