Directing for Film and Television
Page 26
pacing, 132-133
pan, 67, 70, 219
partnerships, 24
passing, 66
PBS, 16
per diams, 22n7
personnel, 19
perspective, 142, 145-146
“pick-up,” 70
“pigtail,” 44
pilot programs, 33, 219
play, 110
Player, The, 66
Players Guide, The, 49-50
point of view (POV), 80-81, 219
postproduction, 61, 163, 219
definition of, 30
mixer in, 29
props in, 105
sound in, 140-142
video, 171-172
preconceptions, 165
printed down, 139
print(s), 181, 219-220
answer, 182, 200
defects in, 183-184
one-light/untimed, 180
work, 180
producer(s), 18, 19, 33, 34, 39
deal with editors, 23n8
definition of, 26
establish relationship with, 35-36
pertinent questions from, 89-90
vs. directors, 33
production companies, 2
production crew, 25
production designer. See art director production managers (P. M.), 28
definition of, 26-27
relationships between directors and, 39
production office coordinator, (P.O.C.), 42
definition of, 27
production, nonunion, 57
professionals, viii
gap between amateur and, ix prop person, 40
props, 24, 44, 105-106
definition of, 30
punch tape, 181
“punch-up,” 70, 115
racking focus, 220
radio frequency (RF), 142
“radio with pictures,” 6
rain, 128
RAM, 155
reaction shot, 69
reading(s), 52, 100n11, 131
actual, 54-55
line, 101
recordist, 29
rehearsal(s), 38, 87, 98-105, 131, 132
for actors playing scenes together, 102-103
handling, 99
listen during, 100
time, 66, 126
writers at first, 102
release print, 220
replay, 131
research, 8-9
retakes, 30, 141, 175-176
rewriting
of script, 2, 7, 20
room tone, 141
Rope, 66
Rosenblum, Ralph, 166, 175
Rossellini, Roberto, 47
rough cut, 220
rushes, 220
scene(s), 27, 29
color and light quality of, 86
coverage in, 114
emotion and content in, 85
improvisation in, 17-18
lighting in, 75-80
locality of, 86
mismatching of, 113-118
nothing happening in, 8
pacing and timing of, 65, 132-133
placement of, 7
raining in, 128-129
sound in, 87
of tension, 6
Scenes from a Marriage, 60
schematic, 115, 116
Scorsese, Martin, xv, 46, 204
Scott, Ridley, 84
Screen Actors Guild (SAG), 99
script(s), 220
approach to reading of, 8
beginning-middle-end analysis of, 4-5
as commitment of time, 2
content/shooting, 193
dialogues in, 6-7
in documentaries, 188-191
editing of, 8
meaning vs. story in, 205-206
narrative, 24
number of characters in, 8
one-liners and, 3
plotting shots onto, 72
reading the, 2-7
reality in, 9
research in, 8-9
rewriting of, 2, 17
shooting, 1
two extremes of, 2
understanding the, 1-2
writing, 3
second assistant director (2nd A.D.)
definition of, 28
set(s). See also scenes
art directors and, 91
budgets and, 19
decorum on, 149-150
noise on, 143
pros and cons of, 92-93
script changes on, 17
shooting on location or building, 92-93
setups, 107, 110, 121-124, 220
saved, 123
Seventh Seal, The, 76, 85
Sex, Lies, and Videotapes, 60
shoot around the character, 128
shooting script, 1
shoot(s)
long film, 150-151
outdoor/indoor, 179-180
short, 199-200
shotgun, 220
shot(s), 107-112, 220-221
in the can, 137
choices and variations in, 118-121
choosing lenses for, 73-75
close-up, 68, 70
combination, 70
cover, 110, 112, 113
distortion of, 73-75
in documentaries, 191-194
establishing, 108
first, 135-136
grammar and, 112-113
inability of cutting together, 112
intercut of, 108
list of must have, 121
master, 65
mismatching of, 108, 113-118
moving/static, 71
number and variety of, 110
out of sequence, 132
plotting, 72
reaction, 69, 192
reverse, 111
schematic for, 115
sequence of, 102, 136
setups and, 121-124
for special effects, 121
tie-up, 69, 70
tracking, 71
two, 70
using storyboards to plan, 72-73
sides, 54
single system, 221
Soderbergh, Steven, xv, 60
soft, 221
