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The Film Director's Intuition: Script Analysis and Rehearsal Techniques
Acclaimed director Judith Weston offers a deeply creative exploration on how to access and stimulate the filmmaker's most precious assets: instincts, imagination, and intuition.
- GenresFilmNonfictionArtWriting
334 pages, Paperback
First published September 25, 2003
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Displaying 1 - 25 of 25 reviews
February 27, 2011
Very few books about screenwriting or directing make a serious effort to crystallize the knowledge that most screenwriters or directors know. In the CRAFTY books, I tried to crystallize what I know about screenwriting. What I find in Judith Weston's DIRECTOR'S INTUITION is a serious attempt to crystallize what film directors know. Specifically the book is about how to develop your director's intuition: what you know at a subliminal level, how you tell when an actor is bringing truth versus indicating, how you get an actor to bring his truth rather than just pretending.
The book is dense and kind of scattered. It's not a method and it's not a how-to. Possibly this is because Ms. Weston is an accomplished actress and acting teacher, not, in fact, a director. But she busts out legitimate insights -- hers and others -- at a furious rate. I would read this for the many nuggets of truth, each of which is worth a think. It's much like spending a week chatting with an accomplished actor and teacher in a country house. Every few minutes she says something that took a lifetime to learn.
The important caveat to reading any book about the arts is there is little point to reading passively. I try to make my own books as transparent as possible. You ought to be able to read it and get what I'm talking about. But to really have an idea what I'm talking about, you have to be writing. The best books crystallize what you are seeing -- they allow you to see a pattern in what you've already observed at some level. You can't learn to dance from reading a book. You can learn to dance by dancing, and improve your technique by dipping into a book.
In Ms. Weston's book, she says a lot of things I know already. Those are lessons I've already crystallized. She probably says a lot of deep things I didn't even notice, because I don't have the knowledge to crystallize. What jump out at me are the occasional insights that connect things I've seen but haven't paid enough attention to yet.
In other words, the book rewards rereading as you are directing or acting.
I would still like to read a book I call, in my head, CRAFTY FILM DIRECTING. That would be a soup-to-nuts method for directing, with chapters on finding material, analyzing material, casting, prepping, directing actors, directing camera, managing a crew, directing the editing, directing the sound and directing the soundtrack. John Badham has a fine book about directing actors (I'LL BE IN MY TRAILER). I've seen books on directing on a budget (REBEL WITHOUT A CREW). But I've never seen anything on how to approach reading a script, or how to talk to a composer, or where to let the soundtrack go silent. You're just supposed to know these things. Since I'm not a film director, I don't feel qualified to write the book myself.
The book is dense and kind of scattered. It's not a method and it's not a how-to. Possibly this is because Ms. Weston is an accomplished actress and acting teacher, not, in fact, a director. But she busts out legitimate insights -- hers and others -- at a furious rate. I would read this for the many nuggets of truth, each of which is worth a think. It's much like spending a week chatting with an accomplished actor and teacher in a country house. Every few minutes she says something that took a lifetime to learn.
The important caveat to reading any book about the arts is there is little point to reading passively. I try to make my own books as transparent as possible. You ought to be able to read it and get what I'm talking about. But to really have an idea what I'm talking about, you have to be writing. The best books crystallize what you are seeing -- they allow you to see a pattern in what you've already observed at some level. You can't learn to dance from reading a book. You can learn to dance by dancing, and improve your technique by dipping into a book.
In Ms. Weston's book, she says a lot of things I know already. Those are lessons I've already crystallized. She probably says a lot of deep things I didn't even notice, because I don't have the knowledge to crystallize. What jump out at me are the occasional insights that connect things I've seen but haven't paid enough attention to yet.
In other words, the book rewards rereading as you are directing or acting.
