Verfügbarkeit: The film director's intuition

The film director's intuition: script analysis and rehearsal techniques

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Bibliographische Detailangaben
1. Verfasser:	Weston, Judith (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Studio City, Calif. Wiese Productions 2003
Schlagworte:	Filmregisseur Intuition
Online-Zugang:	Table of contents Inhaltsverzeichnis
Beschreibung:	XXIII, 364 S.
ISBN:	0941188787

Internformat

MARC


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Datensatz im Suchindex

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adam_text	the rllm director iiintu tion Script Analysis and Rehearsal Techniques Judith Weston VII TABLE OF CONTENTS COPYRIGHT PAGE vi ACKNOWLEDGEMENTS xv NEW READERS, RETURNING READERS xvii Why a Second Book : xvii Directors and Actors xviii Directors and Characters xix Directors and Story Subtext xix Directors and the Right Brain xx How to Use this Book xxi PART ONE-INTUITION, IDEAS, AND IMAGINATION 1 1-INTUITION 3 What is Intuition? 3 Directors Need Intuition 4 The Comfort Zone 5 Innermost Thoughts 5 Intellectualized Ideas 6 Beginner s Luck/Beginner s Mind 6 Permission to Fail 6 Imagining Failure as a Positive Approach 7 Responsibility for Our Imaginations 8 The Lessons of Physical Genius 9 Can Any of This Be Taught? 10 2 -THE FEELING LEVEL 11 Respect for Feeling 11 Intellectualized Feeling 12 Actors Tools Work for Directors, Too 13 Catching a Corner of Experience 13 Micro-Managing 14 Why Actors Shouldn t Try to Have Feelings 15 Give Away All Your Secrets 16 Turning Psychology into Behavior 18 If You Do It, You Will Feel It 19 Substitution 20 It s the Same for Directors 21 Going There 22 viii The Film Director s Intuition I Weston Self-Knowledge 23 Courage, Mon Ami! 24 Sensory Life 24 It s All As If 26 3 -IMAGINATION AND ORIGINALITY 27 Insight, Ideas, and Entertainment 27 Original Storytelling 28 The Work of Imagination 29 Imagination and Feeling 31 Mike Leigh 32 The Imagined World 34 Imaginative Truth 35 4 -SOURCES OF IMAGINATION AND INTUITION 37 The Unconscious Mind 37 Free Associations 38 Acknowledge Pain and Emotional Cost 41 Turn Off the Automatic Pilot 42 Ask Questions 42 Inner Permission 43 Be Obsessed with Observing People 44 Radical Remembering 45 Self-Knowledge 47 Empathy 48 Passing Judgment 50 Tell Stories 54 Take Time to Think and Daydream 54 Radically in the Moment 56 Radical Listening — for the Actor s Performance 56 Radical Listening — for the Director s Storytelling 58 Listening to the Little Voice 60 Do It Wrong 61 Nailing It 62 Steal From Everyone 63 Resistance 64 Improvisation in the Mind 65 Imagination is Physical 66 Think out Loud Read out Loud 67 Never Stop Learning 68 Spend Time Around Art, Nature, Children Surround Yourself with People Who Are Capable of Feeling 69 IX Tell the Truth 70 Acknowledge Mortality 71 Take Responsibility for Your Obsessions 71 Test Your Ideas 71 Don t Stop Til You Get Somewhere 72 Then Follow Impulses 72 PART TWO - SCRIPT ANALYSIS 73 5 -GOALS OF SCRIPT ANALYSIS 75 Story Analysis and Character Analysis 76 How Far to Go with Script Analysis 77 Tell a Story About People 78 Locating a Character s Inner Nature 79 Three Solutions to Every Script Analysis Problem 80 Solving the Scene 81 Active Imagination 82 Engage the Actors, Engage the Material 82 Make it Personal 83 Preparation for Rehearsing — Or for Not Rehearsing 83 6 -SUBTEXT AND CHOICE 85 What is Subtext? 85 The Importance of Subtext 86 An Example of Language and Subtext 86 Subtext in the Writing 87 Character Subtext and Story Subtext 89 It s All on the Page 90 Subtext in the Acting 91 Choice 93 Example of Choice — Slap Shot 94 Make a Choice, Any Choice 95 Choice and Instinct 96 Acting Without Subtext — Sometimes it Works 96 Subtext is Not an Obligation, It s a Privilege 97 A No Subtext Style 98 Intellectualized Subtext 99 7 -PROCESS AND RESULT 101 The Dangers for Actors of Asking for Result 101 What if Actors Ask for a Result? 104 Process-Orientation is in the Director s Interest 106 x The Film Director s Intuition I Weston 8 -EMOTIONAL EVENTS 107 Central Event, Individual Events, Each Character s Personal Event — Chinatown 108 Vision I l l Domestic Event I l l Storytelling Events and Spontaneous Events I l l Any Event is Better than No Event 112 The Through-Line 113 Beats 114 The Importance of Emotional Event in Directing the Actors 115 The Importance of Emotional Event for the Audience 116 Text of Chinatown scene 116 9-TOOLS OF THE STORYTELLER 127 Commitment to a Choice 127 Images and Associations 128 Four Levels of Images — Smoke 129 How Actors Use Images 131 How Directors Use Images to Communicate with Actors 133 Need / Spine / Objective / Intention / Verb 134 Verbs Create a Sense of Event 134 Verbs Create Characterizations 135 Verbs Create Relationship 136 Intention Creates Drama and Comedy 138 Test Your Ideas Against What You Know About Life 139 Emotion is a By-Product 139 Facts (Backstory) 140 