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The Director’s Chair Issue #148 – December 10, 2013 (How Hitchcock can Save your Film)

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THE DIRECTOR’S CHAIR
Free Monthly Ezine for Independent Filmmakers

December 10, 2013                Scene 14 – Take 11
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Published once a month.

Publisher: Peter D. Marshall
Email: mailto:pdm@actioncutprint.com
Website: http://actioncutprint.com
Blog: http://filmdirectingtips.com

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Forward it to your friends and associates.

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Ezine Contents
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1. Introduction
2. Bonuses for Subscribing to The Director’s Chair
3. My 2014 Film Workshop Schedule
4. Pixar’s 22 Rules of Storytelling
5. FEATURE ARTICLE: How Hitchcock can Save your Film
6. Film Directing Coach Services
7. Subscriber Shameless Self-Promotion
8. Filmmaking Links of Interest
9. Product Promotion and Film Workshops
10. Copyright Information

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1. Introduction
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Welcome to Issue #148 of The Director’s Chair, Dec. 10, 2013

1. The Feature Article this month is called: “How Hitchcock can
Save your Film” by Jeffrey Michael Bays. Whether your next film
is a thriller or a comedy, naturally your most important concern
is whether the material connects emotionally with the audience.
Your ultimate goal is to lure them in and make them forget they
are watching a movie.  The true master of the audience was
director Alfred Hitchcock. (Read full article below.)

2. Please send any comments, suggestions, questions or advice to:
mailto:pdm@actioncutprint.com

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2. Two Bonuses For Subscribing To The Director’s Chair
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Thank you very much for subscribing to this ezine.

BONUS #1 – Here is the link to download Day One (41 pages) of
“The Art and Craft of the Director Audio Seminar.”
http://actioncutprint.com/xxx

BONUS #2 – Here is the link to download the first 30 pages of the
“Script Breakdown and Film Scheduling Online Course.”
http://actioncutprint.com/xxx

IMPORTANT: Once the pdf file has opened on your browser, go to
File, “Save Page As” and save the file to your desktop. All links
will now work in the pdf file.

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3. My 2014 Film Workshop Schedule (January, February, March)
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I have four 2-day filmmaking workshops booked in January,
February and March in Vancouver and Toronto. If you are
interested in participating in any of these workshops, please
email the contact person I have included with the workshop link
below.

1. January 18 & 19 – Vancouver, Canada
“Essentials of Film Directing”
Shoreline Actor’s Lab
http://bit.ly/18nprSc
Contact: Tami Kersh
mailto:admin@shorelineactorslab.com

2. February 8 & 9 – Vancouver, Canada
“Chemistry Behind the Camera: The Director/DOP Relationship”
Raindance Vancouver
http://bit.ly/1aPhNMk
Contact: Karen Margolese
mailto:karen@raindance.org

3. February 15 & 16 – Vancouver, Canada
“Directing Actors”
Shoreline Actor’s Lab
http://bit.ly/1aPi8Pd
Contact: Tami Kersh
mailto:admin@shorelineactorslab.com

4. March 8 & 9 – Toronto, Canada
“Directing Actors”
Raindance Toronto
http://bit.ly/1bSckdO
Contact: Jaimy Warner
mailto:jaimy@raindancecanada.com

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4. Pixar’s 22 Rules of Storytelling
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Stephan Vladimir Bugaj has an ebook with an elaboration of each
of the 22 rules of storytelling on his site… and it’s free to
download! (Bugaj is retaining copyright, so when you pass it
along to friends, make sure you send along the whole thing.)

Stephan has given me permission for you to download his guide to
the 22 rules of storytelling here:
http://www.bugaj.com/blog/2013/10/31/pixars-22-rules-of-story-analyzed-as-a-pdf-ebook

Note: This free eBook is not a Pixar product, nor is it endorsed
by the studio or its parent company.

Stephan Vladimir Bugaj is a writer/filmmaker who most recently
spent two years story codeveloping and co-writing the first
drafts of an as-yet-unannounced Pixar animated feature, a family
friendly action drama. This role was the result of mentoring with
various Pixar heads of story and directors starting in 2004.

His 12 years of experience at Pixar Animation Studios in various
production roles have also given him extensive expertise in most
aspects of feature production, from concept development through
production.

On the live action side, he currently has features in development
with three European independent producers, and have written and
directed several low/no-budget short films.

Check out his website here: http://www.bugaj.com/

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5. Feature Article: How Hitchcock can Save your Film
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“How Hitchcock can Save your Film” by Jeffrey Michael Bays

Whether your next film is a thriller or a comedy, naturally your
most important concern is whether the material connects
emotionally with the audience.  Your ultimate goal is to lure
them in and make them forget they are watching a movie.  The true
master of the audience was director Alfred Hitchcock.

The master made more than fifty feature films, and twenty TV
episodes.  Alfred Hitchcock (known by his colleagues as Hitch)
not only was a pioneer in directing, his insights into the craft
of visual storytelling are to this day unmatched.  He knew
precisely how to manipulate the expectations of the audience,
when to reveal plot information and when to conceal it.  His
camera paid close attention to eyes and glances, revealing his
characters’ inner feelings.  Most uniquely, he treated tragedy
with a sense of humor, making his films all the more
entertaining.