I would still like to read a book I call, in my head, CRAFTY FILM DIRECTING. That would be a soup-to-nuts method for directing, with chapters on finding material, analyzing material, casting, prepping, directing actors, directing camera, managing a crew, directing the editing, directing the sound and directing the soundtrack. John Badham has a fine book about directing actors (I'LL BE IN MY TRAILER). I've seen books on directing on a budget (REBEL WITHOUT A CREW). But I've never seen anything on how to approach reading a script, or how to talk to a composer, or where to let the soundtrack go silent. You're just supposed to know these things. Since I'm not a film director, I don't feel qualified to write the book myself.
December 31, 2025
It took me forever to read this book, not because I found it boring or difficult; on the contrary, I find it quite interesting and full of information that was super helpful during some of my creative process as a film director.
This book travelled with me to Oaxaca while I was shooting The Secret of the River (Netflix) and to Veracruz while I was directing I’m Not Afraid (Netflix), also to Zacatecas for my second feature.
The rehearsal techniques and reflections of the author definitely made a change on my process of working with actors.
I totally recommend this book to aspiring filmmakers but also to people currently working on the film industry.
This book travelled with me to Oaxaca while I was shooting The Secret of the River (Netflix) and to Veracruz while I was directing I’m Not Afraid (Netflix), also to Zacatecas for my second feature.
The rehearsal techniques and reflections of the author definitely made a change on my process of working with actors.
I totally recommend this book to aspiring filmmakers but also to people currently working on the film industry.
July 14, 2026
Five stars. The companion volume to Weston's
Directing Actors
, and in some ways the more essential of the two. Where Directing Actors gives you the practical toolkit for working with actors on set, The Film Director's Intuition gives you the deeper preparation that makes the toolkit work: script analysis, rehearsal technique, and the cultivation of the director's intuitive intelligence. I came to this book as an amateur filmmaker who plans to keep making films, and I found it more useful than anything I encountered in the film department of the small liberal arts college I attended twenty years ago: a department that, with one or two exceptions, taught me almost nothing I needed.
Quick Overview
The Film Director's Intuition (2003; revised and updated audiobook, 2024) is organized around three interlocking skills: developing directorial intuition, script analysis, and rehearsal. The core argument is that a director's job is to activate and photograph the emotional events of a script — and that to do this, the director must develop the ability to think on the same emotional plane as an actor, long before cameras roll.
The key practical tools: emotional events (what changes in the relationship between characters in each scene), character spine (the deepest need driving each character), facts and backstory (the specific circumstances that make a scene feel real), images and associations (the metaphors that unlock a scene's feeling), verbs (transitive actions that give actors something to do rather than something to be), and the language of permission (giving actors freedom rather than instruction). The book also covers blocking from the inside out, the "word 'OR'" as a director's life raft when something isn't working, and what Weston calls "stealth directing" — guiding actors toward your vision without shutting down their spontaneity.
Weston's Chapter 1 contains an idea that paralleled something I encountered in William B. Irvine's writing on Stoic negative visualization: she asserts that imagining failure can be an act of positivity in creative work. She intentionally imagines every failure her choices might lead to — then does the thing anyway. "My guiding principle is that the antidote to fearing failure is not avoiding failure but facing failure." This is genuinely useful advice for anyone making anything, and it is more psychologically sophisticated than the bravado that passes for creative confidence in most filmmaker advice.
The section on free association in Chapter 4 resonated with me personally. Weston instructs filmmakers to let their minds move freely across associations: following unexpected connections, not forcing interpretation. I do this constantly. Anyone who has read more than a few of my Goodreads reviews will notice how often I cross-reference between very different books and ideas. I see connections between things that seem unrelated, and I have always found this mode of thinking more productive than systematic analysis alone. Weston gives it a practical application in script preparation that I found immediately useful.
The 2024 audiobook edition adds references to more recent films, including Celine Song's Past Lives (2023) — a film of extraordinary emotional precision that I think William Wyler, as I will explain below, would have deeply appreciated.
