WEEK 1
Intro to the class, requirements, deadlines.
Introduction to principles of directing.
Screening: The Graduate, Mike Nichols
At home : Paper 1: After watching the film again, answer questions IN WRITING (due on week 2)
WEEK 2
What does a director do?
--- Understanding the difference between a writer's and a director's approach to a script.
---- DEFINITION OF THE SPINE OF THE FILM
---- The director’s approach to the scene in relationship to the entire film’s narrative structure and themes. Scene as the essential building block for the director’s work on the entire movie.
A discussion of characters' arcs and the film's thematic/aesthetic goals in reference to the GRADUATE and other films.
---- SCENE ANALYSIS: THE DIRECTOR’S APPROACH TO BREAKING DOWN A SCENE.
---- Definition of dramaturgy vocabulary – What is the scene about? What it the scene’s resolution? ACTION, CHARACTERS’ WANTS, EMOTIONAL ARC, CONFLICT.
Clips
THE MARRIAGE OF MARIA BRAUN, Fassbinder (beginning)
YOU CAN COUNT ON ME, Lonergan (lunch)
Scripts
SIDEWAYS, Payne (p.48-49-50)
MARATHON MAN, is it safe? scene
At home exercise: break down an assigned scene and analyze it. (due on week 3)
READING due on week 2:
MIKE NICHOLS on THE GRADUATE
The Playwright's Guidebook: ACTION (recommended)
Proferes: chapter 2 and 3
FOR DIRECTORS SHOOTING ORDER IS ESTABLISHED TODAY!
WEEK 3
Reading and feedback on scene breakdown exercises
SCENE 1
What does a director do? (continued)
- DEFINE ONE'S OWN VISUAL STYLE:
One director, one style: exploring different styles, through the screening of clips:
Let The Right One In, Alfredson
The Graduate, M. Nichols
Dial M for Murder, A. Hitchcock
8 1/2, Fellini (beginning)
THE PLAYER, Altman (beginning)
The director creates the VISUAL PLAN for the scene:
The relationship between the content of the scene and the director's visual plan.
Examples of standard and alternative approaches to coverage: how to cover your scene. Marking the script in order to understand if the director’s plan provides him/her with enough material to edit the scene. Understanding the 'rules' of coverage before deciding if/when to break them.
Floorplan and storyboarding. 180 degree rule.
Collaboration on the visual plan: how the director works with the Director of Photography, Production Designer, Costume Designer to create the look of the film.
In class exercise with coverage.
Scene for exercise 1 is assigned today.
NB: MIDTERM is a ROLLING ASSIGNMENT, DEPENDING on WHEN YOU WILL DIRECT SCENE. Each director will break down the assigned scene and create their own director’s plan. This will include shot list, floor plan and, if you want, storyboard. Students who DO NOT present this plan the week before shooting will not be able to shoot.
Bring as many copies as students in class and instructor.
Reading due today (in addition to script THE GRADUATE):
Proferes Chapter 1/4/5
WEEK 4
GETTING READY FOR THE SHOOTS:
-- SMALL CASTING SESSION
-- HOW TO APPROACH REHEARSAL
-Guidelines for casting and working with actors.
-Building a vocabulary for collaborating with actors and building a character's arc
-- THE PRODUCTION MEETING: DISCUSS DIRECTOR'S PLANS 1/2 with crew roles and what is expected of everyone.
EACH WEEK, THERE WILL BE A 40 minutes (20 per director) PRODUCTION MEETING FOR THE FOLLOWING SHOOT. Should the directors need to discuss their shoot further, they're encouraged to continue meeting with their team even as the class ends. Remember: What you give is what you get: the more available you are with other people, they more they should be with you, once you're directing.
Review of digital camera, sound and lighting equipment.
Students who do not attend this session will not be allowed to use the equipment!
On set organization. Definition of crew roles: ROTATING ROLES FOR CREW MEMBERS ARE ASSIGNED TODAY!
-Director
-Assistant Director
-Director of photography/Camera operator
-Gaffer/ Sound/Camera Assistant
Each director is responsible for finding their own actors, location (see limitations) and props. Each director should set up rehearsal time with their actors by booking a room (based on availability) with Cathy Quinn.
