Directing Feature Films,9780941188432

Directing Feature Films

by
ISBN13: 9780941188432
ISBN10: 0941188434
Format: Paperback
Pub. Date: 2002-04-01
Publisher(s): Michael Wiese Productions
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Summary

The film director is the guide, the inspiration, the focus that can shepherd hundreds of artists into the creation of a single work of art. The challenge is to collaborate effectively to realize a single vision. Learn how to really read a script, find its core, determine your "vision," communicate with writers, actors, designers, cinematographers, editors, composers, and all the members of your creative team in order to insure that your "vision" reaches the screen. This edition of the best-selling THE DIRECTOR'S JOURNEY contains new material that takes the reader even deeper into the process, step-by-step.

Table of Contents

Acknowledgements xvii
Preface xix
New Introduction xxi
Original Introduction 1(4)
The Role of the Director and the Creative Team
5(2)
The Director's Writing Process
7(1)
The Director's Notebook
8(1)
Formulating the Vision
8(3)
The Director and The Script
11(14)
Reading the Script --- The Script Wash
13(1)
Identifying the Passion
14(2)
The Core Question
16(5)
The Emotional Core
21(2)
Telling the Story
23(1)
The Audience
24(1)
Terms and Definitions
25(18)
The Three - Act Structure
25(2)
Overall Objectives
27(4)
Objectives (Internal and External)
31(1)
Obstacles (Internal and External)
32(3)
Means
35(1)
Actions
36(1)
Independent Activities
37(1)
Adjustments
38(1)
Public and Private Lives
39(1)
Windows of True Nature
40(3)
Working With Writers
43(34)
The Writer/Director Collaboration
43(2)
The Writer's Vision vs. the Director's Vision
45(1)
Discovering the Writer's Vision
46(2)
Establishing the Genesis of the Story
48(2)
Melding the Writer's Vision with the Director's Vision
50(1)
Point of Agreement
51(1)
Going from the General to the Specific
52(2)
The Process of Rewrites
54(1)
Determining Where Rewrites Are Needed --- Black Holes
55(4)
Determining the Writer's Ability to Rewrite
59(2)
Working with the Writer on Rewrites
61(1)
The Ripple Effect
62(2)
If the Writer Can't Deliver The Rewrites
64(4)
Working with the New Writer
68(1)
Reading as part of the Script Development Process
69(4)
The Writer as Third Eye in the Rehearsal Process
73(1)
The Writer in Production and Post
74(1)
The Writer/Director
74(1)
In Summary
75(2)
The Script Breakdown
77(48)
Steps to Script Breakdown
77(1)
What Is the Story Really About?
78(2)
Director's Objective for Telling the Story
80(2)
Point-to-Point Description
82(3)
Defining the Acts
85(3)
Character Objectives and Obstacles
88(4)
Objectives in Acts, Sequences, and Scenes
92(2)
Obstacles
94(3)
Analysis of The Script Units
97(10)
Asking the Hard Questions
107(7)
Character Arcs
114(2)
Character Analysis
116(3)
Visual and Aural Design Arcs
119(4)
Summary
123(2)
The Creative Team
125(22)
The Interview Process
126(1)
Your Collaborators as Storytellers
127(3)
Cinematographer
130(2)
Production Designer
132(1)
Editor
133(1)
Composer
134(1)
Sharing Your Vision
134(1)
Additional Screening Methods
135(6)
Team Members Who Have Been Preselected
141(1)
Preproduction with the Creative Team
141(6)
The Casting Process
147(36)
Selecting the Casting Director
148(1)
Storytelling
148(2)
Conveying Your Vision
150(1)
The Casting Director's Attitude about Actors
150(1)
Access to Talent
151(1)
Ability to Negotiate
151(1)
Preparation for the Audition Process
152(3)
Typecasting
155(2)
The Actor/Character Meld
157(1)
The Actor/Character Split
157(2)
Selection of Scenes
159(1)
Preparing the Actors for the Readings
160(4)