My College Film Department, or: What Not to Do
I attended a small liberal arts college about twenty years ago — one that has since run out of business in 2026 — that had a film department. I use the word "department" generously. In practice, the film program offered almost no instruction in the things a filmmaker actually needs to know: how to direct actors, how to write a structured screenplay, how to block a scene, how to use equipment effectively. Students could rent cameras and other gear from their first day, which was useful. The instruction on how to use that gear, or what to do once you had it, was nearly nonexistent.
The implicit philosophy, such as it was, seemed to be derived from Robert Bresson: if human beings appear in your film, treat them like props. Stories were referred to as "narrative films" — always with a slightly contemptuous inflection, as if calling something a narrative was already a mild criticism. The word "entertainment" was used the way Josh Becker described it in his essay on William Wyler: as a synonym for thoughtlessness, for pandering, for selling out. Screenwriting was relegated to the same department that dealt with theatre, which was itself treated as a kind of lesser sibling program. One professor, in a moment of surprising candor, told me directly that the film program was never intended to be a film school — it was designed to identify innate artistic talent in students who happened to take up filmmaking as an outlet, and formal instruction was not really part of the plan.
I have spent twenty years being mildly bitter about this. Reading Weston — both Directing Actors and The Film Director's Intuition — has given that bitterness a more precise shape. What I was missing was exactly what she teaches: a systematic, psychologically grounded framework for working with actors and scripts. Not rules to follow but tools to think with. Weston is a true educator in a way that most of the people who taught me filmmaking were not.
William Wyler and the Standard Weston Implies
Weston expresses admiration for William Wyler (1902–1981) in this book, and I want to dwell on this, because Wyler is my favorite director of the classic Hollywood era and the standard I find myself measuring all director-actor craft against.
Wyler was notorious for shooting many takes — sometimes thirty, forty, or more — with minimal direction between them. His direction to Henry Fonda after forty takes of a scene in Jezebel: "It stinks. Do it again." His direction to Carroll Baker on The Big Country: "They pay me to get you to do what I want you to do. Now do it again." By any conventional measure, this is terrible directing practice — expensive, alienating, and apparently without the specific, playable direction that Weston advocates. And yet it got great results.
Jan Herman, in his biography of Wyler A Talent for Trouble , records Wyler's own statement of his priorities: "I have never been as interested in the externals of presenting a scene as I have been in the inner workings of the people the scene is about." And: "It's eighty percent script and twenty percent you get great actors. There's nothing else to it." Herman also notes that Wyler "prized story structure and preparation" while still "liked improvising within fixed scenes to give them spontaneity."
What Weston's framework helps me understand about Wyler is that his method, however brutal in execution, was fundamentally process-oriented rather than result-oriented — exactly the distinction she draws in Directing Actors. He was not telling his actors what the result should look like. He was creating conditions — through exhaustion, through repetition, through the slow erosion of preconception — in which authentic behavior could emerge. His approach was not Weston's approach. But his underlying principle was the same: the director's job is to activate genuine emotional behavior, not to prescribe its appearance.
Josh Becker, the independent filmmaker who wrote a wonderful 1999 essay on Wyler, put it precisely: "William Wyler always made entertaining films that were never thoughtless. I believe that Wyler never pandered to a wider audience. From early on in his career he was intent on making thoughtful adult films and never went back on that idea." This is exactly what Weston is arguing for — entertainment that is also intelligence, craft that serves human truth rather than spectacle. Wyler's range across genres (from the bleak melodramatic romance Wuthering Heights, 1939, to the delightful romantic comedy Roman Holiday, 1958, to the epic historical drama Ben-Hur, 1959, to the musical Funny Girl, 1968) is itself an expression of this principle: his signature was not a style but a commitment to the inner life of each story on its own terms.
My favorite Wyler film is The Best Years of Our Lives (1946). My favorite Charlton Heston performance — a feat I would have thought impossible before seeing it, since he was never a great actor — is his supporting role in Wyler's The Big Country (1958). That Wyler could get that performance from Heston, of all people, says everything about what a great director of actors can accomplish.
