Film Directing Fundamentals

Gives the novice director an organic methodology for realizing on the screen the full dramatic possibility of a screenplay. This book provides ways to translate a script to the screen. It is suitable for screenwriters, aspiring directors and filmmakers.

Klappentext
Film Directing Fundamentals is a step-by-step guide for aspiring filmmakers and directors that brings readers into the world of developing a visual storyline for film. Readers gain a methodology for for translating a script to the screen. 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.

Inhalt
Part One INTRODUCTION Chapter 1 Introduction 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 Image Chapter 2 Introduction 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 -Fulcrum Chapter 3 Organizing Action in a Dramatic Scene -Dramatic Elements in NOTORIOUS Patio Scene -NOTORIOUS Patio Scene Annotated Chapter 4 Staging -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 Scene Chapter 5 Camera -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 Storyboard Chapter 6 Camera in NOTORIOUS Patio Scene Part Two MAKING YOUR FILM Chapter 7 Detective 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 Notebook Chapter 8 Staging and Camera For The Piece Of Apple Pie -Staging The Piece Of Apple Pie -Camera for The Piece Of Apple Pie Chapter 9 Marking Shooting Script With Camera Setups Chapter 10 Work With Actors -Casting -First Read-Through -Directing During Rehearsals -Directing Actors on the Set Chapter 11 Managerial 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 Photography Chapter 12 Postproduction -Editing -Music and Sound -Locking Picture, or, How Do You Know When It's Over? Part Three ORGANIZING ACTION IN AN ACTION SCENE Chapter 13 Staging and Camera for Over Easy Action Scene Part Four ORGANIZING ACTION IN A NARRATIVE SCENE Chapter 14 Staging and Camera for Wanda Narrative Scene Part Five LEARNING THE CRAFT THROUGH FILM ANALYSIS Chapter 15 Alfred Hitchcock's Notorious -Overview of Style and Design -First Act -Second Act -Third Act -Summary Chapter 16 Peter Weir's The Truman Show -Overview of Style and Design -First Act -Second Act -Third Act -Summary Chapter 17 Federico 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 -Summary Chapter 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