What a director does

T

tdolanguage

Member
So, over the past year I’ve ‘directed’ a few short films. As of late, I’ve become more and more insecure about my job as a director. I’m starting to wonder if I’m not taking enough responsibility and I’m curious what I should be doing.

For example: As a director, is it my job to build the shot lists and/or pick the angles, or is that the job if the cinematographer/dp?

When it comes to editing, how do I work with the editor? Do I pick the takes we use? Do I pick the style?

I only ask these things because I don’t want to either a) overstep my boundaries as a director, or b) allow the cinematographer, editor, gaffer, etc. to make decisions that could potentially make me look bad.
 
Now I'm only in pre-production on my first short film so take this with a grain of salt, but my experience with my DP has been to design my own shot list and then go over it with him for input on how to improve it after explaining the "feel" I'm hoping to convey with each shot. He and I have a previous relationship from him having DP'd a feature I produced so we're not just getting to know each other. His input has been invaluable, but ultimately I'm making the final choices for the set-ups we'll attempt to get. I'll rely on him to find solutions if those set-ups can't happen due to time constraints or locations different from what we envision.

He's also editing the piece. My feeling about editing is this. Explain to the editor what you're hoping to achieve and then let him go cut something together on his own. If there are tweaks you'd like after that, talk to him about it. Ultimately you should have "final cut" but listen to your editor. He likely knows much more than you do, but don't let the techincal get in the way of your artistry. Editing is just as artistic and creative as writing or directing if you allow it to be. Plenty of editors can edit by number and give you something relatively uninteresting, but technically solid. Finding an editor with a creative mind who can find brilliant moments within the footage he's given is a gift from above. He'll make you look like a genius.

I know my short is going to live or die based on two things and two things only. The performance of the lead actor (my job as a director) and the editing. That applies to this particular short film, not in general.
 
Okay, so that's the way things work for the most part, I just want to make sure I've got them right in my head. It frustates me when the DP takes over and says "I want to get this shot," and I'm thinking, what the hell for? By the same token, I'm always frustrated to hear the editor or dp say, "can we have the actor do..."

And honestly, I'm having a hard time telling if I'm being overly sensitive and tempermental or if my concerns are valid.
 
There's a good book that I'll recommend. It's about Director's first feature films. It's "My First Movie: Twenty Celebrated Directors Talk about Their First Film." The directors discuss how they went about the project, how they worked with their DP, etc. It doesn't go into a lot of detail, but it gives you somewhat of a rough idea about how they approach shots, etc.
 
tdolanguage said:
Okay, so that's the way things work for the most part, I just want to make sure I've got them right in my head. It frustates me when the DP takes over and says "I want to get this shot," and I'm thinking, what the hell for? By the same token, I'm always frustrated to hear the editor or dp say, "can we have the actor do..."

And honestly, I'm having a hard time telling if I'm being overly sensitive and tempermental or if my concerns are valid.
Click to expand...

When it comes down to it, they can give you all the input that they want, but in the end, it's YOUR project and you make the decisions.
 
Allow me to chime in here...

let's start by looking at the word DIRECTOR.

It means...you're in charge.

The creative completion of the film is your responsibility. I say creative because on an actual film the Producer is ultimately responsible for the entire project (budget, scheduling, etc) and is, usually, the directors boss. It is the Directors obligation to make sure that the film is put together as creatively competent as possible.

That doesn't mean you have to do all of the work. As a director you should choose a DP who's work you admire (remember something...it's not the DP's job to run the camera. A DP is in charge of properly and artistically lighting the picture. My DP hates running the camera.)

The Director is the boss and has final say, but you should always defer to the talents of your crew. That's why you chose them.

I like to look at directing this way:

I am the person who has an over all view of what the entire picture is going to be like.

Directing is like being a jack of all trades and master of none. Yeah, I know how to light, but my DP is much more astute and faster than I am. Yes, I know how to edit, but a really good editor is far more efficient than I am.

Plus it never hurts to have another pair of eyes looking at something. They may just see something that you missed.

Hope that helps.
 
Your DP works for you. You can give him as much lattitude as his ego demands LOL. Or you can design every single shot, angles and all, and have him carry it out...all the while listening to him grumble LOL...
 
Of course, it's best to communicate with your entire team and hope that they see your vision of what the piece is going to be. A good DP will bring his own touch to the film and will (usually) make it a better product in the end. But if the communication isn't there, along with a general respect for the other person's abilities, then forget it. Either the end product will suffer or there will be a lot of friction the whole time.
 
dhazel said:
Let’s start by looking at the word DIRECTOR.

