The Director's Six Senses

by Simone Bartesaghi

  Go in your trailer, in a bathroom, take five minutes and read this document. These few paragraphs that you wrote when you were calm, focused, and excited will represent a light at the end of the tunnel, the light that will guide you toward the right decisions to make.

  Step 2:

  Investigate the theme within the story.

  The second step to consolidate your vision is to understand what the story is really about for you. Do a deep analysis of the script in order to find what is often called the core or the theme of the story. It won’t be enough to read the script once, not even twice. Sometimes (I hope this will never happen to you) you might actually discover what the movie was about during postproduction and only a miracle will save you at that point.

  Step 3:

  Communicate and share your vision.

  If WHY is the question that leads to the creation of your vision, it’s important to understand that the vision is not going to be a static monolith. As soon you’ll start communicating your vision to others, their reactions and their input will affect you and will help you redefine your vision.

  It’s important to remember that this is a process and nothing will be easy to discover.

  While you are shaping your vision you’ll find out new things about the story and these will lead to new decisions.

  The following chapter describes a very useful tool to keep your vision updated: the director’s journal.

  7.

  “Do or Do Not, There Is No Try”

  How to Put Everything Together

  Now that you’ve learned how to perceive the world in a different way, now that you’ve sharpened your directorial senses, it’s time to use them for a real project.

  Technical Stuff: Know Your Brushes

  There are many books out there that will give you more information about the technical part of filmmaking (camera, film stocks, sensors, etc.), but let‘s focus for a few moments on one of the elements that will most affect your storytelling capabilities: the choice of lenses.

  As Sidney Lumet states in his brilliant Making Movies, the camera is “your best friend” and if a “movie has two stars in it, I always know it really has three. The third is the camera.”

  And the most fundamental photographic choice that a director makes is what lenses to use.

  To quickly explore how lenses work and their most important technical properties that affect storytelling, let’s have a look at the following diagram (Figure 7.1).

  Figure 7.1

  The distance between the lens and the focal point (the place where the light converges in the back of the lens) is called focal length and it’s expressed in millimeters (mm). It’s the most important number that you must remember because it identifies the kind of prime lenses that you want to use.

  Every variation in the focal length changes also two very important properties of how the lenses will capture your world:

  Field of view: extent of the observable world that is seen through the lenses. As shown in the diagram, the lower the focal length, the bigger the field of view.

  Depth of field: “the amount of space in which an object moving toward or away from the camera stays in focus without changing the focus of the lens mechanically.”1 Because of the physical properties of how lenses manipulate light, the depth of field is deeper in lenses with smaller focal length.

  How much to show the audience in terms of field of view and depth of field is clearly a creative decision (especially considering the storytelling importance of which part of the image to keep in focus as seen in chapter 1).

  Let’s have a look at the following images from the movies The Matrix and Se7en.

  Figure 7.2

  Figure 7.3

  If we consider their composition, these two frames are very similar. They both show a character pointing the gun at the left corner of the frame and, in both cases, we can see the figure of the character behind the weapon. But the frames are totally different in terms of feelings, tone, and, of course, storytelling purposes.

  The most obvious difference is the esthetic of the depth of field. It’s much deeper in the case of The Matrix, where the audience can clearly see everything (the gun, the character’s body and facial expression, and even the world behind her), much narrower in the case of Se7en, where the part of the frame that has an acceptable sharpness is just a couple of inches deep (we clearly see just a little bit of the gun).

  Why this drastic difference?

  Because the directors are showing two different moments.

  In The Matrix, we are in the third act and Trinity is boldly taking care of an Agent (“Dodge this!”), something that we know from the beginning of the movie is almost impossible. This is her strongest moment and the power of the gun (so big on the screen) is important only if we can recognize the character that is using it. Also, the esthetic of the entire society inside the Matrix has been designed with bold, wide lenses and frame rate choices that often offer the perception of a distorted, fake world.

  In Se7en we are at the midpoint of the story and after a very dramatic chase, John Doe, the serial killer, is able to knock down the hero, Detective Mills, and now he is at his mercy. The look toward the killer is from the perspective of someone who knows he could die at any moment, and the most important thing is the tip of that gun. His future depends on it. Also, for storytelling purposes, the director cannot reveal who the killer is and the esthetic of this world demands a specific dark and greedy look.

  As you can see, knowledge of lenses is not only about technical specifications. It also empowers the director to become a stronger visual storyteller.

  Crucial to the storytelling process is making sure that the audience will pay attention to the part of the frame that matters the most.

