Directors

**occasus** · December 21st, 2004, 12:06 PM

After I read your post, I was all... I don't even know the English word but all I could think about was something Tarantino once said about people going to film schools (learning all the rules) being the dullest directors.

**Chance1234** · December 21st, 2004, 12:13 PM

Theres never a Dull day, when theres alcohol involved

**Tasty Fish Lips** · December 21st, 2004, 12:47 PM

Thanks Chance, for taking the time to answer some of those. [img]graemlins/beer.gif[/img]

After I read your post, I was all... I don't even know the English word but all I could think about was something Tarantino once said about people going to film schools (learning all the rules) being the dullest directors.

The questions I asked dont lead to rules. As Kev pointed out, everyone has their own answer. Even Tarantino has to answer those questions and solve those problems. [img]biggrin.gif[/img]

Wouldn't it make a very interesting book - Student/Guerilla filmakers who comment in great length about the process, like the professionals do in countless other books, like Moviemaker's Master Class. I'm sure there will be some whose insights aren't very inspiring. But I bet there would be some beginners and newcomers who would reveal how innovative and creative one can be, and that sometimes the only thing that separates the big guys from those of us yet to establish ourselves is their multi-million dollar budgets.

[ December 21, 2004 08:48 AM: Message edited by: Tasty Fish Lips ]

**Kev Owens** · December 21st, 2004, 01:28 PM

But I bet there would be some beginners and newcomers who would reveal how innovative and creative one can be...

Probably true, but don't expect to become more innovative and creative from reading something like that!

**Tasty Fish Lips** · December 21st, 2004, 02:03 PM

Why the negative resistance? What's the point of it?

I'm trying to provoke discussion about what directors do. On a filmmaking message board.

I guess that makes me a bad person.

Probably true, but don't expect to become more innovative and creative from reading something like that!

Why not? Too much pride? Does the idea of another filmmaker who is in the same position as you, or perhaps with less experience, who demonstrates great ability intimidate you?

[ December 21, 2004 10:08 AM: Message edited by: Tasty Fish Lips ]

**jb_617** · December 21st, 2004, 02:20 PM

Originally posted by Tasty Fish Lips:
[QB] <blockquote>quote:<hr />Not everyone here is a director.

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.QB]<hr /></blockquote>By that, I meant that you should maybe not expect huge insights. I did not mean that there are not many people directing films.

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

Sorry for the confusion.

**eidde** · December 21st, 2004, 02:21 PM

I think part of the problem is that at low budget levels "the director" often does pretty much everything and get tied up as producers more than directors. Thats definatley my experience.

So you may end up with a film but it might be hardly "directed" at all.

Therefore many low budget 'directors' dont have a lot of energy to sculpt their work in the way that you describe as much as they might like to.

Quite often you just have to go with what you get.

That said, of course - shots are planned, actors briefed etc...these desicions are made by The Director.

A great book for this in my mind is 'Directting Film' By Steven Katz - he talks about the subtleties of CU and WideShots and what effect the juxtaposition of these might acheive. I found it really interesting.
I think the pyschology of 'film watching' is more interesting than actual film making....What is it 'doing' to your audience, and how...

For example a CU shot slightly low, looking up at an actor can make them appear more dominant.
Or lighting from below is more sinister than from above.
Didnt Jean Luc Godard make an entire film based on the theory that we focus on peoples eyes more than any other feature in their face?

Ultimatley I agree with Chance when he says you get your establishing shots, your master and your closeups. Then try and get creative and get the other shots should you have time to.

Storyboarding really helps to work out what shots are the most important to get to tell your story - but 90% of the time you (I) are just glad to get anything in the can....:-)

**Kev Owens** · December 21st, 2004, 02:29 PM

Why not? Too much pride? Does the idea of another filmmaker who is in the same position as you, or perhaps with less experience, who demonstrates great ability intimidate you?

Hahaha!

No... not at all!

My only point is that how can you be innovative if you copy or follow someone else??? And no-one can teach creativity!

That's not negative, that's just what I think, hence my reluctance to answer all of those questions you asked; I don't see the point and I'm telling you why!

I'm sticking to my original point:

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!

Be honest, has Chance's huge post really helped you at all?

If you want to provoke a discussion then ask the questions that are most important to you, not just everything you can think of! I'm not being negative, just honest.

**Generic Skinhead** · December 21st, 2004, 02:34 PM

Hmm...I don't really ever get master shots of a scene anymore as I tend to make a lot of my editing choices in camera.

I make sure I have a producer for all the organising, props, locations...and stuff. Although at this level you have to chip in on that side of things too.

I'm not mad on wide shots personally. I use them sparingly, and even then only if I have a particlularly stunning location. If you watch my stuff on average you'll see only 1 or 2 wide shots per film. You can get a rough idea by checking out my pics on Fokti.

I love close-ups and use them a lot. As has been alluded to, an actor's eyes are often the most interesting part of a performance and I also like having little details of key props, perhaps shot in an unusual way.

I'm not someone who tries to replicate reality in my work, I get enough of that in real life thanks. For better or worse I try to be more stylistic, but not for the sake of it.

**Tasty Fish Lips** · December 21st, 2004, 02:35 PM

My only point is that how can you be innovative if you copy or follow someone else??? And no-one can teach creativity!

Then why did you recommend that book to me? And why bother posting and reading on a filmmaking message board?

To learn. To be inspired.

Its not about teaching creativity. Its about learning methods and techniques and the ideas behind concepts, that when applied, can lead to creativity.

Has anything said by Chance helped me? No. Much of what he said was not serious, anyewya. But he got the ball rolling. There are some things he mentioned that I will probably ask him to elaborate on.

[ December 21, 2004 10:37 AM: Message edited by: Tasty Fish Lips ]

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