The Film Director Prepares

FOREWORD = xi PREFACE = xiii ACKNOWLEDGMENTS = xv INTRODUCTION = xvii PROLOGUE: SO YOU WANT TO BE A DIRECTOR? = 1 1. THE WRIHEN WORD—THE SCRIPT = 5 Where to Begin? = 5 Read, Read, Read = 6 Theme = 7 The Text = 9 Guiding the Screenplay = 21 2. PREVISUALIZATION, PLANNING, AND ACTORS = 23 Storyboards and Shot Lists—The Fallacy = 23 Planning—The Director in Collaboration = 32 Understanding Actors—You Gotta Love 'Em! = 35 3. DIRECTORS AND ACTORS = 47 The Director's Instinct = 47 Directors and Casting = 48 Director-Actor Relationships = 51 4. DIRECTING THE CAMERA = 66 Movement—Visual Language = 66 Aspect Ratio and Types of Shots = 69 Subjective and Objective Shots = 78 Subjective and Objective Close-up and Eye-line = 81 5. CAMERA COVERAGE—PART 1 = 84 Cutting in Your Head = 84 Coverage and the Theme = 85 The Master Shot = 87 The Master, the Moving Master, and the Master That Moves = 89 Crossing the Line = 92 Eye-line = 96 Understanding Coverage = 97 Standard Camera Coverage = 100 Degrees of Shot Subjectivity—Two Characters = 101 Three-Character Coverage = 106 6. CAMERA COVERAGE—PART 2 = 111 Staging Around a Table = 111 Multiple-Character Scenes = 114 Coverage Process = 115 Best Camera Position = 119 Spatial Realities of Coverage and Dirty Shots = 120 Reverse Angles, Staging, and Emotional Moments = 122 Coverage and Continuity = 124 Selective Coverage and Miscellaneous Coverage Issues = 126 Two-Camera Narrative Coverage = 128 The "What If?" = 129 7. MOVING SHOTS AND SEQUENCES = 132 Dolly Shots = 132 Hand-held Shots = 135 Steadicam Shots = 136 Crane and Jib Shots = 138 Vehicle Shots = 141 Action, Stunts, and Fights = 145 High Angles, Low Angles, and Point of View (POV) = 147 8. ON THE SET = 152 The First A.D. and the Script Supervisor—The Right and Left Hands of the Director = 153 On-set Preparation = 155 On-set Policy = 156 On-set with the Crew = 157 On-set with Actors = 160 Soundstages and Locations—Time Management and Compromise = 165 9. THE DIRECTOR AND = 172 Producers = 173 Budgets = 174 Production Designers = 176 Cinematographers = 179 Bagel and Lox Meetings = 182 Editors = 183 Then What? = 187 10. DIRECTING TELEVISION, PART1: SCRIPTED FORMATS = 190 Movies for Television = 191 Episodic Narrative Television = 192 Sitcoms = 195 Soap Operas = 199 11. DIRECTING TELEVISION, PART 2: NONSCRIPTED = 206 Variety Event Television = 206 Nonfiction—and Realism = 212 Reality Television = 214 12. THE BUSINESS OF DIRECTING = 219 Overview = 220 Negotiating and Pitching = 220 Relationships, Networking, and Your Ego = 220 Your Creative Introduction = 221 The Business Around You = 222 Be Prepared = 223 AFTERWORD = 225 INDEX = 227 ABOUT THE AUTHOR = 233 INTRODUCTION TO THE COMPANION CD = 235 About FrameForge 3D Studio 2 = 236 Instructions for the Companion CD = 238

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