Any Directors wanna share their experiences?
- Thread starter Semiazas
- Start date
It's a lot of fun and a ton of work. It's more work than you think, even after you've been told it's more work than you think.
During my last project, Adam Funn, I got to work with a lot of enthusiastic volunteers and a professional cinematographer, so it was a very positive experience.
Some items of note:
During my last project, Adam Funn, I got to work with a lot of enthusiastic volunteers and a professional cinematographer, so it was a very positive experience.
Some items of note:
- For the office interior, we had to replace every fluorescent light bulb with daylight balanced ones. That alone took 2-3 hours (set-up and breakdown).
- The office and office chase sequences were filmed over two 14-hour days and our poor actors could barely stand after a full day of running. They never once complained and were always up for one more take.
- The parking lot scene was a disaster in editing. It was one of those scenes where we thought we had everything well in hand during shooting, and then found it nearly impossible to edit together. I think that scene went through four or five different versions between two editors (me and the camera guy both working on it) over the course of several months. I still don't know how we managed to get it to work.
- We got some very strange and disturbed looks by passersby when filming the alleyway beatdown scene. The spoken dialog was not in the script and was invented on the spot. Always be willing to change things if they improve the film, no matter what you have in the script.
- The coffee shop conversation scenes were filmed at 2 in the morning. That was probably the roughest shooting day we had. If you have to rent out business locations for shooting, be prepared for some crazy hours and tired actors.
- The flashback coffee shop scene was shot at 5am and we had to be out of there before actual customers arrived, so we had to move fast.
- Ducks are easier to work with than you'd expect.
- If you see something that looks good, shoot it right away. The giant arch entrance to the asylum at the end was shot as an afterthought (wow! we should shoot a scene as long as were here!) and it's one of the most visually impressive shots in the entire film. The big empty room scene was also a found location we stumbled across when shooting the elevator scene. The crazy conference room scene was not only improvised on the spot, but we didn't tell our main actor what to expect -- his reaction is genuine.
- Having a professional cinematographer who is good at lighting and has all the necessary equipment was a godsend. I don't know how we would have pulled this off without him.
TRUE THAT!
For my most recent feature we shot inside a tavern that had been closed down for the winter. The scenes were set at night so we blacked out all of the windows. Some of the scenes featured actors playing 19th Century prostitutes. At some point, a resident local caught a glimpse of the comely young lasses dressed in their period lingerie. That, combined with the blacked-out windows, led the observer to conclude that we were shooting a porn movie in the tavern.
This was a town of only a few hundred residents, so word spread like wildfire. Curious locals began showing up at the location and we had to start locking the door. I was later informed that we were the sole topic of conversation at the volunteer firefighters' meeting that week.
Hired an actor who told me she was able to swim. This was important, as swimming underwater was involved.
She lied at the audition.
I made the mistake of assuming that every adult knows how to ride a bike -- never asked. Turns out, I hired the one person on the face of the Earth who does not know how to ride a bike, for my lead role, one which required a great deal of bike-riding. I had to completely rewrite the climactic finale.
the last two are hilarious, excuse me for laughing at your pains
I think we might be over-emphasizing the "work" angle. Is it really "work", when you're having fun? Might we consider the use of a word like "effort"?
Directing requires a great deal of effort, and the utmost dedication to the project, attention to detail, the ability to work well with others, and a whole bunch of other stuff. But this ain't work. This is fun. It's like playtime on any elementary schoolyard, and we get to record everything we can imagine.
Directing requires a great deal of effort, and the utmost dedication to the project, attention to detail, the ability to work well with others, and a whole bunch of other stuff. But this ain't work. This is fun. It's like playtime on any elementary schoolyard, and we get to record everything we can imagine.
It depends, there are fun-effort days and then work days depending on how the gazillion factors are going that day.
EDIT: Let me clarify, i am passionate every single day whether its going well or not. But i can remember a lot of days where i was just steaming mad all day long. I was still passionate about my job but the fun level was gone. In one instance, one of the crew members could not hold a prop within the frame for 30 secs. After several takes, i was losing it. And we didnt have a lot of crew members so assigning the job to someone else was not an option.
EDIT: Let me clarify, i am passionate every single day whether its going well or not. But i can remember a lot of days where i was just steaming mad all day long. I was still passionate about my job but the fun level was gone. In one instance, one of the crew members could not hold a prop within the frame for 30 secs. After several takes, i was losing it. And we didnt have a lot of crew members so assigning the job to someone else was not an option.
