Directing Feature Films: The Creative Collaborarion Betwe and millions of other books are available for site Kindle. Directing Feature Films: The Creative Collaborarion Between Director, Writers, and Actors Paperback – May 1, Start reading Directing Feature Films on. Many of you have read one of my other books, either The Directors Journey or Directing Feature Films, and you are probably wondering what I am doing writing . screenwriting, directing and editing as one role, New Writing, , , .. started counting feature films under £, budgets and not.
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Directing Feature Films is perhaps the most practical and accessible approach to film directing ever written. Mark guides the reader through the directing process. Bavarian Film Award for Best Director, for Salmonberries, ;. Brussels International German New Cinema, Percy Adlon began making feature films more. 1: THE JOB OF THE DIRECTOR 11 Production aspect minute, low-budget Typical minute professional feature student film Script development period 6.
I looked at him with both dread and delight. Delighted that he had an idea for a new book. Dread that I would have to plunge myself once again into that painful process called writing. The Film Directors Bag of Tricks.
Well, once again he was right. And once again I stalled for as long as I could. There are a lot of reasons for this book and quite likely none of them are any good, but they will have to suffice. The reality is that for over a dozen years I have been teaching directing all over the world. And it is true that through my style and approach to teaching this elusive craft I have saved directors years of exploration and trial and error by just demonstrating what I lovingly call a trick.
Truth is that I dont know what else to call these short cuts. Y could call them ou tools or techniques and that makes it all sound much more legitimate, but in reality they are tricks. They are sleightof-hand. And most often the writer, the actor, and even the audience is seduced into thinking that something quite different has occurred.
All directing is sleight-of-hand. Think about it. Whether it is stage or film, all we are doing is telling a simple story. Perhaps it is a complex story, but regardless, it is a story with a beginning, middle, and end. We are telling this story in a compressed time frame usually about two hours because of the attention span of our audience.
Novelists dont have this restriction. They can write long and detailed stories because the time commitment for the reader is flexible. But in theatre, film, and television, we have a window of time with the audience. So we compress our story, we create a script that will guide us through.
We rehearse, shoot and edit using sleight-of-hand in order to make the audience feel or believe that something real is actually happening. And like the audience at a magic show, our audience wants to believe. They want to believe in the magic. They dont want the magician to explain how it is done. Y I know, deep down inside we es, all want to know, but once we are told, once the curtain is lifted, we will immediately resent the magician because he has destroyed the illusion.
Lets face the facts. We are in a business of illusion. We create and tell stories that are not real, not true. They may be based on a true story, but what is happening on the screen. Even the most determined documentaries are a reworking of what may have been true at one time. So we are in the business of selling myths and imaginings.
We rest on the audiences suspension of disbelief. We manipulate the audience and we pull a veil over their eyes and ask them to believe. And as directors we are always using sleight-of-hand to get writers and actors to deliver what we need so that we can create our next illusion. Thats what this book is about: The tricks we use with writers and actors in the process of creating an illusion.
If you have read one of my other books, you may have noticed that this book has a totally different tone. Its lighter, a bit more irreverent. Thats because we are looking at the directing process through an entirely different lens.
Were going to pull back the curtain and expose an aspect of directing that many directors use but may never admit. Its not just that we create illusions, it is that we, as directors, are willing to do almost anything to get what we want, to get the job done. We may not be proud of these techniques, but we know that they work. We know that when the clock is ticking, the sun is going down, or the actress is about to quit, we have to pull a rabbit out of the hat and get the job done.
Basically, no matter how you look at it, we directors are alchemists. My favorite definition of alchemy: Any magical power or process of transmuting a common substance, usually of little value, into a substance of great value.
Thats what directors do. We take that common substance that is of little value and make it into something of perceived great value through some magical process. Lets get started. The Alchemist Hires Some Assistants Now that we have the writer and the script moving in the right direction, its time to add some more members to the team.
The actors. Hmmm Actors A curious collection of creative creatures. In Chapters Three and Four well get deep into the delicious process of eliciting magical performances, but first we better look at the selection process.
The Casting Process. Remember, we are merely humble storytellers, no different than the poets and bards of ancient times who traveled from town to town, spinning their stories to the delight and sometimes horror of their listeners.
But we are also filmmakers and we dont get to tell our stories, we get to show our stories, and we need some curious creatures often known as actors to portray our characters. And now we are at the selection process. And just like all other stages of bringing this story to life on the screen, we.
Relationships are tricky, arent they? Y never know. The ou person you are just now meeting could end up being a significant person in your life, or not. Could be for five minutes, five years, or the rest of your life. And you know that the way it gets started is significant. Those first moments of connection can deeply influence how the rest of the relationship goes. Within the casting process we have a great advantage. As each actor walks in we know that we are potentially at the beginning of a significant relationship and we know pretty much how long this relationship could last.
And, since we are the director the Alpha horse and this poor unsuspecting actor is looking for a job, we are in a great position to get this relationship off on the right foot. Just like a master magician has to gain the confidence of his audience, a director has to gain the confidence and trust of the actors.
And the first meeting is crucial. The First Meeting. As the actor walks through the door be there. Dont think you have to establish some directorial mystique by being inaccessible and mysterious.
