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5 Fri, 07/09/2021 - 06:25 PM Ask Judith Anonymous 75.18.44.145 Matt Pulliam mpulliam@gmail.com Hi Judith,

I was part of the zoom meeting today. I thought of some questions...

1. What do you mean by "'Emotional' event'? Do you just mean the event of the scene? The 'what happens in the scene? The scene's raison d'etre? The discovery? The revelation? The change in status between two characters? The climax of the scene? The outcome of the scene?

2. Why is perfectly acceptable to rehearse a play as an ensemble for a month for a weekend run on a $10 show.... yet, the expected working conditions for a multi-million dollar film are for the actors to show up on the day with lines memorized, expected to repeat the exact same thing that happened in an audition weeks earlier, but perhaps now they have been coached by some overpriced acting guru who knows nothing about the story... go to makeup and then sit and wait all morning by themselves in a trailor, then to suddently rehearse the scene as quickly as possible for blocking purposes, then to shoot the scene one shot at a time like it is part of a factory assembly line, while usually staring a piece of tape on the camera matte box for an eyeline because the star doens't want to be there, and hope it all works out in the edit?

Why hasn't it become common sense for a director to rehearse film actors one small step at a time weeks or months prior to filming, like on a retreat atmosphere... where actors get a feel for each other.... where they can collaboratively work on the role with the director and build trust, to gradually learn lines through improvisation, to develop a sense of play through trial and error with the scenes, to explore the emotional events, and to develop a grounded sense of what the story is about and how to execute it?

To even bring in the DP and explore shooting plans on an iPhone in a tension free exploratory shoot instead of trying to figure it all out while a huge crew on payroll twiddles their thumbs and rental trucks line city streets burning money by the minute?

Not a question by my two cents:
For the directors who wanted to know how to deal with onset arguments... it seems they were basically wanting to know how to get an actor to do what they want instead of what the actor wants. Unless the director can immediately say, we can't do that becuase there is going to be a CGI monster standing in the doorway or something practical like that.... It feels like a control issue on their part (unless the actor is literally changing the story). The underlying issue with most creative arguments are the actor doesn't trust the director, and without trust, there is choas. The best thing to do is to collaborate and capitalize on the creative input and say 'Wait, don't tell me, show me (or even just film it). Then see how it plays out, and then make adjustments and try different things. See where it takes you. Maybe the actor will prove it to himself that his or her idea sucks and needs help, and will look to the director for guidance. If the director takes the argumenat approach, by the time they have finished arguing, and everyone has calmed down and gotten back to working, they could have shot the scene five different ways and broke for lunch...it's probably video anyway so why not?
Matt		 Dear Matt. Thank you for coming to the Zoom event. I love doing Zoom Q&As - but of course there are always many questions we don't get to... As for your question #1 - what is emotional event? - all of your proposals are valid! The term "emotional event" is one that I invented but that other people refer to by different terms. I did everything I could think of to describe it - from every angle - in my new book Directing Actors 25th Anniversary Edition. It's a challenging concept but one that, when absorbed, will change a person who *wants to be* a director into one who is able to "think like a director." Your topic #2 sounds a bit more like a rant than a question - but I think I understand where you are coming from. "Conventional wisdom" can be depressing and even dangerous if one is committed to create something of artistry and purpose. Of course I support rehearsal and exploration rather than shallow expedience! I am sending you all my best wishes, Judith Yes
4 Thu, 07/08/2021 - 03:07 PM Ask Judith judith 47.151.130.166 Dave Watson Congratulations on the 25th Anniversary Edition of Directing Actors. What did you notice differently writing this edition? Thanks for asking this—because I followed an unusual process writing this book! In April 2019 I was approached to make an audiobook of the original Directing Actors, which came out in 1996. I’d always wanted to do an audio version and voice it myself—but at this point, so many years after the book had been written, it felt like it needed updating. So the audiobook, which came out in September 2019, is different from the original paperback. Then Michael said, let’s do a new print edition—it’s perfect timing for a 25th anniversary edition. At first I thought it would be a matter of sprucing up the punctuation from the audiobook text—but then I decided to work with an editor (E. Amato—she is great!) and go all out on a complete revision and updating of the original book. I’d been teaching throughout the 25 years since the original book was written and had so much more to say. The 25th Anniversary Edition expands and deepens the central concepts of the original, with many more, completely updated examples and references. And it contains a lot of new material—a totally reworked chapter on Emotional Event; a scene from The Matrix used for a Script Analysis demonstration; a more detailed Rehearsal chapter, to guide directors in learning how to rehearse; a brand new chapter on Directing Children. I hope it will be clarifying for readers of the original and helpful to a whole new generation of directors, actors, and writers. Yes
3 Thu, 06/17/2021 - 06:50 AM Ask Judith Anonymous 66.212.210.82 Robert memorare.members@gmail.com Dear Judith,

