Film Directing Fundamentals

FOREWORD = xi ACKNOWLEDGMENTS = xiii PART ONE: LEARNING HOW TO DRAW Chapter 1. INTRODUCTION TO FILM LANGUAGE AND GRAMMAR = 3 The Film World = 3 Film Language = 3 Shots = 4 Film Grammar = 5 The 180-Degree Rule = 5 The 30-Degree Rule = 8 Screen Direction = 9 Film Time = 11 Compression = 11 Elaboration = 12 Familiar Images = 12 Chapter 2. INTRODUCTION TO THE DRAMATIC ELEMENTS EMBEDDED IN THE SCREENPLAY = 14 Spines = 14 Whose Film Is It? = 16 Character = 16 Circumstance = 17 Dynamic Relationships = 17 Wants = 18 Expectations = 18 Actions = 19 Activity = 19 Acting Beats = 19 Chapter 3. ORGANIZING ACTION IN A DRAMATIC SCENE = 21 Dramatic Blocks = 21 Narrative Beats = 21 The Fulcrum = 22 Dramatic Elements in Notorious Patio Scene = 22 Notorious Patio Scene Annotated = 23 Chapter 4. STAGING = 30 Main Functions = 30 Patterns of Dramatic Movement = 32 Changing the Stage Within a Scene = 33 Staging as Part of a Film’s Design = 34 Working with a Location Floor Plan = 34 Floor Plan and Staging for Notorious Patio Scene = 34 Chapter 5. THE CAMERA = 40 The Camera as Narrator = 40 The Reveal = 40 Entrances = 41 The Objective Camera = 41 The Subjective Camera = 41 Where Do I Put It? = 42 Visual Design = 45 Style = 46 Coverage = 46 Camera Height = 47 Lenses = 48 Composition = 49 Where to Begin? = 49 Working Toward Specificity in Visualization = 50 Looking for Order = 50 Dramatic Blocks and the Camera = 51 Shot Lists and Storyboards = 51 The Prose Storyboard = 51 Chapter 6. CAMERA IN NOTORIOUS PATIO SCENE = 54 First Dramatic Block = 54 Second Dramatic Block = 59 Third Dramatic Block = 61 Fourth Dramatic Block and Fulcrum = 66 Fifth Dramatic Block = 67 PART TWO: MAKING YOUR FILM Chapter 7. DETECTIVE WORK ON SCRIPTS = 77 Reading Your Screenplay = 77 A Piece of Apple Pie Screenplay = 78 Whose Film Is It? = 83 Character = 83 Circumstance = 83 Spines for A Piece of Apple Pie = 84 Dynamic Relationships = 85 Wants = 85 Actions = 86 Acting Beats = 86 Activity = 86 Tone for A Piece of Apple Pie = 86 Breaking A Piece of Apple Pie into Actions = 87 Designing a Scene = 87 Visualization = 88 Identifying the Fulcrum and Dramatic Blocks = 88 Supplying Narrative Beats to A Piece of Apple Pie = 89 Director’s Notebook = 96 Chapter 8 STAGING AND CAMERA FOR A PIECE OF APPLE PIE = 97 Staging = 97 Camera = 100 Conclusions = 130 Chapter 9. MARKING SHOOTING SCRIPTS WITH CAMERA SETUPS = 131 Chapter 10. WORKING WITH ACTORS = 139 Casting = 140 First Read-Through = 143 Directing During Rehearsals = 144 Directing Actors on the Set = 147 Chapter 11. MANAGERIAL RESPONSIBILITIES OF THE DIRECTOR = 150 Delegating Authority While Accepting Responsibility = 150 The Producer = 151 The Assistant Director = 151 A Realistic Shooting Schedule = 152 Working with the Crew = 153 Working with the Director of Photography = 153 Chapter 12. POSTPRODUCTION = 154 Editing = 154 Music and Sound = 156 Locking Picture, or How Do You Know When It’s Over? = 157 An Audience and a Big Screen = 157 PART THREE: LEARNING THE CRAFT THROUGH FILM ANALYSIS Chapter 13. ALFRED HITCHCOCK’S NOTORIOUS = 161 Overview of Style and Design = 161 First Act = 162 Second Act = 165 Third Act = 178 Summary = 179 Chapter 14. PETER WEIR’S THE TRUMAN SHOW = 180 Overview of Style and Design = 180 First Act = 182 Second Act = 187 Third Act = 199 Summary = 204 Chapter 15. FEDERICO FELLINI’S 8-1/2 = 205 A Masterpiece? = 205 The Director as Auteur = 205 Dramatic Construction = 206 Overview of Style and Design = 206 Detective Work = 208 First Act = 209 Second Act = 220 Third Act = 235 Summary = 238 Chapter 16. STYLES AND DRAMATIC STRUCTURES = 240 Tokyo Story, Yasujiro Ozu (1953, Japan) = 240 Some Like It Hot, Billy Wilder (1959, USA) = 242 The Battle of Algiers, Gillo Pontecorvo (1965, France) = 244 Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland) = 245 Sex, Lies, and Videotape, Steven Soderbergh (1989, USA) = 247 Shall We Danced Masayuki Suo (1996, Japan) = 249 The Celebration, Thomas Vinterberg (1998, Denmark) = 251 The Insider, Michael Mann (1999, USA) = 253 The Thin Red Line, Terrence Malick (1998, USA) = 255 Chapter 17. WHAT NEXT? = 257 Writing for the Director = 258 Begin Thinking About Your Story = 258 Concocting Your Feature Screenplay = 260 “Writing” Scenes with Actors = 260 Shooting Your Film Before You Finish Writing It = 261 The Final Script = 261 Shooting Without a Screenplay? = 261 Questions Directors Should Ask About Their Screenplays = 262 Building Directorial Muscles = 263 Directing Exercises = 263 Make A Piece of Apple Pie Your Own = 269 Conclusion = 269 BIBLIOGRAPHY = 271 INDEX = 272

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