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What do DPs wish their Directors would know?

Shawn Nelson

Shawn Nelson

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For those DPs out there, what things do you find yourself repeatedly wishing that directors would know?

My goal is to be a good Director, albeit a very visually inclined one. I prefer to be a strong collaborator with DPs, and not one that the DP rolls his eyes at the moment he turns around.

So what do DPs wish their Director would know? Or, is this a silly question with no real answer?
 
Shawn Nelson said:
For those DPs out there, what things do you find yourself repeatedly wishing that directors would know?

My goal is to be a good Director, albeit a very visually inclined one. I prefer to be a strong collaborator with DPs, and not one that the DP rolls his eyes at the moment he turns around.

So what do DPs wish their Director would know? Or, is this a silly question with no real answer?
Click to expand...

I think the best directors have a really good sense of the pacing of their project. Sometimes this is in seconds, other times this is in scenes.

I also really appreciate directors that have a strong knowledge of film grammar and speak the language of composition and lenses very precisely.

Finally, it's great when someone understands the power of great blocking. Not only creating interesting grammar with interesting blocking, but also how to use a blocking session effectively as a tool to communicate with your entire crew. (And how not to confuse blocking with rehearsal.)

It's funny Shawn. Driving home from set tonight, I had a long talk with my director about this very subject: What a director needs to know.

IBloom
 
Somebody in Wikipedia collected very good thoughts about FILM DIRECTOR>>>

"A director is a person who directs the making of a film.
A film director visualizes the script,
controlling a film's artistic and dramatic aspects,
while guiding the technical crew and
actors in the fulfillment of their vision.

--

Responsibilities

A film director is responsible for overseeing every creative aspect of a film.
They develop a vision for a film, decide how it should look, what tone it should have,
and what an audience should gain from the cinematic experience. They are responsible
for hiring a strong, creative team of people to work with production, lighting, cinematography,
and costumes. Film directors are responsible for approving every camera angle, lens effect, lighting,
and set design. They coordinate the actors moves, determine camera angles, and may be involved in the writing,
financing, and editing of a film. The director works closely with the cast and crew. They listen to the cast and crew,
take some suggestions, and give out some of their own. They meet with the cast before each scene to do a run through.
This tells them how the actors are going to play the scene, which enables them to make changes accordingly.
A film director is also responsible for television production."

MORE>>>
 
Good wikinitions!


IMHO, the director is responsible for saying the heaviest "YES" to every aspect of the film-making process.


1. Reading the script and saying "YES, this script will work" [responsibility].


2. Rehearsing and directing the actors:

"YES, that's the character we seek".

"YES, that's the expression, movement and gestures we need".

"YES, that's the way to deliver this line".

[responsibility]


3. Directing the visual aspects of the movie:

"YES, that's the set design we want". [colors, shapes, mood, style,]

"YES, these are the costumes that best depict the character and the story".

"YES, that's the necessary make-up".

"YES, this is the composition\lighting\camera movement that I had in mind" [for every shot\scene\sequence].

[responsibility]


4. Directing post:

"YES, this is the final cut we're after - emotion, rhythm, pace".

"YES, the color grading is what me and the DP agree on".

"YES, the sound works that way".

"YES, the music is [finally] fitting".

"NO, that trailer sucks and ruins everything".

"YES, now the trailer is tolerable" :)

[responsibility]


-----

I'm sure missing a lot of "YES" steps there, but the point is that the director has the almighty power\responsibility of "YES"-ing everything in the movie.

The way I see it, there are no rules in art, except one:


Impress and win your [target] audience. Make them say the big "YES" at the end of your movie.


The fun and power aspects of directing seem to appeal to everyone, but it's the responsibility side that makes most people frown.


Responsibility for the success of what is being filmmade.


That's tough.

It's heavy intellectual and psychological labor [and responsibility :) ].

And, in the end, you have to be really crazy to actually want to be a director. :biggrin:

But,.. aren't we all... :sorcerer:

My 2c.
 
One of my greatest wishes for any director that I work with is for them to know, I mean really know, what it is that they want from a scene. Not only shot line, lens choices, but also exact coverage and most certainly performance. I hate it when a director (and for some reason more often writer/director) sort of 'feels' their way around when shooting a scene. If they know what they want (and need) then more time is available to work on setups and things that other departments would like to have more time to work on.

I am not bagging on directors; I know that their job is very very difficult. About the only thing that I would rather be even less than a director is a UPM. Their job seems to be the worse as everyone's problem is their problem!

Just my $.02 on the subject.
 
When I first saw the post, my cynical response was that I wish more directors knew how to direct...

Yes, I think understanding pacing, tempo of a scene, is key -- it's a subset of understanding how the scene will be edited, how the whole movie will be edited. That's a great trait for a director to have.

Knowing story and how to talk to actors, recognize a good performance on the set or in the editing room, or a poor one and knowing how to fix it, is also key.

There are many others that are important as well but these stand out.

Being able to handle stress is key as well. Being good at hiring your collaborators, casting, picking a project in the first place, finding financing...
 
