Directing A Film - Ionesco's The New Tenant

this is the script for a movie and tells a story in words it's the director's job to take these words and make them come alive on the screen if there's dialogue read it aloud just get here what do you do you make me come up to your room you don't have to be an actor to tell whether or not it sounds real like real people talking there may be some mail you want with a vase anyhow you want a vase for anyhow what do you want a vase for anyhow if it doesn't sound real change it what do you want to base for anyhow the mother with the kids you can't push me around I'll go see the cop it's wrong looks too clean there's sevenths wallpaper sealing it and high enough if you're shooting on location check the locations out yourself is the look right and you get the camera angles you want is there too much noise to record sound take your cameraman along if you can and get his opinions if you're going to shoot on a set make the first sketches of it yourself it doesn't matter how rough they are but it's up to you to decide where the walls need to be and the doors and the windows you have to see both of the doors in a wide shot a better angle the walls some way then make certain that your set designer is giving you what you've asked for and what you need the other thing is the doors know I told you in my sketches I always had a and I need to have me I want this effect of the furniture coming through and pushing the doors open they won't create any problems of furniture on the interior yeah well but there's gonna be problems on either side it's gonna be we're gonna be tight to space either way and I think the effect of the doors bursting open and suddenly you yeah so is that a problem for you no seem one it's a sound shut and a wide shut seemed to is shut through the window sound the close up of the super breakdown the script group similar shots together those shot in the same center location shots with the same actors shots using the same props or special equipment the shots should be grouped together in the way that makes the shooting easiest fastest and most economical be as demanding as possible in the casting of your actors insist that each actor you're seriously considering read for you don't kid yourself forget about makeup and costumes and the difficulty of cold readings if you don't see and hear in the actor at least the beginnings of the character you have in mind it's very unlikely you'll get what you want from him on the screen and finally before you cast an actor find out how he takes your direction you could do that more of the sense of a little sense of nervous concern like everything has been fine all the furniture has got into place everything's working to plan but now they're saying that there's a problem make sure that you're able to communicate with him that he understands what you're saying what are we gonna do you're not finished but see if you can do it with them you don't need the voice express the sense of nervousness channel what are we gonna do very much you know can you do the old case without any break at all you're breaking up to the first one okay okay okay okay cameras in front for a wide shot super comes in the door to the center of the room and then to the window block the action on paper where will your actors be how will they move there will be a camera be when will the camera move make diagrams when you're shooting script you cut to a shut through the window close-up of the super leaning out always block the show and select your shots with the audience in mind what does the audience most need to see at each moment of the story that's what should be on the screen the man and the super are at the door and a to shut the man crosses and the camera pans with him and the super crosses over into the shut make shot lists for each day's shooting block your shots together so that you minimize the number of major changes of camera position and major lighting changes be realistic don't schedule more than you can shoot in a day there's nothing worse on a set for you and your crew and your cast and the feeling that you're constantly falling behind schedule schedule realistically and then feel good if you go faster than expected you're sorry sorry sorry it's making fun of me that's what he's doing we check your blocking on the set or location before your casting crew arrived easier to think things out when you're alone you can make changes or Corrections without having to discuss them with anybody or argue about them as much as you can direct your show before the shooting begins 1 there don't be rigid be ready to change when a better camera angle or blocking becomes evident in the course of shooting but at least have something in your head and on paper to change from gentleman well we're gonna find you coming down your letter you there's nothing that keeps a show happier than a director who at least appears to know what he wants I without having to stop and think things out on the set while everyone else waits for him and gets paid for the waiting you're looking at him you look to him see they give your line are they all right they look all right to me back to you they're all right the director is the one person on the set who is responsible for keeping the film as a whole in this mind at all times it's your responsibility to make sure that the particular scene you're shooting will fit into its place in the finished film and so you have to have all the answers for everybody [Applause] coming from your close up turn remember yeah yes you can if your try you tell the actress where they are you look over at cam and you see that he's got is and what they're doing and why maybe a little more voice in the same eye I'm just a second of getting it through this you remind them how no you see the room is supposed to be waste your time what I'm saying is that you possibly have you explain how they should react to a small vase which apparently