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    #11
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    I think you’re overthinking it.

    Every director is different. But they should come to a scene prepared and give you some ideas about what they see happening before you ever run the scene in the space you’re shooting in.

    Some scenes have very specific beats you have to hit. If someone comes to the door half way through the scene and you have to have a conversation through the open door then you have a pretty good idea of where you need to stand at that point in time.

    If the director doens’t give you any specificity and then the SCRIPT doens’t tell you where you need to be, those are now your parameters. You can also try things out based on what the other actors are doing, depending on if your character is driving the scene or not.....

    This seems a little 101....

    JB
    Cinematographer
    New Orleans Louisiana
    www.johnbrawley.com
    I also have a blog


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    #12
    Senior Member James0b57's Avatar
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    Quote Originally Posted by John Brawley View Post
    I think you’re overthinking it.

    Every director is different. But they should come to a scene prepared and give you some ideas about what they see happening before you ever run the scene in the space you’re shooting in.

    Some scenes have very specific beats you have to hit. If someone comes to the door half way through the scene and you have to have a conversation through the open door then you have a pretty good idea of where you need to stand at that point in time.

    If the director doens’t give you any specificity and then the SCRIPT doens’t tell you where you need to be, those are now your parameters. You can also try things out based on what the other actors are doing, depending on if your character is driving the scene or not.....

    This seems a little 101....

    JB
    I was helping a friend on a passion project the other weekend, and they were so slammed for schedule that they stopped doing rehersals, but then they wasted even more time fixing things in the takes and occasionally painting themselves into the corner with continuity. Not to mention lighting, boom op, and 1st AC were hung out to dry on every setup. I've rarely seen any project that skips doing a blocking rehearsal save anytime in the end.


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    #13
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    Quote Originally Posted by John Brawley View Post
    I think you’re overthinking it.

    Every director is different. But they should come to a scene prepared and give you some ideas about what they see happening before you ever run the scene in the space you’re shooting in.

    Some scenes have very specific beats you have to hit. If someone comes to the door half way through the scene and you have to have a conversation through the open door then you have a pretty good idea of where you need to stand at that point in time.

    If the director doens’t give you any specificity and then the SCRIPT doens’t tell you where you need to be, those are now your parameters. You can also try things out based on what the other actors are doing, depending on if your character is driving the scene or not.....

    This seems a little 101....

    JB
    Oh okay thanks. Well the experience I've had so far is that if their is no discussion of blocking beforehand, then it leads to clashing. One actor can go here, but the other chooses to go there, not knowing where the other is going to go, and it ends up looking sloppy, or accidental. So that is the experience I've had, is how to avoid it looking clashing or accidental, if there is no discussion beforehand...


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    #14
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    Quote Originally Posted by James0b57 View Post
    I was helping a friend on a passion project the other weekend, and they were so slammed for schedule that they stopped doing rehersals, but then they wasted even more time fixing things in the takes and occasionally painting themselves into the corner with continuity. Not to mention lighting, boom op, and 1st AC were hung out to dry on every setup. I've rarely seen any project that skips doing a blocking rehearsal save anytime in the end.
    I’ve had ADs and Directors try and skip blocking / rehearsals on big shows to save time.

    I like to say it’s quicker to build the setup once instead of building a setup and then un-building it when it’s wrong and having to build another setup.

    Better to invest the time and to always do it with the actors involved and then you can work our how to cover it fast.

    It’s never faster to just start shooting.

    JB
    Cinematographer
    New Orleans Louisiana
    www.johnbrawley.com
    I also have a blog


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    #15
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    Blocking and acting go hand in hand Directing Actors 101: How Tasks & Blocking Bring Out Emotions | Director Thomas Barnes (5:36)

    Blocking and camerawork go hand in hand: Directing - The Fine Arts of Blocking and Composition, by Dan Fox (12:50)

    Crews have perfected a workflow: (1) block, (2) light, (3) rehearse, (4) shoot. How to Shoot a Scene - Blocking Actors, by FilmSkills (14:26)


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    #16
    Senior Member James0b57's Avatar
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    Quote Originally Posted by John Brawley View Post
    I’ve had ADs and Directors try and skip blocking / rehearsals on big shows to save time.

    I like to say it’s quicker to build the setup once instead of building a setup and then un-building it when it’s wrong and having to build another setup.

    Better to invest the time and to always do it with the actors involved and then you can work our how to cover it fast.

    It’s never faster to just start shooting.

    JB
    Massive agreement.


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    #17
    Senior Member Batutta's Avatar
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    Spielberg said left to their own devices, actors will usually just stand in the middle of the room and yell their dialogue at each other. Blocking is the most essential part of directing. In the original studio system, it's really all the director was responsible for. If your director isn't blocking then I don't know what they're doing. I always board / shot list ahead of time and have it blocked in my head, and try to see my locations as early as possible if I need to adjust. Sometimes the blocking won't feel natural, usually because it isn't motivated, and an actor will have a better idea. But a director should always have a plan.
    "Money doesn't make films...You just do it and take the initiative." - Werner Herzog


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    #18
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    Agreed. I believe this comes from the stage, where blocking is one of the director's main responsibilities. There is it is a studied, refined craft --- partly because after all you don't have camera movement, only people movement.


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    #19
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    Yeah, so maybe the directing should be doing more in blocking, but if they are not, then should I as an actor do my own, in order to keep up with the other actors' blocking?


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    #20
    Senior Member ahalpert's Avatar
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    Yes


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