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

~ (Author)
Key Phrases: subtext choices, central emotional event, script analysis, Mike Nichols, John Cassavetes, Jack Nicholson (more...)

Editorial Reviews

Product Description

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.

About the Author

Judith Weston, who lives in Los Angeles, has taught "Acting for Directors" for over a decade throughout the U.S. and Europe, and is the author of the best-selling book, Directing Actors.

Product Details

• Paperback: 250 pages
• Publisher: Michael Wiese Productions; illustrated edition edition (September 25, 2003)
• Language: English
• ISBN-10: 0941188787
• ISBN-13: 978-0941188784
• Product Dimensions: 8.9 x 6.2 x 1 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 4.5 out of 5 stars  See all reviews (16 customer reviews)
• Amazon.com Sales Rank: #207,228 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

10 of 11 people found the following review helpful:

5.0 out of 5 stars Must Have in Your Library, October 10, 2003

By	J. Kerschen "Book Name" (Los Angeles) - See all my reviews (REAL NAME)

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.

6 of 6 people found the following review helpful:

4.0 out of 5 stars The One Book You Absolutely Need, September 5, 2003

By	E. English (Boulder, Colorado USA) - See all my reviews (REAL NAME)

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

42 of 57 people found the following review helpful:

5.0 out of 5 stars get it, November 7, 2004

By	L. Mroczkowski (chicago, IL) - See all my reviews (REAL NAME)

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.