What do DPs wish their Directors would know?

[Mike Prevette]

I wasn't saying they should be rigid, in fact the opposite is true. Reacting to things and adapting to how a scene should play out is key to on set filmmaking. That being said a director that can cut that scene together in their head, and make sure they have all the coverage they need makes me happy.

 

[Shawn Nelson]

Continuing in this thought, what is a polite way for a Director to tell the DP that the way he lit a scene is completely unacceptable (the director stepped out and came into the scene lit)?

 

[Mike Prevette]

Director: "Umm this wasn't what I was thinking at all, I need it more natural"


Good DP: "No prob. Hey guys lets shake it up, move the key out the window, kill the strobes. . . ."

Bad DP: "Well it looks totally natural to me, See how the chartreuse rim light really accentuates that "bar" feel"

Director: " were in a kitchen"


Just "use your words" so to speak. Say what you have to say any way you can. You might suck at it at first, but thats the trick to communicating in any language. You get bettar as you go.

 

[Charles Angus]

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.

Yes - I didn't mean to say that there must be a plan to be rigidly adhered to.

Knowing how to edit (not the same as knowing how to use FCP or Avid...) will inform the decisions made while "finding" the scene, whenever that happens.

Knowing how to edit will ensure that when you make the 5-shot scene a oner will work in the final film, and isn't going to need a re-shoot.

That said, I believe in having a well-conceived plan - it will probably not survive first contact with the enemy, so to speak, but having a plan means you have considered the material, you know what you want, and you are going to have a framework into which new ideas can be placed.

But yes, you are right, editing is a post process that is its own thing. It shouldn't be done on set, but keen knowledge of editing will ensure that you won't be killing yourself in the cutting room.

 

[Charles Angus]

Continuing in this thought, what is a polite way for a Director to tell the DP that the way he lit a scene is completely unacceptable (the director stepped out and came into the scene lit)?

Hopefully good communication beforehand will prevent this...

Also, sometimes lighting will look different to the eye than it will to the camera (eg. adding fixtures to get deeper shadows on the film can look bright to the eyes). This is a common one. With RED, and well-calibrated onset HD or 2k monitoring, this should be less of an issue. The DP can just say, "Look at the monitor, thats what its going to look like."

Shooting film, then maybe the DP has a plan - ask what it is, and if it makes sense, then consider trusting him.

That said, at the end of the day, the director is the boss. Just say, I don't like this lighting, and here's why. Give concrete examples.

"The backlight is too much, where's it coming from?" is a good criticism, this can be changed.

"This doesn't look very good," is not good criticism. The DP can't light it "better", he can only make concrete adjustments to the exposure, fixture placement, colour balance, etc.

 

[Warren Kommers]

All if this is good stuff but in the end the director must have a vision and the ability to execute it through other creative individuals. Shaun, none of these are rules and there are great directors that don't dictate camera angles. Many in fact. However they will inspire or communicate to you to pick the "right" ones. That being the shots that feel more like a force of nature dictated by the story and directors vision of telling it rather than, "lets do a jib shot because its cool looking like big movies" mentality.

Storymuthafuckin tellin. A good director can share an experience through a combination of all the other art forms. They are hard to find and often critical to a DPs success. Wally Pfister on Memento being a great example.

This is a great link for anyone interested in making movies.(its not what you think it is)

www.cinegear.com

 

[Dean Bull]

Every great director should know that every great director they admire is not who he/she seems...

Every great director should know that most directors who are labeled "great" are not that great.

Every great director knows he/she is made great by their appeal to the audience, and in larger part to their access to financing!

Every great director should know what their last paycheck was for directing.



Every aspiring great director should read some of the below the line blogs around the net to get a candid POV of what the director job looks like (in a professional setting) from below the line.

 

[M Most]

All if this is good stuff but in the end the director must have a vision and the ability to execute it through other creative individuals. Shaun, none of these are rules and there are great directors that don't dictate camera angles. Many in fact. However they will inspire or communicate to you to pick the "right" ones.

