Pre-Production - Directing Formula

http://actioncutprint.com/filmmaking-articles/7stepfilmdirectingformula/


More directing research!

STEP 1: THE STUDY OF HUMAN BEHAVIOR

I have to find the confines of my character, so I need to understand why they will do the things they do in my script. I see in the story Jimmy wants to protect billy, but his pride gets in the way because he wants to deal with things himself and that's not fair on Jimmy.  The characters need to feel real, and I need to establish who they are before I do something that's out of character for my characters ,the characters need to feel different, but most importantly, they need to feel real.


STEP 2: STORY

a. What is the story about?



The story is about two friends and their relationship as they encounter hard times in the place they live in.
b. Does the story make sense?
It does, it has a clear structure of beginning middle and end.

c. What problem is to be resolved?

Money. Money plays such a big part in peoples lives. If we don't have it, we're nothing of value, we will stop at nothing as a race to get money, no matter who it hurts, its just the way we are, we hurt the ojes we love. The big problem in ROADMAN is money, its how we got in the mess in the first place.

d. What event hooks the audience?
To me, my favourite scene is the first and last scene, they are direct mirrors, Billy needed help, and his beatdown is so dramatic it infuses why they are friends, and the same for the last scene.

e. What is the plot? (the action)

Jimmy dealing drugs in order to survive, but all the while lying to his friend.
f. What is the subplot? (the theme) 
Friendship, how a friendship can be on its edge, but they'll always be someone there for you.


STEP 3: PERFORMANCE

The actors need to be believable. so I need to follow this system to ensure I get the best out of them

a. Do I believe them?
I'd say the characters i've made up I do believe in their motives and their objectives in life.

b. Do the words make sense?
The conversations make sense between the characters and I feel what they are saying, it comes across as real life.

c. Are the characters believable? 
Definitely, they all have traits and all have goals they want to attain.


STEP 4: THE PRINCIPLES OF MONTAGE 
montage (the juxtaposition of images to tell a story,) filmmakers are able to produce certain emotions from the audience (laughter, fear, crying, shock) by manipulating an actor’s performance. 

I will be editing ROADMAN to ensure what I'm directing is carried over into the edit. I like the idea of long shots and fast edits for action, the variations and connotations between handheld and tripod will all be carried over into the edit.

STEP 5: THE PSYCHOLOGY OF THE CAMERA


1. The Lens

How intimate do I want to be with the character and how do I represent that visually?”

Depending on what shot I use, this will all depend on how initmate I want to be. I want a lot of the film to focus on close ups , as I think that's the best course of action for the genre I am in.

2. Depth

Again, this relates to the depth of field of the camera. I want shallow depth of field so it's literally the charaters are the only thing that matter on screen, this way the background is a blue, and if firther immerses the audience.


3. Focus

Again, visually, I want the focus to catch up with the audience  per se. This is acheived with racking focus on who is talking and who is not. I did a test shoot on this and it worked great.

4. Angle


What shots am I using?

a. Objective: The audience point of view. (Camera is placed outside the action.)
b. Subjective: The camera acts as the viewer’s eyes. (Camera is placed inside the action.)
c. Point of View: What the character is seeing. (Camera is the action.)

Mostly inside of the action, the camera will be very intimate with the actors, somewhat making it uncomfortable too, but this is the effect I want. Also, I have a few shots where it is point of view, I have a small love of these shots so they have to go in there at some point.

5. Frame

What is the shot about?

Again, this will depend on if I decide on what shot types to use. Mostly Close ups and medium close ups to really set the tone for the piece id say.


STEP 6: BASIC BLOCKING AND STAGING TECHNIQUES

As with any production that uses actors, whether that be theatre or film. It's a good idea to block the scene out to see how it will look on camera and in person. This also helps me as a director to get through what I need to and make small adjustments to the actors based on feedback to them to get the best out of them. I have to focus on stuff like

– Why the actor moves
– Where the actor moves
– When the actor moves
– How the actor moves

Blocking is so essential in film. You can't shoot in one take and it is a process to get the best performance you can.

STEP 7: CINEMATICS

I like to think I have a good eye for film. I like to think I know what shot looks good, becuase all of my previous films have always been praised for their shot types and shots, I want to carry this trend on in ROADMAN. So to achieve this, I can follow these steps.

1. Have complete confidence in yourself and faith in your talent and ability
2. Have the courage and tenacity to stick it out “no matter what”
3. Have a relentless focus on what is possible rather than what is not possible
4. Never stop searching for your unique voice, style and expression
5. Stay true to yourself: it will guide you to the right people and the right choices


Another great site for research and development of my directorial career. A*