Film Directing Fundamentals, 2nd Edition

Table of contents

1. Cover
2. Half Title
3. Title Page
4. Copyright
5. Dedication
6. Contents
7. Foreword
8. Acknowledgments
9. Part One: Learning How to Draw
   1. Chapter 1. Introduction to Film Language and Grammar
      1. The Film World
      2. Film Language
      3. Shots
      4. Film Grammar
      5. The 180-Degree Rule
      6. The 30-Degree Rule
      7. Screen Direction
      8. Film Time
      9. Compression
      10. Elaboration
      11. Familiar Images
   2. Chapter 2. Introduction to the Dramatic Elements Embedded in the Screenplay
      1. Spines
      2. Whose Film Is It?
      3. Character
      4. Circumstance
      5. Dynamic Relationships
      6. Wants
      7. Expectations
      8. Actions
      9. Activity
      10. Acting Beats
   3. Chapter 3. Organizing Action in a Dramatic Scene
      1. Dramatic Blocks
      2. Narrative Beats
      3. The Fulcrum
      4. Dramatic Elements in Notorious Patio Scene
      5. Notorious Patio Scene Annotated
   4. Chapter 4. Staging
      1. Main Functions
      2. Patterns of Dramatic Movement
      3. Changing the Stage Within a Scene
      4. Staging as Part of a Film's Design
      5. Working with a Location Floor Plan
      6. Floor Plan and Staging for Notorious Patio Scene
   5. Chapter 5. The Camera
      1. The Camera as Narrator
      2. The Reveal
      3. Entrances
      4. The Objective Camera
      5. The Subjective Camera
      6. Where Do I Put It?
      7. Visual Design
      8. Style
      9. Coverage
      10. Camera Height
      11. Lenses
      12. Composition
      13. Where to Begin?
      14. Working Toward Specificity in Visualization
      15. Looking for Order
      16. Dramatic Blocks and the Camera
      17. Shot Lists and Storyboards
      18. The Prose Storyboard
   6. Chapter 6. Camera in Notorious Patio Scene
      1. First Dramatic Block
      2. Second Dramatic Block
      3. Third Dramatic Block
      4. Fourth Dramatic Block and Fulcrum
      5. Fifth Dramatic Block
10. Part Two: Making Your Film
    1. Chapter 7. Detective Work on Scripts
       1. Reading Your Screenplay
       2. A Piece of Apple Pie Screenplay
       3. Whose Film Is It?
       4. Character
       5. Circumstance
       6. Spines for A Piece of Apple Pie
       7. Dynamic Relationships
       8. Wants
       9. Actions
       10. Acting Beats
       11. Activity
       12. Tone for A Piece of Apple Pie
       13. Breaking A Piece of Apple Pie into Actions
       14. Designing a Scene
       15. Visualization
       16. Identifying the Fulcrum and Dramatic Blocks
       17. Supplying Narrative Beats to A Piece of Apple Pie
       18. Director's Notebook
    2. Chapter 8. Staging and Camera for a Piece of Apple Pie
       1. Staging
       2. Camera
       3. Conclusions
    3. Chapter 9. Marking Shooting Scripts with Camera Setups
    4. Chapter 10. Working with Actors
       1. Casting
       2. First Read-Through
       3. Directing During Rehearsals
       4. Directing Actors on the Set
    5. Chapter 11. Managerial Responsibilities of the Director
       1. Delegating Authority While Accepting Responsibility
       2. The Producer
       3. The Assistant Director
       4. A Realistic Shooting Schedule
       5. Working with the Crew
       6. Working with the Director of Photography
    6. Chapter 12. Postproduction
       1. Editing
       2. Music and Sound
       3. Locking Picture, or How Do You Know When It's Over?
       4. An Audience and a Big Screen
11. Part Three: Learning the Craft Through Film Analysis
    1. Chapter 13. Alfred Hitchcock’s Notorious
       1. Overview of Style and Design
       2. First Act
       3. Second Act
       4. Third Act
       5. Summary
    2. Chapter 14. Peter Weir’s the Truman Show
       1. Overview of Style and Design
       2. First Act
       3. Second Act
       4. Third Act
       5. Summary
    3. Chapter 15. Federico Fellini’s 8-1/2
       1. A Masterpiece?
       2. The Director as Auteur
       3. Dramatic Construction
       4. Overview of Style and Design
       5. Detective Work
       6. First Act
       7. Second Act
       8. Third Act
       9. Summary
    4. Chapter 16. Styles And Dramatic Structures
       1. Tokyo Story, Yasujiro Ozu (1953, Japan)
       2. Some Like It Hot, Billy Wilder (1959, USA)
       3. The Battle of Algiers, Gillo Pontecorvo (1965, France)
       4. Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland)
       5. Sex, Lies, and Videotape, Steven Soderbergh (1989, USA)
       6. Shall We Dance?, Masayuki Suo (1996, Japan)
       7. The Celebration, Thomas Vinterberg (1998, Denmark)
       8. The Insider, Michael Mann (1999, USA)
       9. The Thin Red Line, Terrence Malick (1998, USA)
    5. Chapter 17. What Next?
       1. Writing for the Director
       2. Begin Thinking About Your Story
       3. Concocting Your Feature Screenplay
       4. “Writing” Scenes with Actors
       5. Shooting Your Film Before You Finish Writing It
       6. The Final Script
       7. Shooting Without a Screenplay?
       8. Questions Directors Should Ask About Their Screenplays
       9. Building Directorial Muscles
       10. Directing Exercises
       11. Make A Piece of Apple Pie Your Own
       12. Conclusion
12. Bibliography
13. Index