Skip to main content

Ask Judith: Submission #8

Secondary tabs

Submission Number: 8
Submission ID: 92
Submission UUID: 5334d7fc-bd02-4f10-bf5c-ce959964a18c
Submission URI: /web/ask-judith

Created: Sat, 08/14/2021 - 03:53 PM
Completed: Sat, 08/14/2021 - 03:53 PM
Changed: Tue, 12/26/2023 - 12:58 PM

Remote IP address: 66.212.210.82
Submitted by: Anonymous
Language: English

Is draft: No
Webform: Ask Judith
Submitted to: Ask Judith
Robert
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
  • “I am eternally grateful for your help.”

    TAIKA WAITITI, writer-director, JOJO RABBIT, THOR RAGNAROK, HUNT FOR THE WILDERPEOPLE, WHAT WE DO IN THE SHADOWS, BOY, EAGLE VS SHARK, FLIGHT OF THE CONCHORDS
  • “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.”

    ANDREW STANTON [from his Feb 2012 TED Talk] writer-director, FINDING DORY, WALL-E, FINDING NEMO, A BUG’S LIFE; director, BETTER CALL SAUL, STRANGER THINGS; writer, TOY STORY, TOY STORY 2, TOY STORY 3
  • "Judith's method is wonderful because it is practical. She has given me numerous tools to solve problems on the set and to earn the trust of actors. Her classes and her book are invaluable resources to any director."

    LAWRENCE TRILLING, director, GOLIATH, RECTIFY, PARENTHOOD, MASTERS OF SEX, PUSHING DAISIES, DAMAGES, BROTHERS AND SISTERS, NIP/TUCK, MONK, SCRUBS, INVASION, ALIAS, FELICITY
  • "Thank you for teaching me how to direct actors. Taking your classes made me believe I could direct. Taking your classes gave me a base, a foundation, a framework to find my own style. To step out on faith. I'm forever grateful. Love and respect to you, magnificent Judith Weston." 

    AVA DuVERNAY, director, WHEN THEY SEE US, QUEEN SUGAR, A WRINKLE IN TIME, SELMA, SCANDAL, MIDDLE OF NOWHERE
  • "Everything you taught me was more than useful. I am deeply grateful."

    ALEJANDRO GONZÁLEZ IÑÁRRITU, director, THE REVENANT, BIRDMAN, BIUTIFUL, BABEL, 21 GRAMS, AMORES PERROS