Methods and System Suggestions for Directing

[JT21Forever]

Good Afternoon,
I have been directing films for the past 6 years and have directed a fair few number of projects such as short films, features, and various other projects, some even for network TV, but I still feel that I have been trying so much to learn everything there is to know about production (i.e. producing, directing, cinematography, post-production, and etc) that I have become a jack of all trades yet a master on none, so I am very interested in learning what others believe would be key lessons (or strategies) to focus on for "Directing". Any and all thoughts are very much appreciated.

 

[craigbowman]

The projects you directed for network TV, would I know of any of them?

 

[JT21Forever]

The Network yes, ABC - Society of Professional Journalism Conference. Also have done camera operation and assistant directing for MTV and WE Tv.

 

[jpbankesmercer]

Editing taught me what not to shoot, acting taught me who not to cast and writing stopped me making films I shouldn't be doing.

 

[RyanMKincaid]

Editing taught me what not to shoot, acting taught me who not to cast and writing stopped me making films I shouldn't be doing.

This is so true.

I'm a novice to directing, only did one thing: a 2 hour feature which I paid for out of pocket and currently costing $165k. Sitting with my editor taught me so much and demonstrated just how many mistakes I made. Not to say I'm not happy with what we've turned out, just that knowing where I messed up I know I could have had so much more!

B-Roll is so big! I can't state that enough. And rehersal with your actors is even more important! But the shot list is key. The more detailed you are the smoother it will go. One thing I wish I could do all over again, even though I story boarded my script, I really wished I had taken the time to write down the shoot list!

 

[JT21Forever]

B-Roll is so big! I can't state that enough. And rehersal with your actors is even more important! But the shot list is key. The more detailed you are the smoother it will go. One thing I wish I could do all over again, even though I story boarded my script, I really wished I had taken the time to write down the shoot list!

I've very much agree with your comment that rehearsals with your actors is essential. The more on the ball they are on filming day, the better production will go overall, rather then having to deal with a lot of confusion and stress the day of filming. There is enough other things that can go wrong besides the actors. I also agree with you that storyboarding is required and I feel I need to get in contact with a good storyboard artist to help me implement it into my normal pre-production process. I used one for a feature I shot but it didn't seem to utalize it as much as I could have. As for shot lists, I have developed a fairly good system with my DP about going over each and every shot but I think using storyboards will help our shots become more creative and time efficient.

 

[RyanMKincaid]

I've very much agree with your comment that rehearsals with your actors is essential. The more on the ball they are on filming day, the better production will go overall, rather then having to deal with a lot of confusion and stress the day of filming. There is enough other things that can go wrong besides the actors. I also agree with you that storyboarding is required and I feel I need to get in contact with a good storyboard artist to help me implement it into my normal pre-production process. I used one for a feature I shot but it didn't seem to utalize it as much as I could have. As for shot lists, I have developed a fairly good system with my DP about going over each and every shot but I think using storyboards will help our shots become more creative and time efficient.

Yeah man, the rehearsals are gospel. We had 12 actors with major speaking roles, seriously! We did like 7 table reads and then I broke down the rehersals into smaller 1 on 1 sessions and smaller group reads with like 3 actors. 4 hours a day with the full group of 12 and 2 to 3 hour sessions with the smaller groups and 1 on 1 sessions.

After all of that, I still think we could have done more. There are scenes that I'm extremely proud of and I know that had I not made rehearsal a priority we wouldn't have accomplish the same level of acting. 1 thing I have to stress, if your actors have acting coaches, DON'T LET THEM SEE THEIR ACTING COACHES UNTIL AFTER PRODUCTION IS DONE.

I had a couple that had this very powerful scene and in rehersal they nailed it. Day of shoot, all of a sudden the emotion went from cold hatred (think Clive Owen/Julia Roberts in Closer) to some soap opera begging/pleading. After about 3 takes I had to break and pull them aside and ask what they we're doing. They let me know that the acting coach told them they should go in this direction instead. I'm like that's not how I want it. then they tell me that "Maybe because you wrote it you're too close to it. I should think about going in a different direction." I was about to explode, like how dare you!

I don't know, maybe it was because it was my first project and they had went to a professional acting coach (that's what they said she was) so they didn't trust my judgement, but suffice it to say, I nipped that in the bud. At the end, they realized that I was right.

As for the storyboards, I wouldn't worry about getting an artist to do it. I did it myself, I visited each location and storyed it. The problem became that I didn't take my DP with me, especially during the same time frames we'd be shooting. So 50% of what was story boarded didn't take place, either because the location wasn't ideal for the lighting set up or the rig was too big to fit at an angle I wanted. Not to mention we lost locations in the middle of filming.

Why I put the shot list over the story boards is because if you know what you need to get with the camera, you can visit the environment and still accomplish it. If you story board a scene and the conditions aren't available to accomplish it, then you'll fall flat on your face and scramble to make up for it. this of course is best if you're production is more guirella/budget constraints

 

[Denwa]

I think all directors should have to either edit a project or take an editing class. One of my major peeves is when directors yell cut to soon! I have also often saved scenes by reaching into the "throw away" footage to find a piece of audio or video. Just because one does not like the acting in part of a scene doesn't mean some of it can't be used by the editor.

