Название: First Time Director
Автор: Gil Bettman
Издательство: Ingram
Жанр: Кинематограф, театр
isbn: 9781615931002
isbn:
Identifying the Most-Playable Objective
Ultraplayable Objectives
Adjustments
“The More Adjustments, the Better” – How Come?
All Adjustments Are Gerunds or Adverbs
Improvisation
Script Breakdown – Layout
Summary Points
Preparation
Credibility versus Interpretation
Objectives and Adjustments in Rehearsal
Physicalization As a Rehearsal Tool
Improvisation As a Rehearsal Tool
Making Weak Actors Believable and Good Actors Great – Improv As a Versatile Tool for Rehearsal
Preparation Is Everything
Summary Points
Getting Ahead by Getting Along
Successful Collaboration
Collaborating with the 1st AD
The First Walk-Through for Camera
Collaborating with the Cinematographer
Making Your Stars Shine during Production – Off the Set
During Production – On the Set
On the Set in Front of the Camera and Crew
Collaborating with Your Lead Actors During the First Walk-Through for Camera
Taming the Actors Who Chew the Scenery
Collaborating with Yourself
Summary Points
Chapter 9. To the Answer Print and Beyond
Collaborating with Your Editor
Reshoots
Inserts
Post Sound – An Overview
Spotting the Picture for Sound Effects and ADR
On the ADR Stage
Hiring a Composer
Working with the Composer
Sound Mixing or Rerecording
Promotion
To the Answer Print and the Sweet Hereafter
Signing with a Manager/Agent
Signing with a Publicist
Coping with Success or the Lack Thereof
Summary Points
FOREWORD
by Robert Zemeckis, Director, Cast Away; What Lies Beneath; Contact; Forrest Gump; Back to the Future I, II & III; Who Framed Roger Rabbit; Romancing the Stone
By writing First Time Director, Gil Bettman has done for directing what Lajos Egri did for screenwriting when he wrote The Art of Dramatic Writing—, put out the first book which explains how the craft is practiced professionally. Until I picked up First Time Director, I had never read anything that went right to the heart of what a director must do to succeed. Most texts on directing are filled with information about things that most directors never concern themselves with — not the case with Gil's book. He has lucidly set down the ABCs of directing so that dedicated students can learn exactly what will be required of them when they step onto a set.
Better yet, the book is tailored specifically for the director taking on his or her first professional assignment — the only logical approach for a textbook on directing. Success on the first assignment is crucial. Without it, it's effectively impossible to launch a career. Since no textbook can teach like on-the-job experience, especially in a three-dimensional medium like directing, you don't need a textbook after you have survived your first professional assignment. The fact that Gil Bettman has built this truth into the approach of his book is both brilliant and good common sense.
I always knew Gil could write and direct. I set up a deal for him to write and direct a film for Universal, and later on, one for Warner Bros. As is often the case, neither project made it onto the screen. But First Time Director proves that he has found a great way to put his talents as a writer and a director to good use. People who are as good as Gil is at writing and directing are usually too preoccupied making Hollywood movies. But in Gil's case, the film industry's loss has been the film student's gain. First Time Director reveals to those still on the outside what's going to be expected of them when they get on the inside, and it is spot-on accurate, because it has been written by somebody who has been there and done that. I wish somebody had handed me this book the day I got out of USC.
PREFACE
When I first started teaching directing, I read every “how to” book on the subject that I could find. I knew what I was looking for: a text that taught what I had learned during my 20-year career as a director in Hollywood. My plan was to draw on those lessons in order to provide my students with the information they wanted above all else. I had gone through the M.F.A. program at UCLA when I was an aspiring director. I could remember what I had wanted then, and I could not imagine it being any different today. I wanted my professors to teach me the directing skills that I needed to know to break through and start a career in Hollywood. Now, 25 years later, I knew that the particular nature of my industry experience made me especially qualified to teach them this. After all, I had broken into the business not once, but three times — first as an episodic television director, then as a rock video director, and finally СКАЧАТЬ