Praise for the books and workshops of Judith Weston:
"Everything you taught me was more than useful. I am deeply grateful."
ALEJANDRO GONZÁLEZ IÑARRITU, director/producer, BABEL, 21 GRAMS, AMORES PERROS
"Judith Weston is an extraordinarily gifted teacher. She doesn't so much explain as she changes your consciousness of the creative process and restores your confidence in it, through acting. I was delighted to find out 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. I kept wishing I had taken the class before I had a chance to maul certain costly scenes featuring talented professional actors. But it's too late now. Film never dies. I really think that next time, after taking Judith's class, I'll be more able to help myself, the actors, and most of all, the movie."
DAVID CHASE, writer, director and executive producer, THE SOPRANOS, NORTHERN EXPOSURE, I'LL FLY AWAY, ROCKFORD FILES
“Judith Weston taught me how to listen – what she called ‘listening with your whole body.’ She taught me about the power and the magic of the subconscious world. She showed me doors and windows and portals into creative possibilities I scarcely knew existed. Her wisdom changed the way I write, the way I direct actors – and, with no exaggeration, the way I look at life.”
MARK FERGUS, co-writer: CHILDREN OF MEN, IRON MAN; director: FIRST SNOW
"Directing my first movie would have been impossible without Judith's book, 'Directing Actors.' Her insights taught me how to audition actors, how to cast intelligently, how to rehearse. When production began, I cribbed a set of Weston reminders on to a 3-by-5 index card, and kept it in my shirt pocket every single day of shooting. She saved me."
BILLY RAY, writer-director, SHATTERED GLASS, BREACH; writer, FLIGHTPLAN, VOLCANO, HART'S WAR, SUSPECT ZERO
"I bought a copy of ‘Directing Actors’ about ten years ago, right before I directed GHOST WORLD. Looking back through it today, the thing that struck me, is how dog-eared and tattered it is, which speaks volumes about just how much I referred to it. It's a terrific book - concise, insightful, and practical - and has helped me enormously. Thanks Judith!"
TERRY ZWIGOFF, director-writer, CRUMB, GHOST WORLD, BAD SANTA
"Judith's ideas and principles are incredibly useful when it comes to giving clear, actionable direction to actors. To anyone aspiring to direct, I would recommend making her classroom one of your first stops."
LEV L. SPIRO, director, UGLY BETTY, WEEDS, EVERYBODY HATES CHRIS, ARRESTED DEVELOPMENT, THE O.C., AMERICAN DREAMS, EVERWOOD, GILMORE GIRLS
"Yes, Judith is the secret weapon for so many talented filmmakers. But she’s also that restaurant where the food is so delicious, you don’t want to tell anyone about it for fear you won’t be able to get a table one day when you are really hungry. So against my better judgment, here goes… Not only is Judith my single best resource as a director, she's simply one of the best and most generous teachers I've ever had. I would not consider making a film without getting her input at each stage in the process. Her workshops were the starting place for me in breaking down artificial but stubborn walls between actor and director; between director and screenplay. Once addicted, I began working privately with her, and have found her as inspiring in the writing process as she is in the casting process. As energizing during shooting as during the edit. As useful on a narrative film, as on a documentary. Known for her insight into scripts and actors, her gifts extend to all aspects of storytelling, and beyond that to life. When I am shooting, she is often my first call in the morning and my last call at night. But Judith is no Yoda-like figure trafficking in abstractions. She is immensely practical – unafraid to get down in the dirt, to argue, conspire, cajole, to give you the tools you need to overcome each day’s obstacles by any means necessary to make a scene, a moment, great. Perhaps rarest of all, she’s willing (kindly, constructively, but firmly) to give you the bad news, when something you’ve worked hard on still just isn’t that interesting. But there’s seldom a pause between that revelation and the moment when she calls your attention to the idea that helps you get the enterprise back on track. I wish I could carry her with me every day."