Last edited:
Dude. Tell me about it. Here's a story you won't likely hear many directors tell:
We're shooting a multi-page car-scene. Four characters, lots of back-and-forth dialogue. The camera is locked-down (duct-taped down). The mic is placed centrally in the car, but I'm leaning towards not using any of that audio. It's the hottest part of July, in a very hot, humid city, and we're shooting this without air-con. The actors are all sitting comfortably in their seats, while I curl-up in the back of this station-wagon. I happen to be a pretty large dude, so no matter how I sit, my neck is about to break off. Every time we start or stop a new shot, I have to ask someone to let me out, because the hatchback doesn't open from inside.
In Hollywood, they can shut down city blocks to shoot their movie. But our production is susceptible to a number of constant interruptions. A giant truck zooms past us. A bus is parked on the corner. But the main problem is just the constant stopping-and-starting of the car, and the matching of backgrounds. I cannot tell you how much of a headache all of this is, constantly stopping, then starting again, then stopping, all the while, my neck is twisted at a 90-degree angle, and I'm fucking drenched in sweat. This was not fun, and it took five motherfucking hours to shoot a God-forsaken 2-minute scene.
So, yeah, I get what you're saying. However, if I compare this to my actual job, there's no comparison. As a bartender, I am regularly treated like a lesser human being. People talk down to me, bark orders at me, ignore basic manners, and I mean basic fucking manners.
Me: "Hi, how are you doing today?"
Customer: "Bud Light."
You'd be surprised how fucking infuriating a simple faux pas like that can become. At the end of the week, my knees are sore, my feet hurt, and I don't really feel like smiling at anyone, because I've forced about 5,000 fake-smiles over the course of the last few days.
And I've got one of the good jobs. Ask a dishwasher how they feel about their job. Talk to a cashier at a busy grocery store if you really wanna hear horror-stories about rude customers. Ask a construction worker how they feel at the end of just any average workday, let alone the end of the week.
That's what I mean, when I say directing ain't "work". Of course it's not all-smiles, all the time. But overrall, this is a pretty cushy "job".
We're shooting a multi-page car-scene. Four characters, lots of back-and-forth dialogue. The camera is locked-down (duct-taped down). The mic is placed centrally in the car, but I'm leaning towards not using any of that audio. It's the hottest part of July, in a very hot, humid city, and we're shooting this without air-con. The actors are all sitting comfortably in their seats, while I curl-up in the back of this station-wagon. I happen to be a pretty large dude, so no matter how I sit, my neck is about to break off. Every time we start or stop a new shot, I have to ask someone to let me out, because the hatchback doesn't open from inside.
In Hollywood, they can shut down city blocks to shoot their movie. But our production is susceptible to a number of constant interruptions. A giant truck zooms past us. A bus is parked on the corner. But the main problem is just the constant stopping-and-starting of the car, and the matching of backgrounds. I cannot tell you how much of a headache all of this is, constantly stopping, then starting again, then stopping, all the while, my neck is twisted at a 90-degree angle, and I'm fucking drenched in sweat. This was not fun, and it took five motherfucking hours to shoot a God-forsaken 2-minute scene.
So, yeah, I get what you're saying. However, if I compare this to my actual job, there's no comparison. As a bartender, I am regularly treated like a lesser human being. People talk down to me, bark orders at me, ignore basic manners, and I mean basic fucking manners.
Me: "Hi, how are you doing today?"
Customer: "Bud Light."
You'd be surprised how fucking infuriating a simple faux pas like that can become. At the end of the week, my knees are sore, my feet hurt, and I don't really feel like smiling at anyone, because I've forced about 5,000 fake-smiles over the course of the last few days.
And I've got one of the good jobs. Ask a dishwasher how they feel about their job. Talk to a cashier at a busy grocery store if you really wanna hear horror-stories about rude customers. Ask a construction worker how they feel at the end of just any average workday, let alone the end of the week.
That's what I mean, when I say directing ain't "work". Of course it's not all-smiles, all the time. But overrall, this is a pretty cushy "job".
I nearly killed one of my leads asking him to coast downhill on an adult-sized tricycle... with no brakes. No brakes! WTFWIT???
Q: You sure I can't just put my foot on the front wheel? Just in case I start going too fast?
A: Hmmm, no. Try it without doing that. You'll be fine. We have production assistants at the bottom of the hill. Aaaaaand.... action!