It means...you're in charge.
Click to expand...

I think a lot of Producers would argue with this statement.

The Director is responsible for the overall aesthetic look and feel of the film and should have final decision of creative choices; it’s not always the case though.

Let me have my say in this...

Editing: personally I think EVERY Director should have a stab at editing even if you only try it once on a short project. With today’s choice on NLE software I think it is widely available enough to have a go. If a Director does understand a little about editing you will...

A. Find out how shots fit together better...longer takes...shorter takes...wides...cutaways. It will help you become a better storyteller and next time on set you will think back to your last editing experience.
B. automatically realize what’s missing from the footage and what should have been taken to create a smoother edit...you can pull a piece back in the edit if you've got enough coverage.
C. Understand WHY you take certain shots.
D. Lead you creatively to different shot ideas like complex shot’s.

Editing gives you a very important piece of weaponry in the Directors arsenal.
It’s not a must to edit but it helps you no-end as a novice Director.

Working with a DP.

Everyone has a different relationship with their D.P.
Personally I choose all shots and framing but that’s only because I have a clear vision of what I want and a great working relationship with my D.P. That said the main reason you collaborate with others in making a film is to let them express themselves, someone on-set will always have a better idea and it’s up to you to realize it’s a better idea and stick it in and then afterwards claim it was always your intention :)

I don’t think there is a hard-and-fast rule with working with a D.P. I only know it’s a personality and talent thing. Lot’s of Directors stick with a D.P. for most of their working lives. I discuss the shot let him be creative with the lighting and 9 out of 10 the final framing is pretty much what we both envisaged.

Jp
 
I Agree wholeheartedly with Hairy Lime. In the end, it's your job to pick the shots. If the DP wants to grab something and you don't know why, say "Wait. Tell me exactly why you think we need this shot." If he has a good reason, great, let him pick it up. I worked a lot as a director on additional photography and worked with a lot of different DP's. Some wanted to control the set, some were easy to work with. If I had a DP that wanted to change and angle or get another shot altogether, and in general, being difficult ALL THE TIME, I'd say something like "but how does that foreshadow scene 63?" They'd say something like "I don't know what you mean." and I'd say "Exactly. You don't know where I'm headed and don't know what I need to make the scene work to carry the film to later scenes, so it's important in this short period of time that we have to shoot this that you listen to what I need." If he's still difficult, just tell him that if you think I'm failing, let me fail.

As far as editing; Go away and let your editor do the first cut. You can't be objective in the editing room just after you've finished the shoot. You need some time to forget! If an editor asks for something, and he's any good, you probably DO need that shot. Find out why he needs what he needs. Maybe you have another way to cut the scene that gets the same point across without picking up that shot. In short, the more you get people to explain themselves, the clearer their process will be to you, and the easier they will be to work with. If you are just starting out, the advice already given about cutting your own stuff is valid. But I'd let your editor do his job, and you make your own cut on a different editing system to see if what you are shooting actually cuts together in the way you intentioned.

You can't let the crew control your film, but at the same time you have to allow them the freedom to do their jobs. I think it's great that you asked this question. It means you are much farther along than you think you are!

Dan
www.DVcameraRigs.com
 
I believe a director has as little or as much control as he wants (in an ideal world). I remember on Star Wars Episode I - III, artists drew hundreds of ideas for locations, ships, and costumes, and then Lucas picked from that what he wanted or gave suggestions. Other directors, like Zach Braff talks about in the Garden State commentary, just use whatever the art director wants.

Never worked with an editor. I use a DP to light and keep the camera pretty closely controlled.
 
tdolanguage said:
So, over the past year I’ve ‘directed’ a few short films. As of late, I’ve become more and more insecure about my job as a director. I’m starting to wonder if I’m not taking enough responsibility and I’m curious what I should be doing.

For example: As a director, is it my job to build the shot lists and/or pick the angles, or is that the job if the cinematographer/dp?

When it comes to editing, how do I work with the editor? Do I pick the takes we use? Do I pick the style?

I only ask these things because I don’t want to either a) overstep my boundaries as a director, or b) allow the cinematographer, editor, gaffer, etc. to make decisions that could potentially make me look bad.
Click to expand...
Is this a serious question?
 
Hairy Lime said:
Now I'm only in pre-production on my first short film so take this with a grain of salt, but my experience with my DP has been to design my own shot list and then go over it with him for input on how to improve it after explaining the "feel" I'm hoping to convey with each shot. He and I have a previous relationship from him having DP'd a feature I produced so we're not just getting to know each other. His input has been invaluable, but ultimately I'm making the final choices for the set-ups we'll attempt to get. I'll rely on him to find solutions if those set-ups can't happen due to time constraints or locations different from what we envision.