Verdict
Five stars. The Film Director's Intuition is the book I needed twenty years ago and did not have. If you are a filmmaker at any level, read both this and Directing Actors . If you do not want to read them, Weston's full interview on YouTube — Directing Actors: Creating Memorable Performances For Film & TV — covers the essential ideas in a single sitting. But read the books.
[Image: Book Cover]
Citations:
Herman, J. (1995). A talent for trouble: The life of Hollywood's most acclaimed director, William Wyler. G. P. Putnam's Sons.
Weston, J. (2003). The film director's intuition: Script analysis and rehearsal techniques. Michael Wiese Productions.
Weston, J. (2024). The film director's intuition: Script analysis and rehearsal techniques [audiobook]. Dreamscape Media.
Title: The Film Director's Intuition: Script Analysis and Rehearsal Techniques
Author(s): Judith Weston
Year: 2003; 2024 revised and updated edition
Genre: Nonfiction — Filmmaking
Page count: 250 pages
Date(s) read: 6/29/26–7/6/26
Book 133 in 2026
Quick Overview
The Film Director's Intuition (2003; revised and updated audiobook, 2024) is organized around three interlocking skills: developing directorial intuition, script analysis, and rehearsal. The core argument is that a director's job is to activate and photograph the emotional events of a script — and that to do this, the director must develop the ability to think on the same emotional plane as an actor, long before cameras roll.
The key practical tools: emotional events (what changes in the relationship between characters in each scene), character spine (the deepest need driving each character), facts and backstory (the specific circumstances that make a scene feel real), images and associations (the metaphors that unlock a scene's feeling), verbs (transitive actions that give actors something to do rather than something to be), and the language of permission (giving actors freedom rather than instruction). The book also covers blocking from the inside out, the "word 'OR'" as a director's life raft when something isn't working, and what Weston calls "stealth directing" — guiding actors toward your vision without shutting down their spontaneity.
Weston's Chapter 1 contains an idea that paralleled something I encountered in William B. Irvine's writing on Stoic negative visualization: she asserts that imagining failure can be an act of positivity in creative work. She intentionally imagines every failure her choices might lead to — then does the thing anyway. "My guiding principle is that the antidote to fearing failure is not avoiding failure but facing failure." This is genuinely useful advice for anyone making anything, and it is more psychologically sophisticated than the bravado that passes for creative confidence in most filmmaker advice.
The section on free association in Chapter 4 resonated with me personally. Weston instructs filmmakers to let their minds move freely across associations: following unexpected connections, not forcing interpretation. I do this constantly. Anyone who has read more than a few of my Goodreads reviews will notice how often I cross-reference between very different books and ideas. I see connections between things that seem unrelated, and I have always found this mode of thinking more productive than systematic analysis alone. Weston gives it a practical application in script preparation that I found immediately useful.
The 2024 audiobook edition adds references to more recent films, including Celine Song's Past Lives (2023) — a film of extraordinary emotional precision that I think William Wyler, as I will explain below, would have deeply appreciated.
My College Film Department, or: What Not to Do
I attended a small liberal arts college about twenty years ago — one that has since run out of business in 2026 — that had a film department. I use the word "department" generously. In practice, the film program offered almost no instruction in the things a filmmaker actually needs to know: how to direct actors, how to write a structured screenplay, how to block a scene, how to use equipment effectively. Students could rent cameras and other gear from their first day, which was useful. The instruction on how to use that gear, or what to do once you had it, was nearly nonexistent.
The implicit philosophy, such as it was, seemed to be derived from Robert Bresson: if human beings appear in your film, treat them like props. Stories were referred to as "narrative films" — always with a slightly contemptuous inflection, as if calling something a narrative was already a mild criticism. The word "entertainment" was used the way Josh Becker described it in his essay on William Wyler: as a synonym for thoughtlessness, for pandering, for selling out. Screenwriting was relegated to the same department that dealt with theatre, which was itself treated as a kind of lesser sibling program. One professor, in a moment of surprising candor, told me directly that the film program was never intended to be a film school — it was designed to identify innate artistic talent in students who happened to take up filmmaking as an outlet, and formal instruction was not really part of the plan.
