Ask Judith
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25 | Star/flag Ask Judith: Submission #25 | Lock Ask Judith: Submission #25 | Add notes to Ask Judith: Submission #25 | Wed, 07/19/2023 - 09:32 AM | Ask Judith | Anonymous | 178.23.206.127 | Giulia | giuliatrozzi.trz@gmail.com | Dear Judith, I'm writing to you for an advice and I hope I am not bothering you. I am a 23-year-old woman from Italy who is studying computer science, and I will attend weekly screen acting and theatre classes from September here in Italy (as well as some English advanced courses). I feel so embarrassed and ridicolous for not putting 100% into acting and for saying to you that I want to be an actress while I am dedicating myself to a degree in something else, but my financial situation, my age, my health issues and my nationality have been and are a burden to me, and I feel that degree could help me somehow to pay the bills and pay for some acting classes as well. I don't seek fame, neither I seek success, but when I read books about acting, when I read plays and watch movies, when I act in my mind (so much that for some time I forget I am alone in my room or in the kitchen) I can't imagine myself doing anything else in my life. However, I was not and I am not lucky enough to have the possibility to attend a UK Drama School or a serious, famous Academy or something like that, and I will never be. I feel lost, and late. You are truly an expert, and I admire you: do you think that everything is truly lost for me? Am I too old to become an actress abroad (I wish to act in English) and make acting part of my life, considering my age and my nationality? Is there a way for me to become an actress if I cannot attend a formal and famous Drama School? What advice would you give me? Thank you for your time and patience, Judith, and apologies for my messy message. Best regards, Giulia |
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24 | Star/flag Ask Judith: Submission #24 | Lock Ask Judith: Submission #24 | Add notes to Ask Judith: Submission #24 | Sat, 07/15/2023 - 11:39 AM | Ask Judith | Anonymous | 66.212.209.113 | Robert | memorare.members@gmail.com | Dear Judith, I've often had difficulty with actors speaking at such a low volume that it sounds like they're talking to themselves. When I ask them to please talk louder because the background noise will ruin my sound they refuse. I'm not asking them to declamate; only to talk like a normal person. I'd be grateful for any solutions you could offer for this. Thanks so much! |
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23 | Star/flag Ask Judith: Submission #23 | Lock Ask Judith: Submission #23 | Add notes to Ask Judith: Submission #23 | Mon, 04/10/2023 - 07:40 AM | Ask Judith | Anonymous | 75.164.30.27 | Sasha | flickermaker@gmail.com | Hi Judith, I read your book 20 years ago and I know your teachings are in subconscious. It served me well in my guerrilla filmmaking. Thinking of starting an acting workshop for beginners/amateurs looking to get their actor's demo reels put together. It's an approach where I work with actors on material and also shoot/cut clips for their reels. One direction I drew from you in assembling this workshop concept was: if your demo reel doesn’t have an emotional event, it’ll stop the viewer from watching and that's it, you're passed over. I'm wondering if you agree or disagree with this and/or if you have any other tips on what makes for a remarkable demo reel? Directing Actors (in a demo reel). Thanks! | |||
22 | Star/flag Ask Judith: Submission #22 | Lock Ask Judith: Submission #22 | Add notes to Ask Judith: Submission #22 | Mon, 03/13/2023 - 12:51 PM | Ask Judith | Anonymous | 107.77.194.209 | Alex Murphy | iam1983990@gmail.com | Judith Weston Dear, Who is your All-time favorite actor or actress you have coached Dear? | |||
21 | Star/flag Ask Judith: Submission #21 | Lock Ask Judith: Submission #21 | Add notes to Ask Judith: Submission #21 | Wed, 02/22/2023 - 08:28 AM | Ask Judith | Anonymous | 85.28.107.82 | Maryam K. Hedayat | Dear Judith, you mention in your book something called 'as if', that we can use to help the actor change a line. For example read it as if you are a teacher. But my question is: can you ask the same actor, in different scenes to play 'as if you are a teacher' and then later on 'as if you are police office or a spy' for a different scene? Would that not confuse that actor? Thank you. | ||||
