Directing

Forum for the discussion of all aspects of directing and acting.

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kene555
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Post by kene555 » Sun Jun 24, 2007 6:47 pm

It all depends on how stupid and/or nerdy the girls are.
Since when does appreciating and noticing someone's hard work in a star wars film make them stupid or nerdy? :roll:

In that case, then, the majority of Americans are nerdy, since Star Wars is a staple of what an American is
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Post by film fanatic » Sun Jun 24, 2007 8:56 pm

Ornsack wrote: If anyone gets a chance to see the Hot Fuzz extras on the DVD
YES! Would you not have loved to have made Dead Right?

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Post by Lawriejaffa » Sun Jun 24, 2007 8:57 pm

Kene trust me girls are not into the whole 'geeky teen director making star wars homages' angle - trust me.

There would be a lot less agitated male teenagers in the world IF - IF that was true lol.

I think some of you guys are being overly romantic about what the director is anyway - remember in the industry a director is himself mostly an EMPLOYEE not the boss. The producer is the boss...

When you guys are making your own wee films in the back garden hehe - they are being made not because your the director - but because your having to produce them as well.

In that sense it is most often not the Director that even chooses the Writer - he will be told who what the project is and employed to direct/offered it (if he's a big cheese) He won't go nuts re-writing the script without a whole cadre of script folk that will do it (according to vague instruction) and everything will be supervised by a producer.

A director does not need to write good stories at all - he needs to be a visionary storyteller - (he doesnt have to have intented the story.)

Let's face it - how many of the world's best writers are also the worlds best directors.... *ahem* none...

This is something most indy folk have to grow out off i think - is this impression that they should write or have to write. If your a director that also wants to be a writer then fine write your scripts but don't dellude yourself into thinking its got anything to do with being an actual director.

Incidentally Cinematography is another romantic job description too, - in effect creating the look of the film - instructing working with the lighting director and camera op - and director etc etc. Its something that takes years to work your way up too (from the insurmountable multitude of other camera op jobs.)

Being a film student and or under 28 and calling yourself DoP or cinematographer is great for getting folks at production companies in stitches.



So let's be straight - what kind of director are we really talking about here - see the way i see it - what we're really talking about is what skills a micro budget director needs. (like most here) and well, thats a whole different ball game!

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Post by kene555 » Sun Jun 24, 2007 9:12 pm

I totally agree with you on all that.
A director does not need to write good stories at all - he needs to be a visionary storyteller - (he doesnt have to have intented the story.)
Let's face it - how many of the world's best writers are also the worlds best directors.... *ahem* none...

This is something most indy folk have to grow out off i think - is this impression that they should write or have to write. If your a director that also wants to be a writer then fine write your scripts but don't dellude yourself into thinking its got anything to do with being an actual director.
That's exactly the situation I'm in.
Kene trust me girls are not into the whole 'geeky teen director making star wars homages' angle - trust me.
Not a homage. Just a background out there that I took advantage of.
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Post by Knightly » Sun Jun 24, 2007 9:13 pm

A director is much more of a circus ring master than anything on shoot day...in Pre production, he spends time communicating his vision (dictated from conversations with the producer) to the other departments and approving the look off stuff to fit into the universe he'll be creating. In Post production, he gets to advise the editor and collaborate with them to get the vision of the producer across. In production, he relays camera angle information to the camera department and blocks out the scene with the actors and camera department, then has the 1st AD call Action (who calls this after a litany of other technical department's cues - lights, camera, sound...) ...watches to make sure the performance being recorded will fit and is honestly portrayed to the vision of the piece...then calls cut. If it wasn't quite right, he answers a bunch of questions from other departments, gives notes to the actors, camera operators and effects deptartments. Then sits back down and repeats til he gets what he needs to fit into the rest of the story, correct inflections and intensities to fit with the scene before and after the curent one being shot...which may be shot 5 months from now...or 5 months ago. Really just a wrangler on set with an eye for the continuity of the overall story.

All films are the producers' films. The executive producer finds/provides funding for the film and the producer hires everyone else...including finding the script or hiring a writer to make the story for them.
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Post by Lawriejaffa » Sun Jun 24, 2007 9:23 pm

Yeah however i will add another point of interest tho - guys Like K and Gyro (don't bite my head off for this but i think you fall more into this category - i think i might too) haha

That is that we imagine ourselves as autuer director's - ie. artist directors whose films should have an indeligible quality that identifies them as something uniquely ours - I mean look at Ornsacks films too for that example - rather than the Director as the producers artist - they like to see themselves as their own.

George Lucas is a classic example also of a autuer director (perhaps one of the few mainstream ones) most are french geniuses hehe but check it out. The difference between a Director or so called Autuer director (forgive me if i made a typo with that) is something VICIOUSLY debated within the industry (mostly during the 60s.)

That said though autuer directors are often hired (take Lynch for example) because of that quality they possess, while a director such as er... the name is lost on me - that directed the first Harry Potter film was of the ordinary safe type - exactly hired because he was a professional safe pair of hands.

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Post by Knightly » Mon Jun 25, 2007 2:02 am

I aspire to be the ordinary safe type that can get paid to make films...the successful auteur directors (kubrik, welles, lynch, waters) are so few and far between (especially now) that I don't think there's a market for the types of films that are produced in an unsafe way. I have kids to feed and a mortgage.

I don't see the world in the same way an auteur director does, I'm more just a run of the mill story-teller. I'm good at story telling, but I don't have the brilliant artistic vision of the auteur directors. I plan on making saleable movies, so I can continue to make movies. Right now, is my film school period where I learn through failure and lots of questions.

We're approaching the point where we're going to start finding a budget for a feature length project we have in the hopper for festival entry (sundance, SXSW, Cannes). Still a few shorts between now and then to refine a couple more pieces of our process in preparation for the big one. casting, set design, wardrobe, makeup, effective direction ;) Fewer setups per day, so less settling for what we've got and more striving for GREAT! More separation of tasks for increased focus on quality.

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Post by MattexFilms » Thu Sep 06, 2007 8:33 pm

They probable do because they have to know how to tell a story because that's what all films do, tell a story. Don't they!
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