Idea Development, Improvisation Directors

Mike Leigh 

Leigh's process of making film is uniquely unconventional, rather than writing a script initially (or working off someone else's script) he starts his process with a basic premise, which he develops by working one-to-one with each actor. He improvises dialogue and character traits with the actor (usually basing the characters off someone the actors know for a more authentic and personal performance) and researches "anything and everything that will fill out the authenticity of the character" over a period of sometimes months before writing a shooting script, a bare scenario. This is followed by more 'real rehersal' on location, on the shoot, before the script is finalised.

"I'll set up an improvisation..I'll analyse and discuss it...we'll do another, and it'll...refine and refine..until the actions and dialogue are fully integrated. Then we shoot it"  - Mike Leigh on Mike Leigh

This improvisational process appeals to me and my idea as i would prefer taking a more methodical/scientific approach to my work, an approach that is semi-synonymous with my research and content.

Some of Leigh's more noteworthy works are Abigail's Party (1977) , An improvisational play for theatre and television (which was voted no.11 in the BFI's Poll of the 100 greatest British television programmes), and Secret's and Lies (1996) which was awarded the Palme D'or at Cannes (Another film with largely improvised dialogue, with Leigh aiding the character development)

John Cassavetes

Cassavetes was a pioneer for Improvisational and Indie film in American cinema.

The manner in which Cassavetes employed improvisation is often misunderstood, the large majority of his films being fully scripted. While dialogue and actions were scripted, delivery was not.

Cassavetes' Directing style was vastly different from the director run sets of Hollywood's big budget productions, often employing his friends as cast and crew, filming over long periods of time at the weekends or when funding was available.

"I think you have to define what improvisation does - not what it is. Improvisation to me means that there is a characteristic spontaneity in the work which makes it appear to have not been planned. I write a very tight script, and from there on in I allow the actors to interpret it the way they wish. But once they choose their way, then I'm extremely disciplined and they must also be extremely disciplined about their own interpretations. There's a difference between ad-libbing and improvising and a difference between not knowing what to do and just saying something. I believe in improvising on the basis of the written word, and not on undisciplined creativity" -John Cassavetes on improvisation