20 | Star/flag Ask Judith: Submission #20 | Lock Ask Judith: Submission #20 | Add notes to Ask Judith: Submission #20 | Tue, 11/08/2022 - 12:02 PM | Ask Judith | Anonymous | 62.20.137.161 | Gabriel Assmar | gabrielassmar95@gmail.com | Hi miss. judith I want to see how to approach the actor and give direction before filming. if you have it recorded from one of your workshops, which I can buy. Thanks in advance. | |||
19 | Star/flag Ask Judith: Submission #19 | Lock Ask Judith: Submission #19 | Add notes to Ask Judith: Submission #19 | Tue, 09/27/2022 - 06:32 AM | Ask Judith | Anonymous | 88.108.175.20 | Iris | irisbreward@hotmail.com | Hi Judith, I am a young filmmaker just starting out making short films and trying to learn as much as possible. Your books and writings have changed my life! It sounds crazy but I always cry when I’m reading them because the way you write about this work validates something deep in me about why I want to be doing it. Thank you so much for that. Anyway - I’m preparing for my next short film who will be low budget and made with friends (including actor friends!). I have three questions: 1. How should you approach directing friends who are actors. I am naturally drawn to casting friends because of the intimacy and I suppose the insight I have into who they are. But it also makes me nervous to add another dimension to that relationship, especially as many of my actor friends have been actors for years and I’ve only been filmmaking for around 2 years myself. Any tips on this? 2. How should I approach planning auditions and rehearsal? As we basically have no budget I don’t think I’ll be able to find a casting director. Do you have any advice for the best exercise to do in an audition? And in terms of rehearsal, how much should I plan it? Should I have lots of exercises planned out? Should we rehearse the script or just rehearse using improvisation? I understand a lot of these are probably just a question of taste and process but I’d love to hear the methods or approach you would favour. 3. The film involves a childrens birthday party and lots of kids. I’ve not worked with kids before and I’ve seen that in your 25th anniversary edition there is a chapter on working with children so I’ve ordered that to read. However, one concern I have is that we won’t be able to afford rehearsal with the children. We’ll be able to rehearse with the adult actors but many of the scenes also involve the kids. How should I work around this? How can I help the actors get acquainted with the kids and prepare for scenes with them? Sorry this is a lot! I know much of this is touched on in your books but I’m keen to hear any specific tips or advice you have. Thank you again! Iris |
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18 | Star/flag Ask Judith: Submission #18 | Lock Ask Judith: Submission #18 | Add notes to Ask Judith: Submission #18 | Sat, 09/24/2022 - 08:15 PM | Ask Judith | Anonymous | 172.58.22.227 | Danny Saiers | dchernoby@gmail.com | Hello Ms. Weston. I have a long memory. So not too long ago I was recalling the early 80’s and I remember taking one of your acting classes. It was in Santa Monica on Michigan ave. I believe. My line was from the Glass Menagerei. I remember it vividly still today. | |||
17 | Star/flag Ask Judith: Submission #17 | Lock Ask Judith: Submission #17 | Add notes to Ask Judith: Submission #17 | Wed, 07/20/2022 - 07:48 AM | Ask Judith | Anonymous | 138.207.226.38 | Robert | memorare.members@gmail.com | Dear Judith, I have an idea I'd like to ask your opinion on. In the case of a love story in which the actor can't work well off his love interest leading lady, what if we brought in his wife or loved one to stand beside the camera so he could deliver his lines with sincere affection? Thanks so much! |
Hello Robert. Thanks for your question. Usually actors do this kind of work -- it's often called "substitution" -- via their own imaginations. You could ask the actor if he thinks this tactic might be worth trying. But, to be honest, the most helpful thing would be to have cast actors who are responsive to each other. If it's too late for that, I would take each actor aside and tell them frankly there is a problem in their connection, and that it needs to be resolved in order for the story to work. I don't quite understand an actor who say he "can't work well off his love interest leading lady" -- if he took the role, that's his job. You may need to tell him, tactfully but firmly, that you need him to step up. Best wishes, Judith | Yes | |