I agree with that. In fact, I would go a bit further and suggest that a good director "directs" everyone on the crew just like he or she directs the actors, by giving them what they need to hear in order to elicit what the director has in mind. In other words, asking them for something in a manner that makes each crew person feel that it's their own idea. That's a very good way to deal with people in general, but it's an especially good way to deal with people in the creative crafts.

 

[Mardi_Gras]

I agree with that. In fact, I would go a bit further and suggest that a good director "directs" everyone on the crew just like he or she directs the actors, by giving them what they need to hear in order to elicit what the director has in mind. In other words, asking them for something in a manner that makes each crew person feel that it's their own idea. That's a very good way to deal with people in general, but it's an especially good way to deal with people in the creative crafts.

Agree totally. And adding to that, for me, a good director on a set, is like a well written thriller with a strong hook. The director keeps the crew "hooked" onto his style, flair, sense of purpose and most of all a killer eye for fine details in composition; one that keeps even the most indifferent crew, "tuned-in. I love the art. Working with an equally talented DP brings it all home for me.

 

[Joe Carney]

Several years ago I read a book by John Boorman (I think that is his name)about editing. He claims the movie you end up with is always different then the one you started out on.
He did a case study of "All the Presidents Men". What started out as a high concept politcal thriller turned into a movie exploring why people talk to the press. All this happened during the editing process. It wasn't planned.

Something to think about.

 

[Paul Leeming]

Here's a copy of a questionnaire about directing I was sent by someone this year, with my answers in point form. Whilst this isn't strictly to do with the Director/DP relationship, I think it has some useful points to make, so I'm uploading it on the off chance it inspires someone or gives them something new to think about:

[FONT=Georgia, serif]
What are some significant tips that are needed to be aware of to direct?[/FONT]

• Know your story inside and out. Why are you telling the story? What does it mean to you personally?
• Don't be afraid to put your emotions into the movie. If you are not emotionally involved, your audience won't be either. Again, why are you making the movie?
• Know yourself. Know your REAL limits. Be confident and be in charge, but don't be a tyrant.
• Take all opinions but know how to filter out the ones that don't serve the story.
• Look after your actors, physically and emotionally. They are putting themselves on the line for you. Respect them for that.
• Don't surround yourself with people who love your work and won't criticise you. You need objective eyes watching over you because you won't be. Then see the fourth point about taking all opinions...
• Feed your crew. Well.
• Did I mention know your story?!

What are the necessary aspects a director should apply when directing?

• Focus. Not the camera's, but your own. What is this shot about? Is it serving the story the right way?
• Motivation. It's 3 am. Your crew has been working sixteen hours straight. It's raining. They want to go home and sleep. You need to inspire them. How?
• Willpower. This is your movie. YOU are the Director. You know the story and what you are trying to say better than anyone else (right?!). So don't let anyone else change, dilute or otherwise mess with it. You will be given a thousand reasons why things can't be done, have to change, no money, etc etc. Be strong of mind and don't let them tell you how to make your movie.
• Emotion. Understand your own emotions. Then understand your characters' emotions. Finally, understand your actors' emotions. Know how to synchronise all three to put your internal emotions on screen without changing them. Do this right and your movie will be a success. People go to movies to be moved and entertained. Show them your emotions through your movie and they will love it even if they don't understand exactly why.

What sort of equipment is needed? – In general terms

• Movie camera. Anything from MiniDV to 35mm Hollywood level. Tapes or film stock, or anything in between depending on the camera format.
• Sound recording equipment. Microphones. Boom poles.
• Lights. And a gaffer (lighting technician) who knows how to use them properly.
• Editing system. These days that means digital even if you initially shoot your movie on film stock, as it's usually put through a digital telecine to get it into the computer as a Digital Intermediate (DI).
• Sets or locations in which to shoot your movie. Tools to build them if necessary.

Let me add here that all the best equipment in the world won't save you if your story isn't up to scratch. Know it. Love it. Breathe it.

