Customer Reviews

The Film Director's Intuition: Script Analysis and Rehearsal Techniques

5 star:		(14)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

The Film Director's Intuition, Script Analysis and Rehearsal Techniques
By Judith Weston
2003 Michael Wiese Productions 364 pgs.

Together with Directing Actors (1996, Michael Wiese Productions,) Judith Weston has created a strong, comprehensive course on directing. She provides insight into the actors minds through quotes of actors. She also uses quotes from directors to provide tips for directing actors. This book is an incredible resource in developing and maintaining rapport with actors. She has incorporated and utilized the techniques and lessons of renowned acting teachers, including; Stella Adler, Uta Hagen, Sanford Meisner, and Constantin Stanislavsky. I have included her name alongside the aforementioned when referring directors on what to study.
The book is divided into three parts, related to the title: Intuition, Ideas, and Imagination; Script Analysis and The Lost Art of Rehearsal. It is 23 chapters long.
The baisc premise of the book is that through preparation, a director can rely on intuition during shooting and rehearsing.
A problem I had with the book was the neglect of improvisation. Although there is a chapter on improvisation, it seems as though she could've explored it more thoroughly. Improv guru Viola Spolin wasn't even mentioned, nor were any of her exercises.

This book is an extraordinary, essential tutorial and rumination on the philosophy and practice of directing film actors. The only reason I give it 4 stars instead of 5 is that it essentially repeats the same thing her previous book (Directing Actors) said, albeit in new ways and with new depth. Read "Directing Actors" first, then I won't have to convince you to buy this one. You will know that every word from Judith Weston is solid gold, and not to be missed. Highly recommended, even if you have already read Directing Actors, as she really does go further and deeper here and presents a number of new insights and techniques that you won't want to miss.

As the subtitle suggests, her focus here is largely on script analysis and rehearsal. Of course that was a lot of her focus in the previous book, too, and she does cover many of the essentials of directing and acting here as well. I do think the book could have been half as long and been better--she tends to take ten words to say what could have been said in four. But what words! If you direct or act in film or television, there is no excuse for not owning this book. Nobody in print can "get you there" better than Judith Weston, and you are sure to gain usable ideas and genuine insights again and again as you read this. I have taught film and video acting for years, and only wish I'd had this book and her other one when I started! If you want fake, affected performances and constant conflict with your actors, no reading necessary. If you're looking for solid ways to work with actors to give life-changing performances, read this. Now.

For the professional, the amateur and the first-time director, "The Film Director's Intuition: Script Analysis and Rehearsal Rechniques", by Judith Weston, is the one single book you absolutely need. Covering virtually all you'll realize you needed to know to direct a successful film, this inventive, comprehensive volume takes the place of a library shelf of other books on the subject. In essence, this is three books in one: Intuition, script analysis and rehearsal techniques are covered in user-friendly detail. The Table of Contents alone is amazing in listing the variety of subjects the book explains. Buy and read this book before you select your next script to produce as a film!

Elizabeth English
Founder and Executive Director
Moondance International Film Festival
www.moondancefilmfestival.com

Judith Weston knows her stuff. She's been in the film and theater business for many years and brings her wealth of knowledge in a fresh, fasinating way. Directors, actors and writers will find her take new and invigorating. This book is for anyone who want a much fuller, more rounded understanding of the process of filmmaking. I learned a lot and I think others will as well. Highly recommended.

Christopher Keane

I cannot recommend this book enough. Judith is brilliant. I am a working director, and use her techniques on a regular basis. Both this book, and "Directing Actors" should be read and studied by anyone who calls themselves a director. Her books are to directing what Robert McKee's "Story" is to screenwriting.

My only complaint is I wish the book was longer. Give me more!

I have just finished reading this hefty book and it is an awesome tool for any director, beginner or "experienced." I must admit I have done one of her directing classes and also read prior to this Judith's previous "bible #1" on acting and directing: "Directing Actors" which I also highly reccommend, so I'm somewhat biased, if you want to call it that. She is a spirited highly developed actress/ teacher of the craft of acting and directing. This book is well crafted, and written, deep and accessible, so full of amazing stuff it's a bible #2 (after her first book) to keep with you and refer back to at any time, especially if you're struggling with an actor or a scene as a director. To me she's THE authority and teacher on directing.

