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The Director’s Chair Issue #157 – September 16, 2014 (Defining the Director/DOP Relationship)

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THE DIRECTOR’S CHAIR
Free Monthly Ezine for Independent Filmmakers

September 16, 2014                Scene 15 – Take 9
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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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Ezine Contents
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1. Introduction
2. Bonuses for Subscribing to The Director’s Chair
3. FEATURE ARTICLE: Defining the Director/DOP Relationship
4. Film Directing Coach Services
5. Subscriber Shameless Self-Promotion
6. Filmmaking Links of Interest
7. Product Promotion and Film Workshops
8. Subscribe and Unsubscribe Information
9. Copyright Information

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1. Introduction
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Welcome to Issue #157 of The Director’s Chair, Sept. 16, 2014

1. The Feature Article this month is called: Defining the
Director/DOP Relationship. “The cinematographer Vittorio Storaro
(The Conformist, The Last Emperor, Apocalypse Now,) said that
cinematography was a shared art that couldn’t be articulated by
any one single person.

The director is usually the one person that can take credit for
any specific element that happens during the making of a film
because whatever creative or technical concept that ends up on
the screen, it’s assumed to have been the vision of the director.”
(Read the rest of this 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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3. Feature Article: Defining the Director/DOP Relationship
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Defining the Director/DOP Relationship – Peter D. Marshall

The cinematographer Vittorio Storaro (The Conformist, The Last
Emperor, Apocalypse Now,) said that cinematography was a shared
art that couldn’t be articulated by any one single person.

The director is usually the one person that can take credit for
any specific element that happens during the making of a film
because whatever creative or technical concept that ends up on
the screen, it’s assumed to have been the vision of the director.

Good cinematographers have the luxury of being able to look at
the movie from both the outside logistics – and still possess a
vision of the subworld. By doing this, these cinematographers
will have the ability to retain a certain objectivity the
director may not have.

Adam Thursby, in his article for MovieScope Magazine, “César
Charlone – A Shared Vision” said: “The magic of the moving image
is not guaranteed by great writing, sublime performance or even
singularity of vision: it’s an alchemic process fuelled by the
collaborative nature of the medium, and the partnership between a
director and cinematographer is a key element within this
process.” http://www.moviescopemag.com/insiderspov/cesar-charlone-a-shared-
vision/

We all know that professional collaborations happen on every film
shoot. However, from a creative filmmaking point of view, how the
director interacts with, and relates to the Director of
Photography is crucial to how most films turn out.

There are many things (such as personal, creative, technical,
budgetary) the director and DOP have to consider before
collaborating on a film together.

First, can they both serve the story? Story is number one and
good directors must be willing to take suggestions from the
creatives around them. Can both the director and the DOP put
aside their own opinions for the greater good of the film?

Second, will it be a good fit for both of them because they have
to work with each other for weeks or even months at a time!

Good cinematographers must have their own vision of the film and
they need to work with directors who will collaborate with them
to allow their vision to end up on the screen. They can’t rely on
their technical skills alone.

This is why many film director’s work as much as they can with
one Director of Photography on all of their movies.

Citizen Kane is considered to be one of the best movies of all
time. Why? Mainly because of the incredible creative relationship
between Orson Wells and Greg Toland, his cinematographer.

Steven Spielberg has worked with Janusz Kaminski ever since they
both worked together on Schindler’s List.

Because some directors are more technical than others, there’s
not always a very clear line between the director’s style and
that of the cinematographer’s.

Some directors are very story focused and actor-driven and they
tend to let the DOP be more creative in their choices of
lighting, blocking and lenses.

While other directors are very image and technical driven. They
know exactly what they are looking for and give very detailed
notes and instructions to their DOP on how they want the film to
look.

For a director, establishing a good working partnership with your
DOP early in prep is crucial and can go a long way in making sure
your production experience is successful.

So if you’re a first time writer/director with no practical
experience or background in filmmaking, then hiring an
experienced DOP (along with an experienced 1st AD) will certainly
serve you well.

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4. 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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5. Subscriber Shameless Self-Promotion (Free Advertising)
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The Director’s Chair gives you an incredible opportunity to get
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6. Filmmaking Links of Interest
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1. 6 Filmmaking Tips from Jim Jarmusch
http://bit.ly/1wqllo6

2. Cameras Don’t Make Movies, People Do
http://bit.ly/1trn7jY

3. Steadicam Inventor Reveals the ‘Impossible Shots’ That Changed
Filmmaking Forever http://bit.ly/ZcE7Bx

4. How to Generate A Sticky Story Your Audience Will Love
http://bit.ly/1pxgxKS

5.How Digital Cameras Changed Hollywood Film Making
http://bit.ly/1pXZm2w

6. How to kill your film dead Part 2: Top 5 DIY Filmmaking
Mistakes You Might Be Making http://bit.ly/XWH34v

7. 3 Reasons a Distributor Will Pass on Your Film
http://bit.ly/1ufh6HV

8. 100 Famous Directors’ Rules of Filmmaking
http://bit.ly/1l0TUYl

9. Christopher Nolan sees artists devalued with the digitization
of films http://bit.ly/1jVh1sk

10. 6 Filmmaking Tips from Andy Serkis
http://bit.ly/1jPz8A2

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7. 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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9. Copyright Information
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Copyright (c) 2000-2014
ActionCutPrint.com Peter D. Marshall
All Rights Reserved

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