I have spent twenty years being mildly bitter about this. Reading Weston — both Directing Actors and The Film Director's Intuition — has given that bitterness a more precise shape. What I was missing was exactly what she teaches: a systematic, psychologically grounded framework for working with actors and scripts. Not rules to follow but tools to think with. Weston is a true educator in a way that most of the people who taught me filmmaking were not.
William Wyler and the Standard Weston Implies
Weston expresses admiration for William Wyler (1902–1981) in this book, and I want to dwell on this, because Wyler is my favorite director of the classic Hollywood era and the standard I find myself measuring all director-actor craft against.
Wyler was notorious for shooting many takes — sometimes thirty, forty, or more — with minimal direction between them. His direction to Henry Fonda after forty takes of a scene in Jezebel: "It stinks. Do it again." His direction to Carroll Baker on The Big Country: "They pay me to get you to do what I want you to do. Now do it again." By any conventional measure, this is terrible directing practice — expensive, alienating, and apparently without the specific, playable direction that Weston advocates. And yet it got great results.
Jan Herman, in his biography of Wyler A Talent for Trouble , records Wyler's own statement of his priorities: "I have never been as interested in the externals of presenting a scene as I have been in the inner workings of the people the scene is about." And: "It's eighty percent script and twenty percent you get great actors. There's nothing else to it." Herman also notes that Wyler "prized story structure and preparation" while still "liked improvising within fixed scenes to give them spontaneity."
What Weston's framework helps me understand about Wyler is that his method, however brutal in execution, was fundamentally process-oriented rather than result-oriented — exactly the distinction she draws in Directing Actors. He was not telling his actors what the result should look like. He was creating conditions — through exhaustion, through repetition, through the slow erosion of preconception — in which authentic behavior could emerge. His approach was not Weston's approach. But his underlying principle was the same: the director's job is to activate genuine emotional behavior, not to prescribe its appearance.
Josh Becker, the independent filmmaker who wrote a wonderful 1999 essay on Wyler, put it precisely: "William Wyler always made entertaining films that were never thoughtless. I believe that Wyler never pandered to a wider audience. From early on in his career he was intent on making thoughtful adult films and never went back on that idea." This is exactly what Weston is arguing for — entertainment that is also intelligence, craft that serves human truth rather than spectacle. Wyler's range across genres (from the bleak melodramatic romance Wuthering Heights, 1939, to the delightful romantic comedy Roman Holiday, 1958, to the epic historical drama Ben-Hur, 1959, to the musical Funny Girl, 1968) is itself an expression of this principle: his signature was not a style but a commitment to the inner life of each story on its own terms.
My favorite Wyler film is The Best Years of Our Lives (1946). My favorite Charlton Heston performance — a feat I would have thought impossible before seeing it, since he was never a great actor — is his supporting role in Wyler's The Big Country (1958). That Wyler could get that performance from Heston, of all people, says everything about what a great director of actors can accomplish.
Verdict
Five stars. The Film Director's Intuition is the book I needed twenty years ago and did not have. If you are a filmmaker at any level, read both this and Directing Actors . If you do not want to read them, Weston's full interview on YouTube — Directing Actors: Creating Memorable Performances For Film & TV — covers the essential ideas in a single sitting. But read the books.
[Image: Book Cover]
Citations:
Herman, J. (1995). A talent for trouble: The life of Hollywood's most acclaimed director, William Wyler. G. P. Putnam's Sons.
Weston, J. (2003). The film director's intuition: Script analysis and rehearsal techniques. Michael Wiese Productions.
Weston, J. (2024). The film director's intuition: Script analysis and rehearsal techniques [audiobook]. Dreamscape Media.
Title: The Film Director's Intuition: Script Analysis and Rehearsal Techniques
Author(s): Judith Weston
Year: 2003; 2024 revised and updated edition
Genre: Nonfiction — Filmmaking
Page count: 250 pages
Date(s) read: 6/29/26–7/6/26
Book 133 in 2026
October 27, 2018
As the subtitle makes clear, this book is about script analysis and rehearsal techniques. Weston’s aim is not only to argue for the importance of these two steps of film-making but to give helpful advice on how an aspiring director can carry them out.