ANDREW JARECKI, director/producer, ALL GOOD THINGS, CATFISH, CAPTURING THE FRIEDMANS
"Judith's method is wonderful because it is practical. She has given me numerous tools to solve problems on the set and to earn the trust of actors. Her classes and her book are invaluable resources to any director."
LAWRENCE TRILLING, director, PARENTHOOD, PUSHING DAISIES, DAMAGES, BROTHERS AND SISTERS, NIP/TUCK, MONK, SCRUBS, INVASION, ALIAS, ED, FELICITY
“Judith Weston gave me the greatest gift you can give to a first-time director - she gave me confidence in my ability to work with actors. What my actors didn't know is that most of the brilliant direction I gave them was ripped straight from her book, "Directing Actors". Thank god they had not read it! She is my mentor. She is my friend. I will be forever grateful for her extremely hands on and applicable advice for directing actors and I know I will use it for the rest of my career. She has a contagious love of the process and an unbelievable understanding of human emotion. I would not be where I am today if it had not been for her.”
SHANA FESTE, writer/director, THE GREATEST (Sundance 2009 Dramatic Competition); named as one of Daily Variety “10 Directors to Watch”
“Your workshop was wonderful in letting me know that many of the things I am already doing are the correct way of dealing with actors and taught me other things that add to that knowledge. And your patience and unbridled energy and passion for what you teach is more than admirable, it is inspiring. So thank you once again for this wonderful experience, one I will never forget and that will continue to help me on this path on which I am forever learning about new and wonderful things.”
MICHAEL TRIM, director, WEEDS, PARKS AND RECREATION, MAN UP; Cinematographer, 30 ROCK PILOT, WEEDS (Emmy Winner), PARKS AND RECREATION
“Judith opened up a whole new world for me in both script analysis and communicating with actors."
TARA NICOLE WEYR, director, DESPERATE HOUSWIVES
“I really wanted to thank you because I know that I could have not done it without the knowledge I got from you. You will always be one of the greatest teachers I've ever had and I'm truly proud to be one of your students. Thank you for teaching me to love my actors.”
TANEL TOOM, writer-director, THE CONFESSION (nominated for Academy Award, Live Action Short Film, 2011)
“I had the best time and went home so inspired that I managed to finish a new draft of my script!”
TAIKA WAITITI, director, writer, FLIGHT OF THE CONCHORDS; writer-director, BOY (Sundance 2010 World Cinema Dramatic Competition), EAGLE VS SHARK
"Judith Weston has taught me about more than directing. She has taught me about life. Her deep understanding of the human condition serves as a constant reminder that filmmaking is a mirror of the soul. Whether she is guiding a director in rehearsal technique, or an actor in bringing life to a scene, her intention is always to break through facades and reveal the truth of the underlying human experience. If you take a Judith Weston class, prepare to be pushed beyond your comfort zone and into the terrifying and exhilarating world just beyond, the world where your art and your heart become one. You will never look at directing, or life, the same way again."
KAMRAN PASHA, writer-producer, KINGS, BIONIC WOMAN, SLEEPER CELL
When I began directing my first feature film my greatest apprehension was working with actors. I had no idea how I was going to do it. I didn't know where to begin. I was full of doubt and fear. Because of Judith's books and classes that fear became the source of my greatest pleasure and satisfaction on the movie. Her teachings gave me confidence and insight and real practical, useful tools to do good work. Before every session with an actor I would go over my script pages and re-read Judith's books and my notes from her classes. This 'homework' allowed me to walk into those sessions with the confidence born of preparation and a joyful heart at the thought of the adventure to come. I now love working with actors and know that this will be a lifelong journey of discovery. It is a journey I would never have had the courage to take without Judith's wisdom to guide me.
JOHN STEVENSON, director, KUNG FU PANDA
"Judith, you're the one that gave me the tools for success with actors!"
