Directing: Film Techniques and Aesthetics

Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
Introduction
Part 1: The Director and Artistic Identity
	Chapter 1 The World of the Film Director
		Cinema Art and You
			How Most People Get There
		Professional Responsibilities
		Personal Qualities
			Developing Intuition
		Leadership and Collaborating with a Team
		Telling Your Stories
			Film Art and Individualism
			Story Sources
		Artistic Identity I: How It Functions
		Artistic Identity II: Locating Yours
			Subjects to Avoid
			Displace and Transform
			The Artistic Process
	Chapter 2 Developing as a Director
		Film School
		Learning Without Film School
			Resources for the Self-Taught
		The Importance of Short Films
		The Industry Route
		The Independent Route
			Cast and Crew Considerations
			The Good News
			The Bad News
		The Director and Technology
Part 2: The Story and its Development
	Chapter 3 Essential Elements of Drama
		Duality and Conflict
		Defining Conflict
		Elements of Conflict and Action
			The Objectives and Through-lines
			The Stakes
			The Obstacles
			Action and Character
		From Story to Dramatic Narrative
	Chapter 4 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
	Chapter 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
	Chapter 6 Screenplay Ground Rules
		The Writer is the Writer, not the Director
		Screenplay Stages
			Step Outline
			Treatment
			First Draft to Final Draft
			Shooting Script
		Standard Screenplay Formatting
	Chapter 7 Recognizing the Superior Screenplay
		Script Language and Technique
			Stage Directions
			Dialogue and Personal Directions
		First Reading, First Impression
			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
			Spotting Archetypes
		Viability and Working Within Limitations
			Determine the Story Givens
			Determine Project Resources
			Viability and Safety Issues
			Working Within Limitations
	Chapter 8 Script Analysis and Development
		Collapsing the Screenplay for Analysis
		Analyzing Plot and Story Logic
			Plot Points
		Point of View: Subjective or Open
		Character Development
			Static and Dynamic Character Definition
			Character and Voice
			Character Development
			Internal Through-Line
		Character Analysis
			Establishing Character
		Assessing Dialogue
			Verbal Action
			Replacing Dialogue with Action
			Testing Dialogue
		Checking Exposition
		Assessing Environmental Detail
			Locations
			Sound
		Long Form Series Considerations
		Inviting a Critical Response
			Incorporating Criticism
			Assess and Reassess
Part 4: Authorship and Aesthetics
	Chapter 9 Cinematic Point of View
		Planning a 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
			Limited vs. Open Information
		Multiple Characters, Multiple POVs
			Dual Main Characters
			Multiple Characters
			Subsidiary or Alternative POVs
		The Concerned Observer
		Observer into Storyteller
		Audience POV
	Chapter 10 Form and Style
		The Storyteller’s Vision
		Visual Design
		Sound Design
			Psychoacoustics, and Sound’s Narrative Contribution
		Performance Style
		Editing Style
		Rhythmic Design
		Directorial Style
	Chapter 11 Tone, Style, and Genre
		The Scope of Style and Tone
			Naturalism
			Classical Style or Hollywood Realism
			Hyperbole and Irony
			Expressionism and the Avant-Garde
			The Sliding Scale of Cinema Style
		Time, Music, and Suspending Disbelief
		Genre and Style
Part 5: A Director’s Screen Grammar
	Chapter 12 Film Language
		Film Language and Storytelling
			The Shot and Mise-en-Scène
			Creating Complex Meaning in an Image
			The Edit and Montage
		Beyond Broad Concepts
	Chapter 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
	Chapter 14 The Moving Camera
		Camera Movements from a Fixed Position
		Dynamic Camera Movements
		Motivating the Moving Camera
	Chapter 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
			Duration, Detail, and Meaning
	Chapter 16 The Human Vantage in Cinematic Language
