Am I not bossy enough as director?

H

harmonica44

For my first real short film, I don't have a real pro crew, so I use my friends to step in. Sometimes they get a little overcreative though. My one friend does things with the camera, that she shouldn't. Such as zooming, but that can cause change in exposure while shooting. Or the camera will shake too much in the takes. If I tell her that we should redo it she will sometimes get defensive saying I worry to much, and that sometimes things like exposure changing and shaky cam, can come off as stylistic. The mic is also shown in some takes, and the no one behind the camera said anything. Maybe it's just not noticeable on the DSLR screen. So now I will have to do some photoshopping.

Sometimes the friends listening in on the sound, will not tell me if they hear anything unwanted either, and by the time I play it back, and find out, it's too late and we have to redub with the actors now. Should I just get bossier like some say on here, to try to get them to not get overzealous with it? They are working for food only, so I don't want to drive anyone either. But how do I get them to do what I say, and not change any setting, and actually monitor what's being recorded?
 
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harmonica44 said:
I thought it was a good thing to ask, cause then everyone can decide what they want, and we can all come to an agreement, instead of me bringing something that they all do not like as much.
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i mean dont ask HERE what food to bring. definitely ask your crew what they d prefer for dinner and if anyone has any allergies on food. killing two birds with one stone : they see that you care about them, and they ll be well fed.

sorry for the confusion
 
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you can be a fair dictator you dont have to be nasty.
you dont have to be unpleasant to your crew to motivate them.

on the shoot before you roll the camera when everybody is organised
give a short speech telling them how proud you are to have them there, what you want to achieve for the day, how you plan to do it
and any safety concerns if any, where the exits are, and if anybody has any concerns to approach you or the 1st ad.
set the ground rules at the start, you can do this in a civilised manner. but stress that the director is in charge...nicely
this is where you show them you are in charge and they will know what they have to achieve for the day.

motivate them with your vision.
make sure you have snacks and drinks available, low blood sugar
can slow things down when you are working hard.
give them a decent lunch......
you would be suprised how good food and snacks can motivate people.

snacks can be lollies, m+m's, chips, muesli bars, noodles, more lollies, mars bars, cut up fruit, oranges,apples bananas,
and bottles of chilled water, COFFEE, tea etc.
it doesnt cost much but is easy to grab and snack on while working.

hey gonzo what does qft mean, bearing in mind i was born before computers were invented.......................................

cheers
ian
 
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darty said:
you can be a fair dictator you dont have to be nasty.
you dont have to be unpleasant to your crew to motivate them.

on the shoot before you roll the camera when everybody is organised
give a short speech telling them how proud you are to have them there, what you want to achieve for the day, how you plan to do it
and any safety concerns if any, where the exits are, and if anybody has any concerns to approach you or the 1st ad.
set the ground rules at the start, you can do this in a civilised manner. but stress that the director is in charge...nicely
this is where you show them you are in charge and they will know what they have to achieve for the day.

motivate them with your vision.
make sure you have snacks and drinks available, low blood sugar
can slow things down when you are working hard.
give them a decent lunch......
you would be suprised how good food and snacks can motivate people.

snacks can be lollies, m+m's, chips, muesli bars, noodles, more lollies, mars bars, cut up fruit, oranges,apples bananas,
and bottles of chilled water, COFFEE, tea etc.
it doesnt cost much but is easy to grab and snack on while working.

hey gonzo what does qft mean, bearing in mind i was born before computers were invented.......................................

cheers
ian
Click to expand...

Oh okay. I never brought snacks but always ordered plenty of food for everyone, about 3-4 hours into the shoot. But some candy too is do-able.
 
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harmonica44 said:
I tell them how I want it shot and what angles, and we got a storyboard. I also check the camera and audio recorder settings beforehand. But you think that changing the exposure during the shoot is obvious, which is why I didn't think to mention it. I mean these friends, have seen movies before, and that's just not accepted.

Well I will have a talk and try not to be too bossy. But if they don't listen they are going to ruin this short! Either that or I will fix it all in post hopefully.
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I'm late to the thread as usual, but since no one else mentioned it I thought I'd chime in on the text I put in bold above:

In your original post you mentioned that the exposure changes occurred during a zoom, welcome to the unintended side-effects of using "less expensive" (eschewing the word cheap here) zoom lenses, which do not have a constant aperture rating throughout their focal length range.

Say your lens is described as being "f3.5-5.6" or something similar, this means that the max aperture possible on the lens changes as focal length changes (zoom). Your DP should be aware of this fact and should be able to determine how much range you have on the lens before the max aperture value starts to change.