16 | Star/flag Ask Judith: Submission #16 | Lock Ask Judith: Submission #16 | Add notes to Ask Judith: Submission #16 | Tue, 06/21/2022 - 03:43 PM | Ask Judith | Anonymous | 104.173.215.187 | Paul Tamasy | ptfourthwall@aol.com | Hey Judith, Paul Tamasy here. You and I used to teach children at UCLA's Bruin Kids together. Congrats on all of your success. I went on to write movies, including one that earned some Oscars and I'm now directing my first feature in August in Thailand. The script was originally written by Dennis Lehane. I was hired to rewrite it. I'm presently reading your book. Can I arrange a consultation with you before I depart? I tried going through your Contact page but it was only allowing me to use my son's email address. | Dear Paul -- I'm so sorry that I didn't see this post from you until today! The best way to contact me about a consultation is via email at john@judithweston.com. In the meanwhile, I'm sending you an email to the address you included. And -- I'm so thrilled to hear of your successes! I send you big hugs and very best wishes, Judith | Yes | |
15 | Star/flag Ask Judith: Submission #15 | Lock Ask Judith: Submission #15 | Add notes to Ask Judith: Submission #15 | Sat, 04/02/2022 - 03:57 PM | Ask Judith | Anonymous | 213.146.39.8 | Natalia | pearldiver@fastmail.net | Hello Judith. My name is Natalia (I'm from Poland) and acting has been my passion since I can remember. From kindergarten through high school, I took part in school theater, often getting lead roles in plays. At home I dress up for my family and friends, and performed in front of them, I loved reciting poetry, I won awards for the best actress in the school theater. Unfortunately, then disaster hit, I fell ill with severe bipolar depression, which I have been struggling with since childhood, but the biggest crisis came at the age of 18, just when every young person plans the future. And it destroyed me. Took me many years to fight this illness and that's why I didn't realize my dream of becoming an actress. Today I am 35 years old and finally, I have my depression under control. And I still have a big dream of becoming an actress, I can't live without it. I read/ heard from a lot of people to never give up. I know that show business, especially for women, is very hard, especially when someone starts so late. However, I want to consult a specialist on this matter, someone who knows the movie/film environment inside out. Therefore, could you please offer any advice on how to start acting at this age, do I still have a chance for success as an actress, is it possible at 35 ? I mean a career in television or movies. Is it too late at this age? I will be very grateful for your advice. Thank you very much! |
Hello Natalia. I believe that taking acting classes is a wonderful thing for anyone to do. Acting class, with a good teacher, opens your heart and your imagination. Learning to act is worth doing at any age and I hope you will pursue it. But it seems as though you may be asking a different question. If you are asking whether you will have a successful career in television or movies, I'm afraid I can't answer that. I wish you all the best, Judith | Yes | |
14 | Star/flag Ask Judith: Submission #14 | Lock Ask Judith: Submission #14 | Add notes to Ask Judith: Submission #14 | Fri, 09/24/2021 - 03:51 PM | Ask Judith | Anonymous | 49.195.62.113 | Walter Lee | waltex@gmail.com | Dear Judith Thank you so much for this opportunity to ask you questions. How do you direct or guide actors in scenes when they are the only character in the scene? I feel a lot of the instructions are around actors affecting each other - but what happens when the actor is there in the scene by themselves? You write "A moment means the actors stop each other, and affect each other." (p-134) How does an actor affect themselves? What does a director say to guide an actor though these scenes? In an interview you also relate how Meryl Streep is asked, "How much of your performance do you get from the other actor?" Meryl Streep replies, "All of it". https://youtu.be/luA6mGAXw2s?t=1991 So what happens when there's no other actor? Where does her performance come from? Thank you P.S. May I suggest a couple of examples of scenes where the character is by themselves: Someone on a bench overlooking the sea, thinking about their son who has committed suicide a few days earlier? Or someone who is sitting online in a café waiting for their date who is late and eventually never turns up. Of course, please use any other example you may like to use. |