Next thing you know he zipped past the camera, the back wheel caught a fence post and the actor (Matthew Magennis, still with us btw) popped out of the seat, flew up and over in the air, literally did a full somersault, still holding onto the handlebars and landed smack on the sidewalk.
It was a Jack-Ass episode before Jack-Ass existed. Tricycle? No... I said tricykill!
Since that incident my set motto remains: SAFETY FIRST.
And, no. The camera guy (16mm) did not pan all the way to get the crash. He heard it happen while still looking in the viewfinder and did NOT want to see what just happened. It sounded like someone dropped a steel trashcan filled with hand tools and glass bottles from a 5th floor balcony because the side baskets were crammed with props.
So, yeah. Directing. Tons of fun, except when you don't have brakes. Hey, I like a little excitement on my sets. I try to keep things lively.
Oh and the two production assistants at the bottom of the hill? Never saw them again. Go figure.
Q: You sure I can't just put my foot on the front wheel? Just in case I start going too fast?
A: Hmmm, no. Try it without doing that. You'll be fine. We have production assistants at the bottom of the hill. Aaaaaand.... action!
Next thing you know he zipped past the camera, the back wheel caught a fence post and the actor (Matthew Magennis, still with us btw) popped out of the seat, flew up and over in the air, literally did a full somersault, still holding onto the handlebars and landed smack on the sidewalk.
It was a Jack-Ass episode before Jack-Ass existed. Tricycle? No... I said tricykill!
Since that incident my set motto remains: SAFETY FIRST.
And, no. The camera guy (16mm) did not pan all the way to get the crash. He heard it happen while still looking in the viewfinder and did NOT want to see what just happened. It sounded like someone dropped a steel trashcan filled with hand tools and glass bottles from a 5th floor balcony because the side baskets were crammed with props.
So, yeah. Directing. Tons of fun, except when you don't have brakes. Hey, I like a little excitement on my sets. I try to keep things lively.
Oh and the two production assistants at the bottom of the hill? Never saw them again. Go figure.
I can foresee how stressful a certain shoot is going to be in January.
It's a split-screen of two indentical occurences, with numerous factors and elements, both continuous shots, fifty seconds, no cut aways. Not only are the camera movements, the props, the factors i referred to above-which are to created by the crew- have to conincide. But the actors timing, movements and expressions have to be seamless.
So, to clarify. I'm to make two indentical occurences with only one shot for each. I can smell a long shoot, and plenty of preperation.
Now this is going to test us, and myself personally.
It's a split-screen of two indentical occurences, with numerous factors and elements, both continuous shots, fifty seconds, no cut aways. Not only are the camera movements, the props, the factors i referred to above-which are to created by the crew- have to conincide. But the actors timing, movements and expressions have to be seamless.
So, to clarify. I'm to make two indentical occurences with only one shot for each. I can smell a long shoot, and plenty of preperation.
Now this is going to test us, and myself personally.
This is gospel. I would suggest getting someone other than the DP to handle the lights just to save time on set. If your DP is swapping out lenses, moving the camera, tweaking the focus, you can have someone else re-work the lights and cut your time in half. On a small scale I'd say a camera tech/focus pull/gaffer that works well with your DP is the best solution.
Most important lesson - EVERYTHING is important. Every time you cut a corner you will pay for it.
95% of the work should be done before you arrive on set. Spec your locations with your whole team:
- The DP should bring a camera and tripod and figure out his shots, camera setups, light setups, necessary equipments (lenses, lights, ect).
- Your sound engineer(s) should be looking for environmental noises (vents, appliances, creaky floors)
- Your screenwriter should make sure the environment conforms to what is written or write in any unique environmental assets he didn't plan on having (if this is done he will have to give a rough idea to the DP).
- If you plan on doing anything with the set in post (blue screen, removing strings) it might be a good idea to bring your editor.
You also want to recap the emotional content of the scene with the actor(s) and DP, and sound engineer prior to shooting. Don't assume it's all on the page, people read these things differently. If your actors plan on yelling you should have your sound set up for that. More importantly, if your DP lights for "brooding" and your actor reads sarcastic the scene will look "fine" but not great. Which brings me to my next point
"Good enough" is almost never good enough. Fine is worse than that. Everything feels better and more magical on set. The more lovey you are as a director, the more this is true. Make sure it's perfect.
