I know this sounds like a stupid question, but I always thought that the script breakdown (the list of all the elements needed for the movie, like sets, props, costumes, effects, etc.) was made by the director. But recently, I found out it was made by the producer, who sends it off directly to the department heads. But the thing is, I always thought it was the director's job to tell people what to do, not the producer's! Also, if the breakdown is set off from the producer directly to the department heads, how does the director tell the department heads how he wants stuff to look? I know that the director directs the editor and actors while they work, and that he makes storyboards and shot lists with/for the director of photography, but what about props/costumes and such in the breakdown (like I was just talking about)? Does he get sent the breakdown, and then either meets with them to discuss points or sends them descriptions or drawings with the breakdown? Also, if that is the case, how does the line producer know whether he's going to meet them in person, or just send them all drawings, or if he's going to make storyboards/shot lists with the DP or on his own and send them to the DP (for scheduling purposes). Speaking of which, who picks the cast and crew, the director or producer? And who decides whether or not the film will be shot on film or digital, the director or producer? And who buys all the stuff the departments need (for example, the DP needs cameras, the set people need material for sets, etc.)?
How does directing work, exactly?
- Thread starter geniusvisionary
- Start date
I didn't quite catch what you were saying when I read this line earlier. What I'm trying to say is that you should not offer input and direction thinking that you have a team on top of their game, with the script and years of experience under their belts, who actually have been HODs on previous paid sets. You should assume that everyone is tired and are more interested in their own personal projects than your brilliant movie. They are also interested in goofing off and socializing (I'm the same way on other people's sets). You should be okay with having to remind people of things multiple times without getting peeved.
That's what I mean. That you shouldn't go into making an indie movie thinking you're in charge of an expert knowledgeable team, dedicated to your leadership, where everyone is an HOD, but a team that has to be managed and prodded and directed, all of whom secretly think they're better directors than you, and that you don't know what you're doing. Mutiny is around the bend, and you need to tell everyone what to do, without insulting them, or letting them know that you know that they didn't read the script.
Stuff like that, is what I mean.
I was just wondering what was so bad about making visual references for things like costume design, as opposed to just trying to describe things.
Nothing, kind of.
Each person has their (primary and stronger) way to communicate (verbal, visual, kinetic, data). You either have to bring people on who communicate the same way that you communicate or alter your communication to match theirs, otherwise there may be miscommunication. This is (partially) the reason for multiple methods. Script, storyboards, meetings.
Some information is best given in particular formats. Eg. A Callsheet is always written (data).
There's nothing at all bad about that, but sketches of the design of the costumes is a different subject to the question you asked about storyboards containing all the details of the shots!
G
Are the categories outlined in script breakdowns set in stone? For example, sometimes sets/locations are created or supplemented with effects, for practical or stylistic reasons.
Nothing is set in stone. Things change throughout the production of a movie.
If you take a look at twilight's extra features or any huge film, they don't storyboard everything, they go nuts and do a 3d CGI mockup of the ENTIRE film.
They don't waste any (or barely any) creative time on set. They've done it all in pre production. Every angle, every camera movement. they are filming 'paint by numbers'. Nothing is left to chance.
They don't waste any (or barely any) creative time on set. They've done it all in pre production. Every angle, every camera movement. they are filming 'paint by numbers'. Nothing is left to chance.