book

Directing, 6th Edition

Name: Directing, 6th Edition
ISBN: 9781351186377

by Michael Rabiger, Mick Hurbis-Cherrier

February 2020

Intermediate to advanced

604 pages

19h 36m

English

Routledge

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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 YouHow Most People Get ThereProfessional ResponsibilitiesPersonal QualitiesDeveloping IntuitionLeadership and Collaborating with a TeamTelling Your StoriesFilm Art and IndividualismStory SourcesArtistic Identity I: How It FunctionsArtistic Identity II: Locating YoursSubjects to AvoidDisplace and TransformThe Artistic Process
Chapter 2 Developing as a Director
Film SchoolLearning Without Film SchoolResources for the Self-TaughtThe Importance of Short FilmsThe Industry Route The Independent RouteCast and Crew ConsiderationsThe Good NewsThe Bad NewsThe Director and Technology

Part 2: The Story and its Development
Chapter 3 Essential Elements of Drama
Duality and ConflictDefining ConflictElements of Conflict and ActionThe Objectives and Through-linesThe StakesThe ObstaclesAction and CharacterFrom Story to Dramatic Narrative
Chapter 4 Shaping the Story into Drama
The BeatDramatic UnitsDramatic Unit and Beat AnalysisThe Dramatic ArcLevels of ActionThe Three-Act StructureThe Three-Act Structure CaveatEssentials of Dramatization I: Making the Internal VisibleEssentials of Dramatization II: Questions and Revelations
Chapter 5 Plot, Time, and Structure
What is Plot?Cause and EffectFlow and InevitabilityCharacter-Driven and Plot-Driven StoriesOrganizing TimeWhere to Begin and EndOptions for Organizing TimeStructurePremise and ThemeShort Films and Story ScaleShort Films and Flexibility
Part 3: The Director and the Script
Chapter 6 Screenplay Ground Rules
The Writer is the Writer, not the DirectorScreenplay StagesStep OutlineTreatmentFirst Draft to Final DraftShooting ScriptStandard Screenplay Formatting
Chapter 7 Recognizing the Superior Screenplay
Script Language and TechniqueStage DirectionsDialogue and Personal DirectionsFirst Reading, First ImpressionGetting Specific with Margin NotesAssessing Cinematic QualitiesHow is the Story Told?Integrity of Characters and MotivesUncover Character SubtextMetaphoric DetailChecking the Embedded ValuesSpotting ArchetypesViability and Working Within LimitationsDetermine the Story GivensDetermine Project ResourcesViability and Safety IssuesWorking Within Limitations
Chapter 8 Script Analysis and Development
Collapsing the Screenplay for AnalysisAnalyzing Plot and Story LogicPlot PointsPoint of View: Subjective or OpenCharacter DevelopmentStatic and Dynamic Character DefinitionCharacter and VoiceCharacter DevelopmentInternal Through-LineCharacter AnalysisEstablishing CharacterAssessing DialogueVerbal ActionReplacing Dialogue with ActionTesting DialogueChecking ExpositionAssessing Environmental DetailLocationsSoundLong Form Series ConsiderationsInviting a Critical ResponseIncorporating CriticismAssess and Reassess
Part 4: Authorship and Aesthetics
Chapter 9 Cinematic Point of View
Planning a Point of ViewTelling Stories on FilmPoint of View in LiteraturePoint of View in FilmCentral Character, One Point of ViewImplied Character POVSubjective Character POVLimited vs. Open InformationMultiple Characters, Multiple POVsDual Main CharactersMultiple CharactersSubsidiary or Alternative POVsThe Concerned ObserverObserver into StorytellerAudience POV
Chapter 10 Form and Style
The Storyteller’s VisionVisual DesignSound DesignPsychoacoustics, and Sound’s Narrative ContributionPerformance StyleEditing StyleRhythmic DesignDirectorial Style
Chapter 11 Tone, Style, and Genre
The Scope of Style and ToneNaturalismClassical Style or Hollywood RealismHyperbole and IronyExpressionism and the Avant-GardeThe Sliding Scale of Cinema StyleTime, Music, and Suspending DisbeliefGenre and Style