Like everyone else, I agree that this is a straight to the point book and I'm telling you to read it. I could'nt put it down. Yes it is that good. Some people on here claim that they went to USC or NYU and learned nothing but theory. I always thought these schools were decent since some of the big shots went there but I went to Columbia college which supposibly is the best film school in chicago.

This is the scoop on going to film school:

You first must take theory classes(watch old movies, silent films yatta, yatta!! Along with an asthetic class.

Then you take classes like development and screenwriting which arent what they seem. Columbia teaches this thing called Development and pre-production which is nothing more but a class to take up time and steal your money. You learn how to write a treatment. Thats all you learn. Even my teacher called it BULL SH**. YOu can learn how to write one in 10 minutes from a book or someone. The screenwriting course is a joke for the teachers dont know how to teach. THey will teach you what a program like Final Draft will do automatically for you maybe even better.

Then you take a production class which is the only class that you will make a short film in. WAIT! Columbia gives you a world war 2 film camera and a 750 watt light kit and tell you to go make a film with it. Yup that is what you get for $20,000+ a year. So what happens in this class? You actually learn how to make a crappy film "BUT YOU LEARN". THen comes the confidance part of school. They will get a Yokel called a top advisor to come to you and his advice is to take sound classes because there arent too many sound people out there. Boringest job out there. And then he tells you that if you just work really really really hard then you just might get paid. For years I watched all those poor students' faces as each of them were convinced that they will never be George Lucas! I got angry. Very angry and I chose to fight the system.

This is the bottom line. All you need to do is take 1-2 production classes where you make a short film. Then you need an open mind and listen to those who work in the industry. But listen to only those who are positive. Film school teachers are not professionals. (...) This is why they lecture film and not make films. You go to school to network with other students. THATS IT!! you can do this for free just walk in, no one will stop you. the security guards are just there for display. If you want to prove me wrong spend $80,000+ on a film school and 5 years later visit me and tell me that I was right. I'm not bashing these schools but FACT: all of these schools will admit to you that they are just a business. SO shut up, buy this book, Robert Mckee's book "STORY", "film director's intuition" and directing actors" Now watch me, i'm going to be a millionare this year thanks to being open minded and listening to the right people. Good luck and God bless you.

Well, Judith Weston has done it again. This book covers even more ground than her first book. If you're interested in directing - or better yet if you are a director - then for goodness' sake, get this book.

If you wonder why her books get all these glowing reviews, it's because she helps unlock what is THE MOST IMPORTANT SKILL in directing: working with actors. Not just on a moment-by-moment basis, but in shaping your film overall as well.

And she does it in practical, concrete ways, with lots of examples. Also, the rehearsal techniques she discusses can be used in a few minutes in between takes while they're setting up lighting.

She also covers script analysis, which sounds more academic and technical than it is. It's what any good director already does on some level, but helps you do it better.

If this book were required reading for every working director, then the movies you see would be a whole lot better.

If you liked DIRECTING ACTORS you will love THE FILM DIRECTOR's INTUITION.
Think of it this way: If DIRECTING ACTORS is like a nice, hot, bubble bath; then THE FILM DIRECTOR's INTUITION is like a luxurious jacuzzi you want to stay in all day and all night, soaking each molecule of your being into each of its pages.
I cried with so many quotes and revelations Judith shares with us in this book.
And, as usual, her words and knowledge and her love for the craft and actors inspired me so much!
A must read for all film lovers. Filmmakers or not!

Expertly written by Judith Weston (the teacher of the successful Acting for Directors workshop, which has been presented for fifteen years in the U.S., Canada, and Europe), The Film Director's Intuition: Script Analysis And Rehearsal Techniques is an in-depth study of the professional craft of directing at a deeper level than simply following the blocking. From learning to read and internalize the impulses and feelings of the actors; making the most of a director's imagination and instinct; to maximizing creativity on both sides of the camera, and so much more, The Film Director's Intuition is a truly excellent guide which is especially recommended for both the novice director as well as experienced directors seeking to advance and realize their film making, story-telling potential.