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All the great film directors always say: Direct the stories that you know
right now. Express yourself in the films. Put your personal vision in the
films.
“Just be honest in making a movie. Then you’ll find that it’s fighting
back against you and telling you how to write and shoot it.”
IF YOU DON’T KNOW WHAT YOU WANT, HOW DO YOU KNOW WHEN
YOU’RE DONE?
Pick up people along the way who will be a part of your creative team,
and you will be a part of theirs as well. That is 50% of Directing a Film
Always prepare the groundwork. See that it allows for the lucky
accidents to happen. That’s what makes a first-rate movie.
It's VALUABLE to have people who challenge you - search for the
TRUTH
ASK YOURSELF:
Does the scene contribute to the overall theme?
Does it contribute to the storyline?
Is the storyline moving in an ever-increasing arc of tension and
drama?
"I know the first film I ever saw — it must have been some
time in 1924, when I was six or so... was Black Beauty. About a
stallion. I still recall a sequence with fire. It was burning, I
remember that vividly. And I remember too how it excited me,
and how afterwards we bought the book of Black Beauty and
how I learned the chapter on the fire by heart — at that time I
still hadn't learned to read."
Ingmar Bergman
To care about and be responsible for every frame of every movie you
make. To make the best possible movie you can make.
If the camera is always in one position and you don’t cut, you will lose
your power over the audience. They will watch the scene without really
being involved in it. They won’t understand what the characters are
feeling.
If the take is good, move on. Try to improve on something later, not
something that doesn’t need it, or isn’t going to be any better.
Given time and freedom, the actors will fall naturally into their places,
discovering when and where to move, and you will have your shot.
Think about the music and sound effects the moment you begin
directing a film.
Directing a Film is not only creatively handling actors and interpreting
the screenplay. It also includes the ability to complete a day's work on
time and on schedule. A director who is properly prepared allows for
creativity, while planning for the inevitable problems.
-If you want professional reliability from your crew, you must first be a
model of professionalism yourself.
-Trust your crew reasonably and they will rise to crisis selflessly
-Have meals and coffee breaks built predictably into the schedule
-Always maintain communication
-Keep abreast of developments
-During breaks, encourage discussion of the production
-Above all, encourage involvement
-Shooting should take place in as calm an atmosphere as possible
-A calm, respectful atmosphere is a necessity
-Choose colleagues carefully
-If you are sympathetic towards the crew's problems, they will be
generous when you want their help solving one of yours
-Scriptwriting
-Production Design
-Script Analysis
-Cinematography
-Rehearsal
SCRIPTWRITING
-Dissect the script and come up with gameplan
-Write down ideas for images for each scene
-Look for connections to your own past experiences
PRODUCTION DESIGN
-Scriptwriting answers the WHAT questions of the story; Production
Design answers the WHERE AND HOW
-The Director begins the prep process by having conferences with his
or her Production Designer, explaining each scene of the script as he
or she sees it
-Break down the script, answering: How long will it take, and how
much will it cost?
-TWO TYPES OF VISUAL DESIGNS – PICTORIAL AND SEQUENTIAL
----PICTORIAL: Set design, costumes, props, make-up, and any
elements that are layered on top of a location and must by built,
manufactured or otherwise obtained
----SEQUENTIAL: Skills of the writer, Production Designer, Director,
DOP and Editor
-Once locations are secured, the Director develops an overview of the
film
SCRIPT ANALYSIS
-After the Director is totally prepared , and the script is in great shape
and the locations are locked – NOW it’s time to work out the shot-by-
shot plan for each scene and really prepare to start Directing a Film.
-SHOT PLAN – Size of the action, size of the shot, choice of lens and
camera angle: HOW DO THEY ALL DETERMINE THE NARRATIVE
QUALITY OF THE SCENE?
-What is the Director trying to express?
CINEMATOGRAPHY
-DOP’s major responsibilities are lighting, exposing the film, and
executing the framing and camera movement determined by the
Production Designer, Director and DOP
-It's a good idea to show the DOP a visual source, illustrating what
they’re after stylistically
REHEARSAL TIME
-It is the Director’s job to create an environment in which the actors
can connect with their impulses and find the unexpected and
unpredictable in their work together
-Even in rehearsals, place the frame around the actor - because it
always changes the way a scene plays
For the Director, art of learning the craft is having a good sense of
what will work before the camera rolls.