Changing Direction: A Practical Approach to Directing Actors in Film and Theatre: Foreword by Ang Lee

217 Pages·2006·1.11 MB·English

Praise for Changing Direction:
“The essence of Lenore's distinctive methods, developed over
many years, can be found in the pages of this excellent, clearly
written book.”
—Ang Lee, Director
“Lenore DeKoven says in her introduction to her book, Changing
Direction, that ‘everyone wants to be in show business’. Well I am,
but I've never wanted to direct. After reading Lenore's book, I may
reconsider my career choice.”
—Edward Asner, Actor/Producer
“I was one of the many people who, over the years, asked Lenore
to write her book, and finally she has. It's a thrill to read, as well
as a reminder of her great gift—her deep understanding of drama,
directing, actors, everyday life, and most importantly her wealth of
experience and huge heart. I will draw from this every time I
work.”
—Kimberly Peirce, writer/director of Boys Don't Cry,
Stop-Loss, student of Lenore
“Lenore DeKoven has written a great book for the director search-
ing for practical advice on the techniques of directing actors. Her
work as a teacher has already affected a generation of young
filmmakers. One would be hard-pressed to find a more compre-
hensive and clear approach to working with actors.”
—Bette Gordon, Director and Acting Chair of Film Division,
School of the Arts, Columbia University
“This book is much needed on the shelves for students and indi-
viduals interested in directing actors for film and theatre. Very few
books offer this approach with such specific and practical steps laid
out in detail, step by step.”
—Sheldon Schiffer, Georgia State University
Lenore DeKoven has had a distin-
guished and varied career in film, the-
atre, and television. Her activity in the
film industry has included executive
positions in the talent and story depart-
ments of Hecht-Lancaster and Palomar
Pictures. She was the managing director
of the Roundabout Theatre Company in
its earlier days as well as the producer
of several off-Broadway productions.
DeKoven was a member of the Theatre
Arts Division faculty of UCLA, where
she taught acting and directing on the
undergraduate and graduate levels. She
Photo by George Kunze
directed The Miracle Worker at Freud
Playhouse before returning to New York in 1980, where she
directed Another World for NBCTV. She is a member of the
Directors Guild of America and the League of Professional Theatre
Women and has directed many plays and staged readings in New
York. From 1981 to 1988 she was on both the theatre and film fac-
ulties of NYU’s Tisch School of the Arts. Since 1988 she has been a
member of the directing actors faculty of the Graduate Film
Division of Columbia University’s School of the Arts. Since 1981
she has been artistic director of Our Workshop East, a development
gym for actors, writers, and directors.
Changing Direction
This Page is Intentionally Left Blank
Changing Direction
A Practical Approach to Directing
Actors in Film and Theatre
Lenore DeKoven
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Library of Congress Cataloging-in-Publication Data
DeKoven, Lenore.
Changing direction : a practical approach to directing actors in film and theatre/Lenore
DeKoven.
p. cm.
Includes index.
ISBN-13: 978-0-240-80664-8 (pbk. : alk. paper)
ISBN-10: 0-240-80664-6 (pbk. : alk. paper)
1. Theater—Production and direction. 2. Motion pictures—Production and direction.
I. Title.
PN2053.D44 2006
792.02’33—dc22
2005029190
British Library Cataloguing-in-Publication Data
Acatalogue record for this book is available from the British Library.
ISBN 13: 978-0-240-80664-8
ISBN 10: 0-240-80664-6
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Contents
Foreword xi
Preface xv
Acknowledgments xvii
1
Introduction 1
2
The Actor and Training 7
Exercises 8
Relaxation Exercise 8
Concentration 10
Recall 11
Sense Memory Exercise 11
Recall Exercises 13
Physical State of Being Recall 14
Emotional Memory Exercise 15
The Method or a method 17
3
The Actor’s Vocabulary 21
Life Needs and Scene Needs 23
The Who Am I Exercise 25
Scene Needs 27
Choosing the Outline 29
Actions 30
Hello How Are You Exercise 34
Action Verb List 39
vii
viii Contents
Shorthand Communication 41
Additional Layers 44
Preparation and Personalization 45
4
The Text and the Throughline 47
The Text 47
Collaborating with the Writer 48
The Throughline 50
Constructing the Throughline 50
“Ordinary People” as Prototype 55
Writing the Throughline 56
5
Analysis of Script 59
Genre 59
Structure 60
Position of Characters 61
The Arc 61
The Givens 63
6
The Character Outline 67
Protagonist or Antagonist 67
Analysis of Character 68
Making the Choice 69
7
The Casting Process 75
The Character Description 75
Casting Resources 76
Categories 77
Articulating the Description 77
Casting Directors 79
Reading the 8(cid:3)10’s 82
Understanding the Training 84
The Interview 85
Graceful Rejection 87
Contents ix
The Audition 89
The First Reading 90
The Callback 93
Casting Children 95
Making the Final Choice 97
Adding the Camera 98
Matching and Chemistry 98
8
The Rehearsal Process 101
The Table Reading 101
Introductions 102
Discussion of the Throughline 104
Collaborating with the Actors 105
Scene-by-Scene Rehearsal 107
Movement in the Scene and the Use of Props 110
Starting the Scene 112
The Jump Ball 112
The Moment to Moment 113
Communicating with the Actors 114
ASample Scene 117
Designing the Arc 123
Choosing Needs 124
Rehearsal Schedule 130
Use of Improvisation 132
Nudity and Sex 134
Fight and Action Scenes 135
Rehearsing Children 136
9
The Actor and the Camera 139
Catch the Details 140
The Camera as Actor 140
Establish Geography 141
Choice of Shot 142
The Eyes of the Actor 143
Close-Ups 143
Number of Takes 144
Coverage 145