KAREN GAVIOLA, director, LOST, CSI: Miami, GHOST WHISPERER, PRISON BREAK, WITHOUT A TRACE, BROTHERS AND SISTERS, ELEVENTH HOUR
“Judith, you have so much integrity and I love how throughout the years you have encouraged me to keep it honest and real and to trust my instincts. It feels so good to be able to go to sleep and know that my work has integrity, that I have kept it honest to the story, to myself, to the characters. I also like how you help me to break down the humongous task of directing into smaller, doable steps. And most of all that you encourage me to look inside me for the answers, and to trust my instincts and my passion, which are ultimately my most important asset as a director.”
PATRICIA CARDOSO, director, REAL WOMEN HAVE CURVES
“In your classes I learned to love actors and acting. The experience opened for me the secret door to the magic I witnessed when actor and material find each other in just the right way. What I once thought were 'happy accidents' and performance miracles are now the kernels of creativity I relentlessly pursue with an actor finding a performance. You helped me find that part I could play in the process and how to capture it.”
FRED TOYE, director, FALLING SKIES, THE GOOD WIFE, FRINGE, LOST, BROTHERS AND SISTERS, GHOST WHISPERER, CHUCK, THE 4400
"Directing Actors is a terrific book - informative, exciting, even inspirational."
JOE RUBEN, director, THE FORGOTTEN, RETURN TO PARADISE, MONEY TRAIN, SLEEPING WITH THE ENEMY
"Judith Weston is a great teacher. She's inspired me to be interested in people more than concepts, behavior more than attitudes, process more than results. In her classes I've learned to ask more questions, to trust what is happening, and to always be willing to dig deeper. She is the kind of teacher who makes me excited about taking chances."
NORMAN BUCKLEY, director, CHUCK, GOSSIP GIRL, MAKE IT OR BREAK IT, MELROSE PLACE, 90210, PRIVILEGED, THE O.C.
"Judith Weston is a secret treasure for directors. She offers practical tools to help you get a deeper understanding of the script and of the characters, and then helps you develop a language to communicate your ideas in a way that corresponds to the actor's process. What's more, she does all of this in a way that encourages spontaneity and creativity."
JEFFREY FRIEDMAN and ROB EPSTEIN, writer-directors, HOWL (Sundance 2010 Dramatic Competition); producer-directors, PARAGRAPH 175, THE CELLULOID CLOSET, COMMON THREADS: STORIES FROM THE QUILT (Academy Award, best feature documentary)
"I didn't realize how lucky I was to have found Judith Weston until day one of directing my first feature film. Everything I had learned in her classes -- every tip, trick, and piece of advice was there for the taking. And take I did. For months on end, her insights provided me with the confidence I needed to help my actors find their characters. Even when I hit dead ends, I simply snuck off to my trailer to scour her books for guidance. They were like Gideon Bibles for a lonely salesman -- waiting to provide inspiration in my time of need. Judith Weston is more than a teacher; she's a treasure."
MARC KLEIN, writer-director, SUBURBAN GIRL; writer, SERENDIPITY, A GOOD YEAR
"Judith's thoughts and insights have proven indispensable to me with every project I direct. Her approach is not a prepackaged plan. She gives you the fundamental tools and ideas to make your preparation, planning and execution deeply personal and inspired. I know my own work and career have been permanently informed by the things I've learned by working with Judith."
ROBERT DUNCAN MCNEILL, director, THE NINE, IN CASE OF EMERGENCY, THE KNIGHTS OF PROSPERITY, DESPERATE HOUSEWIVES, THE O.C., LAS VEGAS, MEDIUM, STAR TREK: ENTERPRISE, STAR TREK: VOYAGER, DAWSON’S CREEK
"Judith Weston is not a drama teacher, she is an art teacher. She understands that at the heart of great drama is a powerful mystery. What she shows you in her workshops and her book are simple and effective tools that help you get deeper and deeper into that rich, complex and surprising place."
DAVID JACOBSON, writer-director, DOWN IN THE VALLEY, DAHMER
"Judith Weston's 'Acting for Directors' (seminar and book) gave me my first real insight into the work of the actor and the relationship between actor and director. Practical, scary and inspiring, it taught me to think in new ways and turned out to be the ideal introduction to the impossible task that lay ahead."