As a recovering theatre major, I'll offer my two cents.

Perhaps I'm prejudiced, but I think it should be mandatory for every director to take an acting class (or several). Most behind-the-scenes types (myself included) are uncomfortable in the limelight, but the insights you can gain from watching a good teacher/coach shape an unconvincing performance into a better one are (IMVHO) well worth the emotional discomfort.

Beyond that, I think directing requires very different skills at each stage of production. In pre-production, you're kind of painting ideas in broad strokes, making sure all departments agree on look, feel, pacing, tone, etc. This is the time to do your homework, solicit input and make a game plan.

It's very different when the production clock is running: you need to make a daunting series of decisions quickly, and you need to tell people what to do. The what to do part is really important. I love a director who unhesitatingly says "use the red napkins" or "wait a beat after you enter, and go a little faster when you cross." Conversely, the single least-helpful bit of direction I ever received was a college production in which the director asked me to "be more magical." Being a young smart-ass, I shot back, "Could you be more vague, please?" A zen master can 'be,' but an actor must 'do.'
 
Erik Bien said:
...the single least-helpful bit of direction I ever received was a college production in which the director asked me to "be more magical." Being a young smart-ass, I shot back, "Could you be more vague, please?" A zen master can 'be,' but an actor must 'do.'
Click to expand...

Well, a major part of directing is knowing what each of your actors needs from you, and it's not always the same thing. Some might want what you did - a bit more of a specific adjustment. Others might want exactly what your director gave to you - more of an emotional adjustment. A good director must understand each actor's particular process and deal with it on its own terms. The best directors I've worked with have the ability to analyze this in rehearsal based on a combination of the questions each actor asks (and how many) and their reactions to different types of direction. By the end of their first scene with each cast member, they understand what each of them will need in order to elicit their best performances.
 
Great thread!

For me, the first thing every director needs to know is what are the motivations (yes, the dreaded phrase) or thematic premise, or better yet, the NEED, of every character through the story. Understanding what a character does in general, how he/she is, how he/she is boud to react to many situations, even those the character is not faced with in the script, is of paramount importance. It's a lot easier to tell an actor why on a particular scene the character would act like this or like that, then just say "walk slower, or cry harder, or don't laugh so much". Arbitrary direction based on a particular scene is not conducive to actors doing their best work. Direction is about feeling not about gestures or actions.

Directors should spend time discussing the script with their actors, analyzing what each of them feels or thinks are the reactions of their character to each particular scene or challenge throughout the script, and once both director and actor agree on who and why the character is, the rest follows rather easily, so I agree that "be more magical" is about the worst thing an actor can hear.

And unless you are Ridley Scott or some other visual director, the best thing a director can tell his DP is what emotions and results, from a dramatic standpoint, he wants from the scene, and let the DP suggest angles, lenses, framing and lighting, this is true collaboration. Based on those options offered by the DP, the director can then choose what he feels is the best, but telling a DP "let's frame this like this or that" ir also counterproductive. Then again, that requires a DP with artistic capabilities, not just a skilled camera operator, which is what many DP's truly are. That's what I've always tried to do when directing.

Lastly, if you haven't yet, read Judith Weston's book "Directing Actors", it is a great read.
 
EDIT in their head. To be able to cut up a scene and understand what it needs. All my favorite directors and DP started as editors.
 
Great comments everyone, keep them coming!

Rudi, I would disagree with you about something. It is the Director's responsbility to choose framing/composition. He can choose to get the DPs input, and even delegate it if he wants, but it is his job. And yes, I have read 'Directing Actors', it is a good book.
 
All great comments...

Of course, each Director will bring certain individual talents and styles to their projects based on their experience and preference.

As a Director and crew member on many productions, here are several things I have experienced that come to mind that I believe DPs appreciate their Directors to know:

1) Communication. Even if a Director has the most brilliant ideas, if he/she can not effectively or precisely communicate them with the DP (and crew/talent) then so much is lost. Also, having to do with communication is Psychology. There are so many things going on socially on a set. Many times, people are working together for the first time and are feeling their way through the production in the early going. Having a good understanding of how to deal with the challenge of these new relationships, personalities, dealing with egos, creative brainstorming, making compromises, etc., is very important. Being an effective communicator to your cast and crew can be the difference between huge success and dismal failure.

2) Understanding the Process. This includes what many people have already commented on. The knowledge of proper terminology, equipment, workflows, how changes impact schedules, and of course pacing and continuity. Also, understanding a little of each other departments needs and challenges goes a long way. I personally believe that having in-front-of-the-Camera experience is also a great advantage to have.

3) Organization and Punctuality. Many Directors have very specific systems that help them keep all of their scenes and shots organized. Some have used techniques such as shot lists and story board cards, and others even go so far as to have a list of all the various components that make up individual shots and sequences, such as tone, color, space, line, shape, movement, rhythm, etc. And being punctual sets a good example for the rest of the cast and crew.