What makes a good director?

• If you figure out the answer to this you'll make a LOT of money! (Then tell me so I can make some too!)

What are the top 3 qualities a ‘good’ director should have?

• Knowledge. Know your movie. Know the processes that go into making a movie. Know the different jobs on set and what they can and can't do. Know your actors. Know your crew. Know what makes them tick and how to motivate them.
• Emotion. Understand that emotion is what makes a good movie. Know how to translate your own internal emotions in a way that gets them on screen unchanged. Don't be afraid of exploring your darker side. It's sometimes scary to be really honest with yourself but it will make the movie infinitely better if you can overcome that and run with it anyway.
• Willpower. It's hard out there in the movie business. It's easy to give up. Don't.

What advice/feedback would you give to an amateur/first time director?

• Watch lots of movies. Which ones do you like best? Why? Note down the styles you like, the shots, the dialogue. Figure out how to use these in your own film.
• Don't be afraid of making mistakes. You will make them. Thousands of them. Learn from each and every one of them and you'll grow in leaps and bounds. Never stop learning.
• Imitation is the sincerest form of flattery. Pick your favourite directors' works and copy them. Experiment. Your own efforts will necessarily deviate from the copied works due to your own story and ideas so don't worry about making exact copies - it won't happen.
• Believe in yourself. Believe in your story. Trust your actors.
• Remind yourself every day WHY you are making this movie.
• Story, story, story.

Would there be any directing experiences that you would like to share?

• The first day of the first movie I ever directed (“Eve”) was the hardest, longest and best day I've yet had on a movie set.
• It was the hardest because I was asking two actors I barely knew to trust that I knew what I was doing in shooting the opening scene, which involved some full frontal nudity, as well as a crew who were looking to me to guide them, knowing it was now totally up to me as I was in charge.
• It was the longest because every moment I was making decisions for a hundred people who needed to have absolute confidence that I, a first time director, wasn't going to let them down. It was fifteen hours that felt like a week, but I got there and then didn't sleep a wink that night just thinking about it all.
• It was the best because I found a calling that has to this day given me utter joy when I'm doing it - I had become a film director!!

Paul Leeming
Director
Visceral Psyche Films

Cheers,

Paul

 

[James T Mather]

good directors know what they want, bad directors know what they don't want.

I couldn't give sixpence if a director understands lenses or lighting etc - in many ways it can be a disadvantage if a director knows a little (a little knowledge is a dangerous thing etc) as opposed to a lot - it can become an inhibitor as they often mis-use terms, mis-understand equipment and create confusion

EG:

Him: I want a beam of light -
ME: sure - (orders a smoke machine) -
HIM: no. no smoke -
ME: I thought you wanted a beam of light -
HIM: Yes, but no smoke -
ME: ??? - (ten minutes of discussion (and watching some video on his ipod) and we get a cookie or charliebars to break up light on a wall)

OR :

HIM: lets steadicam in this scene.
ME : Sure. (twenty minutes later come out with the rig on) ready!
HIM : yes move in a dead straight line and then hold on this macro shot of an eyeball for ten minutes.
ME: (taking off the rig and getting a hybrid and nailing the actor to the floor)


These are clearly spoofy examples but things like this happen every day. Its better when the director who is not technically minded attempts to use clear terms to describe the effect he's going for rather than lob catchphrases like "triple reverse zoom" or "give me a 8mm wide shot of the garage here and blow the background out of focus" (Simply put : You can't blow the background out of focus) . Much muttering from technicians comes when directors are attempting to get people/equipment to do something that it wasn't designed for - often making the technician look like he doesn't know how to do his job.


NB : Also: please USE A VERB - phrases like edgy, slick, etc don't mean anything and often cause head scratching.

 

[David Mullen ASC]

Common problem I've come across:

Director: I want to completely silhouette the actor.

So I light the scene so the actor is in silhouette. Director comes back to set:

Director: Isn't the actor kinda dark? Can we throw some light on him?