Hi Walter! Thanks for your question. You actually answer your question yourself by the examples you suggest of an actor who is playing the only character in a scene. In those scenes, even though there is no other actor, the lone character is still in a relationship. The parent staring out to sea whose son has committed suicide a few days earlier, is still in a relationship with that son. She may be having a silent dialogue with him, begging him for answers; she may be replaying in her mind memories of events from the past. Those memories might produce waves of guilt; or they might produce feelings of comfort and the beginning of healing. The person waiting for their date is of course imagining all the reasons the date might be late -- all the way from in a car accident to having changed their mind about coming. In other words, the actor uses their imagination. In the chapter on Listening in the new edition of my book (Directing Actors 25th Anniversary Edition, which came out in April 2021), I talk in more detail about this. But to reply to your question about "how to direct or guide actors in scenes where they are the only character" I would say -- always start by asking them what they need from you, or what ideas they already have. Or better yet, let them first try the scene without any direction. Best wishes, Judith | Yes | |
13 | Star/flag Ask Judith: Submission #13 | Lock Ask Judith: Submission #13 | Add notes to Ask Judith: Submission #13 | Fri, 09/24/2021 - 10:21 AM | Ask Judith | Anonymous | 87.86.104.115 | André Gustafson | info@andregustafson.com | Dear Judith Thank you for sharing your insights in your books, it’s truly uplifting and inspiring from beginning to end. Do you have a recommendation for reading about script writing techniques? Best wishes /André |
Thank you, Andre, for your kind words! There are so many books on screenplay writing techniques! My publisher, mwp.com, has published a great many very good ones, so I'd suggest you go to their website. But I also always recommend to new screenwriters that you devote yourself at the same time to revisiting fundamentals of storytelling -- and for that I recommend these two books: "If You Want to Write" by Brenda Ueland, and "Writing Down the Bones" by Natalie Goldberg. Best wishes, Judith | Yes | |
12 | Star/flag Ask Judith: Submission #12 | Lock Ask Judith: Submission #12 | Add notes to Ask Judith: Submission #12 | Fri, 09/24/2021 - 02:57 AM | Ask Judith | Anonymous | 49.195.62.113 | Walter Lee | waltex@gmail.com | Thank you so much Judith for this opportunity to ask you questions. On page 135 of Directing Actors, you write, "Emotional events for characters can be wins or losses, discoveries, choices or mistakes - not realisations or reactions, which are not playable." Can you please help me understand why "realisations or reactions" are not playable? I would have thought that a reaction is playable? For example, the character reacts to the other character pushing her or telling her their mother has died, for example. |
Hello Walter! Thank you for your question. I agree that the sentence you are quoting -- from the original edition of Directing Actors, which was published in 1996 -- was unclear. Over the years, the subject of "emotional event" has been the one I get the most questions about. And there isn't one quick answer! That's one of the main reasons why I wrote the 25th Anniversary Edition, which came out in April 2021. There are revisions to the whole book, but especially the chapters on Tools/Choices, Emotional Event, Script Analysis, and Rehearsal. Plus a new chapter added about Directing Children. I believe Emotional Event is the most important tool of the director, so I put a major effort into approaching the topic from as many different angles as I could, using many new examples. Best wishes, Judith | Yes | |
11 | Star/flag Ask Judith: Submission #11 | Lock Ask Judith: Submission #11 | Add notes to Ask Judith: Submission #11 | Thu, 09/09/2021 - 10:11 AM | Ask Judith | Anonymous | 66.212.210.82 | ROBERT | memorare.members@gmail.com | Dear Judith, Thanks so much for your teaching! I've read your first "Directing Actors" many times over and learned so much! Could you please offer any advice on how to convince a professional actor to work opposite a non-actor? I've heard that professionals often resent being cast together with non-actors or even with talented but inexperienced newbies. |
