Directors

[jb_617]

Not everyone here is a director.


---------------------

'Aint that the truth.

[Tasty Fish Lips]

Not everyone here is a director.

<font size="2" face="Verdana, Helvetica, sans-serif">I realize that. I wrote in the beginning of the post, "From what I can tell, there are some directors who post on this message board."

The key word being "some". [img]graemlins/thumbs_up.gif[/img]

And not everyone on here is a special effects artist, but special effects are discussed. Not everyone here is a composer, but music and scores are discussed.

Some other questions I thought of:

How do you (the directors) arrange your actors and props within the frame? If the script doesnt specify - how do you decide?
If theyre sitting, do you just keep the camera still, or move around them?
If theyre walking, do you pan with them on a tripod, or dolly with them, or walk with them handheld?
Sure, each of thses depends on the context of the script, but what is the rationalization for each choice? What is the meaning? Is it just arbitrary?

Why do I ask these questions - surely there are aspiring directors here. I think the answers to these questions are vital. If there are people here who don't care - okay, then just don't reply.

I dont see many people talking much about it. Is it because they don't know? Sure, for some people, like the ones who don't claim to be directors. But what about the ones who do- they're directors! They must know! [img]biggrin.gif[/img]

<font color="#a62a2a" size="1">[ December 20, 2004 06:24 PM: Message edited by: Tasty Fish Lips ]</font>

[Generic Skinhead]

I think the problem is knowing where to begin. Theres so many questions that it would take a very long post indeed to answer even three of them in any detail.

Its the kind of thing that might work better as a discussion in the pub. Also I feel the answers I give may not carry much meaning since you are unfamiliar with my work.

Perhaps we can tackle one question at a time...

[Kev Owens]

What is the idea behind every single choice you make?

<font size="2" face="Verdana, Helvetica, sans-serif">[img]eek.gif[/img] Where do you want us to start here?!?!

It seems like you're looking for a list of rules or something. If that's what you want then buy a book about film-directing (I recommend 'Moviemaker's Masterclass' - by L.Tirade mainly because it is simply interviews with different directors about their own methods).

From reading something like that you realise there are no rules. Directing is mainly about adding your own style...

...no-one can tell you how to do that!

<font color="#a62a2a" size="1">[ December 20, 2004 07:43 PM: Message edited by: Kev O. ]</font>

[Tasty Fish Lips]

It seems like you're looking for a list of rules or something. If that's what you want then buy a book about film-directing (I recommend 'Moviemaker's Masterclass' - by L.Tirade mainly because it is simply interviews with different directors about their own methods).

From reading something like that you realise there are no rules. Directing is mainly about adding your own style...

...no-one can tell you how to do that!

<font size="2" face="Verdana, Helvetica, sans-serif">What's the difference between the people here discussing the process vs. the people in the book you recomended? The people in the book allowed themselves to be interviewed and opened up, sharing their ideas and rationale. Why can't anyone here do the same?

I know there will be a variety of responses. That's sort of the point. Maybe we will learn from each other by sharing different methods and perspectives. Aspiring filmmakers are often influenced and inspired by the established professionals - why can't they be influenced and inspired by their peers (those of us on this board)?

By the way, thanks for recommending the book. I had never heard of it and I'm thinking of ordering it.

[Kev Owens]

Well, my point was there may not be a variety of responses because of how much info you're asking for!

The difference between the directors on here and the directors in the book is that there's the likes of Scorcese, the Coen brothers, Oliver Stone and Woody Allen discussing their methods, and with all due respect the directors that frequent this forum aren't at their level... just yet.

But mainly a book can provide the detail you seem to require. But maybe's someone on here will answer your list of questions...

[Tasty Fish Lips]

I figured I would start a new thread on this subject.

From what I can tell, there are some directors who post on this message board. They post comments, and also clips from films or videos that they have directed, along with links to the websites of their films.

Isn't this what everyone would like to know - WHAT DOES THE DIRECTOR DO?

What are the directorial responsibilites?
How do you chose your shots?
What are the things you take into consideration?
Why do a medium shot as opposed to a close up?
Why do a wideshot, even after the scne has been established, as opposed to back and forth over the shoulder shots? Why do over the shoulder at all? Why not just have both actors in the frame?
What do you tell your actors?
Do you rehearse?
Do you look for a certain type of acting style or method?
When and why do you chose to end a shot?
What makes you cut to a different shot?
When and why do you chose to move the camera, as opposed to a static camera?
Why dolly forward in one scene, and not in another, or why zoom in on one scene, and do handheld with another?
DO you consider pacing with your scenes, with your camera, with your actors?
Do you just cast actors and hope they come prepared without you having to tell them anything?
How do you construct your shot list?
What is the idea behind every single choice you make?
What is the desired effect? Is it superficial, cosmetic, intellectual, or emotional?
Do you try to be subtle, or obvious?
Do you imply things, and hide things, hoping the audience will discover them on their own? If so, how? Is it through the choices you make regarding the above questions?


There are directors here, right? You've made films, right? So you must have been confronted with each and every one of these questions, and tons more, right? How did you answer these questions and solve these problems?
How do you think theses choices affect your film and how an audience views it?

