How Professional Directors And Actors Analyze A Script - Judith Weston
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- Опубліковано 23 вер 2024
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Judith Weston has, for 35 years, brought tools and confidence to filmmakers and actors, with books, workshops, and one-on-one consultations. In 2015, after 30 years of teaching in-person workshops and classes to thousands of film and television directors, screenwriters, writer-directors, and actors around the world, Judith closed her studio space and shifted her focus to one-on-one consultations with directors and writer-directors of film and television as they prepare to bring their projects to life. She can be available for Zoom Q&As and workshops with schools, festivals, and organizations.
Judith Weston has been a teacher of directors, actors, and writers since 1985.
She has written two books DIRECTING ACTORS: 25th Anniversary Edition: Creating Memorable Performances for Film and Television and THE FILM DIRECTOR'S INTUITION: Script Analysis and Rehearsal Techniques (via Michael Wiese Productions).
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#acting #psychology #artist
Wonderful Judith !! All incredibly insightful and inspiring nuggets and all true! So great to see you. You are my mentor!
q
More such interviews, please. Thank you, Mrs. Weston! 🥰
Hi Isabela, here is our full interview with Judith Weston that we just published - ua-cam.com/video/xE2o1yERgu4/v-deo.html
What do you think? Please add your comment below
This is so beautiful. Simple & insightful...Please keep on doing this! I am glad to come across this channel.
I fondly remember the time I spent studying with Judith. She helped me make big breakthroughs in Directing actors.
First great video . On directing I’m learning so much 📝
Thank you!
I think this is mostly great advice but the thing with television and the speed it moves is that theres very little time from the read, to having to direct the top level crew what you need - a dolly, a crane, a visual effect, a green screen, a steadicam, a birds eye camera shot, a prop vehicle, intimacy co-ordinator, rehearsal request etc... these are then incorporated into the schedule and requested from the departments.
I have found myself trying to understand story and character before making technical decisions and by the time i make the decisions its too late and coverage becomes boring.
Its not like exact shots need to be known but the technology or equipment required to get the shots you may need or the props/vehicles/extras required to tell the story often need to be know 24-48hrs after receiving 3-5 half hour tv eps (5 for soaps/sitcoms, 3-4 for half hour comedy/drama) - So its really tricky and to me has come down to a number of reads -
- 1st read, A read with story considerations/notes for the script department and consideration of comp shows/movies etc.
Watch/source comps
- 2nd read, tone and application of macro story telling tools to achieve comps, transitions etc.
Advise 1st AD etc.
- 3rd read, props and costumes.
From then its truly studying the script. To me it feels a little backwards but if I start here I quickly run out of time to do anything interesting
Thanks for that
Fantastic one'
She’s great!
More jewels, I love it. Thanks 👍🏿
Thank you!
@@judithweston Your most welcome.
I thought I would gain some insight. How do actors and directors break down a script - well they don't do it together????
RIP Hollywood all of this "inisght" means noting until you remeber your audience. The needs of the many outweigh the needs of the few" period.
At the same time you always have to play by people rules.
If you not making it yourself trying to break in Hollywood, nba, or whatever
U have to meet the requirements of that field.
Your audience doesn't mean anything if u can't break in lol
Actors can have secrets!
Wdym?
Interview me now before you know me. Then interview me later after the world knows me.
Why
Interview urself 😂
@@rawrruby😂😂
It gets irritating when all these videos only speak the same generalised language with some basic metaphors and no practical examples or advice.