What would you do if....

I'm a bit confused. Is this a real situation you're experiencing, or is this anecdotal discussion of the way communist filmmaking used to be? You've kind of hinted at both at different times in this thread.

If it's someone you know, tell the guy to get bent and maybe have a lobotomy while he's at it.

-JMT
 
I feel like this thread is going no where fast. If you need to ask how, and what to do in your current situation, assuming what you say is actually happening. Well... I think you might be in the wrong business to begin with. Because honestly, most people with half a brain would know exactly what they should do. And if your just young, and have never encountered a person so beiligerant, then soon enough you will. Live a little on your own, make your own desisions. It's called growing up!
 
If the movie would turn out better with the DP in charge compared to the director who by your own definition shouldn't be directing a feature film, the green director should bow out and observe and learn. It's about making a great film, not politics or ego. Do what serves the story.
 
This actually happened to me while working on a film at Warner Brothers as an actor. A famous director had blocked the scene the way he wanted, and in the process told the DP what lighting he wanted. After he went into his trailer the DP started to reposition the blocking. He told me what I was going to do. We argued about it, with me telling him that he wasn't the director. "JUST DO IT!" He screamed. I told him to F...himself. Then he threatened me with getting fired. So I called SAG, caused a whole sh** storm. The director comes out, wants to know what happened to his blocking. I told him. DP got canned. Needless to say, that DP isn't a fan. As a director, I make sure that my DP wants to paint the film with light and shadow, and not direct. Oddly, you'll find that if you are up front with what you want, most DP's are happy with that. The important thing for a director, young or old and experienced, is to always remember that film work is collaborative. Each person brings his/her talents to the project and would like the opportunity to at least express them. If as a director you want robots, hire robots.
 
Directing is totalitarian, with top down absolute control. You just need good leuitenants you can trust with their departments.
Collaboration is what it appears to be when you run your dictatorial ship well. Take control - or you will lose it.

Summa Sedes Non Capit Duos - The High Seat Does Not Hold Two.
 
I never read a book on directing, thats like reading a book about how to use your eyes to see. In the real world, nobody pretends it is a collaborative effort. Thats a kind conceit to mask what it really is. Rule from the top, or you basically get what this person is experiencing.
 
That's right, buddy. When that actor says "hey, what if we try it this way?", you shout "**** YOU MAN! I'M THE DIRECTOR!"
 
There is always a chain of command. As the director, it's your job to figure out who your boss is, and where you fit in the chain. Sometimes, the producer is your boss, and everyone is your subordinate. Then you can fire people. Sometimes the star or some other crucial person is equally valued, so you can't get rid of them. Then you talk to your boss, and ask for them to be removed, or their duties reduced. If no-one will cooperate, and you'll be arrested if you quit, then just go along for the ride.
 
I don't know what level you are at so read with a pinch of salt!

Im a learning DP - but have been around cameras for a very very long time

I would observe that making a film is a very very hard thing to do

If you are using a large chip camera, 60d or alexa - just getting focus on any moving object is a big deal

If you are not using a raw shooting camera controlling contrast and lighting is extremely tricky and a DP will have learned to see contrast as the camera reads (after grade) rather then as to set looks

My observation of young directors is that they often require very complex shots

Pan from here to here then pull focus to this guy on this line

..while the camera is jibbing down

..at T2 with an 85

Yep Mr Deakins and his crew can pan, jib, and hit marks with a telephoto lens on a moving crane all while sustaining a nice composition - but most can't - and most sequential film sequences don't need it

The camera department (a good one) is realistic about what they can do with the resources they have both gear and time

A good DP will additionally have a sensitivity towards composition, compositions often sing if the actors mark is 6 inches different from the basic block of the director

To some extent a DP is IMO looking to serve the editor to so will always be looking to add coverage and cutaways that can get the editor out of a hole

(again the less experienced director often finds that scenes drag (in the edit room) and cutaways can be used to add pace)

Additionally the DP will spot stuff that just looks really nice and want to shoot it !

I think the DOP Director relationship is incredibly important; DPs often have a lot to give and little time to explain it

They should be listened to and trusted - you hired them after all - let them do their job

Of course the director has the overall vision and is in charge - the bottom line is the director is boss

It seems that dancing along that line between being boss and listening to input of those experienced in their department is in fact one of the arts of direction

Good luck with the film!

SMM

==

I think it might be worth having a think about this in your shots;

Does the frame move more than four times its own size in a shot?

That is hard to explain - but for example a 'simple shot' of an actor lighting a zippo framed on the zippo and panning up to his face could easily move 6 times the frame height (not 4)
Such a move is 'hard' for the operator and should probably be shot as a sequence not a move
 
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