The book is divided into three sections of increasing length. The first encourages the director to make use of intuition and feeling. The second addresses how to conduct script analysis, both on one’s own and together with actors. It includes Weston’s own analysis of scenes from three movies, one of which, Clerks, I was unfamiliar with, but her interpretation of it was as helpful as that of the other two films, which I have seen. The final, longest section, covers rehearsal technique.
Overall, the book frustrated me. It contains valuable material, but as a book is not as good as it could have been. The text features many subheads, in capitals, sometimes more than one per page. While reading, I couldn’t shake the feeling that these were powerpoint slides and that the text beneath each was a transcription of her remarks recorded during sessions of one of her courses. The result doesn’t seem to have been edited to avoid repetition and non sequiturs. This made me almost give up on the book before I finished the first section. I enjoyed the second section, and the third section began strongly. Her remarks on directorial authority fascinated me, but then the text started going in circles once again.
I’m not a film professional, but read the book because many of the principles apply to pastors in their preparation of worship services, particularly scripture readings and sermons. It came highly recommended by a friend who has participated in her workshops. Perhaps it is one of those books that is primarily valuable to have on the shelf to refresh one’s memory after taking the course.
The book is divided into three sections of increasing length. The first encourages the director to make use of intuition and feeling. The second addresses how to conduct script analysis, both on one’s own and together with actors. It includes Weston’s own analysis of scenes from three movies, one of which, Clerks, I was unfamiliar with, but her interpretation of it was as helpful as that of the other two films, which I have seen. The final, longest section, covers rehearsal technique.
Overall, the book frustrated me. It contains valuable material, but as a book is not as good as it could have been. The text features many subheads, in capitals, sometimes more than one per page. While reading, I couldn’t shake the feeling that these were powerpoint slides and that the text beneath each was a transcription of her remarks recorded during sessions of one of her courses. The result doesn’t seem to have been edited to avoid repetition and non sequiturs. This made me almost give up on the book before I finished the first section. I enjoyed the second section, and the third section began strongly. Her remarks on directorial authority fascinated me, but then the text started going in circles once again.
I’m not a film professional, but read the book because many of the principles apply to pastors in their preparation of worship services, particularly scripture readings and sermons. It came highly recommended by a friend who has participated in her workshops. Perhaps it is one of those books that is primarily valuable to have on the shelf to refresh one’s memory after taking the course.
May 23, 2024
Quality Rating: Five Stars
Enjoyment Rating: Five Stars
No one does it quite like Judith Weston. This book is a down-to-earth, direct and imaginative approach to directing actors that builds on the success and priceless coaching in Directing Actors. It's a unanimous agreement that Weston is the pinnacle of teaching how to direct, and how to interact with actors and crew as human beings - just as curious to interrogate every choice, as passionate about practising and honing craft, and just as excited about giving all of themselves to a story just for the love of it. In letting go of the prescribed yearning for success, efficiency and genius, all of that and more is achieved.
Enjoyment Rating: Five Stars
No one does it quite like Judith Weston. This book is a down-to-earth, direct and imaginative approach to directing actors that builds on the success and priceless coaching in Directing Actors. It's a unanimous agreement that Weston is the pinnacle of teaching how to direct, and how to interact with actors and crew as human beings - just as curious to interrogate every choice, as passionate about practising and honing craft, and just as excited about giving all of themselves to a story just for the love of it. In letting go of the prescribed yearning for success, efficiency and genius, all of that and more is achieved.
May 23, 2024
I own this book since the day it came out in print, and the new audiobook delivers updated content. Judith's lovely voice brings me back to my days in her acting for directors classes. Her insights are invaluable not only to directors and actors but to writers as well. I recommend this audiobook as an addition to your studies. It'll inform your character's choices, your story arc and so much more. Judith teaches us that story comes to live the moment two people connect on an emotional level. If emotion appears, whether on paper or on a screen, we artists have done our job.
