Beruflich Dokumente
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cinematic motion
a workshop for staging scenes
2nd edition
by
steven d. katz
TABLE OF CONTENTS
Glossary 357
part 3
staging:
before you shoot
8 VISUAL SCRIPT
BREAKDOWN
VISUALIZING THE
SCRIPT
W ith the exception of improvisational cinema,
the screenplay remains the starting point for
planning a film. The director begins by analyzing the
story and character development in what is usually called
the script breakdown. There is more than one type of
breakdown, including script analysis for the actors, script
analysis for the visual plan of the film, and the scheduling
breakdown of the script by the production manager and
assistant director. The first two breakdowns are per-
formed by the director and focus on the story’s charac-
ters. The scheduling breakdown is a very technical plan
that is required to efficiently manage the time and
resources of a film cast and crew. While a critical part of
any film production, scheduling is not part of the staging
process and so will not be covered here.
The breakdown for the actors and the visual script break-
down are quite similar, at least according to the way we’ll
be examining it in this chapter. In fact, the first step of
the visual breakdown in Cinematic Motion is a subset of
the scene analysis the director goes through for rehears-
als. Judith Weston’s book Directing Actors is a great
source for learning an in-depth approach to scene analy-
sis. The analysis of the story becomes the basis for the
specific staging and shot decisions even if you take an
improvisational approach to working on set.
Script analysis, like writing, is so personal that rules are
of little value. But you can learn something by seeing
how others break down a script and the approach
shown in this chapter suggests methods that you can
adapt to your own way of working. While no rules are
IAN
Let’s get this over with ’cause I
have to go.
SANDY
You’ll eat your dinner first.
IAN
I’m meeting TJ. I’m the designated driver.
SANDY
Whose car?
IAN
(pointedly)
Dad’s car.
JACK
Get gas, it’s low.
SANDY
You are not driving that car.
IAN
Dad said I could.
SANDY
He’s not here and I say no.
IAN
Why?
IAN
Dad said I could have the car,
tonight.
SANDY
You’ll ask me for the car not your
father -- when he’s away.
IAN
Aren’t you the tough one when he’s
in trouble.
JACK
Shut up, Ian.
IAN
You shut up. (to Sandy) I like the way you
throw your weight around now that
you’re going to get everything he
has.
This gets Sandy’s attention. Everyone gets that Ian’s hold-
ing something back.
SANDY
That’s enough.
SANDY
Go ahead. Take the car and meet
your friends, while we still have a car.
IAN
No. Now that it’s out, I’d like to
stay and discuss this.
JACK
Mom, what’s going on?
Sandy sits down at the head of the table. She stares at the
floor, her mind racing. Ian just glares at her for a moment.
IAN
Why are you sitting there?
Sandy looks up at him -- she’s reminded of Jim.
IAN
That’s Dad’s place.
FINAL TECHNICAL This is a practical shot list with diagrams for the cinema-
tographer and script continuity person. To some extent
BREAKDOWN this is the director’s wish list that the assistant director
and cinematographer try to follow.
On set you will usually spend the first half of the day
lighting and rehearsing. The second half of the day is
spent shooting with additional lighting time between set-
ups. Typically more time is spent setting up than actually
shooting, which is why a plan is important. Polaroid pic-
tures, camera video taps and other ways of previewing
how shots will cut together are used on set, but ultimate-
ly, it’s planning and experience that ensure the editor will
have everything he needs to put together the scene.
A director usually has a shot list, storyboard, overhead
diagrams or all three. This is discussed with the cinema-
tographer and assistant director on the day of the shoot or
earlier if there has been a pre-light day. Sometimes the
cinematographer is available for rehearsals where staging
and camera setups can be discussed, but most often, dia-
logue scenes are worked out in detail on set.