PDF Ebook Changing Direction: A Practical Approach to Directing Actors in Film and Theatre: Foreword
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Changing Direction: A Practical Approach to Directing Actors in Film and Theatre: Foreword
PDF Ebook Changing Direction: A Practical Approach to Directing Actors in Film and Theatre: Foreword
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This approach, honed after years of on-set experience and from teaching at UCLA, NYU, and Columbia, and endorsed by many in the industry, including director Ang Lee (Brokeback Mountain and Crouching Tiger, Hidden Dragon) and producer/actor Edward Asner, aims to provide a helpful reference and resource for directors and actors alike. It combines underlying theory with dozens of exercises designed to reveal the actor's craft. There is material on constructing the throughline; analyzing the script; character needs; the casting and rehearsal processes; film vs. theater procedures as well as the actor and the camera. Distilling difficult concepts and a complex task to their simplest form, the author explains how to accurately capture and portray human behavior. The author's discussion of creative problems she has encountered or anticipated after years of experience, and her suggested solutions and exercises, are immediately useful. Additionally, hear what the actors have to say in excerpts from interviews with such acclaimed actors as Meryl Streep, Denzel Washington, Glenn Close, Robert Redford, Christopher Walken, Julianne Moore, and Michael Douglas (to name a few) who discuss their work with directors, what inspires them, and what they really want from the director.
- Sales Rank: #797620 in eBooks
- Published on: 2006-02-07
- Released on: 2006-02-07
- Format: Kindle eBook
Review
"It is a difficult book to describe, but a fascinating one to read - essentially the author manages to explain how a director must capture and portray human behaviour." - Image Technology
"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, Brokeback Mountain, Crouching Tiger, Hidden Dragon
"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's
"Lenore DeKoven has written a great book for the director searching for practical advice on the techniques of directing actors. Her work as a teacher has already affected a generation of young filmmakers, including Kim Peirce (Boys Don't Cry). One would be hard-pressed to find a more comprehensive 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 individuals 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
About the Author
Lenore DeKoven has had a distinguished and varied career in film, theatre, and television. Her activity in the film industry has included executive positions in the talent and story departments of Hecht-Lancaster and Palomar Pictures. She was the managing director of the Roundabout Theatre Company in its earlier days as well as producing several off-Broadway productions: among them Take a Giant Step with Louis Gossett and Entertain a Ghost with James Caan and Carol Rossen. 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 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 faculties 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
Most helpful customer reviews
20 of 21 people found the following review helpful.
Finally a book that simply illustrates the hardest part of directing!
By M. Ajello
I have been a filmmaker for over ten years, directing my own films as well as working as an assistant director on numerous indie productions during that period, and I have to say that anyone who is remotely interested in directing and filmmmaking must read this book.
Both from my own experience, and from my close observation of directors I have assisted in the past, there is no doubt that directing actors is the most challenging aspect in the panoply of arduous tasks that await the film director. Some shy away from it, hiding behind the monitor, some stumble through it hoping to arrive at a performance through trial and error, but very, very few actually know how to constructively and efficiently collaborate with actors to create truthful and compelling performances. I think it's because, unlike the creative process of writing a script or generating shot-lists and storyboards, actors are mutable, unpredictable - in a word, human - and somewhat like jazz improvisation, you can't completely plan the performances in a film. Instead, you are forced to observe them develop organically in real time and respond immediately. That's difficult, and the problem is most directors (even seasoned veterans) just don't know how to talk to actors - they don't speak a language that is useful to them. This is where DeKoven's book is immensely valuable and, in my experince, unique.
It provides a real step-by-step approach to learning a new language, which enables the director to give the actor a point of departure for a performance, and allows them to quickly communicate adjustments as that performance evolves. Although the process it describes is very complex, the writin is clear and the approach is very accessible. From the director's preparatory work (what DeKoven calls the throughline), to the on-set collaboration with all creative partners (not just actors), there is no part of a director's craft that will not be enhanced by exposure to this method. This book has filled a gap that I had hitherto been unable to fill in my library of fundamental texts for any filmmaker (you know the rest: Story, Impro etc.), and is a must-have for any filmmaker's toolbox.
12 of 12 people found the following review helpful.
The Right Direction
By Max the Maven
Lenore DeKoven, doyenne of Columbia University's graduate film department has here, in "Changing Directions," documented the pragmatic approach to film direction that she has passed onto generations of film students. This year's Best Director, Ang Lee, figures prominently amongst her many successful disciples and he has provided a rather inspiring introduction to both the book and to the challenges of film directing.
Suffice it to say, this work is essential reading and reference for the dedicated filmmaker and it belongs on the shelf alongside other nuts-and-bolts film books like Robert McKee's "Story" and Mascelli's "The Five C's of Cinematography."
Written in no-nonsense prose, DeKoven teaches a directorial process that begins by articulating a "through-line" - a concise statement that captures a director's interpretation of the script. These critical 'one-or-two-sentences' serve as a reference point against which all the subsequent production decisions can be made, from design to casting. She then takes you onto the set and details how the director translates the "through-line" into language that will help the actors build their performances. DeKoven's best text is saved for a thorough and practical discussion of this relationship between actor and director.
The best, most useful, least mysterious book on directing I have ever read.
3 of 3 people found the following review helpful.
A "MUST HAVE" for those Directors that are "SERIOUS" about the Craft of Directing the Actor!!!
By Rolando Sanchez
I have always been fascinated by a breathtaking emotional performance on film or on stage. I decided one day to take the leap of faith and venture into the world of a Motion Picture Film Director a few years ago. Little did I know that it's not as easy as it seems. There is actually a craft or an art form. I had the opportunity to realize my mistakes as a Director on my short film 2 years ago. The only problem was now that I identified the issue. I had to bring the attention to it.
Where and What book could teach me an approach or short hand form of communication to speak with my actors and help me bring out the performance I want in them.
Well my friends Your journey is over. The name of the book is called " Changing Direction " by Lenore DeKoven. GO BUY THIS BOOK NOW !!
After reading this book it has made my "Dreams become a reality". I am a firm believer that if you are honest with your self and realize your weakness in what ever it is that you do then Life will reward you with the answers. This is the answer you need to help you on your journey as Film/Theater Director.
I know what you maybe thinking there are many books out there. why should I purchase this one ? The only answer I can give you is " Lenore DeKoven's approach works all the time, A technique that really works. She gives you examples, exercises & It is a very well paced and structured book.
It has brought my game as a Director to a whole other level.
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