Me: A "silhouette" is an unlit subject framed against a brighter background so their solid outline in black stands-out.

Director: Oh, I just wanted the actor to be backlit with just a little fill light.

Me: Then why didn't you ask me for that?

This is why when a director says "I want the scene to be dark" we have a discussion as to what "dark" means to him in this particular case, since it could mean generally underexposed soft, dim light or it could mean shadowy light with large black areas and small areas of brighter highlights.

 

[James T Mather]

myself - same conversation - many, many times.

OR:

HIM: can we silhouette him?
ME: sure, no problem.

(ten minutes later.)

HIM: Great. what about that light at the back?
ME: what about it?
HIM; I didn't realise you were going to use it - I want the room to be completely dark - not even practicals. can we turn off that light?

(we turn off the silhouette wall light. the set plunges into complete darkness - might as well film it on radio)

HIM: I can't really see him now. What can you do about that? James? James?

ME: (to the barman in the local bar) - A pint of beer please.

 

[Erik Bien]

My art department equivalent is the director who asked me to build a platform "of one by eights with a plywood top" ... then complained when it wasn't twelve inches tall! :blink:

 

[Kinosaur]

LOL See what youve started Shawn. The key to all of this for me has always been to strive to give the Director what he or she wants, which is not necessarily what he or she has asked for specifically. all Lighting cameramen / DOP's wince when faced with a Director who says ' I want the camera here, pointing this way, lit with a specific light source positioned exactly here'. If this happens, it's important that a discussion takes place to work out what is actually 'wanted'. IMO the most important thing is that people have confidence in each others abilities and that can only be achieved through working together and developing a relationship.

 

[krd]

I don't know, guys.... No one will remember, but the last time someone here claimed that directing CAN BE a highly skilled profession, but rarely is -- witness all the movie stars, celebrities and relatives of celebrities who manage to make first movies with excellent production values and more or less convincing dramatic content, Ben Afleck being only the latest genius of the week -- he was deemed to be an idiot.

You can make all the lists you want, but in the end a "director" today is somebody who managed to attract enough money to make a movie. Including guys who want all the lights turned off because the scene should be "dark", and whose major contribution to the performances is repeating "I mean, you're like...." or supplying 17 different explanations of what the scene "is really about".

Some might argue that Ron Howard, Clint Eastwood and Sophia Coppola are at the top of their profession today thanks to unique abilities, rare intelligence, magical on-set skills and hard-won knowledge. However, famous parents or prior acting fame usually don't help anyone write string quartets or epic poetry, play the violin, become DPs or film editors, perform higher mathematics or win the Nobel in medicine. So why film directing?

Could it be that the directing skill set required for this sort of success is really quite minimal? That opportunity, a decent script, good casting, passably good taste, and, of course, a highly trained crew, is what determines many of these outcomes? Just asking....

 

[Samuel Doyle]

Best thread all week............!

cheers

 

[Dan Blanchett]

Could it be that the directing skill set required for this sort of success is really quite minimal? That opportunity, a decent script, good casting, passably good taste, and, of course, a highly trained crew, is what determines many of these outcomes? Just asking....

To some degree, but a strong vision combined with the ability to effectively realize it through managing a large creative team separates the good directors from the "good enough" or bad ones. Plus you have to be incredibly determined and motivated to take on such a mammoth responsibility that will (unlike most other people involved) suck a year or more of your life away. Not many people have that quality, or want that job.

 

[krd]

To some degree, but a strong vision combined with the ability to effectively realize it through managing a large creative team separates the good directors from the "good enough" or bad ones. Plus you have to be incredibly determined and motivated to take on such a mammoth responsibility that will (unlike most other people involved) suck a year or more of your life away. Not many people have that quality, or want that job.

Nobody's disputing any of that. The argument here isn't that directing is easy or a sham, but that much of what passes for Hollywood "directing" is the working of a highly developed industry, not a unique directorial talent.