Facts Create Situation, Predicament, and Problem 140 Central Facts — Fargo 140 Let the Facts Lead You to a Story 141 The Big, Fat Fact 143 Facts, Imagination, and Memory 144 Adjustment — What If? 144 Adjustment —As If 144 Adjustment — It s Like When 146 What s at Stake 146 Obstacle or Problem 147 Physical life 148 Blocking the Physical Life 149 Physical Transformation 149 XI 10-QUESTION EVERYTHING 151 Some Questions to Ask About the Characters 151 Mysterious Lines — I — Simple Meaning 152 Mysterious Lines — II — Keys to Psychological Detail 153 Mysterious Lines — III — The Key Line 153 Mysterious Lines — IV — When the Script Gives Result Direction 154 Bold Choices 154 Question the Stage Directions 155 Finally, Some Questions to Ask Yourself 156 11 -REHEARSAL PLAN 157 12 -SCRIPT ANALYSIS — SEX, UES, AND VIDEOTAPE 161 13 -SCRIPT ANALYSIS — CLERKS 181 14 -SCRIPT ANALYSIS — TENDER MERCIES 193 15 -THE WHOLE SCRIPT: SPINES, MAIN CHARACTERS, AND WHAT THE SCRIPT IS ABOUT 203 A Character s Spine 203 The Spine of a Relationship 205 Main Character 205 What the Film is About 208 Theme as a Way to Direct Actors 209 Examples of Theme and Premise 210 16 -OBSERVATIONS AND ADJUSTMENTS 213 17 -LIST OF VERBS AND EMOTIONAL INTENTIONS 221 PART THREE - THE LOST ART OF REHEARSAL 225 18 -DIRECTOR S AUTHORITY 227 Money and Machinery Rule 227 Authority versus Control 227 Listen to their Ideas 229 Stealth Directing 232 A Director s Life Raft — The Word OR 232 Language of Permission 232 Have a Strong Vision that You are Unafraid to Communicate 233 Response 234 Making Actors Feel Safe 235 xii The Film Director s Intuition I Weston Be Fearless About Looking Foolish 237 Emotional Responsibility 238 Let Them Work 239 Problems and Resistances 239 Damage Control 241 Trusting and Testing 242 Directors Can Give Actors Permission to Go Further 243 What if the Actor Disagrees on Interpretation? 246 All Actors are Different 246 Directors Who Have Been Actors 248 Thinking Like a Director 249 Technical Directors 249 The Video Monitor 250 Actors as Meat 251 Take Responsibility for Casting 252 A Note on Stars 253 Directors Who Love Actors 253 19-REHEARSAL PRINCIPLES AND TECHNIQUES 255 Purpose of Rehearsal — Farming Not Hunting 256 What Actors Get Out of Rehearsal 256 What Directors Get Out of Rehearsal 257 The Particular Topics of Rehearsal 259 Principles of Rehearsal 260 Rehearsal Philosophy — I 264 Rehearsal Philosophy — II 265 Rehearsal Philosophy — III 266 Build Trust 266 Chemistry 267 Use the Tools 268 Rehearsal Techniques 272 Danger Signals 281 Spending Time Will Save You Time 283 What Some Directors Do 284 Teaching Acting on the Set 288 How to Get Rehearsal 289 20-SCENE SHAPING 291 Emotional and Physical Structure 291 The Blocking Plan 293 Where to Get Ideas for Blocking and Movement 294 Domestic Event 295 Crew Rehearsal 296 The Tools of Scene Shaping 296 Organic Blocking 296 Xlll Using Objects (Props) in Rehearsal 297 Connect Physical Movement to Emotional Events 297 Movement in Actors 298 Pacing 299 Creating the Picture 301 21 -REHEARSAL SCENARIOS 303 A Simple Model for a One-Hour-Per-Scene Rehearsal 303 Sample Scenarios 307 Talking Rehearsals 309 On Their Feet Rehearsals 314 Warm-Ups 317 Improv 318 How Long to Rehearse? 320 22 -JUST BEFORE THE CAMERA ROLLS 321 Bringing the Rehearsal Work onto the Set 321 Do Not Ask an Actor to Do Jobs Other than His Own 321 Boredom 322 The Truth Will Cut Together 323 Technical Demands, Social Demands 323 Different Actors Work Differently 324 Emotional Preparation 324 Free Fall 326 Before the Take 326 During the Take 327 After the Take 327 Getting them Not to Act 328 Last Take 328 Look for the Glass Half-Full 329 All the Time in the World 329 23-EPILOGUE 331 The Artist 331 The Audience 332 Further Study 333 FILMOGRAPHY 335 BIBLIOGRAPHY 341 ABOUT THE AUTHOR 343 INDEX 345
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subject_GND	(DE-588)4154375-0 (DE-588)4027532-2
title	The film director's intuition script analysis and rehearsal techniques
title_auth	The film director's intuition script analysis and rehearsal techniques
title_exact_search	The film director's intuition script analysis and rehearsal techniques
title_full	The film director's intuition script analysis and rehearsal techniques Judith Weston
title_fullStr	The film director's intuition script analysis and rehearsal techniques Judith Weston
title_full_unstemmed	The film director's intuition script analysis and rehearsal techniques Judith Weston
title_short	The film director's intuition
title_sort	the film director s intuition script analysis and rehearsal techniques
title_sub	script analysis and rehearsal techniques
topic	Filmregisseur (DE-588)4154375-0 gnd Intuition (DE-588)4027532-2 gnd
topic_facet	Filmregisseur Intuition
url	http://www.loc.gov/catdir/toc/ecip044/2003011909.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010372446&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
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