Directing. Film techniques and aesthetics. 5th, rev. ed

Cover
Half Title
Full Title
Copyright
Dedication
Contents
CONTENTS FOR THE COMPANION WEBSITE
Introduction
PART 1: THE DIRECTOR AND ARTISTIC IDENTITY
	1 THE WORLD OF THE FILM DIRECTOR
		Cinema Art and You
		The Director
			Who Directs
			Basic Responsibilities and Personal Traits
			Leadership: Collaboration and Vision
			Art, Identity, and Competitiveness
		Identifying Your Themes
			Identity, Belief, and Vision
			Temperament Affects Vision
			Find Your Life Issues
			Subjects to Avoid
			Displace and Transform
			The Artistic Process
	2 DEVELOPING YOUR PATH AS A DIRECTOR
		Starting Out
			Short Films or Features?
			Working within Small Budgets and Limitations
			The Good News
			The Bad News
		The Director and Technology
PART 2: THE STORY AND ITS DEVELOPMENT
	3 ESSENTIAL ELEMENTS OF DRAMA
		Duality and Conflict
			Defining Conflict
		Elements of Conflict and Action
			The Objectives and Throughlines
			The Stakes
			The Obstacles
			Action and Character
		From Story to Dramatic Narrative
	4 SHAPING THE STORY INTO DRAMA
		Shaping the Story into Drama
		The Beat
		Dramatic Units
		Dramatic Unit and Beat Analysis
		The Dramatic Arc
			Levels of Action
		The Three-Act Structure
			The Three-Act Structure Caveat
		Essentials of Dramatization I: Making the Internal Visible
		Essentials of Dramatization II: Questions and Revelations
	5 PLOT, TIME, AND STRUCTURE
		What is Plot?
			Cause and Effect
			Flow and Inevitability
		Character-Driven and Plot-Driven Stories
		Organizing Time
			Where to Begin and End
			Options for Organizing Time
		Structure
		Premise and Theme
		Short Films and Story Scale
			Short Films and Flexibility
PART 3: THE DIRECTOR AND THE SCRIPT
	6 SCREENPLAY GROUND RULES
		The Writer is the Writer, not the Director
		Choosing What is Right for You
		Screenplay Stages
		Standard Screenplay Formatting
	7 RECOGNIZING THE SUPERIOR SCREENPLAY
		Script Language and Technique
			Stage Directions
			Dialogue and Personal Directions
		First Assessment
			Getting Specific with Margin Notes
		Assessing Cinematic Qualities
			How is the Story Told?
			Integrity of Characters and Motives
			Uncover Character Subtext
			Metaphoric Detail
		Checking the Embedded Values
		Viability and Working within limitations
			Determine the Story Givens
			Determine Project Resources
			Viability and Safety Issues
			Working Within Limitations
	8 SCRIPT ANALYSIS AND DEVELOPMENT
		Collapsing the Screenplay for Analysis
		Analyzing Plot and Story Logic
			Subjective or Open Point of View
		Character Development
			Static and Dynamic Character Definition
			Character and Voice
			Development
			Internal Through-Line
		Character Analysis
			Establishing Character
		Dialogue and Verbal Action
			Verbal Action
			Replacing Dialogue with Action
			Testing Dialogue
		Checking Exposition
		Assessing Environmental Detail
			Locations
			Sound
		Inviting a Critical Response
			Incorporating Criticism
			Assess and Reassess
PART 4: AUTHORSHIP AND AESTHETICS
	9 CINEMATIC POINT OF VIEW
		Telling Stories on Film
		Point of View in Literature
		Point of View in Film
		Central Character, One Point of View
			Implied Character POV
			Subjective Character POV
		Multiple Characters, Multiple POVs
