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100:. It is generally attended only by people involved in the production. It is usually the first time that everyone involved in the production gathers together, and it is traditional for all people to introduce themselves by both name and job. The director may then open proceedings by making a short speech outlining their aspirations for the project.
120:, and heads of department, are in place and that pre-production is almost complete. It is often the first time that the script has had a life beyond the written word, and it is also an opportunity for everyone involved in production to get at least a partial insight into the way the actors may approach their roles.
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An additional professional actor not otherwise involved in the production may be hired to read the non-dialogue parts of the script such as scene headings and action. These parts of the script are usually edited down severely for the purposes of the read-through to maintain the pace of the reading.
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In addition, a read-through is often a powerful tool for identifying problem areas in the script. Wooden dialogue, unbelievable situations, or boring sections of the film that have not been addressed during the script development process often become apparent during the read-through.
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Persistence of Vision: An
Impractical Guide to Producing a Feature Film for Under $ 30,000
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Persistence of Vision: An
Impractical Guide to Producing a Feature Film for Under $ 30,000
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Film
Directing Fundamentals: See Your Film Before Shooting (page 143)
116:. It is a clear signal that all of the key elements, including cast,
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The read-through is an important milestone in the production of most
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Reading of a screenplay or script by actors with speaking parts
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Friendly
Enemies: Maximizing the Director-actor Relationship
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Friendly
Enemies: Maximizing the Director-actor Relationship
147:(2 ed.). Allworth Communications, Inc. p. 272.
144:
Technical
Theater for Nontechnical People (page 210-211)
264:(1995), by John Gaspard, Dale Newton, Gaspard Newton,
242:
So You Want to be a
Theatre Director? (pgs 104-105)
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171:Theatre Studies: The Basics (pgs 135-137)
317:(Illustrated ed.). Watson-Guptill.
201:(2 ed.). Focal Press. p. 296.
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21:Space Ghost Coast to Coast
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228:(2004) by Stephen Unwin,
300:(2003), by Delia Salvi,
239:Unwin, Stephen (2004).
141:Campbell, Drew (2004).
354:Television terminology
168:Leach, Robert (2008).
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311:Salvi, Delia (2003).
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338:Categories
128:References
90:executives
83:financiers
68:screenplay
56:television
48:table work
44:table-read
98:directors
94:producers
19:For the
118:finance
108:In film
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87:studio
76:actors
72:script
62:, and
114:films
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