PART ONE: THE ACTOR

* CHAPTER 1 : RELAXATION AND THE ART OF THE FACE
(Mental Relaxation ; Gibberish ; The Inner Monologue)

* CHAPTER 2 : CONCENTRATION
(Observation ; The Observation Exercise ; Sense Memory ; The Process of Relaxation, Concentration, and Sense Memory)

* CHAPTER 3 : THE VOICE AND THE BREATH
(Choosing the Right Practice Material ; The First Steps to Giving the Character Your Voice ; Getting Stuck in Your Head ; The Preconceived Idea ; The Journal as Inner Voice ; The Trained Voice)

* CHAPTER 4 : LISTENING
(Watching Movie Scenes for Listening ; Listening in Life ; Setting Up a Sensory Structure ; Listening to the Other Actor ; Journal Writings as Inner Monologue ; Casablanca ; Apocalypse Now)

* CHAPTER 5 : THE SKIN AND THE OVERALL
(The Overall ; Other Overall Examples ; Scenarios That Invade Your Concentration ; Does It Really Work?)

* CHAPTER 6 : SUBSTITUTION : THE CAMERA AS PARTNER
(Substitution for a Person ; Substitution and Filmmaking ; The First Steps to the Substitution Technique: Choosing the Right ; Substitute ; Finding the Key to Your Substitute ; Monologue with Substitution ; Speaking to the Lens)

* CHAPTER 7 : CREATING THE SPACE
(Place as a Sense Memory ; Creating an Imaginary Place ; Being the Character in the Room ; Place as Inner Emotional State ; The Fourth Wall ; On Self-Indulgence)

PART TWO: THE SCRIPT AND CHARACTER DEVELOPMENT

* CHAPTER 8 : THE AUDITION
(The Typical Movie Audition ; The Breakdown Services ; Types ; Doing the Videotaped Audition ; Different Types of Auditions ; Do It As Often As You Can)

* CHAPTER 9 : READING THE SCRIPT
(Important Elements of Screenplay Format for the Actor ; Approaching the Text ; On the Set ; Following the Blueprint)

* CHAPTER 10 : CREATING THE CHARACTER
(Location, Location, Location ; Character’s Log ; Observations, Thoughts, and Journal Notes ; Time Line: Continuity ; Entrances ; Place ; The Sensual Character ; Creating Relationship ; Needs and Actions)

* CHAPTER 11 : REHEARSALS
(The Reading ; Script Development through Rehearsal and Improvisation ; Things to Do on Your Own)

PART THREE: THE SHOOT

* CHAPTER 12 : BIG-BUDGET VERSUS LOW- BUDGET FILMS
(Understanding Filmmaking ; Using the Word “Film” ; All Films Are the Same ; Student Films ; No/Low-Budget Films ; The Big-Budget Movie)

* CHAPTER 13 : THE FIRST DAY ON THE SET
(Be Prepared ; The Call Sheet ; The Actor and the Call Sheet ; The Makeup Department ; The Costume Department ; The Actor and the Crew)

* CHAPTER 14 : HOT SET : THE CLASSIC CAMERA SETUPS
(Coverage ; The First Rehearsal ; Shooting the Master ; Shooting the Rest of the Scene ; SC. 48 – INT. JOE’S BAR – DAY ; What to Do with the Wrong Preparation)

* CHAPTER 15 : THE RUSHES AND THE FINISHED FILM
(The Rushes ; The Actor and the Rushes ; Assessing Your Work in the Rushes ; Your Acting Preparation and Performance ; The Finished Film)

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