  There are three very powerful tools that instinctively force our eyes:

  Focus/Out of focus

  Movement

  Light, brightness

  Watch these scenes — (http://www.sibamedia.com) — and notice how your attention is manipulated through the change of the focus (what we technically call rack focus), movement, and bright spots in the frame.

  In the shot from The Matrix (Figures 7.4 and 7.5), the shift in focus from the guns to Trinity’s face highlights her determination.

  Figure 7.4

  Figure 7.5

  In the scene from The Hunger Games: Catching Fire (Figures 7.6 and 7.7), the storytelling effect is even more dramatic because before the change of focus we were completely unaware of the presence of the other character in the background.

  Figure 7.6

  Figure 7.7

  In the scene from Munich (Figures 7.8 to 7.15), the use of focus is very deliberate and very astute at the same time. It’s as if the audience can watch multiple shots in one. The continuing change of focus hidden within the camera movement makes this one an absolute masterpiece.

  Figure 7.8

  Figure 7.9

  Figure 7.10

  Figure 7.11

  Figure 7.12

  Figure 7.13

  Figure 7.14

  Figure 7.15

  An example of an object moving in the frame can be seen in Alien (Figures 7.16 to 7.18). In this terrifying scene, the framing already gives away that something is going to happen behind the character. When the alien’s tail shows up, our eyes recognize the change within the frame immediately.

  Figure 7.16

  Figure 7.17

  Figure 7.18

  One of the classic examples for the use of brightness within the frame is the famous lighting approach for Marlene Dietrich. In these examples from Shanghai Express (Figures 7.19 and 7.20) and Desire (Figure 7.21) it’s clear how the lighting scheme gives her a brighter tone with respect to everybody else in the same frame, forcing the audience to look at her more then to other characters.

&n
bsp; Figure 7.19

  Figure 7.20

  Figure 7.21

  So far you have learned how to look at reality and still photography with different eyes. Real events happen in front of you every moment of your life, and each and every one of them could be an inspiration to sharpen your directorial senses.

  Director’s Preparation

  The “Three Ps” to success are: preparation, preparation, and preparation. In filmmaking this rule still applies.

  During the process of prepping a movie (short or feature length), you are going to search and collect an immense amount of data and information that will affect your decisions. It’s vital to find an effective method to keep everything organized and accessible.

  Whether you are a digital director or still a paper-addicted director, it doesn’t matter. The medium on which we are recording and organizing our information (a file on a computer or multiple binders) doesn’t make any difference. It’s the work and the commitment that you put into it that will make the real difference.

  Director’s Journal

  I like to buy a five-subject notebook, possibly the one with the pockets and at least two hundred sheets. I have one for every project.

  The five subjects are:

  Diary

  Theme and story

  Characters and talent

  Visuals and sounds

  Business: Cast, Crew

  Diary

  In the diary I keep notes about the origin and development of the project. It’s here where I write a letter to myself, fleshing out the reasons why I want to make this movie. Here I collect random thoughts, as well as feedback from meetings and important events that affect the project’s progress.

  Theme and Story

  In this section of the director’s journal, I keep information about the themes and the story. I usually start with my impressions of good and bad parts. Then I write notes about changes, new ideas, story structures, and new scenes. I try to flesh out the main theme of the story and to write different summarized versions. I find it very useful to write down different versions of the pitch in order to find the true story behind the words. In this section I also include research I do on the subject matter (a period in time, a sport, a disease, a city, etc.).

  Characters and Talents

  This is, usually, just a first step toward a better understanding of the characters. By the end I often have a stand-alone binder dedicated to the characters. Here I write first impressions, back stories, positive and negative traits, possible references to other movies, etc. Also ideas for possible casting.

  Visuals and Sounds

  The deeper you go into the story, the more visual and auditory ideas will emerge. I collect these ideas even if they seem all over the place or totally disconnected. Slowly I’ll find the one that matters and scratch out the ones that don’t belong.

  Business: Cast, Crew

  In the last part I keep track of all important information that can affect the business side of this project. This includes sources for financing, distribution opportunities, marketing strategies, schedules and budgets notes, and how both cast and crew will influence the project. If the creative support I get from cast and crew has been taken in consideration in the other parts of the notebook, here I’m mostly concerned with how they might represent marketing assets or liabilities.

  As I said the medium is not important; what matters is to have the good habit of keeping tracks of ideas and events and have them at you fingertips.

  Script Breakdown

  In order to direct actors the very first thing that we need to know and understand is the script and the characters.

  There are several books out there about how to write a script and how to do a deep analysis to better communicate with the actors2.