June 1, 2022
A lot of this information is a reinforcement of what was written in Weston’s previous book on Directing Actors but I do appreciate that this one was less about dos and donts of directing actors and more about how to tap into your intuition. Ultimately, if you’re on the right path with your approach, this book serves as an affirmation. The more I read it, the more confident I felt in my ability to execute and be fluid on set and in rehearsal.
October 17, 2018
Incisive insights into the fundamentals and the process of directing. Nuggets of wisdom that help you feel equipped to take on the challenges of the job, from the scripting stage to the final execution. A must read for aspiring directors.
July 2, 2026
Articulates so cleary the most nuanced and complex part of the craft of directing, working with actors. A pleasure to read and feel all the more fortunate as the years pass that I studied directing actors in her studio.
May 15, 2019
If you are/want to be a fiction writer, as I do, you'll find the tips in this book very usefull as well. Totally recommended!
April 14, 2023
The One and only book you need if you want to be a filmmaker
November 4, 2023
Please let all these practices bubble into my monkee brain...
I'm a ride or die Weston-head, and if u disagree u can Judith dick!
I'm a ride or die Weston-head, and if u disagree u can Judith dick!
January 3, 2025
Damn. She did it again.
January 18, 2025
thank you judith weston for teaching me how to direct.
March 13, 2025
I really enjoyed this one!! Better than Directing Actors
July 13, 2025
A ton of excellent suggestions, ideas, techniques, and insights.
Worthwhile.
Worthwhile.
August 5, 2025
Judith Weston changed my life as an artist and as a person. Thank you!
November 3, 2025
nothing strengthens my parasocial bond with authors more than listening to them narrate their own books.
May 30, 2026
Had to read for a class, pretty insightful for directing. Would I ever read this on my own? No. But I did get some good tips that I will use for the future.
August 2, 2011
I found this book to contain a lot of information. While there were big sections that seemed to almost be copy pasted, everything seemed to make sense.
In some places the information, while it was clear that she was trying to be supportive, that she in a lot of places became a bit like talk down to new or unexperienced directors.
I found the premise of this book to be about the actor is right and as a director it is better to let the actor do what the actor is doing than to tell them they are off track with your idea.... I guess it's about choosing your battles as opposed to being like, slightly off so I must fight/ micro manage.
most of the information is helpful because a lot of the information is directly from actors and directors talking from experience stuff that often you don't hear. These quotes were very useful.
In some places the information, while it was clear that she was trying to be supportive, that she in a lot of places became a bit like talk down to new or unexperienced directors.
I found the premise of this book to be about the actor is right and as a director it is better to let the actor do what the actor is doing than to tell them they are off track with your idea.... I guess it's about choosing your battles as opposed to being like, slightly off so I must fight/ micro manage.
most of the information is helpful because a lot of the information is directly from actors and directors talking from experience stuff that often you don't hear. These quotes were very useful.
September 28, 2024
This is very enlightening about the process of directing. Learn more about directing without telling actors the "result" you want like "be angry", instead you can guide them through actions that express the flavor of anger you want them to give you.
February 19, 2009
Far inferior to her first book, Directing Actors. Lack of organization makes it hard to follow and care. Many ideas that seem like they could help, but it doesn't come through all that successfully in the writing. Don't worry, she has another book, and it's good!
February 21, 2015
I know nothing about acting/film/directing etc but i do know about being human. Part of me doesn't want anyone to know this information and part of me wants to tell the world. Dont read this book! If you do dont tell anyone. (evil laugh)
December 30, 2015
This is a wonderful book for directors, actors or screenwiters and an excelent companion to the author's other book, "Directing Actors" Unlike many books on filmmaking, this book brings its readers to the subject in a visceral way.
October 6, 2009
I loved this book - you can apply it to any creative endeavor, to help tap into raw emotion, and also to understand other artists.
Displaying 1 - 25 of 25 reviews