The Film Director Prepares: A Practical Guide to Directing for Film and TV

The Film Director Prepares: A Practical Guide to Directing for Film and TV

Myrl A. Schreibman

Language: English

Pages: 256

ISBN: 1580650678

Format: PDF / Kindle (mobi) / ePub


• Insider author gives no-nonsense advice

• Required reading for film students, educators, anyone interested in film

From script analysis to post production, here is the all-inclusive guide to directing for film and television. Written by noted director-producer Myrl Schreibman, The Film Director Prepares offers practical insights on filmmaking, using real-life examples directors won’t learn in school. With topics including working with actors, using the camera to tell a story, setting mood, staging, maintaining performance levels, covering shots, and directing for different mediums, The Film Director Prepares will leave new directors truly prepared for their careers.

A Galaxy Not So Far Away: Writers and Artists on Twenty-Five Years of Star Wars

Ex-Cinema: From a Theory of Experimental Film and Video

Projections 10: Hollywood Film-Makers on Film-Making

The Cinema of Errol Morris (Wesleyan Film)

Settling the Score: Music and the Classical Hollywood Film (Wisconsin Studies in Film)

Buster Keaton Remembered

 

 

 

 

 

 

 

 

 

 

 

 

 

career is best described as an adventurous journey still in the making. His professional career as a producer and director has taken him to the concert stage, Broadway, movie studios, and network television. A professional well respected by both above-and below-the-line talent, Myrl Schreibman has been a member of the Directors Guild of America for thirty years and on the faculty of the UCLA School of Theater Film and Television for the past two decades. An innovator in the industry, he was one

shot. There is an emotional link that occurs on a shoot between actors and directors: in the single-camera process the director is the direct recipient of the performance. In single-camera narrative, the actor’s process to get to performance is painstakingly slow; sustaining the character may be needed only for a few seconds or a minute or two while the camera is rolling and then not needed again for an hour or two while the technical crew is setting up for the next scene or shot. Actors working

dollies in to the two characters, making it a shared medium two-shot. Diagonal two-shot (5-5a) Medium close-up James (5-5b) Medium shot Darren (POV) (5-5c) Darren looks up (5-5c) Medium close-up James (5-5b) Medium shot Darren crossing (5-5c) Medium close-up James crossing (5-5b) Two-shot (5-5a) The action plays very quickly, but there is a brief moment of recognition between the two men at first meeting and a resolution in Darren to move somewhere and

who are they and what do they think about each other? While reading the script, the director should be determining what is motivating the individual characters while trying to “feel” the emotional thread that ties them together. The director must be clear about these motivations and get into the characters by accessing their thoughts and know when they need to be revisited with the writer. If the director is not clear about the relationships as they develop in the story, then actors will not be

slamming a rifle butt into his face, knocking him unconscious. This is an absolute subjective point of view shot because it makes the audience the character, seeing and sometimes feeling exactly what the character is experiencing. In Cinderella Man, Ron Howard used this shot, along with other subjective and objective shots, as part of his coverage of the final fight scene between Jim Braddock and Max Baer, making the sequence a highly personal and effective experience for the audience. CHAPTER

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