This page
contains links to a series of filmmaking articles that were written for
the monthly ezine, The Director's Chair.
| If you are a Film or
Television professional and would like to contribute your
expertise with filmmaking articles, tips or special reports, please
email me at: pdm@actioncutprint.com |
1
-Working with Actors:
Part 1 (Personality Traits) - Peter D. Marshall
One
of the first things I do before a casting session is to make a note of
each character's personality traits - the inner patterns and workings
of their psyche. Because
all individuals have personality traits, knowing what type of person
you are dealing with is an important first step to understanding the
inner world of a character - and the actor!
2
- Working with
Actors: Part 2 (The Casting Session) - Peter D.
Marshall
When
a director first gets a script, you read it through several times to
get a feel for what the story is about and who the characters are. As
you read the script, you will get an impression of the characters. You
then have a meeting with the Producer(s) and the Casting Director to
share your ideas of the characters.
3 - Script
Breakdown - Script and Scene Analysis - Peter D. Marshall
There
are many facets of a Director's prep on any film or TV show - from
location scouts and creative meetings to casting and scheduling.
But the first, and most
important part of your job, is to understand the script - what the
story is about; the themes; the story points; the characters.
4 - Script
Breakdown - Character Analysis - Peter D. Marshall
After
reading the script and working through the script structure and scene
analysis, it's time to figure out the development and objectives of the
characters.
5 - Blocking
a Scene - Peter D. Marshall
When
you first start directing, blocking a scene can be one of the hardest -
and most embarrassing - parts of your job. Get it wrong here, and you
could waste valuable shooting time trying to get out of the mess you
created!
6 - Rehearsing
on the Set - Peter D. Marshall
When
the DOP has finished lighting, the 1st AD calls the actors back to the
set for the rehearsal. This is when all the elements of the scene are
rehearsed together - actors, camera, sound, stunts, effects etc.
7 - Quick Reference Directing
List: Visual Concept and Colours - Peter D.
Marshall
The
following list contains just a few of the "rules and guidelines" that I
have accumulated over the years.These tips are about film visual
concepts and colour and their meanings.
8 - Staging
and Shooting a Fight Scene - Peter D.
Marshall
Almost
every film today has some sort of obligatory fight scene between the
good guy and the bad guy. In this issue, I will share some tips on how
to stage and shoot a simple fight scene between two actors.
9 - Quick
Reference Directing List: Staging and Choreography - Peter D.
Marshall
Staging
and Choreography - dramatic use of the camera and cinematic techniques
to illuminate the truth.
10 - "Convergence:
The New Media Reality" - Peter D. Marshall
Convergence was the main topic at the Lights! Camera! Convergence!
Symposium in Vancouver BC on January 27-28, 2001. The panel consisted
of representatives from companies on the cutting edge of the digital
evolution: interactive media, HDTV, visual effects, streaming media and
post-production services for the film and television industry.
11 - The
Commercial Process: A Director's Point of View - Part 1 - Tony
Johns
What
is a Commercial Director? Unlike a feature film director, who has at
least 90 minutes to tell a story, a commercial director has, usually,
only 30 seconds. Like a feature film director, however, the onus is on
the commercial director to tell a story and to entertain.
12 - The
Commercial Process: A Director's Point of View - Part 2 - Tony
Johns
There
are various ways you can break into the world of commercial directing
but the first step for all aspiring directors is to put together a
Showreel. Think of it as your Curriculum Vitae with moving pictures.
Without one to show your abilities, you won't be offered a script.
13 - The
Commercial Process: A Director's Point of View - Part 3 - Tony
Johns
Ok,
so you've been to film school. Maybe you've shot a few spec commercials
and music clips and slowly you've built up a show reel. You now you
feel you are experienced enough to earn a living from your directing
skills. However, before anybody will take you seriously (and give you
heaps of money to make TV commercials and music promos, etc) it helps
to have a production company behind you.
14 - An
Open Letter From Your Sound Department - Part 1 - Various
This
letter is being written by audio professionals to help directors and
producers understand how good sound can be recorded on the set. We want
to help you make the best film possible. For this piece, we will not discuss the topic
of mixing itself, as this is the "hocus pocus" part that you trust us
to do so well.
15 - An
Open Letter From Your Sound Department - Part 2 - Various
It
is important to understand the gravity and consequences caused when the
words "We'll loop it" are used. You
are obviously aware that extra ADR adds a financial burden to your
budget, but the consequences are much greater than that. Looping is
only an answer for situations where all else fails!
16 - An
Open Letter From Your Sound Department - Part 3 - Various
Budget
in a third sound person and the proper amount of audio equipment. A
third person is invaluable in getting sound problems fixed in the
crucial moments between the takes and scenes. Don't say "no" to any
additional sound related costs without considering the entire post
budget too.
17 - Shooting
a Feature in 65 Hours! - Mike Cecotka
Producer/Director Mike
Slawomir Cecotka's perfect formula for first time filmmakers with an
ultra low budget has proven successful. It took 5 months of
pre-production and almost six days to shoot the Hollywood Sunrise
Studio feature "Schizophrenia".
18 - Hard
Truths - Brian Dannelly
Clean your mess up. Get
high too much? Hate your parents? Irresponsible? Can't let go of your
last relationship? Get a handle on these things. They will not serve
you or your career well and you need every ounce of your being to do
your best work.
19 - Directing
Direct Response Television - Randal K. West
Telling
someone you are a Director of Direct Response Television is somewhat
like telling someone you are an International Chef who cooks with Spam.
Many people assume infomercials direct themselves, and anyone who can
get a pitchperson and demonstration to stick to tape can produce a
successful one. Not true.
20 - The
Director's Prep - Episodic Television - Peter D.
Marshall
Several
people have asked me about the order of a Director's Prep in episodic
TV. The following is a basic breakdown of what to expect when you are
directing an episode of a TV show. Every
show works a little differently, but here is a guide to follow.
Hopefully, you have had the script for a few days before you start prep
and you have seen some completed shows.
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Peter D. Marshall/www.actioncutprint.com
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