For example, I recently rented a 14-150 Olympus m4/3 lens (which I ended up disliking very much) that was f4-5.6. (it was for stills) At the extreme ends of the lens (14-20ish and 100-150 or so) it started to close down to the 5.6 rating. In between it would stay at a 4. The numbers are for example only. The point is that if you are absolutely married to using a zoom in one or more of your shots, there should be a range on the lens where it won't change mid-zoom. Usually in the middle of the available range somewhere. On some zooms they only go slower at one end or the other, but not both. The best (most expensive) ones are constant, meaning they will hold their fastest aperture throughout the zoom range.

Also, when executing a zoom ALWAYS set your focus at the longest end of the zoom, where it is the most critical, your DP should know this as well.

As far as her getting defensive and telling you that you worry too much - that's not acceptable behavior for a DP. She should be MORE concerned about the quality of each and every shot than you are because it is her job.

Finally, a note on pulling exposure: I've done some of these, but never for "artistic" reasons. Exposure pulls, in my admittedly humble experience, are reserved when some kind of camera move necessitates opening or closing the lens because of changes in lighting across the move. Example:

A drug dealer has a trailer hidden in a forest and is inside counting his money on a sunny day. The director wants to pan down from the sunlight in the trees and reveal the dealer inside the trailer. You need a 2.8 to get a good exposure on the trailer interior, and you need an 5.6-8 split to expose the sunny trees to your liking. (again numbers are for illustration only, not actual exposure values which would vary depending on a number of factors) During the pan you gently pull the exposure with the move, hopefully right around the moment the wall of the trailer is passing frame (where the pull can be best hidden).

The fun part for a 1AC is when you're pulling focus and aperture at the same time. ;)

Edit:

Stop saying "Fix It in Post." That phrase is a joke for a reason. Be firm, but diplomatic. If necessary, "Grow a Pair" (as CF suggested) and fire the ones who aren't working out. Confidence will come with experience, and these things will come easier if you stick with it.
 
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I haven't read all of it, but I have two suggestions:

- the friend handling the sound was probably listening to what you wanted to hear and forget to listen to the things you don't want to hear. Next time tell them to listen for backgroundnoise. (I've had a similair experience with one of my best friends. He was just helping me out, but he was not really into it and not experienced as all.)

- only what the lens can see is real when it comes to directing.
Acting can look great from any angle, but as a director you need to see what happens on the screen. When I'm directing, I'm watching a screen. Sometimes I'm not even facing the crew or in the same room: I watch the screen to see if the shot is any good.
Find a way the monitor the camera. If you are shooting an interior scene, you can even use a tv (just make sure it doesn't pollute your lighting.

Remember: your friends are there to help you out, but they are probably even less experienced than you are. Plus, as friends you tread each others as equals. On set there needs to be hierarchy.
 
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Hi,

I think that the film is your vision, really the boom operator and camerman are helping you to make the film YOU want. It's your vision and not there's, I'd just bring them to one side and say this is what i want, if they say yes and continue to do it then get new crew.
 
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Bossy enough might not be the right word for it. Picky maybe?

It all depends on what you're working on. On a professional, big budget shoot where you're spending 200k+ a day, things like this cannot happen without a good reason and shouldn't have happened in the first place.

Though, this is an amateur production (probably on a volunteer basis) where everyone is probably there learning. You need to give people some slack to try things and learn. Let them make mistakes, just get them to own those mistakes and fix them. A lot of people volunteer to try out new things/positions/jobs/techniques/equipment and to learn more.

When people are volunteering their time (as opposed to being paid) you can lose some control if you don't choose the right people, so your decisions before the shoot can dictate the issues you have while you're in production.

On the other hand, you also have a schedule to keep. I suggest that you let people experiment a little. Who knows, they might come up with a better way to do it, but make sure a). You get what you need first and b). It doesn't throw you off schedule.

Most problems that people have are due to decisions that were made earlier. The best way to fix them is for them not to become problems in the first place. Chalk it up to an learning experience, work out your way to handle/fix it, try your new method and see if it works. The way that I do things might not work for you, and vice versa.
 
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I don't really care about directing but I will only give you an advice: A director's work is not to force the actors to play as he wants but to make them play right and love it too. If the actor just doesn't see the thing seriously he is not an actor or the film is stupid so you can't expect him / her to do it correctly just because you are playing the big boss.