Casting Name Actors
164(3)
The Audition Process
167(1)
The Environment
168(1)
The Audition
169(4)
The Callbacks
173(2)
The Interviews - Getting To Know Your Actors Personally
175(1)
Mixing and Matching
176(1)
Creating The Ensemble
177(1)
Directing the Actor in the Audition
178(2)
Screen Tests
180(1)
Viewing Past Work of the Actors
181(1)
Contacting References
181(2)
The Rehearsal Process
183(56)
The Nine Basic Steps
183(1)
The Rehearsal Plan
184(3)
The First Rehearsal and Read-Through
187(6)
Ensemble Work with the Actors
193(2)
Creating the World of the Film
195(5)
Developing Character Backgrounds and Histories
200(5)
Developing Character Relationships within the Story
205(1)
Improvisations, Theatre Games, and Rehearsal Exercises
206(3)
Read-Through of the Script
209(1)
Improvising the Story
210(1)
Rewrites and the Creative Triangle
211(1)
Working with Specific Scenes
211(1)
Rehearsing the Scene
212(5)
Other Rehearsal Exercises
217(4)
Staging as a Directing Tool
221(4)
Methods of Staging
225(10)
Developing an Eye for Staging
235(1)
Storyboards
236(1)
The Final Reading
237(1)
Preparing the Actors for the Production Process
237(2)
Production
239(30)
The Nightly Reconsideration Process
240(1)
Development Review
241(1)
Staging
242(1)
Camera Coverage
243(2)
Communications with the Creative Team
245(3)
On the Set
248(1)
Working with the Writer and The Actors on the Set
248(2)
Rehearsals the Night Before
250(1)
Meeting Actors on the Set
250(1)
The Rehearsal on the Set
251(2)
Rehearsal Exercises in Production
253(4)
Back on the Set
257(1)
Creating Choices through Bracketing
257(2)
Techniques to Trigger Performance
259(3)
Using Music to Set Rhythm and Tone
262(1)
Dealing with the Problems on the Set
262(1)
Rewrites
263(1)
Improvising the Scene on Camera
263(2)
Finding and Shooting the Details
265(1)
Dailies
266(1)
Communication
267(2)
Postproduction
269(30)
Editing as a Rehearsal Process
269(1)
Reviewing Dailies with Your Editor
270(1)
Get Away
270(1)
Find the Story
270(1)
The Editor's Cut
271(2)
The Director's Cut
273(1)
Establishing Your Process
274(2)
Molding the Actors' Performances in Postproduction
276(2)
Keeping the Audience Dissatisfied
278(2)
ADR as an Area for Performance Adjustment
280(1)
Narration and Voice Over
281(2)
Postproduction Sound
283(1)
The Sound Effects Team
283(2)
Music
285(1)
The Temp Track
285(2)
The First Mix
287(1)
Previews
287(3)
The Final Cut
290(1)
Spotting the Picture
291(1)
The Scoring Session
291(1)
The Final Mix
292(1)
Achieving the Mix You Want
293(2)
Letting Go
295(4)
Reconsiderations and Recapitulations
299(16)
It's Just Storytelling
299(1)
Directors Don't Make Movies
300(1)
Only the Characters Can Tell the Story
301(1)
The Jigsaw Puzzle Model
302(3)
The Nine Steps (Revisited)
305(2)
The Alpha Horse
307(3)
The 90% Rule
310(5)
No More Acting, No More Directing
315(54)
Result Directing
315(4)
Result Directing in the Casting Process
319(1)
When Result Directing Does Work In Production
320(2)
Directing Through Questions Rather than Statements
322(11)
The Link between Obstacles and Staging
333(6)
The Actor's Greatest Obstacle
339(3)
The Theatrical Contract
342(6)
Mind the Gap
348(3)
The Character's Response to the Gap
351(1)
The Emotional Graph
352(10)
A Fresh Look at the Rehearsal Process
362(5)
No More Acting
362(2)
Be Willing to Risk
364(1)
No More Directing
365(2)
The Courage to Break the Rules
367(2)
The Ultimate Collaboration: Directors with Directors
369(28)
The Role of the Directing Consultant
369(7)
A Panel Discussion
376(18)
It's a Wrap - For the Moment
394(3)
Appendix 397(4)
About Mark Travis 401

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