Then there are the directors that over think the 180deg "rule". The line can change (even when following the rule) positions.

A light stand can be moved. A camera can be moved. To often on low budget shoots (typically due to less experienced crew) people seem to film around where gear was originally set up.

I can't stand bossy directors/AD's. Some people think they have to be belligerent to get someone to act a certain way. Maybe if you were Kubrik, but he was an evil genius and even then, he was more subtle.
You can be firm without coming across as an ass. On the flip side, sometimes a director does have to be insistent with his DP, Props guy, etc. You can be insistent without being argumentative (and so should they). In the end, it's the directors decision, good or bad (safety issues aside).

If you are director, try not to take on any other hats. You really do need to be able to concentrate on your craft. I know on many small productions this is not always possible, I find the direction and acting tends to suffer when the director is distracted by other jobs.

 

[PopcornFlix]

I am very interested in learning what others believe would be key lessons (or strategies) to focus on for "Directing". Any and all thoughts are very much appreciated.

Here is the key strategy to become a better director:

DIRECT AS OFTEN AS YOU CAN.

That may seem flippant, but it's the key. You see, the majority of profound learning as a director comes after you show the finished product to an audience. Certainly, you learn a great deal at every step of production and post production. However, it all coalesces into a profound understanding about a day after you've seen your finished film with any audience. The lessons, the mistakes, the epiphanies -- they all just click into a next-level of understanding.

And then it's time to direct another one.

Since the profound learning comes after the film is finished and shown, the best strategy is to finish and show films as often as possible. Every time you finish a film and go through this process, your skills will improve.

(This learning process is called a Boyd Cycle, which originated with fighter pilots.) In air combat, the pilot who completes the most cycles in a given period of time will win the dogfight. In directing, the director who finishes and shows the most projects in a given period will become the better director.

It is no coincidence that Spielberg directed TV for seven years before he directed JAWS, or that Ridley Scott directed thousands of commercials before his first feature. Many of the top directors today, like Zack Snyder and Michael Bay, directed commercials and music videos for years before making the break into features.

So there are a couple of take-aways: direct as often as you can, and embrace short forms. Commercials, shorts and music videos are great because you can get through the process to the learning point more frequently. Sure, directing a feature is valuable experience, but the more often you get to the finish line the better you will be as a director.

Hope that helps.

 

[JT21Forever]

I think all directors should have to either edit a project or take an editing class. One of my major peeves is when directors yell cut to soon! I have also often saved scenes by reaching into the "throw away" footage to find a piece of audio or video. Just because one does not like the acting in part of a scene doesn't mean some of it can't be used by the editor.

Then there are the directors that over think the 180deg "rule". The line can change (even when following the rule) positions.

A light stand can be moved. A camera can be moved. To often on low budget shoots (typically due to less experienced crew) people seem to film around where gear was originally set up.

I can't stand bossy directors/AD's. Some people think they have to be belligerent to get someone to act a certain way. Maybe if you were Kubrik, but he was an evil genius and even then, he was more subtle.
You can be firm without coming across as an ass. On the flip side, sometimes a director does have to be insistent with his DP, Props guy, etc. You can be insistent without being argumentative (and so should they). In the end, it's the directors decision, good or bad (safety issues aside).

If you are director, try not to take on any other hats. You really do need to be able to concentrate on your craft. I know on many small productions this is not always possible, I find the direction and acting tends to suffer when the director is distracted by other jobs.

Denwa,
I completely agree that directors should have an understanding of editing. I actually usually do all my edits which I know will eventually change as projects become larger, but as you stated "Just because one does not like the acting in part of a scene doesn't mean some of it can't be used by the editor." I am also striving to learn more about managing camera movements and light adjustments so that (within the time allotted or the project) the shots can look the best possible without having to stay in one stagnant lighting and camera set up. Regarding your point about being firm as a director, I appreciate your insight. I do agree that a director needs to hold a position of authority, but they need to balance that position with responsibility so that they get along with the rest of the crew, which will result in a better moral and a better film (in my opinion).

 

[JT21Forever]

Here is the key strategy to become a better director:

DIRECT AS OFTEN AS YOU CAN.

That may seem flippant, but it's the key. You see, the majority of profound learning as a director comes after you show the finished product to an audience. Certainly, you learn a great deal at every step of production and post production. However, it all coalesces into a profound understanding about a day after you've seen your finished film with any audience. The lessons, the mistakes, the epiphanies -- they all just click into a next-level of understanding.

PopcornFlix,
I feel you have hit the nail on the head. My deepest desire is to be working on a project one after another (minus the occasional break) and learning from the previous and growing. My dilemma at this juncture is that I have hit a bit of a slump due to budget constrains. I have been negotiating a couple commercial videos and rumored music videos which I would be directing but I am dying to get back on a narrative film, especially one with a crew and not just a two or three man set. I have a script I am very keep on developing, but it will take a decent budget to do so.

It is interesting however, to point out that Directors such as Spielberg and Scott did however work on such things before they broke into larger films. It does inspire hope in the moments where things seem stagnant. My only hope is that I will be able to learn from the commercial and industrial videos in the meantime. Thank you kindly for your thoughts, they are much appreciated.