HENRY BEAN, writer-director, NOISE, THE BELIEVER (Sundance 2001 grand jury prize winner)
"Animation is a very collaborative art form, but participating in Judith's workshops - both as actor and director - taught me more about the uniquely creative process of collaborating than twenty years in animation. In my profession, the actor is often seen as just a voice, recorded in isolation, cut up and then reassembled. I found Judith's book, and later her workshops, bridged a huge gap in my education as a director helping me better understand the actor's process. Judith clarifies the unique relationship between actor and director. She shows you how to promote an atmosphere of safety, allowing creative spontaneity between you and your actors. The value of this cannot be overstated. When you are free to explore ideas without fearing loss of control, great things can happen."
VICKY JENSON, co-director, SHARK TALE, SHREK
"Many directors are on uneasy ground when giving actable adjustments to actors. Judith's ideas and tools can provide you a firm footing and revolutionize your approach. 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, SIX FEET UNDER, CARNIVALE, THE PRACTICE, LAW AND ORDER
“Thank you for your amazing insight, wisdom, patience and extraordinary ability to unlock the mystery of the actor's process so that I can direct more effectively and with far greater understanding. After reading your book and taking your 3-day intensive workshop, I feel my directing skill has increased exponentially. I implemented your "box of tools" during rehearsal for my current stage production MONSTER and have met with immediate success. The actors responded to my imagery questions and "verb" suggestions like ducks to water. I wish I'd taken the course several years ago when I first began directing, and intend, from this time forward, to have your book and my workshop notes by my side, whether I'm in-show or on a film set. I thank you, Judith, for your generosity of spirit in sharing what you know.”
DIANE NAMM, director, THE SACRIFICE; artistic director, West of Broadway Theater Company
“Since taking your workshop I have had time to try out working with actors following your methods and your attitude towards scenes, actors and directing, and I must say that nothing is as it was before. Instead of the mystery, the strain and the confusion of many past experiences, working with actor is now challenging, fun and an open book. I have described my first time working with what I learned in your workshop on a little website I have created - a Judith Weston Workshop Blog.
TONI WEISS, commercials director, Vienna Austria
“I so loved your class, Judy, I've been recommending it over and over to our students. I knew you'd be the real deal, and you certainly are.”
MARC ZICREE, writer-director-producer; co-founder SUPERMENTORS
"The workshops I've done with you have been a constant inspiration. You've changed the way I think and the ways I work. Thank you so much for the consultation on ‘Suburban Mayhem.’ You opened up so many exciting ideas which became the basis of my thinking and then my rehearsal plan, stuff that ultimately shaped the film I made. I owe you enormously Judith. So many things were forged in that conversation, it renewed my confidence and really re-energized me and the script. Our conversation became the springboard for so much that happened during the making of the film."
PAUL GOLDMAN, director, SUBURBAN MAYHEM, Un Certain Regard, Cannes 2006
“I had a very interesting opportunity to employ your directing techniques earlier this year. I’ve been making a 3D Imax movie of U2 in concert, and Bono was having trouble with certain parts of his performance on stage. We worked on taking his attention off himself and placing it on the audience, finding a strong intention, using verbs and concentrating on the effect he was having on his audience. He really got into it saying that no one had ever worked with him in such a clear and helpful way. Then to see him successfully apply it in front of 80 thousand people was a real treat.”
TOM KRUEGER, cinematographer, U2 3D
"The Film Director's Intuition is a box of magical tools to inspire every director, thereby enabling them to inspire actors to wonderful performances. This is a seminal text in the field and a brilliant gift from Judith Weston to everyone who seeks to understand dramatic art."
DEBORAH BROCK, writer/co-executive producer HONEY, I BLEW UP THE KID; co-producer BUFFALO '66
"I cannot imagine having had to direct this film without having taken Judith's workshop. She was a tremendous help and influence."
