I haven't done a filmmaking thread in a while and since I tweeted out a couple thoughts a few minutes ago, I thought I would discuss my process for shot building. As always, if you're not interested feel free to mute me.
And just to be clear, I'm a screenwriter as well. I know how hard writing a script is. I wasn't trying to downplay people's work. I've read a lot of scripts and seen a lot of movies. The movies are almost always better than the scripts including my own.
For this thread, I'm speaking about character driven dramas. The process can span across different genres, but I want to be clear what I'm focusing on here. I do not storyboard. I find storyboards limiting when it comes to these types of films. I want shots to be more organic.
Also, I don't believe I have some groundbreaking process. Some of this stuff thousands of other directors do. I am not breaking the mold. I am not intending to do that nor am I claiming to do that. Ok, let's get to the interesting stuff.
The most important part of this process is PREPARATION. The preparation happens well before you get to set. I build out a visual strategy with my DP and production designer before we step on set. This is especially true now for the feature I'm pursuing.
I am very open to collaboration so my DP and I constantly exchange ideas, references and feelings about characters. The characters and their emotional beats are the foundation for the strategy. This is our canvas on which we paint on. We do not shoehorn characters into a "look."
If you look at my work, there is a different approach for each film. There are some connecting elements, but the story and characters dictate what we do. So these are some of the things we incorporate into the strategy: blocking, framing, light, shadow, color and movement.
How we use any and all of these elements is dependent upon the characters involved. Who are they? Where are they emotionally in the moment? Where are they headed emotionally? What is the location? How does the location inform the viewer? What do they want? What do they need?
The information we want to provide for the scene we are shooting tells us how we're going to shoot it. At the moment, my DP, Grace Yu and I, are really into long takes replacing traditional coverage.
Traditional coverage, let's say for a two character scene, could be a master shot covering all the action, some two shots where both people are in the frame, some reverses and some close ups. Traditional coverage can be great and gives options in the edit.
But sometimes you want to give a different feel for the audience. FILM VIEWERS ARE VERY SMART AND UNDERSTAND BASIC FILM LANGUAGE. So I love to throw them off the scent without them realizing I'm throwing them off the scent.
So we also ask the question how do we shoot this in a way that people aren't used to seeing? We reference bits and pieces of a LOT of films. Currently, I believe we have a list of 30 films we've referenced for one reason or another. Then we have screengrabs from a bunch more.
Once we answer all of these questions in our prep, it's on to actual shot design. I love movement. We live in movement. Cinematic movement is nature, actor blocking, group movement, actor gestures, camera movement and cutting on movement.
So I try to design shots that incorporate a few of these elements when I can. Some may be featured more than others. I haven't tried the nature yet because I don't have the budget to properly use it, but I will soon. Again, the movement is driven by emotional beats.
I also love to design my shots with the actual location in mind. I've created a long shot list only to change it significantly once we're in the space. The space dictates what you can and cannot do and it also makes the shots more organic. I want everything to be married.
I also design shots with efficiency and the edit in mind. I try to make edits in my mind while I'm filming. That could be a good or bad thing. I'm not sure. I don't believe in shooting shit just to shoot it. If it isn't going to help or push the story forward I'm not shooting it.
So for me efficiency is combining different camera sets ups into one set up. You can do that by 1) moving the camera so you get different frame sizes. 2) Having the actors move in a static frame to create different sizes. 3) Combine 1 and 2. This is a general thing for me.
The advantages to doing this are 1) it helps your actors and their performances. 2) saves time in your daily schedule. 3) saves you money because time is money. You can only do this if you're prepared before you get on set though.
So in closing, I think the biggest takeaway from this is letting the story and characters influence your approach. That is your map. Use it as much as you can. And prepare, prepare, prepare. Preparation will make you or break you. Be ready well before you're on set.
I hope this was helpful and informative. If you have other topics you want me to talk about please let me know.
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