		Human Vantage
		The Concerned Observer and Storyteller Roles
		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 Creative Research
		The Filmmaker and Practice
Part 6: Preproduction
	Chapter 17 Exploring the Script
		Interpreting the Script
		Two Types of Film, Two Kinds of Preparation
		Homework
			Revisit Your Premise
		Preliminary Scene Breakdown
			Define the Subtexts
		Tools to Reveal Dramatic Dynamics
			Storyline Analysis
			Graphing Tension and Beats
		First Visualization
		Logline and Guiding Metaphors
	Chapter 18 Casting
		Overview
		Post a Casting Call Advertisement
			Active Search for Actors
			Non-Professional Actors
		Setting Up the First Audition
			The Actors Arrive
		Conducting the First Audition
			Monologues
			Cold Readings
			Assessment
			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
			Negative Characters and Typecasting
		Announcing Casting Decisions
			Giving and Taking
		Casting Non-Actors
			Non-Actors in Character Roles
			Non-Actors in Major Roles
	Chapter 19 Acting Fundamentals
		Stanislavsky
			Believing It
			Interior Life and Playable Actions
			Drawing on Personal Experience
		Comparing Theatre and Film Acting
		The Director’s Challenge
	Chapter 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
			The Element of Surprise
		Some Do’s and Don’ts
	Chapter 21 Rehearsals
		The Director Prepares
			Scene Analysis, Subtexts, and Developing the Authority to Direct
			Conflicts and Beats
			Naming the Function of Each Scene
			Heightening Dramatic Tension and the Crisis Point
			Defining the Thematic Purpose
		Setting Up Rehearsals
			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
			Monitoring Subtexts
			Cuing and Pacing
			Spontaneity
			Blocking and Using Space Expressively
			Using Improvisation Scenarios
		Locations, Environments, and Research
		The Director as Active Observer
		Shooting Rehearsals
			Don’t Show Actors Their Work
			Check Timings
		A Long Journey
	Chapter 22 Acting Exercises
		Using Improvisation
		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
		Acting Exercises
			Improvisation Exercises
			Acting Exercises with Text
		Improvisation for Script Development
	Chapter 23 Planning the Visual Design
		Visual Design Questionnaire
		Research and the Lookbook
		Elements of Visual Design
			Locations and Sets
			Cinematography
			Wardrobe, Makeup, and Hairdressing
		Case Studies in Visual Design
		The Script Breakdown Sheet
	Chapter 24 Developing the Shooting Script
		The General Aesthetic
			Master Scene Method (aka Coverage)
			The Long-Take Method
			The Short-Take Method
		Fixed Versus Mobile Camera
			Implying a Subjective or Objective Vantage
		Relatedness: Separating or Integrating by Shot
		The Camera as an Observing Consciousness
		Point of View (POV)
		The Heart of Directing: The Storyteller’s Point of View
		Creating the Shooting Script
			Shot Selection Scene by Scene
			Covering Key Moments in More than One Way
			Inserts and Cutaways
		The Floor Plan and Shooting Script
			The Storyboard
			Using Lines of Tension
			Subjective and Objective
			Show Relatedness
		Blocking the Scene
			Regrouping and Reset Transitions
		Use Your Intuition
		Work Within Your Means
		Study the Masters
	Chapter 25 Line Producing and Logistics
		Scheduling the Shoot
			Locations and Shot Order
			Shooting in Script Order
			Scheduling for Key Scenes and Performances
			Emotional Demand Priorities
			Weather and Other Contingency Coverage
		Allocation of Shooting Time Per Scene
			Under- or Over-Scheduling
		The Call Sheet
		Budgeting the Film
		Insurances
		Caution: Equipment Overload
		Workflow
		Shooting Formats and the “Look”
			The Final Look Starts in Preproduction
			Shooting Format and Visual Flexibility
			Standard HD and Cine Gamma
			Log Profile and LUTs
			RAW video
		The Digital Camera Range
			The DSLR and Mirrorless Photo Camera
			Hybrid Large Sensor Cameras
			The Ultra High End: D-Cinema
			Consumer Cameras
