Read-through

<h2 id="in-film">In film</h2>
<p>The read-through is an important milestone in the production of most <a href="/facts/Films/wM3b9Kk3">films</a>. It is a clear signal that all of the key elements, including cast, <a href="/facts/Finance/fLh1GgN8">finance</a>, 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.
</p><p>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.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a>
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<h2 id="further-reading">Further reading</h2>
<ul><li><i>So You Want to be a Theatre Director?</i> (2004) by Stephen Unwin, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 1-85459-779-5
<ul><li>Unwin, Stephen (2004). <a href="https://books.google.com/books?id=ZMyJ8PjMgy4C&q=%22Read-through%22,+theater&pg=PA104"><i>So You Want to be a Theatre Director? (pgs 104-105)</i></a>. Nick Hern Books. p. 248. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-85459-779-3.</li></ul></li>
<li><i>Persistence of Vision: An Impractical Guide to Producing a Feature Film for Under $30,000</i> (1995), by John Gaspard, Dale Newton, Gaspard Newton, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-941188-23-X
<ul><li>Gaspard, John; Dale Newton (1995). <a href="https://books.google.com/books?id=ZXhZAAAAMAAJ&q=%22Read-through%22,+film"><i>Persistence of Vision: An Impractical Guide to Producing a Feature Film for Under $30,000</i></a>. Gaspard Newton (Illustrated ed.). M. Wiese Productions. p. 437. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-941188-23-X.</li></ul></li>
<li><i>Friendly Enemies: Maximizing the Director-actor Relationship</i> (2003), by Delia Salvi, <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-8230-7944-9
<ul><li>Salvi, Delia (2003). <a href="https://books.google.com/books?id=3RQLKZRdegIC"><i>Friendly Enemies: Maximizing the Director-actor Relationship</i></a> (Illustrated ed.). Watson-Guptill. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-8230-7944-9.</li></ul></li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1"><p>Campbell, Drew (2004). Technical Theater for Nontechnical People (page 210-211) (2 ed.). Allworth Communications, Inc. p. 272. ISBN 1-58115-344-9. <a href="1-58115-344-9" target="_blank">1-58115-344-9</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li>
<li id="fn:2"><p>Leach, Robert (2008). Theatre Studies: The Basics (pgs 135-137). Routledge. p. 194. ISBN 978-0-415-42639-8. <a href="978-0-415-42639-8" target="_blank">978-0-415-42639-8</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li>
<li id="fn:3"><p>Proferes, Nicholas T. (2004). Film Directing Fundamentals: See Your Film Before Shooting (page 143) (2 ed.). Focal Press. p. 296. ISBN 0-240-80562-3. <a href="0-240-80562-3" target="_blank">0-240-80562-3</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li>
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Read-through open-in-new

Read-through