Film Directing Fundamentals

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  • Edition: 3rd
  • Format: Paperback
  • Copyright: 2008-07-03
  • Publisher: FOCAL PRESS
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Film Directing Fundamentals gives the novice director an organic methodology for realizing on the screen the full dramatic possibility of a screenplay. Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology. Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen. * Unique, focused approach to film directing that shows how to use the screenplay as a blueprint for rendering the script to the screen * Features new sections on "Organizing Action in an Action Scene", and "Organizing Action in a Narrative Scene", to complement the first two edition's emphasis on Dramatic Scenes * Written by an author with 25+ years experience teaching directing and who has worked extensively in the film industry as a director, cameraman, editor, and producer in both documentary and dramatic/narrative films

Table of Contents

Forewordp. xiii
Acknowledgmentsp. xv
Introductionp. xvii
Film Language and a Directing Methodologyp. 1
Introduction to Film Language and Grammarp. 3
The Film Worldp. 3
Film Languagep. 3
Shotsp. 4
Film Grammarp. 4
The 180-Degree Rulep. 4
The 30-Degree Rulep. 7
Screen Directionp. 8
Film-Timep. 9
Compressionp. 10
Elaborationp. 10
Familiar Imagep. 11
Introduction to the Dramatic Elements Embedded in the Screenplayp. 13
Spinesp. 13
Whose Film Is It?p. 14
Characterp. 15
Circumstancep. 16
Dynamic Relationshipp. 16
Wantsp. 16
Expectationsp. 17
Actionsp. 17
Activityp. 17
Acting Beatsp. 17
Dramatic Blocksp. 18
Narrative Beatsp. 18
Fulcrump. 19
Organizing Action in a Dramatic Scenep. 20
Dramatic Elements in Alfred Hitchcock's Notorious Patio Scenep. 20
Notorious Patio Scene Annotatedp. 21
Stagingp. 28
Patterns of Dramatic Movementp. 30
Changing the Stage within a Scenep. 30
Staging as Part of a Film's Designp. 31
Working with a Location Floor Planp. 31
Floor Plan for Notorious Patio Scenep. 31
Camerap. 36
The Camera as Narratorp. 36
Revealp. 36
Entrancesp. 36
Objective Camerap. 37
Subjective Camerap. 37
Where Do I Put It?p. 38
Visual Designp. 40
Stylep. 41
Coveragep. 41
Camera Heightp. 42
Lensesp. 43
Compositionp. 44
Where to Begin?p. 44
Working toward Specificity in Visualizationp. 44
Looking for Orderp. 45
Dramatic Blocks and Camerap. 45
Shot Lists, Storyboards, and Setupsp. 45
The Prose Storyboardp. 46
Camera in Notorious Patio Scenep. 49
First Dramatic Blockp. 49
Second Dramatic Blockp. 53
Third Dramatic Blockp. 57
Fourth Dramatic Block and Fulcrump. 59
Fifth Dramatic Blockp. 63
Making Your Filmp. 67
Detective Work on Scriptsp. 69
Reading Your Screenplayp. 69
A Piece of Apple Pie Screenplayp. 70
Whose Film Is It?p. 75
Characterp. 75
Circumstancep. 75
Spines for A Piece of Apple Piep. 76
Dynamic Relationshipsp. 76
Wantsp. 77
Actionsp. 77
Acting Beatsp. 77
Activityp. 78
Tone for A Piece of Apple Piep. 78
Breaking A Piece of Apple Pie into Actionsp. 78
Designing a Scenep. 79
Visualizationp. 79
Identifying the Fulcrum and Dramatic Blocksp. 79
Supplying Narrative Beats to A Piece of Apple Piep. 80
Director's Notebookp. 86
Staging and Camera for A Piece of Apple Piep. 87
Stagingp. 87
Camerap. 89
Conclusionp. 115
Marking Shooting Script with Camera Setupsp. 116
Working with Actorsp. 123
Castingp. 124
Auditionsp. 125
First Read-Throughp. 126
Directing During Rehearsalsp. 127
Directing Actors on the Setp. 130
Managerial Responsibilities of the Directorp. 132
Delegating Authority While Accepting Responsibilityp. 132
The Producerp. 132
The Assistant Directorp. 133
A Realistic Shooting Schedulep. 134
Working with the Crewp. 134
Working with the Director of Photographyp. 134
Postproductionp. 136
Editingp. 136
Music and Soundp. 138
Locking Picture, or, How Do You Know When It's Over?p. 138
An Audience and a Big Screenp. 139
Organizing Action in an Action Scenep. 141
Staging and Camera for Over Easy Action Scenep. 143
Development of Screenplayp. 146
Director's Preparation for Directing an Action Scenep. 147
Where to Begin?p. 147
Over Easy Action Scene/Staging and Camera Angels for Storyboard Artistp. 148
Organizing Action in a Narrative Scenep. 185
Staging and Camera for Wanda Narrative Scenep. 187
What Is the Scene's Job?p. 187
Choosing a Locationp. 188
Stagingp. 188
Camera Style in Wandap. 189
Learning the Craft Through Film Analysisp. 219
Alfred Hitchcock's Notoriousp. 221
Overview of Style and Designp. 221
First Actp. 222
Second Actp. 224
Third Actp. 235
Summaryp. 236
Peter Weir's The Truman Showp. 237
Overview of Style and Designp. 237
First Actp. 238
Second Actp. 243
Third Actp. 252
Summaryp. 256
Federico Fellini's 8 1/2p. 257
A Masterpiece?p. 257
The Director as Auteurp. 257
Dramatic Constructionp. 258
Overview of Style and Designp. 258
Detective Workp. 260
First Actp. 260
Second Actp. 269
Third Actp. 281
Summaryp. 284
Styles And Dramatic Structuresp. 285
Stylep. 285
Narrative, Dramatic, and Poetic Visual Stylesp. 286
The Variety of Dramatic Structuresp. 286
Tokyo Story, Yasujiro Ozu (1953, Japan)p. 287
Some Like It Hot, Billy Wilder (1959)p. 288
The Battle of Algiers, Gillo Pontecorvo (1965, France)p. 289
Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland)p. 290
Sex, Lies, and Videotape, Steven Soderbergh (1989)p. 292
Shall We Dance?, Masayuki Suo (1996, Japan)p. 294
The Celebration, Thomas Vinterberg (1998, Denmark)p. 295
The Insider, Michael Mann (1999)p. 297
The Thin Red Line, Terrence Malick (1998)p. 299
In the Mood for Love, Kar Wai Wong (2001, China)p. 300
Little Children, Todd Field (2006)p. 302
What Next?p. 304
Building Directorial Musclesp. 304
Writing for the Directorp. 305
Begin Thinking about Your Storyp. 305
Concocting Your Feature Screenplayp. 306
"Writing" Scenes with Actorsp. 307
Shooting Your Film before You Finish Writing Itp. 307
The Final Scriptp. 308
Shooting without a Screenplay?p. 308
Questions Directors Should Ask about Their Screenplaysp. 308
Conclusionp. 309
Bibliographyp. 311
Indexp. 313
Table of Contents provided by Ingram. All Rights Reserved.

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