Directing for Film and Television,9781581152012

Directing for Film and Television

by
Edition: Revised
ISBN13: 9781581152012
ISBN10: 1581152019
Format: Trade Paper
Pub. Date: 2001-09-01
Publisher(s): Allworth Press
List Price: $26.70

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Summary

A guide to the art and craft of directing, written by an Emmy Award winner.t examines each stage of the film and television directing process, fromeading prospective scripts through to managing the "post-production blues".n addition to discourse on the look, tone and setting of a film, directorshould gain understanding on technical matters such as making budgetaryecisions, casting the right actors, scouting locations, setting up shots andealing with film laboratories. The author also explores the rhythm and pacef a film shoot, covering what happens from the first day of shooting untilhe final edit is complete.

Table of Contents

Preface to the Revised Edition ix
How to Use This Book xi
A few pages explaining the approach of the book and how to get the most use out of it
Introduction The ``Mystique'' xv
A discussion of the notion that directors are geniuses, born to the art; and unfruitful concept for the thousands who now practice the craft and the thousands more who aspire to it.
Reading, Writing, and Arithmetic
1(24)
How to read a prospective script and analyze it for shooting purposes. How to make budgetary decisions.
The Team
25(22)
The people a director works with and what their contemporary job functions are. How to find a comfortable relationship with members of the team.
Casting
47(12)
Nothing is more important than getting the right actors: where to find them, where to find ``casting directors,'' how to acquire the knack for spotting the right cast.
Getting Ready (I): Look, Style, and Mood
59(30)
If you have a ``look'' in mind, you will need to know how to achieve it. If no such look is preconceived, this chapter will persuade you that one is necessary.
Getting Ready (II): Technical and Artistic Preparations
89(18)
There is technical planning to do, there are locations to be scouted, and there are costumes and sets to be designed. Planning for stupidity and stupid planning.
Getting Ready (III): Shots and Set-Ups
107(18)
How to determine how many shots and ``setups'' will be used in your film, an exercise of great importance.
AN INTERMISSION: Some Thoughts about Time 125(84)
3 Getting Ready (IV): When It All Goes Wrong
127(8)
Murphy's Law works in film and television with a vengeance. Crucial to the director's training is how to deal with potential disasters.
The Shoot
135(16)
What actually happens from the first through the nth day of shooting. Momentum, pace, rhythm-all depend on you, the leader.
The Digital Realm
151(10)
What's happening to make film and video look more alike, edit more alike; how this development helps the director.
Postproduction
161(16)
The postproduction ``blues.'' How to treat them with a good does of sound effects, music, and a first-class editor.
The Print and the Film Laboratory
177(8)
What you need to know about dealing with film laboratories.
The Documentary: A Special Case
185(10)
The ability to move about with portable cameras has made film and video documentaries more feasible. What is the role of the director on such projects? How do documentaries differ from dramatic films?
Getting There
195(14)
Some brief thoughts on how to become a director, on unions, and on nonunion directing.
AFTERWORD What Is a Director?
Some ``philosophical'' thoughts on this question, plus some hints on finding work.
203(6)
Glossary 209(14)
Selected Bibliography 223(2)
About the Author 225(2)
Index 227

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