A friend of my family's is a feature film director who has directed Robert De Niro, and he used "Result Direction" which De Niro was evidently just fine with receiving. And it was a successful movie.
It has its place. It can work. But as a general rule of thumb, it can oftentimes limit you from getting the relatively best reults out of an actor. It turning out fine is no guarantee that it wouldn't have been even better.
I am confused, by this, however I am not an actor or a director. I am a first time screenwriter trying to understand why it’s such a no no, for writers to put the subtext in ie under character in parentheses (angry urgency) I realise the actors and directors know more about their craft and I am responsible for the story, however I want to give the subtext to the reader ( ie directors and actors) now as their reading it before they sit down and have to think about the subtext. I won’t these people to get it as they read the story. So please can someone explain when is it okay for writers to give direction and when is it not etc?
Beautifully articulated. Just curious how it plays out in the situation of "this argument may end the friendship" surely there needs to be some direction as far as what happens due to where the story goes? Or did I just miss the point of that?
I only do lines readings as a last resort, when I've tried everything else with my actors and I'm just plain not getting what I'm after. And I freely admit that I can be a bit picky when I have a vision in mind. It also helps that I do animation and _only_ have to direct the voice; all of the body language and expression comes from me, the animator. You end up needing all of the skills of a mime and much of the skill of an actor to pull it off, making an animated character come to life and be relatable....much less the six characters with speaking roles and the host of characters strolling around in the background.
It seems like a lot of actors have let their egos get too big. If your coworkers have to walk on eggshells around you then you are the problem. If a below the line crew member ever snapped at a director for some language they often hear that annoys them they would be fired on the spot or at the very least never hired again. Actors are given too much power. Movies no longer depend on star power. Hollywood is slowly learning this.
This is one of the greatest channels conceived! Thank you
Being an actor is a great way to learn to Direct actors.
I just finished your book! You're amazing, Judith Weston!
Love Judith´s book! I've using it for years and its always something new to learn
What techniques have proven the best and worst for you in working with actors?
A friend of my family's is a feature film director who has directed Robert De Niro, and he used "Result Direction" which De Niro was evidently just fine with receiving. And it was a successful movie.
It has its place. It can work. But as a general rule of thumb, it can oftentimes limit you from getting the relatively best reults out of an actor.
It turning out fine is no guarantee that it wouldn't have been even better.
My pet peeve as an actor is line reads. I never do that when I direct actors. You can hire anyone if you just want them to imitate your line reads!!!!
This was amazing!
I am confused, by this, however I am not an actor or a director. I am a first time screenwriter trying to understand why it’s such a no no, for writers to put the subtext in ie under character in parentheses (angry urgency) I realise the actors and directors know more about their craft and I am responsible for the story, however I want to give the subtext to the reader ( ie directors and actors) now as their reading it before they sit down and have to think about the subtext. I won’t these people to get it as they read the story. So please can someone explain when is it okay for writers to give direction and when is it not etc?
Beautifully articulated.
Just curious how it plays out in the situation of "this argument may end the friendship" surely there needs to be some direction as far as what happens due to where the story goes? Or did I just miss the point of that?
will buy!
I only do lines readings as a last resort, when I've tried everything else with my actors and I'm just plain not getting what I'm after. And I freely admit that I can be a bit picky when I have a vision in mind.
It also helps that I do animation and _only_ have to direct the voice; all of the body language and expression comes from me, the animator. You end up needing all of the skills of a mime and much of the skill of an actor to pull it off, making an animated character come to life and be relatable....much less the six characters with speaking roles and the host of characters strolling around in the background.
very interesting and helpful, I'll also buy the book
Book is great!
thank you judith ❤
Jennifer Garner speaks highly of her, which of course made my ears perk up.
just put in more of "," in the text then?
It seems like a lot of actors have let their egos get too big. If your coworkers have to walk on eggshells around you then you are the problem. If a below the line crew member ever snapped at a director for some language they often hear that annoys them they would be fired on the spot or at the very least never hired again.
Actors are given too much power. Movies no longer depend on star power. Hollywood is slowly learning this.
Ok
I am actual real director of Life,Humanity***