GARY YATES, director, SEVEN TIMES LUCKY, screened at Sundance 2004, awards from Method Fest, Vancouver International Film Festival, DGC
"Judith's classes and books gave me the language to speak to actors. She's like the 'emotional Berlitz' for directors! I learned how to communicate with actors to create not an indication of character but a true performance."
MARK ROSMAN, director, A CINDERELLA STORY, THE PERFECT MAN, LIFE-SIZE, LIZZIE MCGUIRE
"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. So many more tools to use as a director - help with casting, scene work, actors that were having problems. The actors love what I am doing now. Judith has made a difference in my career."
BRIAN ROBERTS, director, EVERYBODY LOVES RAYMOND, THE DREW CAREY SHOW, KING OF QUEENS, THE HUGHLEYS, etc.
"In one weekend, Judith Weston will either teach you, or reconnect you, with the process of acting. Her overview of styles and methods are invaluable to anyone who has to deal with actors. And her class is easy to reach from most major freeways. For these reasons, and more, I strongly recommend that you take it."
ZAK PENN, screenwriter, X-MEN: THE LAST STAND, FANTASTIC FOUR, ELEKTRA, BEHIND ENEMY LINES, INSPECTOR GADGET, LAST ACTION HERO
"Judith Weston's book "Directing Actors" was by my bedside all during the making of AN AMERICAN RHAPSODY. It helped me prepare for the scenes to come, to better understand and communicate with my cast and gave me tools as to how to deal with problems. When I discovered that she taught a workshop, I immediately signed up. The three days spent in her class were exciting, insightful and a tremendous artistic experience. I know I will carry both Judith and her book with me on every film to come." EVA GARDOS, director, AN AMERICAN RHAPSODY
"A blast! Judy's 'Acting for Directors' cleaned out 'badly comfortable' directorial habits, accumulated over the years, and blew a fresh wind through my system. Especially when directing episodic TV, where speed is so important, we need a concise language to communicate not only with the crew but especially with our actors. And for some odd reason, this language is still a 'foreign' language to most of us. In Judy's class we discover that this foreign language is actually our 'native' tongue, that we have it within us, that it is fun. And then we get to play! This class should be mandatory for every director, new or veteran, who has the desire to explore his craft deeper and bring out better performances in his actors."
WINRICH KOLBE, director, "24", ANGEL, PREY, STAR TREK: VOYAGER, NEXT GENERATION, DEEP SPACE NINE
"Judith manages to awaken one to one's one deepest resources. Her class 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; writer, MAP OF THE WORLD, PRETTY BABY
"A must read for any director working with actors. 'Directing Actors' is filled with constructive information that would serve not only the neophyte but also the skilled professional director."
"Sun Tzu may have the market covered on war, but when it comes to the art of directing actors, Judith Weston reigns supreme. Like her first book, 'The Film Director's Intuition' is a title that belongs on every director's bookshelf and film set!"
"One book that doesn't need a discount -- in fact it's worth its weight in Spirit Awards -- is Judith Weston's 'The Film Director's Intuition.'"
"I was repeatedly struck by her deep insight into the craft [in DIRECTING ACTORS]. This is the best kind of writing about acting."
"DIRECTING ACTORS is one of the best books I have read on how to communicate with actors. It is also a must-read for any actor. It's a terrific book."
ELLIE KANNER, author NEXT! AN ACTOR’S GUIDE TO AUDITIONING; casting director SEX AND THE CITY, FRIENDS, THE DEAD ZONE, DREW CAREY SHOW, SABRINA THE TEENAGE WITCH, etc.
"I think Judith Weston is one of the most passionate and sensitive acting instructors. She has the gift of clarity."
KATHLEEN LETTERIE, former head of talent, WB Network
"There is NO ONE else in this town or in the world that I would recommend more highly than Judith; she is unsurpassed as a teacher and mentor. Actors can totally trust whatever she has to give them."