		The Director\'s POV: From Concerned Observer to Storyteller
			Observer into Storyteller
		Audience POV
		POV is Like Russian Dolls
		Planning a Point of View
	10 FORM AND STYLE
		The Storyteller\'s Vision
			Visual Design
			Sound Design
			Performance Style
			Editorial Style
		Rhythmic Design
		Directorial Style
	11 TONE: NATURALISTIC AND STYLIZED APPROACHES
		Genre and Style
		Naturalism
		Stylization
		Distancing and Suspending Disbelief
PART 5: A DIRECTOR\'S SCREEN GRAMMAR
	12 FILM LANGUAGE
		Film Language and Storytelling
			The Shot and Mise-En-Scène
			Creating Complex Meaning in an Image
			The Edit and Montage
		Cinematic Space and Time
		Authorial Point of View
	13 THE FRAME AND THE SHOT
		Compositional Axes of the Frame
		Essential Principles of Composition
			Closed and Open Frames
			Deep Frames, Shallow Frames
			Balanced and Unbalanced Frames
			The Rule of Thirds
			Camera Height
		Common Shot Sizes
		Shot Selection
	14 THE MOVING CAMERA
		Camera Movements from a Fixed Position
		Dynamic Camera Movements
		Motivating the Moving Camera
	15 LANGUAGE OF THE EDIT
		Shots in Juxtaposition
			Juxtaposing Sound and Image
		The Continuity System
		The Basic Shots of Master Scene Technique
		The Six Principles of Continuity Editing
		Not Just for Two People
		Visual Point of View
		Storytelling Style and Coverage
		Movement and Screen Direction
			Changing Screen Direction
		Editing and Time Compression
		Real Time and Expanded Time
		Shot Duration, Information and Perception
	16 THE HUMAN VANTAGE OF CINEMATIC LANGUAGE
		Human Vantage
		The Concerned Observer and the Storyteller
		Conflict, Attention, and the Concerned Observer
			The Actor, the Acted-Upon
		Different Angles on the Same Action
		Abstraction
		Subjectivity and Objectivity
		Sequence and Memory
		Screen Language in Summary
		The Filmmaker and Research
		The Filmmaker and Practice
PART 6: PREPRODUCTION
	17 EXPLORING THE SCRIPT
		Interpreting the Script
		Two Types of Film, Two Kinds of Preparation
		Homework
			Script Breakdown
			Define the Subtexts and a Metaphor
		Tools to Reveal Dramatic Dynamics
			Storyline Analysis
			Graphing Tension and Beats
		First Visualization
	18 CASTING
		Overview
		Post a Casting Call Advertisement
			Active Search for Actors
		Setting Up the First Audition
			The Actors Arrive
		Conducting the First Audition
			Monologues
			Cold Readings
			Assessment
			Negative Characters and Typecasting
			Concluding Each Audition
		Decisions After the First Round
		First Callback-Auditioning with the Script
			Improvisation
		Second Callback
			Interview
			Mix and Match Actors
		Making Final Choices
			Camera Test
		Announcing Casting Decisions
			Giving and Taking
	19 ACTING FUNDAMENTALS
		Stanislavsky
		Comparing Theater and Film Acting
	20 DIRECTING ACTORS
		Director in Relation to Actors
			Make Contact
			Build Trust and Authority
			Direct Positively and Equably
		Common Problems
			Lack of Focus and Relaxation
			Mind-Body Connection Missing
			Anticipating or Not Adapting
			Acting in Isolation
			Missing Interior Life
			Missing Subtexts
			The Generalized Interpretation
			Distancing and Indicating
			Intensity, Intimacy and Limiting an Actor\'s Sphere
			Tackling Stubborn Artificiality
		How Much Rehearsal is Enough?