So when it comes to forming a close bond with your audience,
Hitch is the most natural director to turn to for guidance.  He
was the Master of Suspense, but in “suspense” what he was really
talking about was generating empathy toward the characters on
screen.  In order to do this, he had to break the cliche.  He had
to turn filmmaking conventions upside down, and in the process
dispelled some common myths about cinematic storytelling.

Let’s see how many of these you’ve been guilty of:

(1) Filmmaking Myth #1: I want suspense, so my film should be
dark and creepy.

False.  Hitch proved many times over that suspense can be
achieved (and even heightened) in bright, sunny atmospheres.
Just look at the crop duster scene in NORTH BY NORTHWEST, where
he placed an attempted murder in an empty farm field in
mid-afternoon.

He was also an advocate of comic openings for all drama.  By
starting your film with playful music and a comic mood, you warm
up your audience and win their affection.  Once the audience is
laughing and bonding with your characters, you start to introduce
the drama.  This drama has more impact because it contrasts so
starkly with the comedy, and your audience now cares about the
outcome.

Starting dark and creepy may create a sense of curiosity and
mystery, but it will leave your audience yawning.

(2) Filmmaking Myth #2: My villain must be sinister, ugly, and
pure evil.

Nope.  According to Hitch, audiences can’t relate to professional
criminals, serial killers, and mindless evil.  If they can’t
relate, they won’t feel suspense.

Allow your audience to have empathy with your villain.  When your
audience starts to care about your bad guy, they feel story on a
deeper level.  Hitchcock revolutionized this narrative boundary
between good and evil, making both sides imperfect and vulnerable
to making mistakes.

It’s similar to a football game.  We don’t know which team is
going to win, so the game is full of suspense.  Now, you might
not like the opposing team, but you appreciate their skills.
Imagine a game between humans on one side and cardboard cutouts
on the other.  How excited would the fans be when the humans win
the game?

If your villain is placed into your story only as a cardboard
placeholder to give the hero something to fight against, it is
not a suspenseful villain.   Your villain must be personable,
funny, easy going, and we must believe in the logic behind
his/her goals.  After all, as Hitch once said: The more
successful the villain, the more successful the picture.

(3) Filmmaking Myth #3: Dialogue is the most important thing in
my script.

Not if your audience is awake.  From the Hitchcockian standpoint,
dialogue is just a meaningless sound coming out of the mouths of
the actors.  When your characters are talking, something else in
the scene should be the focus of the camera.

Something aside from the topic of conversation should be the
focus of a dialogue scene; either a withheld secret by a
character, a glance accented in a close-up, or a trivial
distraction.

In SABOTAGE, a woman is cutting her food with a knife.  Hitchcock
makes this knife the focus of the scene while the trivial
conversation is about the bad food.  By making the knife the
center of attention for the audience, we feel her guilt
surrounding a murder.

Hitch often treated dialogue like a composer would music, paying
special attention to rhythms, movements, and crescendos.  He
coached each actor carefully on where he wanted a pause, a
glance, or a nervous stumble in order to call attention to
something visual.

(4) Filmmaking Myth #4: Suspense requires music score.

Surprisingly no.  Hitch believed that music only gets in the way
during tense moments of crisis.  It is no coincidence that with
his first sound film BLACKMAIL he pioneered the use of silence as
a dramatic device.

The lack of music brings foreboding reality to the forefront.
You hear everything the characters hear; every footstep, every
creak.  The small details of background become part of the
tension, bringing you closer into the moment.

Hitch made entire films without music score (THE BIRDS is one)
and most of his murder scenes were music-less.  He tended to use
music in the more comedic parts of his films, but once the crisis
breaks out, music disappears in favor of stark realism.

(5) Filmmaking Myth #5: Keep things from my audience and they’ll
feel suspense.

Wrong.  Hitch said that clear thinking is essential to suspense.
Anything that adds to confusion is going to dissipate the bond
with the audience.  This even means your characters need to look
and dress differently to each other so they can be quickly
recognized on screen.  If they all have the same haircuts, you’ll
get confusion.

In order to create the Hitchcockian brand of suspense, you must
create a situation where the audience knows clearly what’s going
to happen, but is helpless to stop it.  To do this, your audience
must know more than the characters do.  By playing on the
viewer’s empathy, you generate a visceral interest in the success
of the characters’ plans.

This doesn’t mean you can’t trick your audience.  By all means,
lead them down the wrong path and then surprise them with a
twist.  As long as they felt the clarity of danger unfolding,
they’ll love you for it.