He's also editing the piece. My feeling about editing is this. Explain to the editor what you're hoping to achieve and then let him go cut something together on his own. If there are tweaks you'd like after that, talk to him about it. Ultimately you should have "final cut" but listen to your editor. He likely knows much more than you do, but don't let the techincal get in the way of your artistry. Editing is just as artistic and creative as writing or directing if you allow it to be. Plenty of editors can edit by number and give you something relatively uninteresting, but technically solid. Finding an editor with a creative mind who can find brilliant moments within the footage he's given is a gift from above. He'll make you look like a genius.

I know my short is going to live or die based on two things and two things only. The performance of the lead actor (my job as a director) and the editing. That applies to this particular short film, not in general.
Click to expand...
Same here. In preproduction for my first feature film. To me as I see it it is all about communication and getting everyone to work harmoniously with your vision.

Do others agree?
 
All this advice is fine n dandy... but you really need to discover how you want to work with people.
Myself, I come up with all my shots/angles and work with my DP to make them work on screen. If he has a good suggestion for a shot, or just wants to get it cause it "looks" nice, and we have time, no harm, and it may be used in the film. Or in some cases the DVD menu.

I like to control my films, cause thats the way I am.. I have a very specific idea of how I want everything to fit together and work before I shoot. When i am shooting half of that gets tossed out the window when I come up with better ideas, or have to make comprimises..

so it really all depends on you...
 
Yeah,
I agree with most said here, especially that you need to just figure out your own style there isn't a big rulebook. Kind of depends a little on what kind of crew you have, too.
You may have a very small crew in which case you should listen to everyone's ideas, and let each person help with what ever they can given the circumstances but you may end up having to do a lot yourself, which is fine.
With a larger crew you need to let people do thier jobs and sometimes trust that they know what they're doing (assuming you've communicated your vision of the film/scene to each department well).
As soon as your crew exceeds about 4 people I believe you must have a good AD, or you'll go nuts and the film will suffer. You need time and room to guide performances and consult your DP about the look. Before you edit these are your biggest roles; directing performances and controlling the look with your DP. A great AD will let you do that while he/she deals with keeping everyone else on task, lunch arriving when it should, calling latecomers, getting smokers back to set, etc.
I am a DP myself so when I've directed I tend to want to draw out every shot and obsess over lighting, and as director thats my right, but I still have to consider the talents of my DP and let him/her lend thier advice and expertise to the scene (again, assuming it jives with my vision).
Yeah, editing yourself is a good skill to know for understanding whats needed in shooting, but after a while you shouldn't be editing all your own stuff, it's agony and could hurt you if thats not what you're cut out for. Really, though, you need to understand coverage pretty well if you don't work with a continuity person and even then...
The DP should know good coverage, too, and often thats what they're griping for not just beauty shots. Communication is key. If you just keep telling people "this is my shoot and my vision, not a film for your reel" you may miss some valid coverage issues or something. If any dept is pushing for something than calmly find out why and if it's worth taking time to indulge them, then do so. Above all you need to be kept calm and you'll learn what directing is on your own; this often necessitates an AD.
 
Here's my two cents:
As the director, you can control the shots as you see fit. As I understand, Stanley Kubrick was as much a cinematographer on his movies as his actual DP was. But sometimes a project demands that you just can't specify every little detail. Just think about the epic. I can't imagine directors like Peter Jackson or David Lean or Francis Ford Coppolla composing every shot that they want in the final cut. Heck, that's why movies like those use millions of feet of film. But in a more general sense, I think that Hollywood directors are very accustomed to worrying very little about the photography, so long as the DPs accurately capture their vision. This is due primarily to immensity of the production -- the number of crew members, actors, and extras, not to mention the deadlines -- to manage. In such high pressure situations, a director would have to be some kind of genius to be able to imagine all of the little details.

In the indie world, where crews and casts are small, and oftentimes directors are expected to do almost everything, directors take for granted that they CAN do most of their DPs work for them. But whenever one breaks into the big leagues, I think that a change in working style and attitude is inevitable.
 
Direct it, man. You are the captain. If you learn how to deal with people and make them happy, your crew will respect you. I have to agree with Loki. You can be as involved as you want to be. Unless you are being overbearing for the sake of it, you really should not be able to offend any of your keys. I put my hands on camera, I build props and weapons, I do all kinds of stuff all the way through the making of the picture. It's your baby.
I find it odd that most are worried about offending the DP. The DP still has to take direction.
 
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