  Here is the premise: if we consider it important that in every scene there must be conflict, and that in every scene every character must want something (possibly from each other), then the very first step for me is to understand who is winning, who is getting closer to his or her goal, and who is changing strategies during the “conflict.”

  There is a very important concept that every director must know: the beat.

  In the context of a film, a beat refers to an event, decision, or discovery that alters the way the protagonist pursues his or her goal.

  This means that every time the situation of a scene is altered because someone discovers something, a decision is made, or something happens that changes the direction of the scene, we have a beat.

  But why are the beats so important? Simply because they are the most important moments in our lives.

  They are the moments when our lives change, either because we are forced to change or because we decide to do so. What’s more important than that?

  As a storyteller you must be sure to find these moments and, as a filmmaker, you need to decide how you want to portray them.

  The very first thing is to figure out what a character wants and how he or she will try to get it. Every time something changes in the scene, mark it, and if the changes move one of the characters closer to his or her goal, put the name of that character beside the mark.

  The following is a scene from the movie The Hunger Games: Catching Fire.3 Notice how the change of framing follows a clear pattern from wide angles to close-ups with two clear moments of high tension. Who do you think won this scene?

  The scene opens with an almost charming President Snow and a passive-aggressive Katniss (Figures 7.22 to 7.24). He speaks of her “bravery,” her “spirit,” and then… her “contempt.” Then they strike a formal agreement “not to lie to each other.”

  Figure 7.22

  Figure 7.23

  Figure 7.24

  The formality of the situation is visually supported by wide shots of this first part of the conversation.

  After President Snow invites Katniss to sit, the dance with mirrored coverage starts.

  The escalation of tension is highlighted by the dramatically charged increase of sizes (Figures 7.25 and 7.26).

  Figure 7.25

  Figure 7.26

  After complimenting Katniss for her strategy in the game and her “school girl routine,” the president admits that his problem is connected to how the other districts have interpreted her behavior as an “act of defiance not an act of love.” We are getting closer to the subject of this conversation: “And if a girl from District Twelve of all places can defy the Capitol and walk away unharmed…”

  “… What is to prevent them from doing the same?”

  Remember the word “contempt”? Isn’t that contempt that we see on Katniss’s face when she comments on President Snow’s concerns about the collapsing of the entire system? “It must be a fragile system if it can be brought down by just a few berries.”

  Contempt, defiance. The girl on fire is fencing with the devil and it’s time to teach her a lesson.

  President Snow doesn’t let the arrogance of the rebel get to him and he plays the next card. He knows that she is right (“Yes it is, indeed”), it’s time to play his bait: “But not in the way you imagined it.”

  The girl on fire is gearing up for the battle. She is ready and she is playing at home and her response to the president, “How should I imagine it?,” is at once defiant and full of contempt and in extreme close-up (Figure 7.27).

  Figure 7.27

  The same extreme close-up that President Snow deserves for his full-throttle menace: “You should imagine thousands upon thousands of your people dead.” (Figure 7.28)

  Figure 7.28

  President Snow’s explanation is like a razor and his rhetorical question “Would you like to be in a real war?” can receive only one answer.

  As every great scene, this one plays the ups and downs of tension very well, both through performance and coverage.

&nb
sp; The shifting of subject to the cookies seems to offer a moment of release both visually and dramatically. It’s actually the setup for the final attack by President Snow.

  “Why don’t you just kill me now” doesn’t sound like the same girl on fire. Whatever her expectation at the beginning of the scene was, now it’s clear that President Snow has been able to turn the situation in his favor. Not only do we have a final request with a clear message, we also have a double twist.

  The sequence of shots from 7.29 to 7.34 reduces the tension even if the dialogue is still intense. The proposal to be friends or at least ally is a change of tone and opens up to the possibility of a different scenario.

  Figure 7.29

  Figure 7.30

  Figure 7.31

  Figure 7.32

  Figure 7.33

  Figure 7.34

  “No, you convince me” (Figure 7.35) brings us back to the extreme close-up and the threatening subtext that has been President Snow’s underlying strategy (Figure 7.36).

  Figure 7.35

  Figure 7.36

  The last gesture, the gift of a flower (Figures 7.37 and 7.38), is the final deception before the ultimate threats: “You’ll convince me do it for the sake of your loved ones.” (Figure 7.39) And the smooth, slow push in into Katniss’s face tells us how important this revelation is for her (Figures 7.40 to 7.42).

  Figure 7.37

  Figure 7.38

  Figure 7.39