LESLEE DENNIS, casting director, CHARMED, NASH BRIDGES, etc.; Academy Award winning short film LIEBERMAN IN LOVE
“Wow. What isn't covered in Judith Weston's take [in The Film Director’s Intuition] on the slippery subject of analyzing scripts and applying that insight to help an actor work? The weaving of relevant stories — from top directors, writers, actors, and others — helps drive home the salient points of Weston's very practical handbook.”
“For directors, The Film Director’s Intuition is worth its weight in gold. Weston's approach to script analysis is very thorough and imaginative. Her passion is to improve the way directors deal with actors, [but] Weston's techniques can also be applied by writers, especially when it comes to engaging all their senses imaginatively in making the script come alive.”
"Judith creates a collaborative, safe and creative environment in which to work and experiment. She develops an atmosphere conducive to taking risks, to trying new things and ultimately to fostering growth as both actor and director."
SETH JARET, executive producer, 10 THINGS I HATE ABOUT YOU
"Your methods (pardon the word) are so thoughtful, humane, and insightful, that I couldn't help but drink them in like a tonic. I'm hoping one day soon we'll work together on a project."
JOHN MARKUS, writer-producer, KRISTIN, LATELINE, LARRY SANDERS SHOW, THE COSBY SHOW
"In preparation for my first movie, I studied Judith's book "Directing Actors" until the pages were shredded, took her weekend workshop, followed by her six-week workshop, and finally... a private one-day session where we focused only on rehearsal techniques. I still walked onto the set a novice, but I was prepared, I had a game plan and I was confident. And when James Earl Jones had a question, more times than not, I had an answer."
JEFF PROBST, writer-director, FINDER'S FEE
"Judith Weston understands the complex relationship that exists between actor and director. She demystifies the psychology of actors by explaining in simple terms what they need from the director in order to bring their roles to life. Whether a first-time director or an experienced veteran, you'll benefit from listening to Judith Weston."
MARK STEVEN JOHNSON, writer-director, DAREDEVIL, SIMON BIRCH; writer, GRUMPY OLD MEN, JACK FROST
"Judith's classes made me feel like I moved from coloring with a 'Crayola 6-pack' to the 'Double-Decker Boxed Set of 64 with Built-in Sharpener.' Her classes are so good, I don't want to tell anyone about them!"
PEGGY RAJSKI, director, TREVOR (Academy Award, live-action short); producer, BEE SEASON, HOME FOR THE HOLIDAYS, USED PEOPLE, MATEWAN; co-producer, THE GRIFTERS
"There's no better place to discover new directing tools or to rethink old ones than in Judith Weston's courses. In an environment where growth is deeply supported and new insights never stop coming, this gifted teacher gives you a new way of thinking in her own uniquely warm and candid manner."
CARLOS AVILA, director, PRICE OF GLORY, FOTO-NOVELAS (PBS)
"Judith Weston's unique class offers insight into the minds of actors. It presents to the director an extremely valuable channel of communication that can make an award winning performance. Filmmakers: don't pass this opportunity by!"
WILLIAM LINSMAN, TV Commercial Director (Honda, Pampers, McDonald's, Wendy's, Crest, Chevrolet)
"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 had never really been aware - acting. Her teaching style is organic, logical and extremely helpful."
RON JUDKINS, director, THE HI-LINE, Sundance 1999; production sound mixer, WAR OF THE WORLDS, MINORITY REPORT, PUNCH DRUNK LOVE, ARTIFICIAL INTELLIGENCE: AI, SAVING PRIVATE RYAN (Academy Award), SCHINDLER'S LIST (Academy Award nomination)
"Thanks for the superb directing class. I learned so much that it will take several weeks and another reading of your book to process it all. I look forward to putting your teachings to work on the set of 'Becker.'"
