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When writing a serialized teleplay—or rather when outlining seasons and such: Does act structure apply just to the episode, or the season, or both, or the whole series? Puzzling... any thoughts or article links appreciated

For writers: before submitting it to production For directors: before approaching actors, DP, etc for discussion. i.e. still in analysis mode More a question for writers, I s'pose I have an inkling we'll never reach a complete understanding of a character, so just wondering what the 'good...

To writers and/or directors: How well do you know your characters before moving on to shooting? i.e. WHAT do you know about them before even beginning to rehearse: Does motivation and backstory suffice? Or do you have a hundred questions on minute details you must answer first?

Hi there, If you have any advice, or even better books/free online lessons about production design—that would be much appreciated.

Honestly winging it is probably smart. The reason I fret over analyzing beforehand is probably an anxiety that I won't be able to articulate exactly what I want after each run-through, and thus won't have anything to say to actors. Winging feels like risking a wasted rehearsal with no clear...

Open question for you indietalkers, Just curious: What preparation—script analysis, scene/character breakdowns, etc—do you do before getting into rehearsals. Or do you skip this and just wing things?

Thanks for the comments so far. Two cameras, but won't have time for a lot of coverage unfortunately, which is why I'm a bit cautious about rehearsals. I've picked the more dialogue heavy bits, less than half of the script, to focus on. Mostly theater actors, but not all. My rough idea is to...

I'm about to direct a film with quite a few lengthy, abstract dialogue scenes——script makes me recall My Dinner with Andre. I read that Louis Malle rehearsed with those actors for SIX MONTHS (I read elsewhere that Wally rehearsed 9 months before Malle got onboard). I only have about one month...

Interesting, you haven't had my problem yet ;) I've more than once had actors from theater backgrounds, and not much if any film experience, do too much in front of the camera, over-acting, "fake" stuff. Good actors, they've done their work and can engage, but there's just too much in the...

Open question, make of it what you want! :) Interested in hearing film directors speak of their experience with theater actors, and vice-versa.

Title says it all. Any tips on getting actors to just be/react, and not project their emotions?

Hey indies, Can any of you give some examples of films shot on a 3:2 (1.5:1) aspect ratio? THanks

How much / what do you know about your characters before beginning the first draft?

Haha, right Sweetie. Thanks!

So I've been having trouble finding a sound mixer who will work on a micro-budget. One new acquaintance told me he'd be willing to do sound and that he's recorded and fixed location sound before, but after some of my own snooping I haven't seen any finished work so he has zero credibility. If...

Hey Are there any examples of films without basic makeup used? Or even better, a with and without comparison? Thanks

Does 0:42 of this clip look awkward to you? https://www.youtube.com/watch?v=oM4bCiKIJuA I never noticed it until I began closely analyzing the scene's editing.

Hi, Still not a master in editing language :P To clarify something on the principle of 30 degree angle changes, I often see cuts from a wider shot to a closer shot that don't change the angle, just the frame, and it doesn't look awkward or jumpy. I see how this relates to the 30 degree 'rule'...

How many frames per second are necessary to be eligible for a film festival (or the average festival)? I never see this in listed requirements. Thanks

So by "story" here you mean just "premise" or the whole fleshing out of scenes/acts/beginning-middle-end? Because the latter I would say is not always very easy. Still don't understand the difference between the "story" and "screenplay" award 1940-1956