THE MOVIE DIRECTOR'S WORKBOOK
Homework, playtime, and prayer
Homework, playtime, and prayer
1.THE DIRECTOR’S SCRIPT
Create a new script on the opposite page from the dialogue. Include everything: camera moves, business, blocking. Breaking down of a script is a dress rehearsal in your head, but it’s just an exercise. Nothing is ever as you plan. Always work in pencil.
Create a new script on the opposite page from the dialogue. Include everything: camera moves, business, blocking. Breaking down of a script is a dress rehearsal in your head, but it’s just an exercise. Nothing is ever as you plan. Always work in pencil.
2. BREAKING DOWN YOUR SCRIPT
Don't accept what the writer gave you even if you’re the writer. Whatever you imagined will be different once it’s on its feet. Your job is to figure it out on the day. No do-overs. Directing begins with preparation and flowers in improvisation
Don't accept what the writer gave you even if you’re the writer. Whatever you imagined will be different once it’s on its feet. Your job is to figure it out on the day. No do-overs. Directing begins with preparation and flowers in improvisation
3. SCENEWORK
Find the spine of a film. Sometimes it’s only a sentence. Check the spine against every scene. If a scene doesn't fit the spine, cut it. Do the same to find the story of every scene. Often the purpose of a scene is no more than a moment. The rest is foreplay.
Find the spine of a film. Sometimes it’s only a sentence. Check the spine against every scene. If a scene doesn't fit the spine, cut it. Do the same to find the story of every scene. Often the purpose of a scene is no more than a moment. The rest is foreplay.
4.EMBARASSMENT
Always wait a bit after saying ‘cut’ before giving direction. Often the sound man hasn’t turned off the machine and for months to come you’ll be tortured by the sound of your wheedling, fatuous voice saying, “That was great, but let’s go again, and this time...”
Always wait a bit after saying ‘cut’ before giving direction. Often the sound man hasn’t turned off the machine and for months to come you’ll be tortured by the sound of your wheedling, fatuous voice saying, “That was great, but let’s go again, and this time...”
5. TOUGHEN UP
Be your own toughest critic. Never settle. A hack always knows he got it right; only the mediocre are always at their best. And never, NEVER say, “no problem.” There will always be a problem. Live and don’t learn.
Be your own toughest critic. Never settle. A hack always knows he got it right; only the mediocre are always at their best. And never, NEVER say, “no problem.” There will always be a problem. Live and don’t learn.
6.CASTING
You never get an actor’s best performance in casting: they’re either terrified or enraged. Truth is, you’re learning your film by watching them try things and bring ideas you might never have considered. They’re doing you a huge favor by being there. Thank them.
You never get an actor’s best performance in casting: they’re either terrified or enraged. Truth is, you’re learning your film by watching them try things and bring ideas you might never have considered. They’re doing you a huge favor by being there. Thank them.
7. IMAGINATION
In the world of pre-viz you’re making decisions without actors’ input. This is why so many effects movies seem to exist in the liminal space between live action and animation. Eliminate the human factor and it becomes something more than life and less than real.
In the world of pre-viz you’re making decisions without actors’ input. This is why so many effects movies seem to exist in the liminal space between live action and animation. Eliminate the human factor and it becomes something more than life and less than real.
8. EQUALITY
A woman director will never be equal to a man until she can unselfconsciously wear over-size board shorts, grow a stubbly beard, have answers to everything, date someone thirty younger… and never again be called a ‘female director.’
A woman director will never be equal to a man until she can unselfconsciously wear over-size board shorts, grow a stubbly beard, have answers to everything, date someone thirty younger… and never again be called a ‘female director.’
9.THE DOWNSIDE
How awful to be a director! To cultivate an inauthentic air of confidence, be presentational when you want to hide, submit to executives' idiocies, work with unrealistic budgets, eat shit from actors, compromise endlessly, and feel defeated at the end of each day.
How awful to be a director! To cultivate an inauthentic air of confidence, be presentational when you want to hide, submit to executives' idiocies, work with unrealistic budgets, eat shit from actors, compromise endlessly, and feel defeated at the end of each day.
10.THE UPSIDE
How thrilling to be a director! To love and lust for the actors. To have a gifted crew who want nothing more than to please you. To do what Patti Smith calls, "the sacred work of being an artist.” Telling a story is the closest thing to holding hands with God.
How thrilling to be a director! To love and lust for the actors. To have a gifted crew who want nothing more than to please you. To do what Patti Smith calls, "the sacred work of being an artist.” Telling a story is the closest thing to holding hands with God.
P.S. WHO DO YOU WORK FOR?
The question you will ask yourself during every film is whether you are working in a service industry or in the personal expression business.Your answer will determine every choice you make and may change from film to film or even from moment to moment.
The question you will ask yourself during every film is whether you are working in a service industry or in the personal expression business.Your answer will determine every choice you make and may change from film to film or even from moment to moment.
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