DARRYL BATES, director, THE COMEBACK, LISTEN UP, BECKER, JUST SHOOT ME, WINGS
"I directed my first feature, a romantic comedy called 'Anja and Viktor'. I used your method in directing the actors, and it worked out absolutely great. I can't tell you how smooth everything went, we had a great time, the actors were thrilled and able to be in the moment more than ever in front of the camera. Many of them grew to unexpected heights of performance, and surprised everybody, even me. I'm so grateful for what you taught me, and grateful that you're sharing what you know. The film opened two weeks ago. It's an absolute blockbuster. We hit the Danish record on best opening weekend and best ten first days. No other film, Danish or foreign, has ever sold that many tickets in Denmark in such a short time. The reviews were excellent (except for one!!) and they all mentioned the good acting!!!"
CHARLOTTE SACHS BOSTRUP, director, ANJA AND VIKTOR, Denmark
"I wanted to thank you again for the wonderful job you did of teaching Acting for Directors. You do a great job of making a non-actor comfortable in a very intimidating situation. I came away with many insights and thoughts on directing and acting."
TOM MOORE, producer, JUDGING AMY; editor, NORTHERN EXPOSURE (Emmy), ALLY MCBEAL (Emmy nomination)
"Judith can and will allow you to see with new eyes."
DENNIS GASSNER, production design, THE GOLDEN COMPASS, BIG FISH, O BROTHER, WHERE ART THOU?, THE TRUMAN SHOW, FIELD OF DREAMS, BUGSY, BARTON FINK, MILLER'S CROSSING
"Judith teaches you how to become an 'actor's director,' and provides the tools and the language to work effectively with actors. If you, like me, want to change the perception from 'he's good with the technical' to 'he's good with actors,' then take this course. When actors respond to you, producers will hire you."
KEVIN SULLIVAN, director, TITUS, NIGHT COURT; associate/assistant director, WORKING, THIRD ROCK FROM THE SUN, MAD ABOUT YOU, LARRY SANDERS, etc
"In my opinion acting class is essential for all directors. Judy's class is flexible, informative, affordable and fun. Five stars! 10/10! A MUST SEE!!!"
NIGEL DICK, director, 2GETHER, MTV; award-winning director of commercials & music videos (Britney Spears, Cher, Tears for Fears, Guns N' Roses) for PROPAGANDA FILMS and A BAND APART
"A rare hands-on opportunity. Judith offers the director a perfectly secure environment to cut your teeth or sharpen your tools. With no ratings or box office at stake, and with Judith's brilliant moment-by-moment analysis of your work, you can discover your own best strategies for forging strong connections with your actors, and for doing the hard work digging for the truth in the text and the performances."
BOB LEVY, director, D.A.G.; former Vice President, Primetime Series, NBC
"Judith's class made me better able to judge actors' performances and was good preparation for directing actors. I enjoyed it on a personal level too. Judith is an insightful, imaginative and supportive teacher."
ARTHUR COBURN, editor, MONSTER, THE COOLER, SPIDER MAN, A SIMPLE PLAN, PRICE ABOVE RUBIES, THE MASK, DOMINICK AND EUGENE
"Judith has the extraordinary ability to make it safe for you to get up from the very first class. She's perceptive, has a total grasp of her tools and knows how to teach them. I think her class is a must for writers, directors and aspiring directors."
JUDITH CLAIRE, screenwriter, career counselor
"Judith provides a wealth of knowledge which will empower you through all aspects of working with actors and, as importantly, through endless development meetings with skeptical executives who will decide whether they give you the job in the first place."
PETER GEIGER, Academy Award nominated producer; writer-director, THE COLD EQUATIONS (Sci-Fi Channel)
"The Rehearsal Techniques class affected every part of my life, not just my ability to direct actors - it improved my writing, gave me confidence, taught me to listen. And for the first time in my life, directing actors is fun."
JOE SYRACUSE, co-writer-director, SCISSOR HAPPY, LOVER GIRL
"As a woman preparing to direct my first feature, I feel empowered and inspired by Judith. Her class has given me the confidence to trust my ideas and take risks. Judith offers a deeper insight into each scene I prepare to direct, hones in on its essence and teaches me how to communicate this to the actors."