These are the questions Im curious about.

[twister!]

Generic and Kev are right. It's just way too many questions (and they're not easy questions either) - it would require an EXTREMELY lengthy and very time consuming essay-like answer (like being back at school [img]frown.gif[/img] ). Your tone is slightly confrontational too - which doesn't really give me any incentive to take the time to answer.

As the other two said - you'd probably get a better response if you asked one question at a time.

<font color="#a62a2a" size="1">[ December 21, 2004 04:45 AM: Message edited by: Justin M. ]</font>

[emjen]

How do I direct?

So far I've only directed my own scripts. So when I begin storyboarding most of it is already in my head, I just need to get it out as clear and good as possible. And I've got to know the locations as well, which is important.

My scripts have so far been a bit like real life comics, they're a bit absurd and over the top, but that's exactly how I want the end result to be.

I'm not a man who wants the perfect shot. I want good shots, but I don't care if it's all perfectly drawn together into a wonderful composition. I care more about what the shot tells and what's in it.

I've seen professional directors direct, and when I saw them directing actors I thought "Hell, I can do that, I can do even better". But that's easy to say because they've already done so much with storyboarding and rehearsing. You can look at them directing objectively, which is almost impossible on your own work. For some sort of reason it's in my head, and for some sort of reason that's how I want it to be.

[Chance1234]

What are the directorial responsibilites ?

In pre-production it is to come up with the vision and then put the

neccesary tools in place to commute this vision across. on set, the

director steers everyone and everything to acheive his vision. I

personally find shouting loud works very well, and when i can't shout loud

enough, then i bring out the megaphone so i can shout even louder! on more

recent shoots i have also found that part of my responsibility is to keep

the crew and cast sober enough to get the shot.


How do you chose your shots?

Scene dictates a lot and the subtext of what you are acheiving. There are

also various well tried and tested techniques for example shooting 3 people

around the table using a combination of O/S and MCU. There is also a

technical requirement to get the coverage of a scene. Once the technical

aspects have been addressed and a mixture of well and tried techniques

bought into the mix, then the director can afford to be creative and start

taking a gamble on more risky shots and Ideas. I personally find Alcohol a

great tool for the choosing of shots.


What are the things you take into consideration?

Units of Alcohol / Shot idea , The higher the ratio of alcohol to shot idea

, probably means its going to be a good shot.


Why do a medium shot as opposed to a close up?

Depends on what you are trying to acheive, CU can add a degree of

failiarity and closeness in the right context or it can be used in a scarey

way again depending in the right context. When shooting a CU or MCU it isnt

really that much effort to wip the lens out refocus and grab both the CU

and the MCU. Then you can make the decision in post over a nice glass of

wine. I like a nice Merlot myself.

Why do a wideshot, even after the scne has been established, as opposed to

back and forth over the shoulder shots? Why do over the shoulder at all?
Why not just have both actors in the frame?

Again depends on the context, just on a side note dig out a old film called

the October Man and watch some of the scenes in that. Very few camera cuts

and some extremly good tracking work. On My film Mortus Illumina, there is three worlds, theres the puppeteers workshop which i have used big large dramatic shots and theres this power exchange malarkey going on , so CU used to shift the power, then there is the Deadlights realm in the film, which is mainly made up of two shots, dutch tilt's etc and then the 1940's world which the paces changes from big slow trackign shots to fast cuts at the end.


What do you tell your actors?

Your Fekin sacked and I'm replacing you with puppets. or Coming down the pub ?


Do you rehearse?

Yes, normally in Hyde park as its free, for Henry V we are also doing several technical and SFX rehearsals as well, which are great excuses for more drinking.

Do you look for a certain type of acting style or method?

Im a stanislaaski man myself,

When and why do you chose to end a shot?

Tapes run out, and the pubs close at 11.

What makes you cut to a different shot?

Tapes run out, and the pubs close at 11.

When and why do you chose to move the camera, as opposed to a static

camera?


Im a big fan of tracking shots done well, if you head over to http://public.fotki.com/chance1234/m...5/mi_bar_shot/ this shot was used to establish the bar anbd create the illusion it was packed, worked very well , plus it was in a bar.

Why dolly forward in one scene, and not in another, or why zoom in on one

scene, and do handheld with another?

DONT EVER FEKKIN ZOOM it looks gay.; Again it is all down to context and what you are trying to do.


DO you consider pacing with your scenes, with your camera, with your

actors?
????????????????????????????

Do you just cast actors and hope they come prepared without you having to

tell them anything?

In a perfect world that would be nice. no lot of work down in the pre-production, and many meetings in pubs.


How do you construct your shot list?

Pen and paper seems to work well.,

What is the idea behind every single choice you make?

Alcohol.

What is the desired effect? Is it superficial, cosmetic, intellectual, or

emotional?

Alcohol

Do you try to be subtle, or obvious?

I have never hidden spirits in the system tank.

Do you imply things, and hide things, hoping the audience will discover

them on their own? If so, how? Is it through the choices you make regarding

the above questions?

Theres lots hidden in Mortus Illumina, you will have to watch and see. Normally alcohol dictates the choice or the prop man is legless and accidently leaves things lying around on set.