Directing Actors: Creating Memorable Performances for Film and TelevisionThis is essential reading for anyone interested in directing or acting. Judith Weston's brilliance is to recognize that directors, actors, writers, and technicians are involved in a process that is at essence a collaboration. In order for them to have the best shot at creating something true and meaningful, they must share a language and a method of exchange that fosters creative cooperation. Weston rightly sees the director as the central figure in inspiring the energy of a production's harmony. She advises the prospective director on every aspect of a stage or film production, showing how the director can draw the best performances possible from actors. -- From Amazon.com. |
From inside the book
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Page 104
... objective and winds up showing us that he has such an objective instead of allowing it organically to impel his words and movements . In other words , he has the unconscious objective " to have an objective . " Finding the character's ...
... objective and winds up showing us that he has such an objective instead of allowing it organically to impel his words and movements . In other words , he has the unconscious objective " to have an objective . " Finding the character's ...
Page 105
... objective is , in a boy - meets - girl scene , deciding that the boy " wants her to talk to him . " Unless the actor playing the girl forgets her lines , she's already going to talk to him ! An objective that would be more likely to ...
... objective is , in a boy - meets - girl scene , deciding that the boy " wants her to talk to him . " Unless the actor playing the girl forgets her lines , she's already going to talk to him ! An objective that would be more likely to ...
Page 255
... objective , and the objective ( in real life as well as movies ) doesn't change very often . In terms of dramatic structure , every well - written scene has one objective per character . These are the reasons why the " objective " can ...
... objective , and the objective ( in real life as well as movies ) doesn't change very often . In terms of dramatic structure , every well - written scene has one objective per character . These are the reasons why the " objective " can ...
Other editions - View all
Directing Actors: Creating Memorable Performances for Film and Television Judith Weston No preview available - 2014 |
Directing Actors - 25th Anniversary Edition: Memorable Performances for Film ... Judith Weston Judith No preview available - 2021 |
Common terms and phrases
acter acting action verb actor needs actor playing actors and directors adjectives adjustment Adrian Lyne allow Angel Anthony Hopkins audience behavior believe camera casting char character character's choice comedy concentration connection create creative donut Elia Kazan emotional event emotional map energy example experience facts feel film Glenn Close happen Harvey Keitel hear ideas images improvise impulse intention Jessica Lange John Cassavetes John Travolta keep line readings listening look Major Beat Marlon Brando Martin Scorsese mean moment-by-moment movie objective performance person physical playable problem question reality Red Ryder rehearsal relationship result direction role Sanford Meisner scene script analysis sense of belief sensory shooting shot Sidney Lumet simple someone Sometimes specific spine stage directions Stella Adler Stephen story subtext subworld talk technique thing through-line tion transitions understand watching Woody Allen words wrong