ASK & DISCUSS INDEX

3 years, 4 months ago - Martin Johnston

I have attended a few.

These have been cast with people known to the writer or possible director (if you are at that stage) and the casting has been in keeping with the ages and gender of the characters required for the role.

Yes they have been audio recorded. The read was with the writer, director and the actors only. It is best to keep it a closed experience especially if, as should happen, you encourage feedback from the actors on the script read.

Sometimes you will hear, when other people speak your lines, an issue in dialogue that doesn't work. Actors themselves will know if something doesn't feel right especially the rythmn of the dialogue.

Creating a trusted space where theirs and your doubts can be aired and openly shared is vital to moving and developing the script further.

The majority of table reads I've done both for plays and film scripts have been in the afternoon. Depending on the size of the cast involved some of these have taken place in peoples homes. Often a small gift is all that is required as a thank you and an acknowledgement of the actors time. Tea, coffe, soft drinks and a few snacks are also extremely welcome. Actors tend to be very generous with their time and will want to help the writer time permitting.

The biggest thing I would say is that when you create a table read and invite feedback - listen - don't be defensive of what you have written. You have invited people to read and share their feedback that is afterall what a table read is for to develop the project further and pay attention to textual and structural issues. Actors often know instinctively what works and what doesn't.

Some table reads have included reading aloud the "stage directions" but be mindful that these don't get in the way of the natural dynamic being created between the characters and situation dialogue.

It is useful for those reading the script to have a copy sent to them in advance. Table reads gain a greater depth when the script isn't being read cold for the first time.

Establish a structure that works for you. Perhaps identifying each scene with the scene number helps when recording it as an audio record.

Get the actors there 20 minutes before the read this often allows them to mention something they aren't clear about in the dialogue which ensures a flow can be achieved when the reading starts. Invite those that want to to stay behind for a while to give feedback and make suggestions.

Ultimately you, as the writer, will know why you want the table read to happen. Be generous and gracious that the actors want to help you develop your peroject further and are giving their time freely to assist you in that goal.

Happy to help if you feel I'm suitable.

3 years, 4 months ago - Raphael Biss

Hello Martin,

Thanks a lot for sharing your thoughts and experiences. Great insight and I agree with all your points.
I feel it's a great idea to actually name the scenes as long as it doesn't get in the way of the flow.

Thanks for your offer as well. I shall get in touch when I'm closer to organising the event if you wish.

All the very best!

3 years, 4 months ago - Martin Johnston

Hello Raphael,

Please do consider me. I would love to be of help.

I attach a link to my Spotlight profile;

https://www.spotlight.com/5312-4501-6519

Hope to hear from you.

Kindest regards,

3 years, 4 months ago - Vasco de Sousa

Here is my experience with table reads. They were performed on two occasions, during auditions, and after the film (or play) was cast, to get the actors used to the script.

I never heard of table reads being used to give the writer feedback. I can't think of a time when a writer was present at a table read, though perhaps some of the directors there were writer-directors. (I knew them as directors.)

As a writer-director, when I work with actors I have my director hat on. I learn from actors, and there can be some great improvisations that will be included in the final production, but the script has been written by that point.

I do not know of any professional writers who hired actors for table reads. They are usually there to give the actors feedback, not the other way around.

However, if it is useful, I would like to hear about other experiences. It sounds pretty expensive to me. (One reason I write is because I don't have a lot of money. If I were a millionaire, I would find it much easier just to option someone else's scripts or to hire an experienced writer.)

3 years, 4 months ago - Raphael Biss

Thanks Vasco for your reply and for sharing your thoughts.

I find table reads during the rewrite stage very useful as it ables you to 'hear' the script out loud. It's really to finesse the dialogue and to test out the depth of the characters whilst there is still time. Of course, the script has to be at a solid stage in order to have the read.

I heard that been done when there's a board of producers or a group of writers working on the same project, so they can have a more objective perspective of the script.

Table reads are also done as a promotional event, to present the script to financiers and co-producers (more as an event) to find potential buyers or distributors. I know that is done a lot in the US.

Personally, I've only had table reads in pre-production when I had the entire crew, to gather everybody on the same page.
Or with the cast so we could discuss the characters before he rehearsed or blocked a scene.
On very few occasions, I had mini-table reads in development with producers and writers but that was limited to us three.

Thanks again for joining the discussion.

3 years, 4 months ago - Ray Brady

Argo (2012) featured a table scene read.
Won three Academy Awards, USA 2013
Best Motion Picture of the Year: Grant Heslov, Ben Affleck, George Clooney
Best Writing, Adapted Screenplay Chris Terrio
Best Achievement in Film Editing William Goldenberg

3 years, 3 months ago - Bob Eckhard

Hi Raphael, I think with the pandemic and the advent of Vimeo, zoom etc it's far easier to make a table read happen online. I am fortunate to have a group of actors who I have worked on projects with in the past who have obliged me with a read through and given feedback on the day as to how it read for them and sections that didn't work. Obviously, if you don't have actors at your disposal to do a read through, you'll will have to think how you might enumerate them with an invite to audition for a main part, be an extra or some such. The last read through I did was really helpful, helping me to identify that the feature needed streamlining. I edited it afterwards and currently it (and another) has just been selected in the top 30% of a feature competition. So definitely do the table read! All the best, Bob