The more professional you appear, the more everyone else will. Your friends aren't actors or recording engineers, and you're not an editor (unless you are actually an editor).
I could go on and on and I am still a rookie, so I'm sure there's a lot more.
Last edited:
Set for my last film used a large u-stor-it warehouse like a soundstage. This same complex lets bands rent the units for rehearsal spaces. We managed to stall one of the bands (the one we hadn't been able to contact to buy off beforehand) with cute female PAs bearing beer for several hours, but we finally got the "Dude, we have a gig this weekend, we gotta rehease". Had to shoot the next two hours MOS while they played another a Sublime cover over and over.
I'll share. The most fun I've had directing so far has been this project:
http://vimeo.com/7769740
It was a 60 second contest film that had to include a red box, in order to win a Scarlet camera. Anyway, it was way ahead of the other entries (like twice as many views, 2000 or so) when the contest closed down. The Scarlet just never released, and the price went up.
I meticulously storyboarded the entire thing. I had panels with angles and views sorted out, long before I shot any of it. I had some makeup effects in mind, and tested various techniques.
Getting a "bunch of zombies" to actually show up on THE DAY proved to be the hardest part. I aborted one day because only about four of the suppsed eight or more actually came. The thing needed at least six or so for the effect to work.
I scouted a "forest" looking location, which was actually two different locations near me.
One location was the wide shot where the flame comes from the sky. The second is where the box is found, and the chase ensues.
We had a lot of fun, and I managed to shoot efficiently so that everyone wasn't standing around with nothing to do. I had to keep my free actors interested and busy, so they wouldn't get annoyed.
It was actually pretty hot and uncomfortable running around the woods, maybe over 100 degrees that day, but we soldiered on.
They were willing to do more, and to continue the chase for the big sunset shot, at a different location. But I said "no." The more important thing was that they stayed for the night portion outside the window.
So, I got pizzas, and they had fun doing the alien makeup effect on Natasha. The A/C was on, and everyone chilled out for a couple hours until it got dark.
The zombies converging on the window shot was hilarious to shoot, and they had a lot of fun. I remember chanelling Ed Wood, but it got the effect I was going for.
The last shot I needed, we got on a different day at a different location. It's the big sunset running across transition shot, where it goes from day to night. I decided it didn't need a large group, just the girl running and one or two silhouetted zombies in pursuit.
We shot a bunch of takes, and Natasha didn't want to run any more. My wife ended up being the screeching zombie in that shot, and I think it worked well for a silly contest.
My main regret is the low resolution of the DV cam I have. Want to move up, and soon.
http://vimeo.com/7769740
It was a 60 second contest film that had to include a red box, in order to win a Scarlet camera. Anyway, it was way ahead of the other entries (like twice as many views, 2000 or so) when the contest closed down. The Scarlet just never released, and the price went up.
I meticulously storyboarded the entire thing. I had panels with angles and views sorted out, long before I shot any of it. I had some makeup effects in mind, and tested various techniques.
Getting a "bunch of zombies" to actually show up on THE DAY proved to be the hardest part. I aborted one day because only about four of the suppsed eight or more actually came. The thing needed at least six or so for the effect to work.
I scouted a "forest" looking location, which was actually two different locations near me.
One location was the wide shot where the flame comes from the sky. The second is where the box is found, and the chase ensues.
We had a lot of fun, and I managed to shoot efficiently so that everyone wasn't standing around with nothing to do. I had to keep my free actors interested and busy, so they wouldn't get annoyed.
It was actually pretty hot and uncomfortable running around the woods, maybe over 100 degrees that day, but we soldiered on.
They were willing to do more, and to continue the chase for the big sunset shot, at a different location. But I said "no." The more important thing was that they stayed for the night portion outside the window.
So, I got pizzas, and they had fun doing the alien makeup effect on Natasha. The A/C was on, and everyone chilled out for a couple hours until it got dark.
The zombies converging on the window shot was hilarious to shoot, and they had a lot of fun. I remember chanelling Ed Wood, but it got the effect I was going for.
The last shot I needed, we got on a different day at a different location. It's the big sunset running across transition shot, where it goes from day to night. I decided it didn't need a large group, just the girl running and one or two silhouetted zombies in pursuit.
We shot a bunch of takes, and Natasha didn't want to run any more. My wife ended up being the screeching zombie in that shot, and I think it worked well for a silly contest.
My main regret is the low resolution of the DV cam I have. Want to move up, and soon.