			Don\'t Over-Direct
		Some Do\'s and Don\'ts
	21 REHEARSALS
		The Director Prepares
			Scene Analysis, Subtexts, and Developing the Authority to Direct
			Conflict
			Heightening Dramatic Tension and the Crisis Point
			Naming the Function of Each Scene
			Defining the Thematic Purpose
		Setting Up the Rehearsal Schedule
			Rehearsal Space
		Rehearsals with the Book
			The Table Reading and Introducing the Project
			Meeting One-On-One with Actors
			Scene Breakdown Sessions
			Rehearsal Order and Priorities for Small Groups
			Consolidating Characters\' Formative Experiences
			Encourage Physical Movement
			Notes, Feedback and Establishing a Working Rhythm
			Character Complexity and \"Negative\" Characters
		Rehearsing without the Book
			Turning Thought and Will into Action
		A Character\'s Inner Movement
			Reactions
			Monitoring Subtexts
			Cuing and Pacing
			Spontaneity
			Blocking and Using Space Expressively
		Locations, Environments, and Research
		The Director as Active Observer
			Form: Seeing in an Unfamiliar Way
		Shooting Rehearsals
			Don\'t Show Actors Their Work
			Check Timings
		A Long Journey
	22 ACTING EXERCISES
		Improvisation Exercises
		Acting and Doing
		The Director\'s Role During Improvs
			Discerning Beats and Dramatic Units
		The Actor\'s Role During Improvs
			Make your Audience See
			Staying Focused
			Audience Etiquette and Improv Duration
			Assessment and Discussion
		Improv Exercises and Exercises with a Text
			Improv Exercises: IMP-1 Through IMP-20
			Acting Exercises with Text: TXT-1 Through TXT-10
	23 PLANNING THE VISUAL DESIGN
		Visual Design Questionnaire
		Visual Research
		Examples for Discussion
		The Importance of the Palette
		Locations and Sets
			Scouting Locations
			Building Sets
		Moods and Visual Design
		Wardrobe, Makeup, and Hairdressing
		The Script Breakdown Sheet
		Cinematography
		Designing a World
		Proving the Design
	24 COVERAGE AND THE SHOOTING SCRIPT
		General Coverage Considerations
			Fixed Versus Mobile Camera
			Subjective or Objective Camera Presence
			Relatedness: Separating or Integrating by Shot
			The Camera as a Revealing and Observing Consciousness
			Point of View (POV)
		The Heart of Directing: The Storyteller\'s Point of View
		Creating the Shooting Script
			Exploring Coverage Scene by Scene
			Covering Important Aspects in More than One Way
			Inserts and Cutaways
		The Floor Plan and Shooting Script
			Storyboards
			Camera Placement
			Subjective and Objective
			Show Relatedness
			There are No Rules, Only What Feels Right
			Regrouping and Reset Transitions
		Plans and Prudence
			Work within Your Means
		Study the Masters
	25 LINE PRODUCING AND LOGISTICS
		Scheduling the Shoot
			Locations and Shot Order
			Shooting in Script Order
			Key Scenes and Scheduling for Performances
			Emotional Demand Order
			Weather and Other Contingency Coverage
			Allocation of Shooting Time Per Scene
			Under- or Over-Scheduling
		The Call Sheet
		Budgeting the Film
			Insurances
		Drawing Up an Equipment List
			Caution: Over-Elaborate Equipment
		Workflow and Equipment
		Shooting Film or Digital?
			Digital Acquisition
			Film Acquisition
			Digital Sound
		Postproduction
		Production Stills
		Awful Warnings …
		Production Party
PART 7: PRODUCTION
	26 DEVELOPING A PRODUCTION CREW
		Developing Your Own Crew
		The Crew\'s Attitude and Actors
		Production Crew Roles
			Areas of Responsibility
		Role Descriptions
			Direction Department
			Production Department
			Camera Department
			Sound Department
			Art Department
		Set Etiquette
			Respect the Public\'s Space
			Respect the Location
			Food and Breaks
		Production Safety and Security
			The Commandments of Film Production Safety
			Prepare for Safety
			Maintain Common Sense
			Special Circumstances can be Risky
			Electricity
			Keep the Set Secure
	27 THE DIRECTOR AND PRODUCTION TECH
		Basic Lighting Approaches and Terminology
			Three Essential Qualities of Light
		Common Lighting Functions
			Types of Lighting Styles
			Types of Lighting Setup
			Lighting Approaches and Exposure
		The Expressive Capacity of the Lens
			Focal Length: Magnification and Field of View
			Shot Size, Perspective and Lens Selection
		Lenses and the Director\'s Style
			Lenses and Exposure Control
			Focus
			Depth of Field
		Location Sound
			Sound Theory
			Sound Experts Should Scout Each Location
			Sound Equipment
			Types of Location Sound