Directors will NOT be allowed to operate camera on their own shoot.
--- Director 1 and 2 present their directing plan, casting and location choice, scene breakdown, shot list, floor plan and storyboard for their final assignment.
---Directors will not be able to shoot their directing final assignments UNLESS they present their plan THE PREVIOUS WEEK.
READING:
Profere Chapter 10/11
WEEK 5
Shoot 1 (each shoot 1 one 35 mins)
Directors' meetings for the following week: 40 minutes (20 minutes each)
WEEK 6
Shoot 2 (each shoot 1 one 35 mins)
Directors' meetings for the following week: 40 minutes (20 minutes each)
AFTER SHOOT, Director 3 and 4 present their directing plan, casting and location choice, scene breakdown, shot list and storyboard for their final assignment.
Directors will not be able to shoot their directing final assignments UNLESS they present their plan.
WEEK 7
Shoot 3/4 (each shoot 1,35 mins)
Director 5 and 6 present their directing plan, casting and location choice, scene breakdown, shot list and storyboard for their final assignment.
Directors will not be able to shoot their directing final assignments UNLESS they present their plan.
In class shooting exercise: shooting ONE of the scenes presented on week 6. (two groups)
WEEK 8
Shoot 5/6 (each shoot 1,35 mins)
Director 7 and 8 present their directing plan, casting and location choice, scene breakdown, shot list and storyboard for their final assignment.
Directors will not be able to shoot their directing final assignments UNLESS they present their plan.
WEEK 9
Shoot 7/8 (each shoot 1,35 mins)
Talk down of experience shooting. Figure out what is ahead.
WEEK 10
The MASTER SHOT/EDITING IN CAMERA: Lecture on scenes entirely covered in ONE shot.
LUMIERE EXERCISES
Screening of Clips:
The Sprinkler Sprinkled, Lumiere
Repulsion, by Roman Polanski
Stranger Than Paradise, Jim Jarmush
4 months, 3 weeks, 2 days, Cristian Mungiu
THE PLAYER, Altman
INTRO TO EX 2: In class 'Lumiere' exercise: students will shoot a ONE-SHOT short (or scene) understanding the concept of IN-CAMERA-EDITING.
CHOICES FOR FINAL PAPERS ARE DUE ON WEEK 10!
SPRING BREAK: work on your scene and directing plan for ex 2. Edit your ex 1. Do not wait until week 13 to edit!
PLEASE DOWNLOAD FREE SCREEWRITING SOFTWARE AND USE IT FOR YOUR SCENE. YOUR SCENE SHOULD NOT BE MORE THAN 2 pages.
WEEK 11
Each student brings a 1 or 2 page scene (not more!) to be covered in ONE MASTER SHOT. They may have written it or chosen it. Suggestions: keep characters to a maximum of 2 and also, if you can, keep your dialogue to a minimum.
WE will look at scene and DIRECTING PLAN for the shoot.
WEEK 12
IN CLASS SHOOTS Of EXERCISE 2 (DIR 1/2/3/4) (each shoot 1,15 mins)
WEEK 13
IN CLASS SHOOTS Of EXERCISE 2 ( DIR 5/6/7/8) (each shoot 1,15 mins)
WEEK 14
IN CLASS SHOOTS Of EXERCISE 2 (each shoot 1,15 mins - if needed)
SCREENING: ONE TAKE FROM EACH DIRECTOR -- BE READY WITH THEM! (CLASS 14 MAY RUN A BIT LATE!)
PAPERS ARE DUE on WEEK 14. LATE PAPERS WILL NOT BE ACCEPTED, RESULTING in A FAILING GRADE FOR THIS ASSIGNMENT.
and
FINAL Presentation of edited SCENES 1 with feedback.
All directors need to provide instructor with one copy of their completed scene on DVD or USB key or WE TRANSFER ON the last session of this course (27/4/2016 3,30 pm). Late scenes will not be accepted, so if you're sending through WE TRANSFER you will have to send it by that time).