Film Director

- Who is a Film Director

- Managing a Film set
- Blocking and Staging
- The Master’s rule
- Director vs DP
A Film Director
A film director controls a film's artistic and
dramatic aspects and visualizes the screenplay
(or script) while guiding the film crew and
actors in the fulfillment of that vision. The
director has a key role in choosing the cast
members, production design and all the
creative aspects of filmmaking. Under
European Union law, the director is viewed as
the author of the film.
 Overview of a director’s responsibility on set

The portrayal of the director can be phrased by

the formula:
Cinematography + Setting + Blocking
+ Acting + Editing = Directing.
The film director gives direction to the cast and
crew and creates an overall vision through
which a film eventually becomes realized or
noticed. Directors need to be able to mediate
differences in creative visions and stay within
the budget.
 What does a Film Director do?
• A film director is in charge of the three main phases of
filmmaking — pre-production, production and post-
production.
• Film directors work on a movie from conception to
delivery, working with individuals in charge of lighting,
scenery, writing, and so forth, to make sure all
elements come together. They generally don't do post-
production work, but are in charge of overseeing it.
• A film director looking over the shoulder of a
cameraman to see what is being captured on film.
WHAT DOES A DIRECTOR DO FROM START
TO FINISH?
• Interpret scripts
• Set the tone of film
• Work with department heads
• Work with casting directors to find talent
• Direct actors and the camera
• Work with editors to assemble the film
• Work with sound and music departments.
 DIRECTOR’S TREATMENT

• A directors treatment (or simply treatment) is a piece of prose,

typically the step between scene cards (index cards) and the first draft
of a screenplay for a motion picture, television program, or radio play. It
is generally longer and more detailed than an outline (or one-page
synopsis), and it may include details of directorial style that an outline
omits. Treatments read like a short story, but are told in the present
tense and describe events as they happen. A treatment may also be
created in the process of adapting a novel, play, or other pre-existing
work into a screenplay.

• A director’s treatment is a document that clearly outlines all elements

of a film, music video, commercial, or TV pilot. It’s typically used by
filmmakers, directors, television producers, or any other video
professional pitching an idea.
 Managing a film set

• 1. Guide the actors through scenes. It’s your job to help inform and shape
their performances, so give the actors positive but specific (and short)
praise and/or notes after every take. Make sure you’re on the same page
about who the characters are and what they want in each scene.
• 2. Ensure every department is doing its job. You’re the person who is
most familiar with every part of the production. You must make sure every
department is doing its job and working together to bring the film to life.
• 3. Communicate with everyone as much as possible. Directing is a
collaborative process. Having open communication with every team is vital
to making the best film possible so everyone feels comfortable speaking
up and knows exactly what they need to be doing.
• 4. Keep your artistic vision alive. Continue to check in with every
department, from the producers to the actors to the crew, about what you
need from them in order to translate your creative vision to the screen.
 Blocking and Staging
WHAT IS BLOCKING AND STAGING IN FILM?
 BLOCKING
WHAT IS BLOCKING?
• Blocking represents the process of laying out the
camera placement and movement of a scene in
comparison with the actors’ placement and movement.
When deciding on the blocking of a scene, the
filmmaker is also considering the audience. And where
they want the audiences’ eyes to physically be drawn
during the particular scene. They’re also thinking about
what emotions they want to convey to the audience
through the scene.
 STAGING
• WHAT IS STAGING?
Staging is the process of deciding on the placement
and movement of the objects in the frame. Also,
staging includes the camera placement and
movement in relation to the blocking of your
scene.
Staging is focused more on the camera placement.
Movement and defined area of focus. Which
contributes to the visual storytelling techniques
that you’re most focused on.
 Blocking vs staging
• Blocking and staging work together providing the visual
output of the film. Blocking aims to outline where actors
move throughout a scene. And how they interact in the
environment.
• Whereas staging represents the position of the actors within
the frame and the movement of the camera in relation to the
scene.
• Learning how to apply film blocking and staging will help you
to create visually harmonious sets. In which the audience’s
eyes are directed in exactly the location you desire. And
where the film eludes the desired tension and deeper
meanings.
 BLOCKING VS STAGING
• Film blocking and film staging may sound
rather similar, but to help you understand the
difference between blocking and staging in
film keep this in mind!
• That blocking refers to the way your actors
move around the space whereas staging
represents the way your objects are placed
and moved in the frame in relation to your
blocking.
 Here are 5 important blocking tips:

• 1. Having a shot list will help you during the blocking process. The
shot list is like a map: it gives you a path to your destination but
you don’t always have to follow it.
• 2. Let the actors show you what they want to do first, then, when
you make a suggestion, it is based on something you have already
seen
• 3. Where the camera is placed is determined primarily by what is
important in the scene.
• 4. Blocking is like a puzzle: directors need to keep working at it until
the whole scene works.
• 5. In Television and low budget films, speed is essential, story and
block some scenes so that your action takes place in one direction
(to avoid turning the camera around for reverses.)
 The Master Rules
• What is the master scene method?
The master scene method is one of the most
fundamentals and common ways of shooting a scene.
Basically what it means is that you start the shooting of
each scene by shooting the whole scene in one long
take in a wide-angle with all its essential elements.
Then you can move on to shoot the coverage shots like
the over the shoulder, medium shots, close-ups, etc.
That way, in the editing room, if you find you missed a
shot, you can use this cover shot (the master shot) to
the rescue.
 TIPS FOR MASTER SCENE METHOD
• When shooting a scene in a room, the master shot will usually be in the opposite
corner. If you are shooting outside, just look for the farthest spot to cover
everything in the shot.
• Start the shooting with the master shot before the coverage shots to prevent
problems in the continuity of the scene.
• When a scene is too long or has a complex movement, you can break the Master
shots into two masters.
• Watch for the 180-degree rule while you shoot the master and the coverage.
• When you plan the shooting script breakdown, think about the time it will take to
change the lightning from the master shot to the coverage shots.
• Make sure you start the shot from the beginning of the scene until the ending of it.
• Sometimes you can use the master shot method can also be used to add a
particular atmosphere.
• When done correctly, the audience will barely feel that the master scene was
made to cover faults.
 Understanding the 180 degree Rule for the Master
Scene

This way, the first character is always frame right of the second character, and
the
second one is frame left of the first. This rule helps with continuity and eye
lines.
This rule can sometimes be broken to convey shifts in power, confusion
or the passing of time. But make sure you are fully intentional about breaking
the rule, otherwise, it will just look amateurish.
 Director vs DP
Variety of responsibilities
While both roles have a wide variety of
responsibilities, a director has several duties
throughout different departments and various
areas of a film. A cinematographer typically holds
responsibilities related to the visual aspects of the
production. Directors may spend time on set
working closely with actors to block and instruct
them. On a different day, they may dedicate time
toward scouting locations or editing a film.
 QUALITIES OF A GOOD DIRECTOR
- COMMUNICATION SKILLS
- ARTISTIC TALENT AND CREATIVITY
- STRONG LEADERSHIP
Create and share a common vision
Understand others(learning and abilities),
lead the way,
walk in others’ shoe,
human behavior
Flexibility
Positive attitude
Stress tolerant

- EXCELLENT TIME MANAGEMENT

- ORGANISATIONAL SKILLS
- OPEN MINDEDNESS
Note: A good director must understand the film conventions and fundamentals ways of
making a movie.
 DIRECTOR AND CAST
Directors techniques when working with actors
Somehow for many directors it’s easier to direct
a camera than to direct an actor. Not many
admit it, but even the big masters get
cornered sometimes by the simplest actors’
questions (beware of the famous “what’s my
motivation?”).
 DIRECTOR AND CAST
Common director mistake - getting too technical,
not spending enough time with actors and
therefore, not being able to speak their language
- results in the film falling flat in the emotional
moments. Be assured - no editing, stunts or
special effects will be able to conceal that.
Inversely, believable acting and genuine emotions
will save even a low-budget, technically imperfect
movie. But how can one achieve that?
 DIRECTOR AND CAST
• First and foremost, do lots of rehearsals. But
even if you’re limited in time, there are some
methods that’ll help the actors connect to
you, their respective characters and each
other, improving the overall film quality
dramatically.
 DIRECTOR AND CAST
• Have some alone time.
Gain the actors’ trust by encouraging them and
devoting them time even if you’re really busy -
nothing is more important than these guys after
all. Call for a total silence on set or take them out
to a quiet place to do the last preparations. Set the
mood for the upcoming scene. A good technique
here is to have an eye-to-eye reading - just ask the
actors to say their lines by looking at each other
non-stop.
 DIRECTOR AND CAST
• Attribute physical tasks.
These will help the lines sound more natural
because the actors won’t have the time to think
about them. So make them act while doing
something else (like breaking free when held
down or holding on to a piece of cloth that’s
being pulled out from them). This doesn’t have
to happen in the actual scene, but it’ll add more
depth to the acting after being done in rehearsal.
 DIRECTOR AND CAST
• Work on the voice intensity, not it’s volume.
If they actors get too theatrical, don’t tell
them that (this is the worst they can hear from
a director) - just ask them to keep the voice
down. They often think that shouting will help
them convey an intense emotion, but it won’t.
 DIRECTOR AND CAST
• Set personal goals.
Give one to each actor and don’t tell it to the other.
These are great for rehearsing, can be extreme and
add spontaneity to what’s happening in the frame.
Examples of the goals for both actors: “make him
hug you - resist all contact”, “irritate him - calm her
down”, “make him want you - use any pretext to go
pee”. Yes, even that - don’t be afraid to set extreme
goals! They can be adjusted to more pertinent ones
when you get to the actual shoot.
 DIRECTOR AND CAST
• Hotseat.
Which means to interview the actor as the
character, asking him questions about his past
or his attitude towards specific people and
events. This will make him get into the
character’s head and understand his
background better.
 DIRECTOR AND CAST
• Do one take for safety.
Takes the pressure off, makes the actors believe they
did well in the previous take and accomplished what
the director had asked them for. Sometimes those
takes are the best and are the ones that get in the
final cut.

Tell them to never stop acting before you say cut.

It’s also a good idea for them to start acting before you
say “action!”.
THANK YOU