weighs 300 pounds way more than they should and in other words you're not surprised if the vase is heavy your only concern is that it is heavy put it there what goes through your head is stupid idiot it's standing there like a statue facing the wall you tell them what they're thinking I'll try the personal approach and off you go all right yeah once you decide to do it you come right up what about you and business for yourself got a job the nice thing that happens with those stores see one up in front of her to explain how to avoid the curved stools line up so we catch some of the red on the other side hey bustard don't you believe him the closer the relationship between the director and his cameraman the better ideally you should both be seeing with the same eyes explain in detail what you want to see on the screen and make sure that he understands you like that around here okay and then you got to pull back to show up sighs anything okay well is it possible to I could have used more movement than the thing at the end while she's still talking keep going it's possible that she could end up war across him to her here let's make a new forward mark be sure you're getting what you want still going this direction that's it don't take chances and be disappointed when you see it on the screen right to there now I think they'll have to boom up a little bit to do this so maybe not it maybe her having that kind of look is okay that's fine no no this far enough around there yeah and that will give you the little extra time to keep moving come down doesn't look menacing it should be throwing down shooting up Adam help help actually it's not a bad train that you would be ready to listen to your cameraman suggestions and accept them if they're useful what start on your closer chat and go back the right one it might work button though not know where I think I'm gonna break it in a couple places but don't depend on the cameraman to set your shots or block your action this is gonna have to be broken up a little bit it's alright are they alright beep we need to get the camera over then look to him action the movie is a story told in pictures and it's the director's job to compose those pictures so that they tell the story in the best possible way now you still got a big close to the picture look all right to me they're all right to take one action during a take the directors place is as close to the camera lens as possible see what the camera sees or tell you don't have anything that snape on tonight oh yes you the only live audience your actors will have I'm gonna help you up make sure that you're an observant and perceptive audience in a sense you're the representative for all the audience's that will ever see the film something doesn't play right for you it won't play right for them cut so make corrections not quite so quick coming out at all you're at home now you're at home now so sense not so much of pushing her just that you don't know sir don't take it off if you don't wanna you're at home now thank you be prepared to wait and schedule time for it just because you're ready doesn't mean everybody else's give the electrician time to adjust his lights but the dolly grip set his marks okay Mike thank you let the camera system has your focus make up plays sponge to make certain that everybody is getting ready at the same time don't let the makeup man wait until after the lights are set to touch up makeup make certain that the boom man is rehearsing his moves at the same time the camera crew is rehearsing theirs and don't waste the time yourself the clap you turn away for the clap yeah you're not only turn away but you're gonna back out of the way don't kid yourself that the take is good when you know it isn't a small bit of action that isn't just right is easy to pass over in the rush of shooting there will always be people on the set to assure you that you won't even notice it on the screen but you will notice it it'll look worse each time you do so fix it while you have the chance cross over to can be faster still yeah that's money not to the world doesn't too much they're likely to fall down let them do that excuse me that should be I ain't gonna open your window you know says he's paid for water please enroll son nobody ever said I watch it prettier that way we're turning that line so be sure that you have enough coverage really assume a play well in one long take way you don't see anything but you may discover in editing that you want to speed it up or slow it down but that you'll need cutaways shots that you can cut too too slow or increase the tempo of the scene everybody to be happier everybody happens EMS Co says to play the whole thing with the characters back Sam and I may do it I don't know that's been it's brilliant yeah more discrete don't over cover a scene have confidence in the shots you chosen but give yourself a little leeway in editing if you can that way you can't see anything at all okay that's a print camera out in front well do you want to do one more now as easy is it what's easy whew it doesn't matter you'd have the camera in position one please don't don't get hung up on the scene trying to get something that won't calm or that simply isn't there but don't say print and move on to the next scene until you're sure you've got the best on film that you can get given the time and money available the skill of your cast and crew and your own skill as a director save that daunting to you all the way around and we can see it furniture is my place I'm your maid please don't yeah that's right then when your shorts the best you can get all print and waste no time getting onto the next scene that was very nice same spot as we sing to 8 to 8 will have been coming down with him here I don't like that I don't like I don't like making you waste your time I got other things to do you know he asked me to come up here shut up back to him not gonna open your window business and then shut up