Part 5: A Director’s Screen Grammar
Chapter 12 Film Language
Film Language and StorytellingThe Shot and Mise-en-ScèneCreating Complex Meaning in an ImageThe Edit and MontageBeyond Broad Concepts
Chapter 13 The Frame and the Shot
Compositional Axes of the FrameEssential Principles of CompositionClosed and Open FramesDeep Frames, Shallow FramesBalanced and Unbalanced FramesThe Rule of ThirdsCamera HeightCommon Shot SizesShot Selection
Chapter 14 The Moving Camera
Camera Movements from a Fixed PositionDynamic Camera MovementsMotivating the Moving Camera
Chapter 15 Language of the Edit
Shots in JuxtapositionJuxtaposing Sound and ImageThe Continuity SystemThe Basic Shots of Master Scene TechniqueThe Six Principles of Continuity EditingNot Just for Two PeopleVisual Point of View Storytelling Style and CoverageMovement and Screen DirectionChanging Screen DirectionEditing and Time CompressionReal Time and Expanded TimeShot Duration, Information, and PerceptionDuration, Detail, and Meaning
Chapter 16 The Human Vantage in Cinematic Language
Human VantageThe Concerned Observer and Storyteller RolesThe Actor, the Acted-UponDifferent Angles on the Same ActionAbstractionSubjectivity and ObjectivitySequence and MemoryScreen Language in SummaryThe Filmmaker and Creative ResearchThe Filmmaker and Practice
Part 6: Preproduction
Chapter 17 Exploring the Script
Interpreting the ScriptTwo Types of Film, Two Kinds of PreparationHomeworkRevisit Your PremisePreliminary Scene BreakdownDefine the SubtextsTools to Reveal Dramatic DynamicsStoryline AnalysisGraphing Tension and BeatsFirst VisualizationLogline and Guiding Metaphors
Chapter 18 Casting
OverviewPost a Casting Call AdvertisementActive Search for ActorsNon-Professional ActorsSetting Up the First AuditionThe Actors Arrive Conducting the First AuditionMonologuesCold ReadingsAssessmentConcluding Each AuditionDecisions After the First RoundFirst Callback—Auditioning with the ScriptImprovisationSecond CallbackInterviewMix and Match ActorsMaking Final ChoicesCamera TestNegative Characters and TypecastingAnnouncing Casting DecisionsGiving and TakingCasting Non-ActorsNon-Actors in Character RolesNon-Actors in Major Roles
Chapter 19 Acting Fundamentals
StanislavskyBelieving ItInterior Life and Playable ActionsDrawing on Personal ExperienceComparing Theatre and Film ActingThe Director’s Challenge
Chapter 20 Directing Actors
Director in Relation to ActorsMake ContactBuild Trust and AuthorityDirect Positively and EquablyCommon ProblemsLack of Focus and RelaxationMind-Body Connection MissingAnticipating or Not AdaptingActing in IsolationMissing Interior LifeMissing SubtextsThe Generalized InterpretationDistancing and Indicating Intensity, Intimacy, and Limiting an Actor’s SphereTackling Stubborn ArtificialityHow Much Rehearsal is Enough?Don’t Over-DirectThe Element of SurpriseSome Dos and Don’ts
Chapter 21 Rehearsals
The Director PreparesScene Analysis, Subtexts, and Developing the Authority to DirectConflicts and BeatsNaming the Function of Each SceneHeightening Dramatic Tension and the Crisis PointDefining the Thematic PurposeSetting Up RehearsalsRehearsal SpaceRehearsals with the BookThe Table Reading and Introducing the ProjectMeeting One-On-One with ActorsScene Breakdown SessionsRehearsal Order and Priorities for Small GroupsConsolidating Characters’ Formative ExperiencesEncourage Physical MovementNotes, Feedback, and Establishing a Working RhythmCharacter Complexity and “Negative” CharactersRehearsing without the BookTurning Thought and Will into ActionA Character’s Inner MovementMonitoring SubtextsCuing and PacingSpontaneityBlocking and Using Space ExpressivelyUsing Improvisation ScenariosLocations, Environments, and ResearchThe Director as Active ObserverShooting RehearsalsDon’t Show Actors Their WorkCheck TimingsA Long Journey