Thanks so much for your teaching and your availability here! Could you please offer any advice on how a director could help an actor overcome ingrained mannerisms like raising a shoulder after every phrase or flashing telegraphic smiles?

Robert		 Hello Robert! Thank you for your question. I am wondering -- does this person do this in real life or only while "acting"? Because if they don't do it in real life, it seems to me you could take them aside (out of earshot of everyone else!) and mention it to them in a kindly way. Like saying that you've noticed certain behaviors that they don't do in real life. Then you could ask them whether the shoulder movements and smiles are a choice for the character, or whether perhaps they get nervous when the camera is rolling? If it's nervousness, then you can assure them that you are very happy you've cast them and you want them to be as much life their real self when the camera is rolling as they are when the camera is off. If, on the other hand, they also have these mannerisms in real life, then I suggest you not mention anything to the actor. Sending all my best wishes, Judith Yes
1 Sun, 06/13/2021 - 01:41 PM Ask Judith Anonymous 209.202.49.124 arden arden888@gmail.com Hi Judith, I am an actress, I am almost finished reading your book 'Directing Actors' and started 'The Film Directors Intuition' both are great and so helpful. I am wondering if you still offer acting classes online at all?
Thanks so much,
A		 Hi Arden! Thanks for your question. I'm so glad you are finding my books helpful—they are meant for actors as well as directors. I'm afraid I no longer offer acting classes. I stopped in 2015 when I closed my studio. Deciding who to study with is a very personal choice. I suggest that you do lots of research—talk to actor friends and visit as many websites and studios as you can, to find the one that’s best for you. I've been told that online acting classes can be useful—and hopefully acting classes will soon be able to meet in personal. I will not be teaching classes for actors either online or in person, but I am currently giving Zoom Q&As with no paywall—the way to find out about them is to follow me on one of my social media platforms. I hope to meet you (virtually) and I wish you all the best! Judith Yes
2 Sun, 06/13/2021 - 01:21 AM Ask Judith Anonymous 201.110.136.216 Zacil Canales zacilcanaless@gmail.com Hi Judith! My name is Zacil Canales. I am a Mexican film student and I recently started listening to your audiobook. I am a huge fan of it. I had previously read the paperback version but as i'm about to direct my first shortfilm I wanted to refresh my memory and relive the experience. I admire you so much, I haven’t found anything more clarifying than your words.

I would like to ask you if you had any advice for directing a horror film. Fear is a sensation that, in my opinion, is very difficult to act upon. How can I make an actor have that adrenaline rush that fear generates? What verbs or actions can be given? How can I help my actors?

Thank you so much in advance! I’ll never stop recommending your work, I’m a huge fan✨		 Hello Zacil,

Thank you for your kind words about the audiobook! It makes me very happy to know that you find it helpful. And thank you for your question.

I think this is a casting issue. I don't think it's the director's job to be able to make an actor have that adrenaline rush. At least not if you are working with trained, experienced actors. Professional actors have their ways of getting to these difficult emotional places. You can ask them if they have concerns about the role or about the scene to be shot and work with them as collaborators.

If you have cast someone who does not have training or experience in acting, that's a different story. So, really, my best recommendation is that you cast experienced actors. If there is an important reason why you want to cast an inexperienced person, make sure there is something special about them, that they have emotional intelligence and maturity, and then try different strategies and work something out together.

I send you all my best wishes,
Judith		 Yes

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  • “I took a seminar with an acting teacher named Judith Weston. I learned a key insight to character. She believed that all well-drawn characters have a spine, and the idea is that the character has an inner motor, a dominant, unconscious goal that they’re striving for, an itch that they can’t scratch. I took to this like a duck to water.”

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