Happy Friday!
I hope everyone enjoyed class this week and got a lot out of Tim's lecture, our in-class activity, and John's visit. Below, I have transcribed some of the tips and ideas he touched on in class.
BUT FIRST - A CHANGE TO THE PRODUCTION NOTEBOOK REQUIREMENTS!
It has come to my attention that though you are required to provide proof of your professional cast member in your notebooks, I neglected to write it out as part of the actual notebook requirements. It is stated in the Vow of Chastity but nowhere else. I apologize for this lapse!
From this point forward, make sure to include a headshot and resume (or just resume) of your professional cast member in your notebooks. This can be placed in the section with your cast deal memos. Groups C, D & E will be required to have this element in their notebooks in order to be approved for shooting. Group A & B get a little slack since it's such short notice.
Please email me with questions or concerns. Below are John Goshorn's notes:
I hope everyone enjoyed class this week and got a lot out of Tim's lecture, our in-class activity, and John's visit. Below, I have transcribed some of the tips and ideas he touched on in class.
BUT FIRST - A CHANGE TO THE PRODUCTION NOTEBOOK REQUIREMENTS!
It has come to my attention that though you are required to provide proof of your professional cast member in your notebooks, I neglected to write it out as part of the actual notebook requirements. It is stated in the Vow of Chastity but nowhere else. I apologize for this lapse!
From this point forward, make sure to include a headshot and resume (or just resume) of your professional cast member in your notebooks. This can be placed in the section with your cast deal memos. Groups C, D & E will be required to have this element in their notebooks in order to be approved for shooting. Group A & B get a little slack since it's such short notice.
Please email me with questions or concerns. Below are John Goshorn's notes:
BOOK TO GET:
-Be aware of the emotional strains that go along with directing actors. For those of you directing dramatic performances, be prepared to “go there” with your actors. Think about how you would treat the living, breathing character, if they were in the setting you created and responding to the obstacles you’ve put before them. Working in this way gives your actors the trust and security to let their guard down and give you truthful, affecting performances. Working in this way will also create a bond between you and your actors - this bond can sometimes lead to personal drama on set or down the road - just be aware of this context.
-Remember that, unlike the other aspects of the film, there is no backup for the director. You alone are responsible for the performances of the actors. John says this (and I second it!) so that you remember that it’s okay to trust your crew to make sure the lighting, camera, sound, etc. is good - but you must make directing the actors your first priority.
-Some practical production tips to help you get better takes:
- Consider shooting in sequence, if the option is available to you. It will help your actors maintain their momentum and save time getting into the moment.
- Get as close to the action as possible, preferably right next to the camera. As the director, you are the one watching performance, so you must be there to catch every detail! This also helps you stay in the moment with your actors.
- Do a HH master shot early on, in addition to your planned coverage. A HH master can often be a safety net in the editing room. Some actors may become tired as you work through your coverage set ups. The HH allows your DP to move in and follow, as certain moments require. It also gives the actors to freedom to do the entire scene and move around as they wish.
- Give yourself 30 seconds of pre-roll and 30 seconds of post-roll, if time allows. You can catch so much magic before and after the lines or action. If needed, give your actor something to do in that 30 seconds - like what would the character being doing right before the scene kicks in? What would they be doing right after?
- Indulge your actors when possible. If you can prevent conflict or tension through diplomatic use of this idea, then do so! Even if every idea the actor gives you on set is crap, find a scene somewhere in your day to let them try it out.