Chapter 22 Acting Exercises
Using ImprovisationImprovisation ExercisesActing and DoingThe Director’s Role During ImprovsDiscerning Beats and Dramatic UnitsThe Actor’s Role During ImprovsMake your Audience SeeStaying FocusedAudience Etiquette and Improv DurationAssessment and DiscussionActing ExercisesImprovisation ExercisesActing Exercises with TextImprovisation for Script Development
Chapter 23 Planning the Visual Design
Visual Design QuestionnaireResearch and the LookbookElements of Visual DesignLocations and SetsCinematographyWardrobe, Makeup, and HairdressingCase Studies in Visual DesignThe Script Breakdown Sheet
Chapter 24 Developing the Shooting Script
The General AestheticMaster Scene Method (aka Coverage)The Long-Take MethodThe Short-Take MethodFixed Versus Mobile CameraImplying a Subjective or Objective VantageRelatedness: Separating or Integrating by ShotThe Camera as an Observing ConsciousnessPoint of View (POV)The Heart of Directing: The Storyteller’s Point of ViewCreating the Shooting ScriptShot Selection Scene by SceneCovering Key Moments in More than One WayInserts and Cutaways The Floor Plan and Shooting ScriptThe StoryboardUsing Lines of TensionSubjective and ObjectiveShow RelatednessBlocking the SceneRegrouping and Reset TransitionsUse Your IntuitionWork Within Your MeansStudy the Masters
Chapter 25 Line Producing and Logistics
Scheduling the ShootLocations and Shot OrderShooting in Script OrderScheduling for Key Scenes and PerformancesEmotional Demand PrioritiesWeather and Other Contingency CoverageAllocation of Shooting Time Per SceneUnder- or Over-SchedulingThe Call SheetBudgeting the FilmInsurancesCaution: Equipment OverloadWorkflowShooting Formats and the “Look”The Final Look Starts in PreproductionShooting Format and Visual FlexibilityStandard HD and Cine GammaLog Profile and LUTsRAW videoThe Digital Camera RangeThe DSLR and Mirrorless Photo CameraHybrid Large Sensor CamerasThe Ultra High End: D-CinemaConsumer CamerasDigital SoundPostproductionProduction StillsAwful Warnings…Production Party
Part 7: Production
Chapter 26 Developing a Production Crew
Developing Your Own CrewThe Crew’s Attitude and ActorsProduction Crew RolesAreas of ResponsibilityRole DescriptionsDirection DepartmentProduction DepartmentCamera DepartmentSound DepartmentArt DepartmentSet EtiquetteRespect the TeamRespect the Public’s SpaceRespect the LocationFood and BreaksProduction Safety and SecurityThe Commandments of Film Production SafetyPrepare for SafetyMaintain Common SenseSpecial Circumstances can be RiskyElectricityKeep the Set Secure
Chapter 27 The Director and Production Tech
Basic Lighting Approaches and TerminologyLight SourcesThree Essential Qualities of LightCommon Lighting FunctionsBasic Lighting StylesEssential Lighting PositionsLighting Approaches and ExposureThe Expressive Capacity of the LensFocal Length: Magnification and Field of ViewShot Size, Perspective, and Lens SelectionLenses and the Director’s StyleLenses and Exposure ControlFocusSelective FocusDepth of Field Location SoundGetting Best AudioShooting for SoundTypes of Location SoundShooting Format and Looks
Chapter 28 On Set: Production Begins
Before the Camera RollsThe Director’s RoleDaily OrganizationGetting to the First Shot: An Overview ChronologyRoll CameraShot and Scene IdentificationThe SlateScene, Shot, and Take NumbersShooting Logs: Camera and SoundCalling a Shot: From “Quiet” to “Action”Starting Without a SlateThe Crew’s Attention During a TakeWho Can Call “Cut”Another Take, Circle, or KeeperCloser Shots and Reverse ShotsShot or Blocking ChangesRetakes and Pickup ShotsImportant: Record Room Tone TrackContinuity SheetsStriking the SetThat’s a Wrap
