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First Time Director: How to Make Your Breakthrough Movie

First Time Director: How to Make Your Breakthrough Movie

by Gil Bettman, Michael Weiss, Robert Zemeckis, Brett Jay Markel

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ISBN-10: 0941188779

ISBN-13: 9780941188777

Pub. Date: 12/15/2003

Publisher: Wiese, Michael Productions

This book explains in precise, easy to understand language everything the novice director needs to know before taking on his or her first professional assignment.


This book explains in precise, easy to understand language everything the novice director needs to know before taking on his or her first professional assignment.

Product Details

Wiese, Michael Productions
Publication date:
Edition description:
New Edition
Sales rank:
Product dimensions:
5.88(w) x 9.16(h) x 0.84(d)

Table of Contents

Part 1Before the Battle
Chapter 1.Preproduction3
Soaking Up the Atmosphere3
Decisions! Decisions!5
Work, Work, Work!6
Producer and Director--'Til Death Do Them Part11
Crewing Up18
Summary Points21
Chapter 2.Content Is Everything23
Casting and Scripting23
A Few Examples from the World According to Bob26
Perfecting Your Script--Getting the Audience into the Movie27
The Hero29
The Heroic Quest33
Attaining Perfection in Casting36
How Do You Define Perfection? Casting Your Leads38
Casting Your Supporting Roles39
Content and the Producer--Sometimes They Come from Different Planets40
How to Be Almost Producer-Proof: Write the Script43
How to Be Producer-Proof: Write the Script and Raise the Money46
Summary Points49
Part 2Visual Design
Chapter 3.Camera Blocking53
Why Move Your Camera?53
When Do You Move Your Camera?54
Externally and Internally Generated Camera Moves56
Moving Establishing Shots63
Those Who Break Bob's Rule and Why They Do It64
Now That You Know the Rules, It Gets Really Complicated73
Summary Points78
Chapter 4.The Good Moving Master79
The Four Tasks of a Good Moving Master79
Task 1 - Shows the Audience Everything It Needs to See in a Scene79
Task 4 - Picks Up Some Coverage82
Task 3 - Generates Eye Candy86
Task 2 - Concentrates the Audience's Attention on the Center of the Drama91
How Zemeckis Shoots a Moving Master Following the Dictates of the Four Tasks92
Summary Points110
Chapter 5.Lenses--Why Force Perspective?113
Lens Selection As a Joint Responsibility between Director and Cinematographer113
The Basics of Perspective116
Extreme Telephoto and Extreme Wide-Angle versus Normal Perspective118
Lenses--Field of Vision and Depth of Field121
General Applications of Different Lenses122
Forced Perspective Made Easy125
How Lenses Affect Movement127
Summary Points133
Part 3Performance
Chapter 6.Directing Actors--It Takes Erudition and Intuition137
Breaking Down the Script141
The Spine of the Film--The Spine of the Characters141
The Actor's Objective--An Overview145
How Objectives Work--Get-from or Do-to Objectives + Conflict = Reality152
Physicalization of the Objective158
Identifying the Most-Playable Objective161
Ultraplayable Objectives164
"The More Adjustments, the Better"--How Come?173
All Adjustments Are Gerunds or Adverbs177
Script Breakdown--Layout181
Summary Points186
Chapter 7.Rehearsal189
Credibility versus Interpretation192
Objectives and Adjustments in Rehearsal194
Physicalization As a Rehearsal Tool200
Improvisation As a Rehearsal Tool202
Making Weak Actors Believable and Good Actors Great--Improv As a Versatile Tool for Rehearsal205
Preparation Is Everything207
Summary Points210
Part 4Set Politics
Chapter 8.On the Set215
Getting Ahead by Getting Along215
Successful Collaboration219
Collaborating with the 1st AD220
The First Walk-Through for Camera223
Collaborating with the Cinematographer224
Making Your Stars Shine during Production--Off the Set229
During Production--On the Set237
On the Set in Front of the Camera and Crew239
Collaborating with Your Lead Actors During the First Walk-Through for Camera244
Taming the Actors Who Chew the Scenery249
Collaborating with Yourself250
Summary Points253
Part 5Postproduction
Chapter 9.To the Answer Print and Beyond257
Collaborating with Your Editor257
Post Sound--An Overview273
Spotting the Picture for Sound Effects and ADR275
On the ADR Stage280
Hiring a Composer283
Working with the Composer284
Sound Mixing or Rerecording287
To the Answer Print and the Sweet Hereafter294
Signing with a Manager/Agent294
Signing with a Publicist298
Coping with Success or the Lack Thereof298
Summary Points302
About the Author307

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