4) Onset Presence / Dealing with pressure. Things are bound to go wrong or at least change into something less desirable at some point during a shoot. It's how Directors deal with this when it occurs that can have a dramatic effect on the production schedule and overall morale of the cast and crew. In my experience, there really should never be a situation that requires the Director (or anyone else for that matter) to lose their temper or get too distracted by their emotions that they cannot perform their job. Of course, it's not always that easy to know what challenges are around the next corner and how you will react to them, but if the Director knows going in that they will consider them just that, challenges, then things will be on the right track form the start. Having the social skills to deal with the incredible pressure that comes along with the schedule and budget requirements of a production are very important. And rather than focusing on the negative, remaining open minded, positive, and keeping a creative approach may often allow for a solution to the problem, or even many times offer a better idea than the original.

5) Loving your work and loving the collaborative process. This doesn't hurt. :)
 
One of the most important skills of a good director is his sense of telling a story visually.

Too many directors nowadays don't have a clue about the power of angle of view, framing, camera movement, rhythm and editing. They rely heavily on full coverage because they simply don't know what they want.
 
Shawn Nelson said:
Rudi, I would disagree with you about something. It is the Director's responsbility to choose framing/composition. He can choose to get the DPs input, and even delegate it if he wants, but it is his job. And yes, I have read 'Directing Actors', it is a good book.
Click to expand...

Shawn, I guess I wasn't clear enough, you're right of course, but not obviously so. I mean, I always have a very good idea of how I want each scene to look like and how each character action and reaction should be framed, which in my case (I write and edit all of my stuff) is a given since I come to the set with that proverbial picture in my head. But I remember telling a DP that for a particular scene the female lead was in total disbelief and panic and I wanted her in close up to experience her reaction full on, and then he came up with some suggestions for alternate framing that ended up working better than my original idea.

So, before telling DPs what my thoughts are regarding framing, I've resorted to first telling them what is the emotional impact I want to achieve with every scene and ask for suggestions. If what they offer matches up or improves my ideas, great, if not, I can always go the "let's do it this way" route and be done, but asking for suggestions before announcing my ideas has worked better the couple of times I've worked with experienced DP's.
 
I have to second the comments about editing. The director has to have a clear idea of pacing and which shots cut together and how the whole will emerge from the parts. This confidence will trickle down to the crew. One of my directors said, "Film sets are simple Reaganomics - everything trickles down from the director."

Confidence, articulation of ideas, trust, and really wanting the project to be good all are felt by the crew and influence their work ethic.

Describing the "point" or desired impact of a scene or shot to the DP is a good way of getting good ideas out of them. When a director does that to me, I can often come up with a couple of ideas that I think will work with what I've been doing for the project. The key then is for the director to pick one - its so frustrating to say, "We can do this or this or this, they are all equally easy for my crew, it's just a storytelling decision," and have the director throw the question back in your face. The director is the boss, but sometimes it seems like the director is afraid of that responsibility.

Take charge without being a dictator.
 
Mike Prevette said:
EDIT in their head. To be able to cut up a scene and understand what it needs. All my favorite directors and DP started as editors.
Click to expand...

I find that interesting. When I'm editing a project, all the actual editing is done away from the computer, in my head. It makes sense for a director to be doing that before the footage is shot - presumably he already has a good idea of what it should be.

I agree wholeheartedly that editing is key to DPs and directors.

Editing is filmmaking - it is the only uniquely cinematic craft.
 
AngusChandler said:
I agree wholeheartedly that editing is key to DPs and directors.
Click to expand...

I'm not so sure I do.

As important as editing is to the ultimate product, each phase of production has its own needs and concentrations. To come to the set with a rigid idea of what the final scene is going to be is to cut oneself off from the input of a lot of valuable collaborators - actors, cameraman, etc. - in favor of a preconceived notion about how it should turn out. Scenes are often "found" at various stages of a picture's development. Sometimes they are found to a great extent during rehearsal, when everyone is together on the day with sides in hand for the first time. Sometimes it's found when a great idea for lighting or coverage following the rehearsal influences how the scene will ultimately feel. Sometimes it's even dictated by the circumstances present at the time it's shot - the 5 shot scene that becomes a one-er because you went long on the previous scene and need to make the day. And often times it's found in the cutting room, when either the editor or the director or both will restructure what they thought they had into something different and better than they had previously imagined. Sometimes the picture will be restructured and scenes juxtaposed to create a narrative that seems very different from what might have been originally intended.

To me, the job of the director in preproduction is different - albeit related - to the job of the director during production, which is itself different from the job of the director during post. In preproduction, that which can be decided ahead of time is ironed out - production design, locations, wardrobe, general look and feel, and, of course, casting. During production, the primary job of the director - at least as I see it - is to direct the actors, to get the best and most appropriate performance by earning and retaining their trust, and helping them to find the right tone for each scene and create the characters with depth, truth, and nuance. In post, the job is to work with the editor to find and define the actual movie, and then to work with the sound crew and the composer to help bring it to life. To do all of these jobs requires someone with talent and vision, to be sure, but to do it really well also requires someone who's open to others' ideas and open to embracing changes and happy accidents that inevitably happen along the way.
 
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