A DIRECTOR'S CONFESSIONS
Technique, tricks & trauma
Technique, tricks & trauma
1. HOW DO YOU CAST A MOVIE STAR?
They don’t audition and a polite meeting might be their best performance. Try watching their interviews on YouTube for those moments the presentational mask slips and something authentic is revealed. That’s who’ll show up on set.
They don’t audition and a polite meeting might be their best performance. Try watching their interviews on YouTube for those moments the presentational mask slips and something authentic is revealed. That’s who’ll show up on set.
2. MEDITATION
Get to the set before everybody else – before the chaos of production begins. Close your eyes. Breathe. In the stillness of an empty sound stage you can do the entire day’s work in a few minutes. Makes the rest of the day feel like post-production.
Get to the set before everybody else – before the chaos of production begins. Close your eyes. Breathe. In the stillness of an empty sound stage you can do the entire day’s work in a few minutes. Makes the rest of the day feel like post-production.
3. INTENTIONS
The actors don’t need to know that your lens choices are meant to emphasize the emotional distance between them. Neither does the crew. It’s fine to intellectualize every now and then... just keep it to yourself and put the camera in the right place.
The actors don’t need to know that your lens choices are meant to emphasize the emotional distance between them. Neither does the crew. It’s fine to intellectualize every now and then... just keep it to yourself and put the camera in the right place.
4. SKIN ON SKIN
A love scene is tricky enough in real life. Intimacy consultants are fine if they make the actors more comfortable. More important is having earned the actors’ trust by then. That, and a legitimate narrative reason for having the scene in the first place.
A love scene is tricky enough in real life. Intimacy consultants are fine if they make the actors more comfortable. More important is having earned the actors’ trust by then. That, and a legitimate narrative reason for having the scene in the first place.
5. “CAN I MOVE?”
Watch the scene in “Butch Cassidy” where Redford shows Strother Martin that he can shoot. Certain actors can’t be locked into rigid blocking. It kills their spontaneity and their spirit. Let them feel their way. An "actors' director" knows when to let them act.
Watch the scene in “Butch Cassidy” where Redford shows Strother Martin that he can shoot. Certain actors can’t be locked into rigid blocking. It kills their spontaneity and their spirit. Let them feel their way. An "actors' director" knows when to let them act.
6. THE SILENT TAKE
In the cutting room you’ll inevitably find moments to use before you said ‘action’ or after you said ‘cut.' Try doing a take without any dialogue at all. Or maybe don’t even say ‘action’ and let the actors casually roll into the take without a push.
In the cutting room you’ll inevitably find moments to use before you said ‘action’ or after you said ‘cut.' Try doing a take without any dialogue at all. Or maybe don’t even say ‘action’ and let the actors casually roll into the take without a push.
7. THE NIGHT BEFORE
Athletes learn to previz. You can do the same. But only to learn the necessary beats; a scene will never be as you imagined, anyway. Let go of your expectations and experience the work as it’s happening. Only then can you hope to shape it.
Athletes learn to previz. You can do the same. But only to learn the necessary beats; a scene will never be as you imagined, anyway. Let go of your expectations and experience the work as it’s happening. Only then can you hope to shape it.
8. DECONSTRUCTION
After you have a first cut, rewatch it m.o.s. on fast-forward. Your mind will fill in the context and you get to see your narrative as if in outline again. Cut one prosaic scene in order to juxtapose two good scenes and your movie takes flight.
After you have a first cut, rewatch it m.o.s. on fast-forward. Your mind will fill in the context and you get to see your narrative as if in outline again. Cut one prosaic scene in order to juxtapose two good scenes and your movie takes flight.
9. PREVIEWS
The moment you show your film to an audience, it’s no longer yours. Watch their faces. They’ll tell you what they like and what they don’t. Should you make changes to accommodate them? Do you want to please them or please yourself? Can you do both?
The moment you show your film to an audience, it’s no longer yours. Watch their faces. They’ll tell you what they like and what they don’t. Should you make changes to accommodate them? Do you want to please them or please yourself? Can you do both?
10. REALPOLITIK
“I love this movie,” said the studio head, “but I'm afraid it’s the last one of its kind we’ll ever make.” “Why?” I ask. “Because it cost 100M and we only made 50M,” he shrugs, “Not profitable enough. Doesn’t move the needle on our stock price.” ...Sigh...
“I love this movie,” said the studio head, “but I'm afraid it’s the last one of its kind we’ll ever make.” “Why?” I ask. “Because it cost 100M and we only made 50M,” he shrugs, “Not profitable enough. Doesn’t move the needle on our stock price.” ...Sigh...
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