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

By Lenore DeKoven

The technique awarded during this ebook, honed after years of on-set event and from instructing at UCLA, NYU, and Columbia, and counseled via 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 worthwhile reference and source for administrators and actors alike. It combines underlying idea with dozens of workouts designed to bare the actor's craft. there's fabric on developing the throughline, examining the script, personality wishes; the casting and practice session procedures, movie vs. theater approaches in addition to the actor and the digicam.

Distilling tough innovations and a posh job to their easiest shape, the writer explains how you can effectively seize and painting human habit. The author's dialogue of inventive difficulties she has encountered or expected after years of expertise, and her recommended strategies and routines, are instantly worthy. also, pay attention what the actors need to say in excerpts from interviews with acclaimed actors akin to Meryl Streep, Denzel Washington, Glenn shut, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to identify a couple of) who speak 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 through Ang Lee, Oscar-winning director of Brokeback Mountain and a pupil of DeKoven's

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

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My dad is an accountant and it’s hard for him to accept my choices, especially since it’s clear that my brother isn’t going to take over the business some day . ” etc. “Okay” I say when the student falls silent finally. “That’s enough. ” As the individual returns to his seat muttering “I’ll never volunteer again,” I challenge the class. “This was not John. This was a character in a play or screenplay. You got a fairly limited text, but you were able to observe the behavior of the character. ” And, of course, the first responses are usually in terms of what the students heard John say.

In the exercise just given, which I call the WHO AM I exercise, we not only have the spoken text, but the actual behavior of the character to help us make the choices. SCENE NEEDS What are these Scene Needs in our simplified working vocabulary? Well, they are pretty much identical to those listed previously with all of the possible variations: to prove one’s worth, to find one’s worth, to save one’s worth, etc. , • To get approval • To seduce someone (or everyone) 28 Changing Direction • To win someone over or as an ally • To get rid of someone Going through life with the need to get approval as the motivating force would more likely turn into either the need to prove one’s worth or the need to get love.

It is important to remember that with these and any other exercises, the first order of business must be to relax fully before attempting the recall. It is only in a completely relaxed state that you will be able to function at optimum capacity. Also remember that these exercises, unlike those I’m about to describe, are designed to exclude any emotion. Emotion tends to complicate or obscure the ability to recreate. So if the object or animal or painting selected seems to engender an emotional response so strong that it takes over and impedes the ability to observe and/or recall in specific detail, choose something else.

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