Thank you, Robert. First I need to tell you that there are legitimate reasons why a professional actor might not want to work opposite an inexperienced one! The first and foremost being that the non-professional actor might not even show up to set! Acting involves a craft, and a work ethic. I invite you to reframe your question - instead of asking how can I convince a professional actor to do something they don't want to do, why not explain to them your reasons why you think this non-professional actor is the best casting for the role? and ask the professional actor how he/she feels about it? And whether the professional actor has any thoughts about how to make the scene work with the non-professional actor you have cast? Good actors are focused on *making the scene work*. Best wishes, Robert. Judith | Yes | |
10 | Star/flag Ask Judith: Submission #10 | Lock Ask Judith: Submission #10 | Add notes to Ask Judith: Submission #10 | Thu, 09/09/2021 - 10:01 AM | Ask Judith | Anonymous | 66.212.210.82 | ROBERT | memorare.members@gmail.com | Hi Judith! Hope you're doing well! I'd like to ask your opinion on this idea. Since we can't expect an actor to re-create a moment we loved in rehearsal by simply requesting a re-do of the result, what if we ask the actor what she was thinking of in that moment, writing it down so as to be able later to re-enact the effect by re-enacting it's inner cause (the thought or feeling that originally inspired her)? |
Thank you Robert. One of the skills that I think is so helpful for directors is to be able to "mirror back" to the actor what they were doing - but in playable terms instead of result terms. The thing is that when actors do their very best work - the work that directors want them to replicate on the set - they often have NO IDEA what they were thinking - because they were in the moment! So it can be helpful if the *director* can make a note, during a rehearsal or casting session, of what they liked. For example, perhaps that the actor was *demanding* instead of *begging*. Or maybe the actor was playing the scene "as if" it was an intimate moment even though it takes place during a business meeting. It takes a lot of experience (and trial and error!) to be able to develop this skill. That's why I strongly believe that directors should develop their craft with "practice rehearsals" before they use any of the techniques that I suggest in my book - or they come up with themselves - on a professional set. Best wishes, Judith | Yes | |
9 | Star/flag Ask Judith: Submission #9 | Lock Ask Judith: Submission #9 | Add notes to Ask Judith: Submission #9 | Mon, 08/30/2021 - 08:10 PM | Ask Judith | Anonymous | 201.170.172.97 | Iván Palacios | ivanfilms23@gmail.com | Hello Judith. My name is Iván I'm a Mexican film student is a honor to meet you. I start reading the Directing Actors and changed my life. And I just got the Directing Actors 25th anniversary and I'm about to start reading. I start writing about a woman finds a child from the street. What is the best advice to direct a kid? | Hello Iván. Thank you for reaching out and for your kind words. I hope you are finding the 25th Anniversary Edition helpful. Have you gotten yet to Chapter Eleven, on Directing Children? One of the things I'm proudest of about this new edition is that it contains a brand-new chapter on Directing Children. After you read that chapter, please write again and let me know what questions you still have. Warmest wishes, Judith | Yes | |
8 | Star/flag Ask Judith: Submission #8 | Lock Ask Judith: Submission #8 | Add notes to Ask Judith: Submission #8 | Sat, 08/14/2021 - 03:53 PM | Ask Judith | Anonymous | 66.212.210.82 | Robert | memorare.members@gmail.com | Hi Judith! I had an idea on how a director could encourage listening. I'd like to ask your opinion on it. I would ask each scene partner to tell me between takes if the other actor was listening or not. No one would be in a better position to see the subtleties a distant director might not catch! And this would be not just another pair of eyes for the director, but also a strong motivation for every actor to listen, knowing he's being watched at close range. There's even a third benefit: the "observer" will be concentrating on his partner's face with the "task" of detecting signs of listening, signs of his affecting him. Wouldn't that be great? What do you think? |