I know a lot of you do this, by instinct or design, and you feel it works for you. Y like ou a display of superiority. Y establish a bit of distance and ou definitely give off the impression of importance and authority. If it works for you, go for it. If youre eventually getting the profound, deep and rich performances from the actors that you so desperately need for your films, fine. But I know I cant do that. I would know that something is missing.
And as the master magicians that we all aspire to be, we want to stimulate every apprentice to the point of greatness. We want what exists at the edge of known and unknown. We want to see the magic that will sparkle and dazzle even our eyes. Humble Director.
So, drop the greater than thou attitude, embrace humility, and allow your aspiring apprentices to feel confident and comfortable and safe. Greet each actor at the door with something like: Hi, Im the director and I just want you to know what an honor it is to meet you and I look forward to working with you.
The seduction has begun.
The relationship has begun. Y bet! Only if you are not ou sincere.
When was the last time you were greeted with such warmth and acceptance? Remember how it felt? How safe you felt? How respected you felt? Thats what we are going for here. We are starting out each and every relationship whether they last five minutes or the length of the film or beyond with this subtext: Y are welcome here. I honor and respect you. Creating the Safe Zone. Were starting to develop a very delicate relationship. We know it and the actors know it.
And like any good relationship, it will be filled with confidence and a feeling of safety. But safe from what? Good question. Whats the danger? Why do the actors need to be protected? Remember when you were a child, five or six years old perhaps, and your parents or guardians would be doing their best to guide you through your day?
Dont touch this. Dont eat that. Stay out of the street. Dont go there, thats not safe. Dont play with that.
Stay away from that person. Do you hear all that negative information? Good intentions poorly stated. All we heard then was dont, dont, dont. Raising children is not easy. And as a good parent knows, there are two basic rules that will work wonders: Create clearly defined boundaries and then, within those boundaries, allow total freedom. Thats right, total freedom within well-defined boundaries.
This approach works the same way with actors at any age. Create strict and clear boundaries, then set the actors loose like little wild animals. Theyll be happy, free, expressive and feeling so very safe. And like the best sleightof-hand, both you and the actor know what youre doing.
There is an unspoken bond, a contract and an agreement. No different than a parent and a child. Here are some examples of boundaries you need to create in the casting process: Heres the material I would like you to read.
Heres where Id like you to be in this chair, in this end of the room. Y will be reading with this actor the reader. Michael Wiese Productions May 1, Language: English ISBN Start reading Directing Feature Films on your Kindle in under a minute. Don't have a Kindle? Try the Kindle edition and experience these great reading features: Share your thoughts with other customers. Write a customer review. Customer images. See all customer images. Read reviews that mention mark travis book does not so much directing feature film actors directors process script advice talk creative filmmaking guide journey practical stage approach career craft deep direct.
Top Reviews Most recent Top Reviews.
There was a problem filtering reviews right now. Please try again later. Paperback Verified download. It is an interesting read with in depth step by step journey into directing. It is a bit repititious but i suppose so is directing Any serious movie student will like this book and while Mr.
Travis doesn't have an impressive body of work as a director he writes in a way that keeps your attention. He over-uses his examples of The Fugitive and Forrest Gump to the point of boredom but other than that Love it. I'm an aspiring screenwriter and bought this for some insight into what a director does and what they do to a screenplay after it's in their hands.
This book answered all my questions and so much more. I learned things about actors that made me go back and change scenes to leave gestures out. The character knows when to shrug a shoulder or flick a cigarette and doesn't need to be told by a script or a director. The most important part of directing seems to be translating from one language to another. Turning words on paper into more than just images and sounds, turning words into experiences. Easy to understand, even for someone who doesn't know the vocabulary.
Awesome book. One person found this helpful. Mark Travis is a rabbi learned adviser for directors. He shares and teaches what he's learned over decades of experience in ways which are clear, precise, and very helpful.
Every director or wannabe director would benefit enormously from having Travis in his corner. My advice is to read this book or parts of it and then see how it works for you. Go and apply his techniques and see how it works. From personal experience I can promise you'll be delighted. Travis's book is not one of the "secret of directing" books or a " It's for people who are working or are determined to work very hard at the director's craft.
For others it's a window into a complicated magical process. First rate. Directing is controlling and acting is pretending.
In our attempts to simulate reality what happens if we simply create an environment within which reality can truly occur?
The Ultimate Collaboration: Directors with Directors Another controversial subject. Most directors work in isolation and secrecy. Few truly talk to each other about the inner workings of their minds or of their process.
And even fewer will seek the assistance, support or guidance of another director. This Chapter is a Panel Discussion between some extraordinary directors and how they seek the collaborative efforts of other directors.
It is rare to find a reference guide that has as its primary focus the director as a creative artist and visionary. Mark Travis takes the mystery out of directing with this comprehensive and inspired guide to the craft of helming a movie. Travis has written an excellent guide on the art of directing, and how to work with other professionals to achieve an artistic and commercial goal. A more practical, by-the-numbers guide to directing than theory-ladenbooks like The Eisenstein Reader.
Travis a film and TV lenser shows us what it takes to excel behind the camera. Mark W Travis. A must read for any serious professional. Available Online Now: And learn how to stimulate the actors on Camera to deliver textured and effective performances 9.