Z

Work of the Director & Basics of Filmmaking – Comprehensive Notes

Director–Producer Dynamics

  • Core premise: filmmaking hinges on valuing the talents of collaborators and admitting you can’t make the film alone (Spielberg quote).
  • Producer is theoretically in charge; in practice:
    • Director = final word on artistic matters.
    • Producer = final word on budgetary matters.
  • Same person doing both jobs (or also being the writer) is possible but dangerous ⇒ exhaustion & quality loss.
  • Solution: trustworthy partners who give honest feedback.

Key Responsibilities of the Director

  • Overall artistic vision – “bringing the script to life.”
  • \textit{Final casting decisions}.
  • On-set authority for aesthetics; Assistant Director (AD) manages schedule logistics.
  • Chooses shots & coverage for every scene.
  • Continuous collaboration with cinematographer, production designer, & creative heads.
  • Jointly (with AD & Line Producer) guards schedule & budget.
  • Guides actors to ensure everyone is “making the same movie.”
  • Leads post-production with editor, composer, VFX.

Director’s Presence Across the 4 Stages of Filmmaking

  1. Development
    • Work with producers & writers.
  2. Pre-production
    • Partner with prod. team, design departments, analyze script flow.
  3. Shooting
    • Daily teamwork with Director of Photography (DP) & all departments.
  4. Post-production
    • Shape edit, score, effects & feed marketing.

Getting Started – The Script as “Bible”

  • The screenplay drives every department: cinematography, production design, props, AD’s schedule, FX.
  • Director rereads, annotates, daydreams, screens similar films, builds an idea book (sketches, magazine tears, palette references) – doubles as a communication tool.
  • Deep comprehension required:
    • Narrative progression & key beats.
    • Character intentions within each scene.
    • Ability to articulate this understanding to cast & crew.

Table Read

  • Full cast + director & AD read script aloud.
  • Good for chemistry, first impressions of dialogue, giving broad guidance (avoid private notes here).

Rehearsal (when possible)

  • Budget/time often skip it; default becomes on-set rehearsal right before camera rolls.
  • Benefits: discovers new ideas, dissolves bad ones, builds actor trust (Susan Seidelman & Jane Campion quotes).

Page-Turn (Crew Script Meeting)

  • Led by AD for department heads – page-by-page review of requirements (lighting, props, wardrobe, stunts, transport).
  • Director conveys overarching vision & style.

Crucial Pre-Production Duties

  1. Casting – “If casting is interesting, you’re 50\% there.” (Seidelman)

    • Small shows: director + AD handle sessions.
    • Larger shows: hire a Casting Director who taps agents & services (e.g., Breakdown Services).
    • Workflow:
      \text{Submissions} \rightarrow \text{1st Audition (taped)} \rightarrow \text{Director Selects} \rightarrow \text{Callback(s)}.
    • Ethics: respect actors’ time; minimize unnecessary callbacks.

  2. Location Scouting

    • Phase 1: Scout (research, state film offices, drive-arounds) creates thorough photo/video packages (all directions, interiors/exteriors).
    • Phase 2: Director, AD, DP, Designer visit finalists.
    • Distinction: Location Manager later handles logistics; sometimes same person.

  3. Visual World-Building & Collaborations

    • Production designer often hired first (needs lead time).
    • Director signs off on critical props, color themes, wardrobes (only on storytelling-relevant details).

Arriving Prepared – Director’s Daily Toolkit

  • Annotated Script: blocking, camera angles, acting beats.
  • Shot List (mandatory):
    • Enumerates all shots for the day; shared with AD & DP.
    • Cross-off system prevents missed coverage (fatal if location wraps).
  • Setups Metric: each camera reposition or lens change = 1 setup.
    • Big movies: fewer setups, many takes; small shows: many setups, fight the clock.
  • Sketches / Storyboards / Overheads:
    • Quick stick-figure frames suffice; tools like Shot Designer for overheads.
    • Serve planning, not rigid blueprints—expect on-set improvisation.
  • Hitchcock example: trusted lenses & DP, rarely peered through viewfinder.

“Six” Guiding Ideas (list on p.69)

\begin{aligned}
1.&\ \text{Listen}\
2.&\ \text{Remember collaboration}\
3.&\ \text{Pay attention}\
4.&\ \text{Follow a logical process}\
5.&\ \text{Have a plan (scene & whole story)}\
6.&\ \text{Stay flexible yet decisive; embrace surprises}\end{aligned}

Block – Light – Rehearse – Shoot Workflow (BLRS)

\text{Block} \rightarrow \text{Light} \rightarrow \text{Rehearse} \rightarrow \text{Shoot} (Figure 5.3)

  1. Block: Director walks actors through movements; crew observes.
  2. Light: DP leads gaffer & grip; actors off-set.
  3. Rehearse: Director + actors refine performance; crew silent.
  4. Shoot: AD calls roll; scene captured.
  • Professionals insist on BLRS for efficiency & clarity.

