By Robert Edgar-Hunt
Fundamentals Film-Making: Directing Fiction can assist you create artistically pleasurable brief movies. supplying an obtainable creation to the foremost components of directing comparable to script, casting, situation, sound and modifying, there's additionally recommendation on tips on how to distribute your productions.
Robert Edgar-Hunt deals either a pragmatic method of the self-discipline in addition to a theoretical exploration, explaining why a uncomplicated grounding in movie concept is vital for each movie- maker so that it will tell and increase their paintings. fundamentals Film-Making: Directing Fiction examines vintage video clips to demonstrate key suggestions and gives routines designed to check and construct in your realizing of directing. there's additionally an insightful interview with Mark Herman, director of vintage movies reminiscent of Brassed
Off, Little Voice and The Boy within the Striped Pyjamas.
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Additional info for Basics Film-Making, Volume 3: Directing Fiction
A date stamp is also useful. On a very low-budget shoot you can always mark the paper edge with a different colour. • When a line is changed, it is worth noting it with an asterisk in the far right. This is very helpful for actors and script supervisors who need to be word perfect. Scenes: • When a scene is added, do not change the scene numbers – again use A, B, C… • If a scene is removed mark it as ‘DELETED’ or ‘OMITTED’ and never reuse the scene number. The pre-production team > Working with script > Case study: Peter Hunt Revisions Case study: Peter Hunt case study Peter Hunt Peter hunt is the writer, director and producer of Elevator Gods.
It would be all too easy to give the logistical aspects of the process over to the production team without consideration of how the logistics impact on the concept and vice versa. This highlights the importance of communication and delegation. Without a strong concept the film will not work – this is why the director remains in charge throughout the whole process. A film production could easily feel like the war room in Dr Strangelove if you try to involve everyone in the decision-making process.
When an actor is familiar with a character, they are able to respond in a more spontaneous way and a more considered manner than an actor who has been told little or nothing of a part. In the absence of information an actor will have to fill in the gaps themselves and this may lead to the character developing in a very different way from how you intended. Who should you rehearse? Pre-production The tendency for a new and enthusiastic director is to rehearse everyone possible for an equal length of time.