Changing Direction: A Practical Approach to Directing Actors by Lenore DeKoven

By Lenore DeKoven

The procedure awarded during this e-book, honed after years of on-set event and from educating at UCLA, NYU, and Columbia, and counseled by way of many within the undefined, together with director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, goals to supply a precious reference and source for administrators and actors alike. It combines underlying concept with dozens of routines designed to bare the actor's craft. there's fabric on developing the throughline, reading the script, personality wishes; the casting and practice session procedures, movie vs. theater methods in addition to the actor and the digicam.

Distilling tough ideas and a posh job to their least difficult shape, the writer explains tips to correctly seize and painting human habit. The author's dialogue of artistic difficulties she has encountered or expected after years of expertise, and her urged strategies and routines, are instantly important. also, pay attention what the actors need to say in excerpts from interviews with acclaimed actors resembling Meryl Streep, Denzel Washington, Glenn shut, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to identify a number of) who talk about their paintings with administrators, what evokes them, and what they honestly wish from the director.

* a widely known director and trainer stocks her secrets and techniques on getting nice performances from actors
* arms on; loaded with exercises
* appropriate to movie, television, and theater directors
* Foreword written by way of Ang Lee, Oscar-winning director of Brokeback Mountain and a scholar of DeKoven's

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Extra info for Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

Example text

This gives the director and actors tremendous power over the written word, a responsibility that can result in either the communication or the destruction of the writer’s intent. We will address this aspect of the work in subsequent chapters. The final phase of the exercise is the adding of the life need. For example, let us choose for Actor 1 the life need to prove one’s worth so that in putting the whole set together he/she is now welcoming in order to win Actor 2 in order to prove his/her worth.

You would be surprised at how much detail there is in a simple object like a comb. What are the colors? What are the markings? What is printed on it? Are there any teeth missing? What is its length and width? What is it made of? How does it feel to the touch? and so on. It is also important to remember to slow the process of recall and recreation down to allow yourself the time to pursue the exercise fully. These days our lives are so full that we tend to speed everything up so we can meet the demand to accomplish everything.

This is because emotions are a tricky business and are often more difficult to access. When we do this exercise in class I usually ask four or five students to work in front of the class and give the remainder the option of doing the exercise in their seats or simply observing. Some students (remember these are directors, not trained actors) will begin to tear up or even sob in a relatively short time—particularly if the recall is a more recent event—but some will have more difficulty getting to the emotion because of a particular block or a lack of concentration and the consciousness of being observed.

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