Thank you, Robert. This idea reminds me of something I sometimes do in rehearsal. I sometimes give the actors permission to say to the other actor, "I don't believe you," or "Why did you say that," during rehearsal, anytime they have that impulse. But I only do an exercise like that if I know that the actors trust me. Actors are often protective of each other and I think you need to be aware that they might have a negative reaction to your idea - because they might feel that you are asking them to "rat each other out." Actually the actors should not be evaluating each other's performance - they should be absorbing and reverberating to their character's emotional situation, and responding to whatever they are receiving from their partner. I suggest that you only try your idea if you first ask the actors how they feel about trying it. I also think you should *practice* with this idea in "practice rehearsals" before you try it in a professional situation. I also suggest that you take an acting class yourself, in order to deepen your understanding of actors' vulnerabilities. Take care, Robert, and best wishes, Judith | Yes | |
7 | Star/flag Ask Judith: Submission #7 | Lock Ask Judith: Submission #7 | Add notes to Ask Judith: Submission #7 | Tue, 07/13/2021 - 05:39 PM | Ask Judith | Anonymous | 172.58.228.218 | Emanda Acevedo | Emanda1Acebedo@gmail.com | Hello, I was inquiring about taking acting lessons? I was on Clubhouse and someone mentioned you, That you were a great coach. Just wanted to know if you do? :) Thank you |
Dear Emanda, Thank you so much for your question and your kind words. I'm afraid I am no longer teaching classes for actors. I ran a studio for 30 years and taught several different kinds of acting workshops. But I closed my studio in 2015. I have continued doing one-on-one consultations. But - since the pandemic the only coaching I do is via Zoom - and I discovered the only way I could be effective in Zoom consultations was with directors or writer-directors. The search for the right acting coach can take a while. I do believe that the amount you can learn in a Zoom acting class is very limited - some acting studios are opening up for in-person classes and you should visit as many as you can so you can find the one that's right for you. My impression is that the reputable acting studios are requiring students to be vaccinated. In the meanwhile, I suggest you read my book - Directing Actors 25th Anniversary Edition - it's intended for actors as well as directors. The new 25th Anniversary Edition came out in April and has information and encouragement for actors that I hope you will find helpful. All my best, Judith | Yes | |
6 | Star/flag Ask Judith: Submission #6 | Lock Ask Judith: Submission #6 | Add notes to Ask Judith: Submission #6 | Mon, 07/12/2021 - 07:40 PM | Ask Judith | Anonymous | 103.217.167.160 | Chris Michaelides | chrispeter001@gmail.com | Hi Judith, I'm working through your "Directing Actors" book at the moment, and you recommend directors to take an acting class. I am quite keen but wondering what "style" or "method" of class to take? Also, I imagine you would recommend doing courses in the flesh rather than over the internet? If you have any recommendations for particular teachers in the Melbourne, Australia region, that would be helpful too. Thanks, really enjoying the Audible narration by yourself as well. Regards, Chris |
Dear Chris. Thank you so much for your question. Yes, I do believe that directors can benefit tremendously from taking an acting class. I'm afraid I don't have any recommendations for particular teachers in Melbourne - but I am sure there are good ones there. You must do the "leg-work" to seek them out. I do feel that anyone who is beginning acting training, whether as an actor or as a director, can benefit from the Meisner Technique - because it prioritizes "listening," that is, the connection between an actor and their scene partner. Listening/connection/responsiveness to one's acting partner is the most important foundation of acting that feels real and believable to an audience. In response to your question about acting courses "in the flesh" versus over the internet - I have to say that it is very difficult to teach anything important about acting over the internet. I know Australia is under lockdown again right now, so we have to do the best we can! As it happens, I will be doing a free webinar for Australian actors and filmmakers later this month. The organizer is Serhat Caradee. He can be reached at serhat@bonafidepictures.com.au. Sending you all my best, Judith | Yes |