Changing Direction
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"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
Product Description
The approach presented in this book, 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 acclaimed actors such 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. A well-known director and coach shares her secrets on getting great performances from actors. It contains hands on; and is loaded with exercises. It is relevant to film, TV, and theater directors. The Foreword is written by Ang Lee, Oscar-winning director of "Brokeback Mountain" and a student of DeKoven's.
Inside This Book
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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7 reviews
14 of 15 people found the following review helpful
Finally a book that simply illustrates the hardest part of directing!
10 April 2006
Format:Paperback
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.
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.
10 of 10 people found the following review helpful
The Right Direction
24 Mar 2006
Format:Paperback
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.
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.
5 of 6 people found the following review helpful
Dynamic and Practical!
3 April 2006
Format:Paperback
Lenore DeKoven's book on directing should be required reading for all directors. She preaches a straight forward and artistically rewarding process. Her book gives us all access to this process in a clear, concise way. As a director, you can really use her process as a shorthand to get the results you want from your actors, designers, your entire team. Stop reading this review and start reading the book! You won't regret it!
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