		Digital Sound
		Postproduction
		Production Stills
		Awful Warnings…
		Production Party
Part 7: Production
	Chapter 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 Team
			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
	Chapter 27 The Director and Production Tech
		Basic Lighting Approaches and Terminology
			Light Sources
			Three Essential Qualities of Light
		Common Lighting Functions
			Basic Lighting Styles
			Essential Lighting Positions
			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
			Selective Focus
			Depth of Field
		Location Sound
			Getting Best Audio
			Shooting for Sound
			Types of Location Sound
		Shooting Format and Looks
	Chapter 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
			The Slate
			Scene, Shot, and Take Numbers
			Shooting Logs: Camera and Sound
			Calling a Shot: From “Quiet” to “Action”
			Starting Without a Slate
		The Crew’s Attention During a Take
			Who Can Call “Cut”
		Another Take, Circle, or Keeper
			Closer Shots and Reverse Shots
			Shot or Blocking Changes
			Retakes and Pickup Shots
			Important: Record Room Tone Track
		Continuity Sheets
		Striking the Set
		That’s a Wrap
	Chapter 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
			Evaluating the Shot
			Making Progress
			When You and Your Crew are Alone
		Wrapping for the Day
			Screening Dailies
			Criticism from the Crew
			Morale, Fatigue, and Intensity
		You as Role Model
	Chapter 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
		The Script Supervisor’s Report
		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
	Chapter 31 Postproduction Overview
		The Postproduction Team
			The Editor
			Director-Editors
		Technology, Workflow, and the Director
			Workflow
		The Postproduction Stages
	Chapter 32 Editing Begins: Getting to know the Footage
		Transferring, Logging, and Organizing Footage
			Syncing Dailies
		Dailies: Reviewing and Evaluating Footage
			The Editing Script
			The Only Film is in the Dailies
		Partnership
		Making the First Assembly
			Viewing the Assembly Edit
			The Second Viewing: Diagnostic Questioning
		Resolutions After Seeing the Assembly
			Length and Structure
			Leave the Editor to Edit
	Chapter 33 The Rough Cut
		Editing Principles
			Editing Mimics an Observing Consciousness
			How We Use Eye Contact
			Eyelines and the Concerned Observer Perspective
			Editing Implies Character Psychology
		Observer into Storyteller
		Repairing Performance Issues
		Editing to Develop or Alter Subtexts
		Visual and Aural Editing Rhythms: An Analogy in Music
		Transitions and Transitional Devices
			Shot-to-Shot Transitions and the Split Edit
			Lap Cut Scene Transitions
			Scene Elision and Sound
		The Problem of Achieving a Flow
			Counterpoint in Practice: Unifying Material into a Flow
		Assessing the Rough Cut
		The Audience Actively Imagining
		Summary
	Chapter 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!
	Chapter 35 Working with Music
		Choosing Music
		Spotting Session
		Using Pre-Recorded Music
			Music Libraries
		Collaborating with a Composer
			Beginning Work
			When there is Scratch Music
			Developing a Music Cue Sheet
		Conflicts and Composing to Sync Points
		When to Use Music, and When Not
		Music Editors and Fitting Music
	Chapter 36 The Finishing Touches
		Color Correction and Color Grading
		Color Grading with LUTs
		Finalizing Sound
		Elements of the Sound Design
			Voice/Speech
			Sound Effects (SFX)
			Ambient Sound and Walla
		The Sound Spotting Session
		Dialogue Tracks and Their Inconsistencies
		Preparing for the Sound Mix
		Directing the Mix
			Approve Sections, Then Listen to the Whole
		Titles and Credits
	Chapter 37 Getting it out There
		Mastering
		Distribution Copies
		Promotional Material
		Distribution
			Video Hosting Sites
			Crowdsource Theatrical
			Festivals
		And Now for Something Completely Different
Filmography
Photograph and Illustration Acknowledgements
Index