Directing: Film Techniques and Aesthetics
Format: PDF / Kindle (mobi) / ePub
This comprehensive manual has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career.
covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. The core of the book is the human, psychological, and technical knowledge that every director needs, the enduring elements of the craft that remain vital.
also provides an unusually clear view of the artistic process, particularly in working with actors and principle crew to achieve personally expressive storytelling and professionalism on any budget.
explores in detailed and applicable terms how to engage with the conceptual and authorial sides of filmmaking. Its eminently practical tools and exercises show how to: discover your artistic identity; develop credible and compelling stories with your cast and crew; and become a storyteller with a distinctive voice and style.
The companion website includes teaching notes, dozens of practical hands-on projects and film study activities to help you master technical and conceptual skills, film analysis questionnaires, and all the essential production forms and logs.
New to the fifth edition
* Virtually every chapter has been revised, updated, and re-organized for a streamlined and integrated approach.
* Expanded sections on the basics of drama, including thorough analyses of recent films
* Discussions of the director’s approach to script analysis and development
* New discussion exploring the elements of naturalistic and stylistic aesthetic approaches.
* New discussion on the narrative power of lighting and the lens - including many recent film examples for shot size, perspective, focus and exposure
* Greater emphasis on the implications of composition, mise-en-scène, continuity shooting and editing, long take shooting, point-of-view sequences, and camera handling
* Expanded discussion of collaboration between the director and principle creative crew
* Updated coverage of workflow and comparative advantages to digital or film acquisition
* New section on film production safety, set protocol and etiquette
IDENTITY AND DRAMA Conflict is essential to drama. It can be internal or external; that is, it may be: • Person versus person • Person versus environment • Inner conflict between one part of a person and another Until you can state confidently the nature of the conflict that a scene or a whole piece handles, you have not mastered it. That conflict can be large (a soldier wants to obey orders, but finds his conscience forbidding it) or something minor (a toddler struggles to get her little
courage and resolve) John Howard Lawson, in his Theory and Technique of Playwriting (New York: Hill & Wang, 1960), has usefully likened the dramatic unit’s action to the cycles of an internal combustion engine. 1. 2. 3. 4. The engine’s piston draws in explosive gases (exposition, setting the scene) Compression stage and building of pressure inside the cylinder (rising action) Ignition and explosion at maximum pressure (beat, or climax if it’s a scene) Piston is forced downward, initiating a new
demonstrating the frame’s restriction, you can make the viewer’s imagination supply what is beyond the edges of the “window.”) Visual Rhythm: How Duration Affects Perception So far, I have stressed the idea of an immediate, instinctual response to the organization of an image. When you show a series of slides without comment, you move to a new image after sufficient time for the eye to absorb each picture. Some pictures require longer than others. This is how an audience must deal with each new
the teacher sets a broad ground for discussion. If you are working without a mentor, use the assessments to rate yourself on each aspect of your work. Over several months, scan your project assessments to see how your skills are developing. The circled scores make this easy because they represent a bar graph. Rejoice in your accomplishments, and focus on lifting your deficiencies. Many teachers like students to get practice at scoring each other’s work because it helps the scorers become more
patience, and the authority to make binding decisions. Dramatically, the results may be a mixed bag, but the process is certain to build rapport among cast and director. The cast retains what is successful by consensus, and what began as improvisation gradually morphs into a mutually agreed text. What is truly fascinating is that it reinvents how folk drama must have evolved over the centuries. Characters and their issues might be developed from the nature and resonance of a particular location,