For an easy-to-use guidebook on putting more of Hitchcock’s
techniques into practice, see my eBook ‘How to Turn Your Boring
Movie into a Hitchcock Thriller’ now available on Kindle:
http://www.amazon.com/gp/product/B00FJJLYPM/

—–
Further articles on Hitchcock techniques can be found at my
website: http://www.borgus.com/hitch

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Jeffrey Michael Bays is author of ‘How to Turn Your Boring Movie
into a Hitchcock Thriller’ as well as ‘Between the Scenes: What
Every Film Director, Writer and Editor Should Know about Scene
Transitions,’ and he offers a Hitchcockian script consulting
service.  He is both a director and film scholar with an MA in
Cinema Studies from La Trobe University, Australia.  He is also
writer and producer of XM Satellite Radio’s award-winning drama
‘Not From Space’ (2003), recently listed by Time Out magazine as
among the top five most essential radio plays of all time.

http://www.borgus.com/hitch

Email: mailto:info@borgus.com

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6. Film Directing Coach – Peter D. Marshall
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Actors, Singers and Athletes Have Private Coaches. So Why Not
Film and TV Directors? http://actioncutprint.com/filmdirectingcoach/

Hilary Swank used an acting coach to prepare for her role in Boys
Don’t Cry. She won her first Academy Award.

Singer Renee Fleming has always used a vocal coach. She has won
several Grammy Awards.

Rafael Nadal’s coach urged him on from the sidelines during his
Wimbledon tennis tournament win in 2010.

Arnold Palmer improved his game with the help of a coach. Even
Tiger Woods has had several coaches.

As a matter of fact, winners in nearly every profession
(athletes, actors, singers, business executives) know that
without the right coach, they won’t perform at their peak.

They know that without the support of an experienced and
qualified coach, they would constantly struggle to achieve
success.

So if these top professionals in their respective fields use
coaches, why not film directors?

So why hire me as your film directing coach?

Along with my international teaching experiences and my 39 years
of professional filmmaking experience (as a TV Director and
Feature 1st AD), I feel I have the necessary qualifications to
help you achieve your dreams of being a creative and successful
independent film director.

With that in mind, I would like to introduce you to my Film
Directing Coaching services via Skype:
http://actioncutprint.com/filmdirectingcoach/

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7. Subscriber Shameless Self-Promotion (Free Advertising)
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The Director’s Chair gives you an incredible opportunity to get
Free Advertising for your services and your films.

Each month, I give two subscribers an opportunity to promote
themselves, their company or their productions in this section.

So if you want over 6000 filmmakers around the world to know
about you and your films, please send me your “shameless
self-promotion” to: mailto:pdm@actioncutprint.com.

Please limit your promotion to 300 words. I reserve the right to
edit the promotion for length, spelling and formatting.

—————

1. Laconic Productions is a Long Island (NY based?) based
production company. We specialize in utilizing video and
photography to effectively tell a story as well as capture some
of life’s most important moments. Our background and experience
in video production provides us with the knowledge and
capabilities to develop a product of the highest quality.

Mission statement: Laconic Productions strives to portray our
clients image and ideas in the best way imaginable.

Our most recent short “Me & You” can be viewed here.

Justin Toulon
mailto:laconicstudios@gmail.com
http://laconicproductions.com/

2. The Screen Directors Guild of Ireland http://www.sdgi.ie/ has
an exciting scheme in association with Arri http://www.arri.com
which awards selected film directors a chance to make a short
piece using the latest Arri Alexa camera equipment.

In this, the second year of the scheme,
writer/director http://www.imogenmurphy.com Imogen Murphy’s
proposal gained her the chance to direct a short film called ‘The
Hard Way’. After a successful shoot the film will premiere at the
Cork Film Festival. Check out the trailer to the film here:

And get further info on The Hard Way here:
https://www.facebook.com/TheHardWayShort

Imogen Murphy
mailto:imogenmurphy@gmail.com

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8. Filmmaking Links of Interest
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1. Filmmaking Tips for When Times Get Tough from Director Mike
Newell http://bit.ly/1g6It39

2. 6 Filmmaking Tips from Roger Deakins
http://bit.ly/1cVeuFR

3. Why You Should Be Making Experimental Films
http://bit.ly/1j42ruY

4. Wim Wenders Shares His 50 Rules of Filmmaking
http://bit.ly/Ip0jiI

5. 15 Golden Rules of Filmmaking from John Waters, Wim Wenders
& Jim Jarmusch http://bit.ly/1fPAOpD

6. The Art of Editing in The Good, the Bad, and the Ugly
http://bit.ly/1iorVTk

7. 3 Simple But Critical Filmmaking Tips From Director Ron Howard
http://bit.ly/1hPYjOv

8. 6 Filmmaking Tips from Steve McQueen
http://bit.ly/1cupPBr

9. 10 Zero-Budget Filmmaking Tips
http://bit.ly/1eEdrfp

10. 5 Tips to Direct Your First Music Video
http://bit.ly/16XgIUKCustomize

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9. Product Promotion And Film Workshops
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From time to time, I will contact you to inform you of film
workshops, filmmaking products or Online courses that I feel are
beneficial to filmmakers like yourself. Of course, you are under
no obligation to purchase anything – I only offer this
information as a service to subscribers of this free ezine.

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10. Copyright Information
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Copyright (c) 2000-2013
ActionCutPrint.com Peter D. Marshall
All Rights Reserved

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