You'll find out that good acting comes from the actor. Not really from the director. The director's work is not to play the boss but, in your case, to choose the right actors.

By the way, I'm not talking against your actors. Maybe they can be good but there is something in the film or the enviroment that just doesn't make them emotional. You have to make the actors FEEL. Not play. Then you make a good film. I suppose these are too strong advices for your case though. Anyway, just get the point: Forcing someone to make art is useless.
 
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I have to agree ^

Dictator is such a harsh word. I think if "Directing is Dictatorship" was the concept every director and director-in-training went by, we'd be headed in the wrong direction. However, for someone making a thread called "Am I not bossy enough?," that might just be the kick he needs.


(For some reason, I always bump into new directors who think "Directing = Being A D*ck" and some who think "Cinematography = Directing." You could say both of those notions have their place in great directing. You don't want to be a limp noodle or get stepped on. And as a director, even though you're not often the DP you should have an intermediate to advance understanding of cinematography and how the camera works. The first part I have the most beef with.

I've been on too many shoots where the director thought he was being badass by running the set "like he always imagined" i.e. a film tyrant. He just offended everyone on set. And all throughout the shoot people were talking behind his back, not wanting anyone they knew to ever work with him. Needless to say, the film came out to be less than average. He just had a few insecurity issues he needed to work out. So yes please step up, grab this bull by the horns, and do your job, but take caution before getting too bossy. Learn the power Balance and people will WANT to do their best for you.)


I think the term "Director" is enough. We see the term used so often we can forget the worth of the word. Our job is to "Direct" or "Guide" others to putting their best work forward. We don't force others, we give proper direction so that they will bring out the best in themselves. You lead the actors to putting their best performances into the film. You take their acting ability places it hasn't been before and reveal to them how good they can really be. You guide the DOP. They have to realize no matter how talented they are, they are here to collaborate in order to see the completion of the production. The DOP is in control of the camera when you shoot, but it should be the envisioning of the story that you, as the director, are trying to tell. In your case harmonics, I hope she isn't the only DP you know.

While I'm fair and don't run the set like a tyrant, I definitely know when to put my foot down and rehire. Please think about hiring a new DP. You owe it to yourself not to waste your ideas, projects, and shoots on someone who isn't properly collaborating. Proper: selection, motivation and pre-production are key.


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Selection - be picky! Go through the trouble to find the right person for the job. You may find some very talented people for the role of actors, DP, and other crew members. But if they aren't willing to work with you and give it their all, why waste everyone's time? Scenario: You've got the AD, actors, producers on board. They're committed and you've screened them well. But then you hire a DP that gives you problems on set, won't comply, and compromises the production. All that effort of each committed person... compromised from a weak link. Heart / proper motivation can sometimes serve you better than Ability / Talent. Of course you don't want someone who knows nothing, but is excited to work with you. Find a good Balance of a willing personality, talent, and technical knowledge.

Find out about what they've worked on before. If they've worked on many projects, chances are they're someone who people like enough to want to work with again. See if their schedule and availability matches up with the production. If they're commited to other projects at around the same time, what happens if you need them and they can't make one of your shoot dates? If it's a 2 day shoot it shouldn't be a problem, but it if you'll be shooting weeks to months having someone who is unavailable or causes problems can really be detrimental to the entire project. See if their skills and attitude fit what you've been envisioning and what your team is trying to accomplish. Selecting the right people for your crew can save you a world of problems.



Motivation - What makes them want to do their best? Money can be a big factor in how people act on set. Not necessarily the amount, sometimes it's about whether they're paid or not. When there's money involved, it feels more like a contractual obligation to do your best. When there's no money, people tend to get a little creative. 'Hey thats nice director man, but I think maybe the shot should be like this!' 'Hey you aren't paying me so I might as well push and see how much of MY own ideas get into the film.'

Still all the money in the world can't make people do what you need them to, if you rub them the wrong way. Everyone has an ego. You have to learn to be fair and decently likable if you want people to do their best or work with you again. Become motivational. Make them feel excited about the project. We dont all have a lot of money give, but being able to motivate and guide people on set is a skill every director should have.

This is where human interaction comes in. What do they need? What's their motivation? Why do they want to work on this project? Is what I'm saying or doing on set amping them up to bring out their best? A lot of this comes with time and experience. But this sort of human interaction and symbiosis is shown true for any job, profession, sport or activity that involves collaboration. Motivate not dictate. If they like you and respect your opinion as a director, their heart will be in it and they'll trust your direction and criticism. They won't want to disappoint you.


