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Full Description
Film Directing Fundamentals gives the novice director an organic methodology for realizing on the screen the full dramatic possibility of a screenplay. Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology.Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen.
Contents
Part One INTRODUCTIONChapter 1Introduction to Film Language and Grammar-The Film World-Film Language-Shots-Film Grammar-The 180-Degree Rule-The 30-Degree Rule-Screen Direction-Film-Time-Compression-Elaboration-Familiar ImageChapter 2Introduction to the Dramatic Elements Embedded in the Screenplay-Spine-Whose film is it?-Character-Circumstance-Dynamic Relationship-Wants-Expectations-Actions-Activity-Acting Beats-Dramatic Blocks-Narrative Beats-FulcrumChapter 3Organizing Action in a Dramatic Scene-Dramatic Elements in NOTORIOUS Patio Scene -NOTORIOUS Patio Scene AnnotatedChapter 4Staging-Main Functions-Patterns of Dramatic Movement-Changing the Stage within a Scene-Staging as Part of a Film's Design-Working with a Location Floor Plan-Floor Plan and Staging for NOTORIOUS Patio SceneChapter 5Camera-The Camera as Narrator-Reveal-Entrances-Objective Camera-Subjective Camera-Where Do I Put It?-Visual Design-Style-Coverage-Camera Height-Lenses-Composition-Where To Begin?-Working Toward Specificity in Visualization-Looking for Order-Dramatic Blocks and Camera-Shot List, Storyboards, and Camera Setups-The Prose StoryboardChapter 6Camera in NOTORIOUS Patio ScenePart Two MAKING YOUR FILMChapter 7Detective Work On Scripts-Reading Your Screenplay-The Piece of Apple Pie Screenplay-Whose Film Is It?-Character-Circumstance-Spines for The Piece Of Apple Pie-Dynamic Relationships-Wants-Actions-Acting Beats-Activity-Tone for The Piece Of Apple Pie-Breaking The Piece Of Apple Pie Into Actions-Designing a Scene-Visualization-Identifying the Fulcrum and Dramatic Blocks-Supplying Narrative Beats to The Piece Of Apple Pie-Director's NotebookChapter 8Staging and Camera For The Piece Of Apple Pie-Staging The Piece Of Apple Pie-Camera for The Piece Of Apple PieChapter 9Marking Shooting Script With Camera SetupsChapter 10Work With Actors-Casting-First Read-Through-Directing During Rehearsals-Directing Actors on the SetChapter 11Managerial Responsibilities of the Director-Delegating Authority While Accepting Responsibility-The Producer-The Assistant Director-A Realistic Shooting Schedule-Working with the Crew-Working with the Director of PhotographyChapter 12Postproduction-Editing-Music and Sound-Locking Picture, or, How Do You Know 13Staging and Camera for Over Easy Action Scene Part Four ORGANIZING ACTION IN A NARRATIVE SCENEChapter 14Staging and Camera for Wanda Narrative Scene Part Five LEARNING THE CRAFT THROUGH FILM ANALYSIS Chapter 15Alfred Hitchcock's Notorious -Overview of Style and Design-First Act-Second Act-Third Act-SummaryChapter 16Peter Weir's The Truman Show-Overview of Style and Design-First Act-Second Act-Third Act-SummaryChapter 17Federico Fellini's 8 1/2-A Masterpiece?-The Director as Auteur-Dramatic Construction-Overview of Style and Design-What Are We Watching for in This Film?-Detective Work-First Act-Second Act-Third Act-SummaryChapter 18 Styles And Dramatic Structures-Style-Narrative, Dramatic, and Poetic Visual Styles-The Variety of Dramatic Structures-Tokyo Story, Yasujiro Ozu (1935, Japan)-Some Like It Hot, Billy Wilder (1959)-The Battle of Algiers, Gillo Pontecorvo (1965, France)-Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland)-sex, lies and videotape, Steven Soderbergh (1989)-Shall We Dance, Masayuki Suo (1996, Japan)-The Celebration, Thomas -Vinterberg (1998, Denmark)-The Insider, Michael Mann (1999)-The Thin Red Line, Terrence Malick (1998)-In the Mood for Love, (Kar-wai Wong , 2001, Chinese)-Little Children (Todd Field, 2006)Chapter 19 -What's Next?-Building Directorial Muscles-Writing For The Director -Begin Thinking About Your Story-Concocting Your Feature Screenplay-"Writing" Scenes With Actors-Shooting Your Film Before You Finish Writing It-The Final Script-Shooting Without A Screenplay?-Questions Directors Should Ask -About Their Screenplays-Building Directorial Muscles-Conclusion