LISA ADDARIO, co-writer-director, SCISSOR HAPPY, LOVER GIRL
"In one intensive three-day seminar, Judith Weston brought me closer to a substantial feel and understanding of the actors' inner life and processes than any number of years observing them in work on the set."
JASON SAVILLE, production manager, SCRUBS; assistant director, SEINFELD, NEWSRADIO; producer, GO FISH
"You have helped me bridge the gap between 'behind the camera' and 'in front of the camera' in a way that synthesizes all the pieces into one cogent whole. I can highly recommend this course to anyone who wishes to gain real insight into the relationship of the actor to the entire process to telling a filmic story."
IAIN PATERSON, producer, THIEF, SOCCER MOMS; director, ARE YOU AFRAID OF THE DARK, HIDDEN AGENDA
"I was insecure around actors. For me, communication with actors was akin to being in a foreign country without knowing the native language. I trod lightly, not knowing how to get what I wanted and was always fearful of saying the wrong thing. Judith Weston's class removed the mystique and gave me a newfound confidence in dealing with actors. I enthusiastically recommend it."
FRANK BEACHAM, executive producer, CRADLE WILL ROCK
"Judith Weston took me deep into the breathtakingly exciting, spontaneous, unpredictable and ultimately profound world of the actor."
ROBERT PRIMES, cinematographer, SLEEPER CELL, THIRTYSOMETHING, MY ANTONIA (Emmy Winner), FELICITY (Emmy Winner), QUANTUM LEAP
"Judith Weston's "Actor-Director lab" is a true blessing for any director or director-to-be. This lab, in conjunction with Judith's "Acting for Directors" class, is not only a great learning tool, but a confidence building experience as well. The relationship between a director and his actors really is at the heart of the creative process, and in Judith's capable hands, everybody wins. The opportunity to direct real actors in challenging scenes in a true hands-on scenario, provides a learning environment that can't be beat. I recommend Judith and her classes most highly."
JEFF TUFANO, Main Camera Operator, THE MOTHMAN PROPHECIES, FAST AND THE FURIOUS
"Although your book was written specifically for film and television, I have found it extremely helpful as a stage theatre director. You have forced me to step out into new areas. Although not everything is applicable to my volunteer group of amateur actors, I have used your techniques to both stretch them and me. Thank you. I continually recommend your book to other drama ministry people."
BETTY T. HAMM, Fine Arts Director, Evangelical Free Church, Naperville IL
"Judith demystifies the creative work process of directors and actors yet always acknowledges and honors the mystery of creation. Her workshops have added new and rich dimensions to my on-set experience and to my relationships with actors and directors."
BARBARA TUSS, script supervisor, DREAMCATCHER, ROAD TRIP, THE NEXT BEST THING, MUMFORD, PLEASANTVILLE, ADDICTED TO LOVE, GROSS POINT BLANK, DEAD PRESIDENTS, SAFE, MI VIDA LOCA
"Judith gives her full attention to every aspect of directing, and her incisive observations and supportive criticism are invaluable. She offers insight inspiration and practical tools for becoming a better, more confident director. Judith's classes gave me the tools and the confidence to direct tough, professional actors successfully, and to have fun doing it!"
ANNE MAKEPEACE, director, COMING TO LIGHT, Edward S. Curtis and The North American Indians (Sundance, PBS), BABY IT'S YOU (Sundance, PBS), NIGHT DRIVING (Showtime)
"The many new tools I've learned from Judith's workshops have made a huge difference in my work. The boost in skills and confidence on the set makes me feel like a new woman!"
NANCY KELLY, director, DOWNSIDE UP, THOUSAND PIECES OF GOLD, COWGIRLS
"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."
BEN ROCK, writer-director, THE BURKITTSVILLE 7 (Showtime); production design, THE BLAIR WITCH PROJECT
"I didn't learn how people perform, I learned how they behave, and that has made all the difference."
DONNA DEWEY, director-producer, A TIME FOR HEALING (Academy Award, short documentary)