Blocking Essentials

  • Avoid flat space (actors static at medium distance).
  • Blocking informs focus pullers, boom ops, lighting.
  • Separation: blocking rehearsal ≠ acting rehearsal (keep tech vs. performance phases distinct).

On-Set Call Procedure

  1. AD: “Roll sound.”
  2. Sound: “Speed.”
  3. AD: “Roll camera.”
  4. 1st AC/Operator: “Speed.”
  5. Director: “Action.”
  6. Director exclusively calls “Cut.”
    • Optionally allows DP/operator to abort ruined takes.
  7. Modern note: “Cut, circle that” (preferred take) vs. old “Cut. Print.”

Core Shooting Methods

1. Master Scene Method

  • Master = entire scene in one shot (often wide).
  • Coverage: OTS, MS, CU that slot into master’s continuity.
  • Rules:
    • Shoot master first.
    • Get full scene on every angle.
    • Maintain match on entrances/exits & props.

2. Overlapping / Triple-Take Method

  • Used for continuous actions (lecturer example).
  • Technique: each new camera position backs up & overlaps previous action section ⇒ clean edit points.

3. In-One (Oner)

  • Simple scenes done in a single shot; may include minor moves.

4. Developing Master

  • Extended moving oner connecting multiple framings (Spielberg depth-play, 4-minute Touch of Evil opening, Goodfellas Copacabana shot).
  • Risk: if pacing drags, minimal rescue options ⇒ always grab extra coverage/cutaways.

5. Walk & Talk

  • Camera leads, follows, or tracks alongside walking characters.
  • Recommendation: capture \ge 2 angles to permit inter-take edits.

6. Freeform Method (Pseudo-Documentary)

  • Handheld, improvisational feel; still planned in 3 passes:
    1. Dialog Pass (camera on speaker).
    2. Reaction Pass (camera on listener).
    3. Freeform Pass (operator improvises).
  • Ensures reaction shots and editorial flexibility.

Montage

  • Series of thematically linked shots, not continuity-bound (e.g., \text{Rocky Training}, \text{Midnight in Paris} rain montage).
  • Advances story or mood elliptically.

Working With Actors

  • Danger of line readings (dictating exact delivery) – often seen as insulting.
  • Director’s higher obligations: clarify intentions.

Two Levels of Intention

  1. Story Intention – film’s essence & messages.
  2. Scene Intention – what needs to be achieved narratively & emotionally.

The 3 A’s: Action – Attitude – Activity

  • Action (dramatic objective): persuade, intimidate, rescue…
  • Attitude (emotional stance): love, resentment, insecurity…
  • Activity (physical business): polishing glasses, pacing, rowing…

“Give Them a Verb” Technique

  • Actors anchor each scene on a transitive verb: to demand, to charm, to challenge…
  • Conflict emerges when verbs clash.

Environment of Trust

  • Director acts as therapist/friend; constructive criticism requires rapport (Campion & Kubrick insights).

Ethical / Practical Implications

  • Collaboration repeated twice in rule list – underlines moral duty to respect every department.
  • Actor dignity: efficient casting, avoid humiliation, safe rehearsal spaces.
  • Crew efficiency: BLRS preserves labor hours & morale.
  • Budget stewardship: director must honor producer constraints without sacrificing vision.
  • Preparedness: arriving without shot list = professional negligence.

Invisible Technique

  • Ultimate goal across methods: audience should forget the camera exists.
  • Seamless continuity or purposeful montage keeps focus on story & emotion.

Quick Numerical & Statistical References

  • 50\% success credited to casting.
  • 4 filmmaking stages; 3 rehearsal/meeting types (table read, rehearsal, page-turn).
  • BLRS has 4 steps.
  • Blocking rehearsal precedes \approx 1 lighting phase.
  • Setup count used as daily productivity metric; anecdotes of 60 setups/day.
  • Mendes-style freeform uses 3 passes.
  • Hitchcock sketches ≈ primitive stick figures yet masterpiece framing.
  • Touch of Evil opening shot ≈ 4-minutes long.

Recap Cheat Sheet

  • Read & dissect script → shape vision.
  • Cast & scout early; collaborate with design.
  • Arrive with shot list, setups plan, overheads.
  • Run BLRS daily; protect schedule/budget.
  • Choose appropriate shooting method; provide coverage.
  • Guide actors via intentions & verbs, not dictation.
  • Maintain invisible technique so story reigns.
  • Above all: \textbf{COLLABORATION}.