wildstriker
Active member
I don't know if this is a silly question and apologise if it is, but does the director have control over the DOP?
Does the director have control over the DOP?
- Thread starter wildstriker
- Start date
At the end of the day it's the directors story so it's there call, but don't think of it as having control think of it as a partnership. The director/dp relationship should be the strongest one on set, one where you have both spent alot of time deciding the look and feel of the film. So when it comes to shooting you should both be on the same wavelength and hence won't feel the need to have control over one another. Ultimately filmmaking is about teamwork, a good supportive crew can make all the difference.
starcentral
Veteran
Half of directors don't even know what a DP does...... find one of those to work with and all will be good 
scorsesefan
Veteran
Yes, I agree with Matthew B. It's a collaboration -- but ultimately the director has the last word.
Ryan Patrick O'Hara
Veteran
Control is a harsh word. It implies a lack of trust, respect, and partnership.
The director always has the final word, but nobody 'controls' me, nor should any good DP need to be controlled. If a director were to ever feel that I needed to be controlled during production, the collaboration has clearly died and I would probably request leaving the project. I've never had this happen in any of my past collaborations. The director and DP should really get on the same track in preproduction. Can disagreements happen? Yes, but it's a discussion. Directors don't 'let' me have fun and be creative, as if they are doing me the privilege. We work together toward a common goal and they communicate their vision to me. Directors partially rely on my expertise to bring that vision to life and then some. They let me DP as much as I let them direct. This is the way I work. That is the way I think it should be. Doesn't mean that is how everyone works best.
The director always has the final word, but nobody 'controls' me, nor should any good DP need to be controlled. If a director were to ever feel that I needed to be controlled during production, the collaboration has clearly died and I would probably request leaving the project. I've never had this happen in any of my past collaborations. The director and DP should really get on the same track in preproduction. Can disagreements happen? Yes, but it's a discussion. Directors don't 'let' me have fun and be creative, as if they are doing me the privilege. We work together toward a common goal and they communicate their vision to me. Directors partially rely on my expertise to bring that vision to life and then some. They let me DP as much as I let them direct. This is the way I work. That is the way I think it should be. Doesn't mean that is how everyone works best.
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Barry_Green
Moderator
If you're asking where the buck stops, the buck stops with the director. The director directs the entire film. The DP directs the photography, to the director's vision. In the pecking order, the director is above the DP, and the producer is above the director. The art director directs the wardrobe, costuming, set design, etc... Ideally they would form a collaboration and each would bring their substantial capabilities to the production. But ultimately it is all under the approval of the director; the DP and art director and everyone else is working to fulfill the overall director's direction of the film. If there are irreconcilable differences, the director would have the DP replaced, not the other way around.
As to how that relationship works -- there are as many different types of DP's as there are styles of direction. Some directors are very open and nonspecific and rely heavily on their DP (in essence giving them huge latitude); others are very specific and know exactly what they want (perhaps to the degree of micromanaging and even dictating focal lengths and iris settings.) And some DP's are compatible with one style, and some are compatible with another. Some prefer a high degree of communication, some bristle at micromanaging. Ultimately, the director is directing the entire film, and should know exactly what emotional significance and impact each scene and in fact each setup is designed to convey to the audience. The DP is directing the photography of that scene and should provide imagery that supports the emotional significance and purpose of the scene, as per the director's vision. How the two work together to accomplish that, is up to them. There is no hard and fast rule about it, it's teamwork and the director and DP have to forge a working relationship that works for them and for the film.
As to how that relationship works -- there are as many different types of DP's as there are styles of direction. Some directors are very open and nonspecific and rely heavily on their DP (in essence giving them huge latitude); others are very specific and know exactly what they want (perhaps to the degree of micromanaging and even dictating focal lengths and iris settings.) And some DP's are compatible with one style, and some are compatible with another. Some prefer a high degree of communication, some bristle at micromanaging. Ultimately, the director is directing the entire film, and should know exactly what emotional significance and impact each scene and in fact each setup is designed to convey to the audience. The DP is directing the photography of that scene and should provide imagery that supports the emotional significance and purpose of the scene, as per the director's vision. How the two work together to accomplish that, is up to them. There is no hard and fast rule about it, it's teamwork and the director and DP have to forge a working relationship that works for them and for the film.
David Mcdonald
Member
The director is basically the highest rank if you want to use a military analogy....but the DP should be a trusted advisor that you want on your side as a director...and you don't want to piss them off. It's nice to give the DP some freedom and control...but basically it shouldn't come down to who's boss over who....the director and DP should have a relationship where they generally share the same tastes and agree on the style and how they plan to shoot the film before they even begin working.
BigBearDoinThangs
Active member
it literally all depends on the film set and director. Some directors I've worked with want me to control everything as they have no confidence in their vision for the visual aspects of the film, and others want to control everything even up to the placement of lights which can get annoying as that is my job.
Barry_Green
Moderator
Well, the director ranks higher than the DP, but the Producer is the highest rank. The producer is the one who hires the director, and if necessary the producer is the one who fires the director.
I think it depends on the actual DOP director team, but I agree that the director,s singular creative vision should drive everything else. Unfortunately I've seen too many films destroyed by bad photography, where it was obvious the director was controlling the camera. The director's vision should inform,NOT control the DOP's choices.
BigBearDoinThangs
Active member
I'm not as familiar with higher end stuff but on the lower end indi scale it's true that many poor director's with no visual leaning exist who basically try to control the DoP and end up in a mediocre final image because the director didn't understand the importance of certain things like lens focal length choice or shot framing or when to use motivated movement like tracking shot/steadicam, etc.