| |
| |
| Dedication | |
| |
| |
| Acknowledgments | |
| |
| |
| How To Use This Book | |
| |
| |
| Foreword | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| |
| The Alchemist and The Story and The Writer | |
| |
| |
| Trick: Expressing Enthusiasm | |
| |
| |
| Trick: The Hidden Story | |
| |
| |
| The Story | |
| |
| |
| Socratic Questioning | |
| |
| |
| Pulling Back the Curtain | |
| |
| |
| Trick: The Hidden Subtext | |
| |
| |
| The Larger Picture | |
| |
| |
| Trick: Reframing The Picture | |
| |
| |
| Subtext: The Sorcerer's Apprentice | |
| |
| |
| Trick: Reading The Science Out Loud | |
| |
| |
| Trick: The Director and Writer Reading | |
| |
| |
| Trick: When the Actors Read It I Heard Something New | |
| |
| |
| Cutting a Scene, Character, or Event | |
| |
| |
| Trick: Microsurgery | |
| |
| |
| |
| Praise | |
| |
| |
| |
| More Praise | |
| |
| |
| |
| The Invitation | |
| |
| |
| |
| The Kill | |
| |
| |
| |
| The Kill | |
| |
| |
| Trick: Claiming Insanity as a Means to an End | |
| |
| |
| Responding to Rewrites | |
| |
| |
| The Script Is Never Finished | |
| |
| |
| Trick: 2+1+1 | |
| |
| |
| Raising Children | |
| |
| |
| |
| The Alchemist Hires Some Assistants | |
| |
| |
| The Casting Process | |
| |
| |
| Relationships | |
| |
| |
| Trick: Instant Relationship | |
| |
| |
| The First Meeting | |
| |
| |
| Humble Director | |
| |
| |
| Setting the Stage: Creating the 'Safe Zone' | |
| |
| |
| Boundaries | |
| |
| |
| Freedom | |
| |
| |
| Speed Dating | |
| |
| |
| The Character of the Actor | |
| |
| |
| Trick: Change the Environment | |
| |
| |
| Trick: A Walk in the Park | |
| |
| |
| |
| The Alchemist in Rehearsal | |
| |
| |
| |
| Why Do We Go to the Movies? | |
| |
| |
| |
| Where Does the Story Live? | |
| |
| |
| |
| What Is the Most Important Directorial Skill? | |
| |
| |
| The First Reading | |
| |
| |
| Trick: The Confidence Con | |
| |
| |
| The First Reading of the Script | |
| |
| |
| Trick: Erase Expectations | |
| |
| |
| Trick: Gratitude and Praise | |
| |
| |
| No Criticism | |
| |
| |
| The Actor's Job | |
| |
| |
| First Rehearsal | |
| |
| |
| Peripheral Vision | |
| |
| |
| Point of Concentration (POC) | |
| |
| |
| Pause and Clip | |
| |
| |
| Comfort and Conflict | |
| |
| |
| Trick: Pause | |
| |
| |
| Trick: Clip | |
| |
| |
| The Release | |
| |
| |
| Activities: Independent, Dependent, and Continuums | |
| |
| |
| Trick: Break the Continuum | |
| |
| |
| Staging Tricks During Rehearsal | |
| |
| |
| Staging for Rehearsal vs. Staging for Performance | |
| |
| |
| Trick: Change the Seatig Arrangement | |
| |
| |
| |
| Back to Back | |
| |
| |
| |
| One Behind the Other | |
| |
| |
| |
| One Direct, One Profile | |
| |
| |
| |
| Move an Actor, Read Again | |
| |
| |
| Trick: Changes in Space | |
| |
| |
| Obstacles and Staging | |
| |
| |
| The World of Subtext | |
| |
| |
| Definition of Subtext | |
| |
| |
| Trick: Subtext Interjection | |
| |
| |
| |
| The Line After | |
| |
| |
| |
| New Subtext Lines | |
| |
| |
| |
| Actor's Choice | |
| |
| |
| |
| No Subtext Interjection | |
| |
| |
| Trick: Simultaneous Monologues | |
| |
| |
| Variations on Simultaneous Monologues | |
| |
| |
| Monologue Topics | |
| |
| |
| Directorial Input | |
| |
| |
| Other Subtext Tricks | |
| |
| |
| Trick: Text VS. Subtext | |
| |
| |
| Trick: Subtext Before Text | |
| |
| |
| Trick: Switch | |
| |
| |
| Trick: The Touch | |
| |
| |
| Trick: Continuous Subtext | |
| |
| |
| Subtext Wrap Up | |
| |
| |
| Staging the Scene Tricks | |
| |
| |
| The Power of Staging | |
| |
| |
| Restaging: An Example | |
| |
| |
| Trick: Change the Environment (Physical) | |
| |
| |
| Trick: Adding and Subtracting Characters | |
| |
| |
| Trick: Using Objects and Props | |
| |
| |
| The Purse | |
| |
| |
| The Pen | |
| |
| |
| The Handkerchief | |
| |
| |
| Trick: Eye Contact | |
| |
| |
| |
| The Alchemist and the Actors in Production | |
| |
| |
| Phase of Production | |
| |
| |
| Rehearsal for the Crew | |
| |
| |
| Trick: Holding the Reins | |
| |
| |
| Rehearsal with the Actors | |
| |
| |
| From Crew Rehearsal to Crew Ready | |
| |
| |
| The Actor in Production | |
| |
| |
| Make-up Room Rehearsal | |
| |
| |
| Trick: Character Preparation | |
| |
| |
| Trick: The Walk to the Set | |
| |
| |
| Final Rehearsal | |
| |
| |
| POC for shooting | |
| |
| |
| Adjustments | |
| |
| |
| Result Directing | |
| |
| |
| Trick: The Last Conversation | |
| |
| |
| Trick: The Pep Talk | |
| |
| |
| Trick: New Objective | |
| |
| |
| Stakes and Risks | |
| |
| |
| Changes of Rhythm | |
| |
| |
| Trick: Consideration | |
| |
| |
| Trick: Repetition | |
| |
| |
| Trick: One Word | |
| |
| |
| Trick: Off-Camera Actor: The Subtext Blast | |
| |
| |
| It's A Wrap | |
| |
| |
| |
| Words Of Wisdom From Some Wonderful Wizards | |
| |
| |
| director | |
| |
| |
| |
| director | |
| |
| |
| |
| director | |
| |
| |
| |
| director | |
| |
| |
| |
| director | |
| |
| |
| |
| director | |
| |
| |
| |
| In Conclusion | |
| |
| |
| About the Author | |