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    Oh okay thanks. I make decisions all the time as a director, but it would be nice to get a second opinion. What about asking the AD, would that come off as a bad impression?


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    ahalpert makes a very good point. It's okay to ask for suggestions, to gather ideas from the cast, and I can totally see Spielberg doing that, at the beginning of the scene. But I also bet he swiftly narrows it down, and Spielberg makes the final decision, and he makes it easily. Spielberg is known for working very fast on set.

    No one expects the director to have all the answers all the time. Everyone would be fine if he takes a breath every now and then says, "I'm not sure, what do you think?"

    But it matters how often he does it. If he does it a couple times in the morning, and a couple times in the afternoon, that's okay. But if he's asking someone's opinion most of the time, then it's bad.
    Last edited by combatentropy; 07-01-2020 at 05:53 PM.


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    Oh okay. Well I find myself wanting more opinions on the acting more than other things. When it comes for example to storyboards, I don't really ask and stick to those decisions. Sometimes people will offer suggestions and I have taken some, but I rarely ever ask opinions on them. Acting more so, just because it seems more subjective to me to get more opinions on I guess.


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    Well, that sounds a lot better!

    It is common for a director to feel more comfortable with camerawork than acting, or vice versa. The good news is, it's okay to be a quiet director.








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    Last edited by combatentropy; 07-01-2020 at 08:55 PM.


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    Senior Member paulears's Avatar
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    When I work with a new director, the first thing is to assess how they like to work. Do they encourage people to offer opinions or is that a no-no? How much help do they actually need? For me
    - I'm often in the role where I have to annoy the director. Crew costs, overtime, working in union agreed blocks of time. Proper breaks, proper lunch or food time, and with a good crew, these things can be managed. I also also look after the musicians. Union wise, actors and crews tend to work in four hour blocks with breaks for tea. The musicians work in three hour blocks, so I need to look after all these things. Warning a director in full flow that they're about to lose the crew is a tricky one. With some crews, talking to their chief reveals they'll happily work through the break if they can be let go earlier. Other times, the crew chief will work to the clock, as they're entitled. Some directors, as have been said, favour a certain department - usually the actor's department. All the others are expected to work around the actors. Other directors love special effects and that becomes their centre of the universe, with the actors hanging around bored while a few explosions are timed to perfection. Others relish fight scenes. Some directors work to a rigid plan, others don't seem to even have one. However - once a director has made their mind up, only a fool tells them they are wrong! Equally, if a director allows too much input from the cast (or crew) he or she will find it impossible to get their own way. Ask for help and lose your status with the majority.


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    Oh okay. I don't like asking for help for sure, but I do like asking for opinions on things.

    So far I feel my greatest weakness as a director is rewriting on the fly. If an actor becomes unavailable or drop out, the solution people say is too kill the character off and rewrite the script. But it's hard to do that without running into plot holes. So so far that is my greatest weakness, I keep trying to work on.


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    There's so much nuance here it's impossible to answer, as I think you can gather from browsing this thread. Maybe check out the book "so good they can't ignore you", which essentially pushes back on the notion of "chase your passion" and advocates for the concept that you become passionate about what you do, and if you really want to do what you love, you have to become so good at something that you simply cannot be ignored.

    As far as how others develop confidence. All I know is how that worked for me in particular, and it seems I see/hear a similar thing for others in any field. I didn't try to develop confidence or even think of it in that way. It was more just an innate obsession. Spending money/time on filmmaking was never something that felt like a business investment, it felt more like a hobby you desperately had to do. Getting money back would just be a bonus. It's like asking an avid motorcycler how they knew they would be good at motorcycling before buying a bike and gear and insurance and training. They probably didn't, they just really wanted to ride and didn't care. And the only return they ever expected was the joy of riding.

    That may sound opposite of the book I recommended, as if I'm advocating pursuing your passion. It sort of is. Point is, there's so much nuance here it's impossible to answer.

    Confidence and success in any field is generally found at the intersection point of passion, natural talent, and developed skill through hardwork. And if you've been doing this for a while and putting in the work and aren't getting good feedback, that's a major red flag. And, if you don't even know if you're good, that's also a major - MAJOR - red flag. Perhaps the biggest... so perhaps the largest bottom line is simply summed up here:

    https://www.brainpickings.org/2014/0...ss-daniel-sax/


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