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 65
... energy . Suppressing or manipulating real feeling does nothing to release the actor's instrument from stasis . Quite the contrary . In order to stay responsive to stimuli that are appropriate to the performance the actor must take the ...
... energy . Suppressing or manipulating real feeling does nothing to release the actor's instrument from stasis . Quite the contrary . In order to stay responsive to stimuli that are appropriate to the performance the actor must take the ...
Page 134
... energy . She should allow this inner accident to be an emotional event , and she should continue the scene and do something with the energy that has been released . The forgotten line is likely to come back within a few seconds . The ...
... energy . She should allow this inner accident to be an emotional event , and she should continue the scene and do something with the energy that has been released . The forgotten line is likely to come back within a few seconds . The ...
Page 288
... energy is low , allow your energy to be just a little bit higher than his ; that way he will be able to hear you , and , as a bonus , you may be able slowly to coax his energy up . If his energy is unnaturally high , allow yours to be ...
... energy is low , allow your energy to be just a little bit higher than his ; that way he will be able to hear you , and , as a bonus , you may be able slowly to coax his energy up . If his energy is unnaturally high , allow yours to be ...
Contents
RESULT DIRECTION AND QUICK FIXES | 13 |
MOMENT BY MOMENT | 49 |
LISTENING AND TALKING | 77 |
Copyright | |
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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 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 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 writing wrong