Chapter 29 Directing on the Set
Directing the ActorsActors’ Anxieties at the BeginningDividing Yourself between Crew and CastDirecting Actors During a ShootChanging GoalsDemands and FeedbackSide Coaching and Reaction ShotsFor the New ShotChallenging Your CastEveryone Needs FeedbackCriticism from the CastUsing Social Times and Breaks Directing the CrewCommunicatingEvaluating the ShotMaking ProgressWhen You and Your Crew are AloneWrapping for the DayScreening DailiesCriticism from the CrewMorale, Fatigue, and IntensityYou as Role Model
Chapter 30 Monitoring Continuity and Progress
The Script Supervisor PreparesMonitoring Coverage and TimingTypes of ContinuityMonitoring ContinuityWardrobe and Properties ContinuityPhysical ContinuityMonitoring DialogueThe Script Supervisor’s ReportMonitoring Your Own Progress as DirectorDramatic and Technical QualityFulfilling Your Authorship IntentionsResources and Cost ReportsAt the End of the Production
Part 8: Postproduction
Chapter 31 Postproduction Overview
The Postproduction TeamThe EditorDirector-EditorsTechnology, Workflow, and the DirectorWorkflowThe Postproduction Stages
Chapter 32 Editing Begins: Getting to know the Footage
Transferring, Logging, and Organizing FootageSyncing DailiesDailies: Reviewing and Evaluating FootageThe Editing ScriptThe Only Film is in the Dailies PartnershipMaking the First AssemblyViewing the Assembly EditThe Second Viewing: Diagnostic QuestioningResolutions After Seeing the AssemblyLength and StructureLeave the Editor to Edit
Chapter 33 The Rough Cut
Editing PrinciplesEditing Mimics an Observing ConsciousnessHow We Use Eye ContactEyelines and the Concerned Observer PerspectiveEditing Implies Character PsychologyObserver into StorytellerRepairing Performance IssuesEditing to Develop or Alter SubtextsVisual and Aural Editing Rhythms: An Analogy in MusicTransitions and Transitional DevicesShot-to-Shot Transitions and the Split EditLap Cut Scene TransitionsScene Elision and SoundThe Problem of Achieving a FlowCounterpoint in Practice: Unifying Material into a FlowAssessing the Rough CutThe Audience Actively ImaginingSummary
Chapter 34 Getting to Fine Cut and Picture Lock
DiagnosticsMaking a FlowchartThe Rough Cut Trial ScreeningListen Closely, Guide Discussion, Do Not ExplainPost Screening ReflectionTry, Try AgainThe Fine CutKnowing When to StopPicture Lock!
Chapter 35 Working with Music
Choosing MusicSpotting Session Using Pre-Recorded MusicMusic LibrariesCollaborating with a ComposerBeginning WorkWhen there is Scratch MusicDeveloping a Music Cue SheetConflicts and Composing to Sync PointsWhen to Use Music, and When NotMusic Editors and Fitting Music
Chapter 36 The Finishing Touches
Color Correction and Color GradingColor Grading with LUTsFinalizing SoundElements of the Sound DesignVoice/SpeechSound Effects (SFX)Ambient Sound and WallaThe Sound Spotting SessionDialogue Tracks and Their InconsistenciesPreparing for the Sound MixDirecting the MixApprove Sections, Then Listen to the WholeTitles and Credits
Chapter 37 Getting it out There
MasteringDistribution CopiesPromotional MaterialDistributionVideo Hosting SitesCrowdsource TheatricalFestivalsAnd Now for Something Completely Different
Filmography
Photograph and Illustration Acknowledgements
Index

Overview

Directing: Film Techniques and Aesthetics is a comprehensive exploration into the art and craft of directing for film and television. It’s filled with practical advice, essential technical information, and inspiring case studies for every stage of production, as well as a companion website including forms, checklists, assignments.

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