LIFE OF A DIRECTOR & FILM MAKING

                                    LIFE OF A DIRECTOR AND FILM MAKING 

 it doesn’t have to be that way.  film making is overwhelming, and granted that’s part of the appeal, especially for younger filmmakers, I still think it’s unfortunate when we get so frantic that we have to do all our strategic thinking before the shoot because we can only do tactical thinking during the shoot. Better to get enough rest so you can think deeply while you are shooting.

When I am shooting, the day goes something like this:

Up in time to shower, dress, eat breakfast ALONE and get to the set in plenty of time. I look over my notes from the night before.

I get to the set, where the crew is already unloading gear and starting to set up. I meet with the Assistant Director and go over the plan for the day. What we’re going to shoot, how I want to cover it (therefore where the equipment can be stacked so it won’t be in a shot), where we want to be by lunch, what the hardest things

are likely to be. Hopefully I have some new and invigorating ideas. But not so new that all the prep work is for nothing.

Then I talk to the Director of Photography about the tone and the feeling of the next scene, sometimes providing a reminder of where the scene fits into the whole scheme of all the other scenes. Hopefully I have some new and invigorating ideas. But not so new that all the prep work is for nothing. I listen eagerly to the D.P. ideas and build on them.

Then, as actors become available (they arrive or they are done going through “the works” (hair and makeup)) I rehearse, usually out of the way until the set is ready. Together we develop some new and invigorating ideas. But not so new that all the prep work is for nothing.

At some point, usually about 45 minutes later than we had hoped, we are ready to shoot and then, for the next ten hours, we shoot, with a break for lunch. If we can afford the time we stop around 4PM to wake everyone up with a short break. (I used to get very offended when the crew would arrive and want know what time lunch was. What about art? What about this delicate, magical series of moments I had dreamed up and been dreaming of for months? Then I went to someone else’s set to help out for a day and the only thing I wanted to know, before we even started, was when lunch was. All athletes need to pace themselves. You can’t run a race if you don’t know how long it is).

Sometimes, when we can do it without losing time, I review the footage we’ve just shot.

At the wrap, I go to the Assistant Director and the Director of Photography and make 

At the wrap, I go to the Assistant Director and the Director of Photography and make sure we have some sense of what we are doing tomorrow.

Then I meet with the production manager, my assistant, my producer, whoever is in charge of the larger picture so we can discuss the ongoing or upcoming problems. Did we lose Tuesday’s location? Was Bob late again? How are we doing with the budget? I also tell them how today’s shoot went, whether there are new problems but it is especially valuable to let them know when something went well as it reminds them why we are doing this. This may happen over dinner. Realistically, something like it may have happened over lunch, too. Does this sound like a lot more people than you have? It may not be. Some of these people can be wearing many hats. It’s more about the role each person is playing at the moment than the number of people. I do insist, however, that no matter how small the crew, no matter how tight the budget, I don’t shoot without an assistant director. I can’t run the project and make the scenes come alive at the same time.

Then I leave. I do not go out for wrap beer with the crew. Some directors do, there’s nothing wrong with it, but I want to make my notes for tomorrow while they are still fresh in my mind.

Then I put the notes where I can find them easily in the morning read something that has nothing to do with the project for awhile and go to bed, thinking of all the new ideas I just got for the shoot based on the reading I just did that has nothing to do with it

Quick version: the work day should be highly structured and execution should be at the behest of the first assistant director. A good 1st AD will save your life and should be an ally. You only have so many hours, so every minute is precious.

Every director is different, but typically you arrive and go through the pages to be shot for the day with actors, and department heads. You have already prepared a shot list and so everyone is working from the same road map. Block shots with actors and rehearse a bit if needed, now they go to wardrobe while the technicians prepare for shooting. Rinse and repeat for each shot or scene. Try to get all your shots for the day. Falling behind schedule can be costly. So if you are smart you will have an exhaustive preproduction phase. Communicate your ideas very well. Be a good listener. Remember the most important thing is what's in front of the camera, in the frame, not behind. Keep set dramas to a minimum. Your energy or lack thereof will determine the pacing and morale of the entire thing.

Other stuff: If you are young and working your way into this - get a job on a film set. Work on a few films, in the various departments - production, grip, electric, camera, wardrobe, property, editorial. Know what they do. Be super inquisitive and ask a lot of questions. Most people are wonderful and happy to share. Why? When you are the director, you will know exactly what these team members need from your leadership to make them execute at a high level.