software, 153
sound, 87, 139, 140-144, 167
ambient, 143
digital, 154
digital audio, 182
effects, 169
nuances in, 143-144
perspective, 142
problems with, 37-38
rerecording, 141
on sets, 92, 93
wild, 143
sound crew, 29
sound recording, 42
special effects, 27, 30, 44, 105-106, 221
allowances for, 24
Spielberg, Steven, xv, 86, 171
spontaneity, 124
stage fright, 57
stand-ins, 137
steadicam, 65, 71, 75, 206
step printing, 175
Sternberg, Josef von, xv still photography, ix, viii stills, 61-62
stock footage, 166
story, 3, 5, 199
beginning-middle-end analysis of, 4
good, vii
idea, 4
story editors, 16
definition of, 26
story line, 221
storyboard, 72, 115, 116, 221
strip board, 28, 40, 193
style, vii, 75, 82-84
super 16, 43
sweeten, 142
synched up, 143
synchronized, 221-222
takes, 137-138, 142-143
Tarantino, Quentin, xv taste, 60, 69
teams, 25-46
relationship with, 31-42
teamsters, 135, 202
teamwork, vii, viii
television, 33, 89, 183, 185
before, 187-188
becoming a director in, 198
cable, xvii
rehearsals for, 98
scenes printed well for, 181
series, 31, 46
as single camera videotaping, xiii
s
ingle dramas on, 34
size and variety of shots in, 65
teams and, 31
Television Academy, 51
Tender Mercies, 59
Tension
scenes of, 6
“The Book,” 49-50
This is Spinal Tap, 18
tie-up shot, 69, 70
tight, 110, 222
tilt, 67, 222
time
dolly shot as saving, 125-126
some thoughts on, 124-126
time code, 159, 222
Time Code, 157
timed print, 222
timer, 180, 182, 184
timing, 139
tone, 139
Touch of Evil, 66
track, 67
tracking shot, 222
Traffic, 179
treatment, 3, 5, 222
triple (golden) time, 21n6
tripod, 71, 159, 179 2K, 222
union card, 43
union(s), xvii, 19, 28, 43, 169, 201-204
for actors, 99
craft, 21n6
rules, 199
unit manager
definition of, 27
Variety, 52
video assist, 131, 137, 139
video cameras, vii-viii, 44
video editing, 171-172
documentaries and, 173-174
re-screening and note-taking in, 172
time needed for, 172-174
video monitor
breakdown of, 131
video reader, 181
video(s), vii, 139, 222
audio problems and, 141
digital, 153
difference between film and, 19-20n4
edit console, 170
film style editing with, 171-172
film vs., 140-141
postproduction, 171-172
single camera, xiii
videotape, 44, 187, 188
vision, xi, 208
VTR, 223
walk through, 132
wardrobe
definition of, 30
Weir, Peter, 48
Welle’s, Orson, xi, xv, 46, 66
Wenders, Wim, 157
West Wing, 206
When the Shooting Stops...the Cutting
Begins, 166
white balanced, 44
wide shot, 223
wild line, 143
Wild Strawberries, 77
Willingham, Noble, 48
women, 32
directors, xvn1, xvii
work print, 223
wrapped, 30
writer(s). See also scripts
changed lines and, 40-41
definition of, 26
dialogue requirements of, 6
powers of persuasion with, 7
Writers Guild of America (WGA), 7
Year of Living Dangerously, The, 48
You Can’t Take It with You, 205
Zelig. Zelig, 48
zoom, 223
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Directing for Film and Television, Revised Edition by Christopher Lukas (paperback, 6x9, 256 pages, $19.95)
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Table of Contents
Cover
Title
Copyright
Dedication
Contents
Preface to the Revised Edition
How to Use This Book
Introduction: The “Mystique”
One Reading/writing, and Arithmetic
Two The Team
Three Casting
Four Getting Ready (I): Look, Style, and Mood
Five Getting Ready (II): Technical and Artistic Preparations
Six Getting Ready (III): Shots and Setups
Seven Getting Ready (IV): When It All Goes Wrong
Eight The Shoot
Nine The Digital Realm
Ten Postproduction
Eleven The Print and the Film Laboratory
Twelve The Documentary: A Special Case
Thirteen Getting There
Afterword
Glossary
Selected Bibliography
About The Author
Index