			Recording Requirements
	28 ON SET: PRODUCTION BEGINS
		Before the Camera Rolls
			The Director\'s Role
			Daily Organization
		Getting to the First Shot: An Overview Chronology
		Roll Camera
			Shot and Scene Identification
			Shooting Logs: Camera and Sound
			Countdown to \"Mark it\", then \"Action\"
		Crew Responsibilities
			Who Can Call \"Cut\"
		Another Take, Circle, or Keeper
			Closer Shots and Reverse Shots
			Shot or Blocking Changes
			Retakes and Pickup Shots
			Important: Shoot Ambience Track
		Continuity Sheets
		It\'s a Wrap
	29 DIRECTING ON THE SET
		Directing the Actors
			Actors\' Anxieties at the Beginning
			Dividing Yourself between Crew and Cast
			Directing Actors During a Shoot
			Changing Goals
			Demands and Feedback
			Side Coaching and Reaction Shots
		For the New Shot
			Challenging Your Cast
			Everyone Needs Feedback
		Criticism From the Cast
			Using Social Times and Breaks
		Directing the Crew
			Communicating
			Look Through the Camera
			Making Progress
			When You and Your Crew are Alone
		Wrapping for the Day
			Share Dailies with the Crew but not the Cast
			Criticism From the Crew
			Morale, Fatigue, and Intensity
		You as Role Model
	30 MONITORING CONTINUITY AND PROGRESS
		The Script Supervisor Prepares
		Monitoring Coverage and Timing
		Types of Continuity
		Monitoring Continuity
			Wardrobe and Properties Continuity
			Physical Continuity
			Monitoring Dialogue
		Monitoring Your Own Progress as Director
			Dramatic and Technical Quality
			Fulfilling Your Authorship Intentions
			Resources and Cost Reports
		At the End of the Production
PART 8: POSTPRODUCTION
	31 POSTPRODUCTION OVERVIEW
		The Postproduction Team
			The Editor
			Director-Editors
		Technology, Workflow, and the Director
			Workflow
		The Postproduction Stages
	32 EDITING BEGINS: GETTING TO KNOW THE FOOTAGE
		Transferring, Logging, and Organizing Footage
			Syncing Dailies
			Marking the Script
		Dailies: Reviewing and Evaluating Footage
			Crew Viewing Session
			The Editor and Director View Dailies
			The Dailies Book
			The Only Film is in the Dailies
		Partnership
		The First Assembly
			First Assembly Viewing
			The Second Viewing: Diagnostic Questioning
		Resolutions After Seeing the First Assembly
			Length
			Structure
		Leave the Editor to Edit
	33 THE ROUGH CUTS
		Editing Principles
		Editing Mimics an Observing Consciousness
			Eye Contact
			Camera Angles and Cutting Reveal Psychology
			Observer into Storyteller
		Editing to Influence Subtexts
			Altering Performance Rhythms
			Making or Altering Subtexts
		Visual and Aural Editing Rhythms: An Analogy in Music
		Transitions and Transitional Devices
		The Overlap Cut and Transitions
			Sequence Transitions
			Sound Effects as Scene Elision
		The Problem of Achieving a Flow
			Counterpoint in Practice: Unifying Material into a Flow
		The Rough-Cut Viewing
			Drama Takes Place in the Audience\'s Imagination
			The Audience as Active Participants
		Summary
	34 GETTING TO FINE CUT AND PICTURE LOCK
		Diagnostics
			Making a FlowChart
		The Rough Cut Trial Screening
			Listen Closely, Guide Discussion, Do Not Explain
			Post Screening Reflection
			Try, Try Again
		The Fine Cut
			Knowing When to Stop
		Picture Lock!
	35 WORKING WITH MUSIC
		Spotting Session
		Musical Choice and Scratch Music
		Using Pre-Recorded Music
			Music Libraries
		Collaborating with a Composer
			Beginning Work
			When there is Scratch Music
			Developing a Music Cue Sheet
		When to Use Music, and When Not
		Conflicts and Composing to Sync Points
		Music Editors and Fitting Music
	36 THE SOUND MIX
		Finalizing Sound
			Sound, Psychoacoustics, and Sound\'s Narrative Contribution
			Sound Effects (SFX) and the Sound Spotting Session
			Postsynchronizing Dialogue (ADR)
			The Foley Stage and Re-Creating Sync Sound Effects
		Preparing for the Sound Mix
			Multi-Track Layering
			Dialogue Tracks and the Problem of Inconsistencies
			Laying Music or Effects Tracks
			Narration, Voice-Over, and Presence
			Ambient Sound
		Sound-Mix Tips
			Directing the Mix
			Premixing
		Approve Sections, then Listen to the Whole
		Make Safety Copies and Store Them in Different Locations
	37 THE FINISHING TOUCHES
		Color correction
		Titles and credits
		Mastering
		Distribution Copies
		Promotional Material
		Making Festivals and Screenings Work for You
Filmography
Photograph and Illustration Acknowledgements
Index