This comprehensive manual has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career. Directing covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. It emphasizes low-cost digital technology, which allows cutting-edge creativity and professionalism on shoestring budgets. And, recognizing that you learn best by doing, the book includes dozens of practical hands-on projects and activities to help you master technical and conceptual skills. Just as important as surmounting technological hurdles is the conceptual and authorial side of filmmaking. This book provides an unusually clear view of the artistic process, particularly in working with actors. It offers eminently practical tools and exercises to help you develop credible and compelling stories with your cast, hone your narrative skills, and develop your artistic identity. This book shows you how to surpass mere technical proficiency and become a storyteller with a distinctive voice and style. The companion web site includes teaching notes, hands-on exercises, checklists, and useful forms and questionnaires.
* Updated and revised edition of the bestselling, most comprehensive guide to the technical and creative aspects of film directing: a complete education in a book * Loaded with practical exercises and immersive projects, with a companion website featuring teaching notes, hands-on exercises, checklists, and useful forms and questionnaires * Expanded sections on pre-production, lenses, the emotional and tonal implications of shot size, composition, perspective, visual and sound proximity, and screencraft--the core of the director's art * Completely updated and expanded film examples and references, including classics, recent indie films, and foreign films
Author(s): Michael Rabiger, Mick Hurbis-Cherrier
Edition: Fifth Edition
Publisher: Focal Press
Year: 2013
Language: English
Pages: 813
Tags: directing, filmmaking
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