Pre-production - This is so important and goes along with selecting the right crew. This is a great opportunity for you to see how they work and for them to check you to as well. You start directing the crew in pre-production too. How you act here carries through into Production. If you're too lax or too tyranical, the momentum carries into the shoots.

Really pay attention to have they act on set or if they'll make problems on set. I know your question is if you're being bossy enough, but if you get the right crew, you wont have to second guess yourself and ask this question.

It's a look of things to come. You can get a better idea of how they take criticism. If things aren't working out, it's better to find someone who is more motivated during the preproduction phase than in the middle of production. Do some heavy pre production. Dedicate weeks or months to this process and get a real idea of how they'll work with you come the shooting dates. Better to find out now than later.



Remember that everyone has an ego. Everyone wants to "make it." Just like you. So being fair while leading like darty said, is the way to go. If you are good on the "way" you talk and address others, you can really get them to see your vision and stay motivated. A director can't do it just him or herself.

If they like you... and can trust you as a fair and skilled director, you can show them what works and what doesn't for this story and they will take your direction. Much the way it should work on big film shoots. Remember you will always meet people who want to test your limits and see how much creative control they can have. Usually a long preproduction establishes subconsciously that you are the leader and they're here to trust your direction. So present yourself well at all times leading to the shoot dates. By motivating them properly during preproduction you also make them WANT to listen to you. As long as you're fair and know how deal with their tests, you will have a strong, motivated crew, that you can continue making more and more movies with.
 
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I faced such problems when i was making my first film. when its friends on set, lets face it... its never easy for the director. You have to come off as arrogant if you have to, you have to be bossy. But as a director you must do the way you feel it should be. You have to be polite yet assertive. Sometimes a stern look might work the other times making them feel guilty might work. But trust me once you show them your completed work, they would start trusting you. Like my friends have started trusting me, now I can get things done the way I want because I have given them the taste of success. The best directors out there have even been called Hitler at one time or another. James Cameron is said to be very tough on his actors. But thats what direction is about.
 
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The actors have to be excited of their role. You can't force this emotion to them. I'm not telling you that you should be the good democratic guy. You shouldn't. I'm just telling you, you can force other things, no matter what you are. But you can't force emotions and art. In acting case, we have to have both. If you feel the actors are just messing around, change them or make them believe their role is really good.

See the good actors in the films. Do you think al pacino played that good in Scarface because the director forced him? Heath Ledger even created the script for the joker that's why he played that good. Anthony Hopkins always plays good and his acting style fitted a lot with Hannibal Lecter in the Silence of the Lambs. Kurtwood Smith, when he understood he'll play Clarence he said "Great, I go to find the right boots right now."

You have to give good motivations to the actors instead of ordering them. Can you make the actor say "great role! Get the fuck out of my house, I want to experiment for the right voice."?
 
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You need to make sure you outline (and make them understand) before shooting what their job is, and what your job is. And that there should be no crossover. You don't want these 'stylistic' changes, so they shouldn't happen. You want them to do their job, so it should be done. You don't have to be harsh or even antagonistic with them, just firm. They're your friends, so that can be difficult, but you need to make them understand that this is serious for you, even if it isn't for them.
 
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I tried to star in my first short too. That short didn't survive past day two of filming. I couldn't check the playback most of the time, and the final product looked nothing like how I had imagined it.

This is why when you asked if "this guy" (you) could play a certain part, everyone warned you against doing both that and directing. Especially with an amateur crew.

In my next project (currently in Pre) I will be acting, but only in a side part i with about two scenes. After the first failure, I wanted to make sure I was behind the camera and responsible for the way the film turned out.
 
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Yep for sure, thanks. I had a much more experienced DP and sound person that were going to do it, but they both changed their mind and dropped out, leaving me to go with whoever could show up, to do it. Next time, I will work with pros only, and if they drop out, I am not using anyone as replacements. Even if I am not acting it, I will still only go ahead if the pros are there.
 
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Probably not the best idea. Would you stop production until your DP/sound guy came back if he died? Learning to overcome problems that come up is a trait of a good director. Shooting without a DP might not be the best option, but I'm sure there are other options available.
 
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I guess so, I just don't want to shoot a bunch of footage that doesn't turn out to be usable, because he or she wasn't there. One scene that DP did not show up, so I had to put the camera down in one place and leave it there for each shot, while I held the boom. Would you still do a shoot if you couldn't be behind the camera, and had to do something else, like sound? The con being that you got no camera movement in your scene at all, which makes your production look cheaper.
 
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