"Judith Weston is an extraordinarily gifted teacher. I was delighted to find that what I had always perceived as the over-intellectualizing, self-regarding methodology of The Actor is in fact just the reverse - a kit of concrete, practical tools to make the ineffable reachable, time and time again over many takes or performances. " DAVID CHASE, director, writer, executive producer, THE SOPRANOS, NORTHERN EXPOSURE, I'LL FLY AWAY, ROICKFORD FILES "Judith's course is probably the single best thing you could do for yourself as a director. I was able to use the techniques the very next day on the set. Judith has made a difference in my career. " BRIAN ROBERTS, director, EVERYBODY LOVES RAYMOND, THE DREW CAREY SHOW, KING OF QUEENS, THE HUGHLEYS "I've been recommending this class to everyone I know. It is a unique experience. I know a great teacher when I find one, and Judith is that. POLLY PLATT, producer, BOTTLE ROCKET, SAY ANYTHING, TERMS OF ENDEARMENT, BROADCAST NEWS "I believe that working with Judith's ideas and principles has been the most useful time I've spent preparing for my work. " JOHN PATTERSON, director, THE SOPRANOS, THE PRACTICLE, LAW AND ORDER "After living on movie sets for over fifteen years, Judith's class opened a door for me to an aspect of that creative process about which I hod never really been aware - acting. " RON JUDKINS, director, THE HI-LINE, in competition of Sundance 1999; production sound mixer, SAVING PRIVATE RYAN (Academy Award), SICHINDLER'S LIST (Academy Award nomination) "After reading Judith's book and using as many of its principles as I could, I was hungry for a more in-depth understanding of how to work with actors. The class exceeded my expectations and I can't wait to put these concepts into practice. " BEN ROCK, production design, THE BLAIR WITCH PROJECT

ACTING FOR DIRECTORS AND WRITERS AND PRODUCERS The acting class for industry professionals on the other side of the camera. Projected schedule for next few months is here To put into practice the tools of Acting for Directors, forge new skills, hone and raise to a new level the skills you have, Judith offers Advanced Work for Directors. You will learn how to gain the actors' trust, maintain authority, stick to your vision, and get the job done without shutting down the actors' creativity. There are creative alternatives to "result" direction. The language of permission is more effective than the language of enforcement, and a commitment to process is more efficient than an insistence on result. In Judith's classes, you work with professional scripts and professional actors. Each totally hands-on workshop is limited in enrollment, with extra one-on-one feedback and consultation outside of class. It's a step-by-step approach to preparation and rehearsal, as well as guidance in "solving" a scene, working beat by beat, using the "through-line," troubleshooting actors' resistances, and making breakthroughs. But what's more, and what's better, is that learning to fulfill the potential of the actor-director relationship will bring you personal joy and creative inspiration. back to the top   A CRUCIAL ELEMENT OF FILM PRODUCTION is understanding the process and requirements of performance. This unique workshop provides indispensable techniques and new insight to give you confidence and develop your "eye." You will do scene study, improvisation and acting exercises, and will learn:   how to establish a collaborative relationship with actors how to be more specific and effective with your direction troubleshooting poor performances what to do when an actor disagrees with your interpretation how to rehearse; why to rehearse; when not to rehearse a fresh approach to casting how to match a performance and still keep it alive take after take what to do when actors freeze up; when to push an actor; when to leave them alone what you can do to make "chemistry" happen how to get more out of close-ups what is "result" direction; why it is bad; how to avoid it through-lines and "beats" how to work with objectives and adjustments (the magic "as if") the uses of sense memory objects and personal substitutions how to find and use a character's spine; the difference between a spine and an arc adding "layers" to a characterization the power of opposites how to encourage creativity in actors, trigger your own imagination and insight, and become a superior storyteller how to work with "difficult" actors; how to work with non-actors; how to work with stars an organic approach to blocking guidance and incentive to do your pre-production "script analysis" homework Stanislavski, the "Method," Lee Strasberg, Sanford Meisner, Stella Adler transformation JUDITH WESTON is the author of DIRECTING ACTORS Creating Memorable Performances for Film and Television. She has been teaching her renowned Acting for Directors workshops in Los Angeles, New York, Europe, Canada and Rockport, Maine since 1988. DIRECTING ACTORS is available here. Required reading at studios and film schools DIRECTING ACTORS is a book that all Hollywood is finding invaluable. It provides simple, practical tools that directors can use immediately, and brings the reader into a deep contact with the magic and mystery of the creative process. back to the top "Directing Actors ... is filled with constructive information that would serve not only the neophyte but also the skilled professional director A must read for any director working with actors." DGA MAGAZINE "Directing Actors is a terrific book - informative, exciting, even inspirational" JOE RUBEN, director, RETURN TO PARADISE, MONEY TRAIN, SLEEPING WITH THE ENEMY, THE STEPFATHER "I've been treating DIRECTING ACTORS as if it was the Golden Gate Bridge - as soon as I finish reading it, I start all over again, It's invaluable." JOANNA CAPPUCCILLI LOVETTI, editor, THE SOPRANOS (Emmy award), CUPID, FELICITY, MY SO-COLLED LIFE, THIRTYSOMETHING "DIRECTING ACTORS is one of the best books I have read on how to communicate with actors. As an aspiring director it is an invaluable tool I constantly refer to. As a casting director it is a helpful guide to giving quick, easy adjustments to actors. It is also a must-read for any actor It's a terrific book." ELLIE KANNER, casting director, pilots of FRIENDS, DREW CAREY SHOW, SEX AND THE CITY AFTER COMPLETING the Acting for Directors course, you are invited to Judith's advanced-level workshops in Script Analysis and Creative Rehearsal Techniques. In addition, Judith consults privately with directors in pre-production, to take you below the surface of your script and prepare you to cost, rehearse and shoot. Judith's courses are recommended by major studios; she has consulted on major film and television projects, as well as numerous independent films. Her Los Angeles teaching schedule also includes weekly scene study classes for actors and non-actors. A $75 deposit ensures your place (enrollment is limited); the remainder is due at the first class. Visa and MasterCard are accepted. You may call (310) 392-2444 to charge your deposit, or you can send a check to: Judith Weston, 1827 Glyndon Avenue, Venice, CA 90291. If you have any questions, please don't hesitate to contact me at (310) 392-2444 or judyweston@aol.com. LOCATION Two Lights Acting Studio, 3447 Motor Avenue, Suite "A", Los Angeles, is convenient to the 10 and the 405 Freeways. Suite "A" is on the second floor; the entrance is set back from the street; in front is a hair salon. There usually is good street parking. back to the top DNet HOME] [Director Employment] [Join DNet] [Bulletin Board] [Other Directors] [Classic Directors]  [Your Ad on DNet]  [Industry Links] ©2000 DirectorsNet.com, Inc. ALL RIGHTS RESERVED.