Travis, Mark.
Directing Feature Films. - 2nd ed. - 1 online resource (437 pages)
Cover -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgements -- Preface -- New Introduction -- Original Introduction -- The Role of the Director and the Creative Team -- The Director's Writing Process -- The Director's Notebook -- Formulating the Vision -- Chapter 1: The Directoar And The Script -- Reading the Script - The Script Wash -- Identifying the Passion -- The Core Question -- The Emotional Core -- Telling the Story -- The Audience -- Chapter 2: Terms And Definitions -- The Three - Act Structure -- Overall Objectives -- Objectives (Internal and External) -- Obstacles (Internal and External) -- Means -- Actions -- Independent Activities -- Adjustments -- Public and Private Lives -- Windows of True Nature -- Chapter 3: Working With Writers -- The Writer/Director Collaboration -- The Writer's Vision vs. the Director's Vision -- Discovering the Writer's Vision -- Establishing the Genesis of the Story -- Melding the Writer's Vision with the Director's Vision -- Point of Agreement -- Going from the General to the Specific -- The Process of Rewrites -- Determining Where Rewrites Are Needed - Black Holes -- Determining the Writer's Ability to Rewrite -- Working with the Writer on Rewrites -- The Ripple Effect -- If the Writer Can't Deliver The Rewrites -- Working with the New Writer -- Readings as Part of the Script Development Process -- The Writer as Third Eye in the Rehearsal Process -- The Writer in Production and Post -- The Writer/Director -- In Summary -- Chapter 4:The Secript Breakdown -- Steps to Script Breakdown -- What Is the Story Really About? -- Director's Objective for Telling the Story -- Point-to-Point Description -- Defining the Acts -- Character Objectives and Obstacles -- Objectives in Acts, Sequences, and Scenes -- Obstacles -- Analysis of The Script Units -- Asking the Hard Questions -- Character Arcs. Character Analysis -- Visual and Aural Design Arcs -- Summary -- Chapter 5: The Creative Team -- The Interview Process -- Your Collaborators as Storytellers -- Cinematographer -- Production Designer -- Editor -- Composer -- Sharing Your Vision -- Additional Screening Methods -- Team Members Who Have Been Preselected -- Preproduction with the Creative Team -- Chapter 6: The Casting Process -- Selecting the Casting Director -- Storytelling -- Conveying Your Vision -- The Casting Director's Attitude about Actors -- Access to Talent -- Ability to Negotiate -- Preparation for the Audition Process -- Typecasting -- The Actor/Character Meld -- The ActorKharacter Split -- Selection of Scenes -- Preparing The Actors for the Readings -- Casting Name Actors -- The Audition Process -- The Environment -- The Audition -- The Callbacks -- The Interviews - Getting To Know Your Actors Personally -- Mixing and Matching -- Creating The Ensemble -- Directing the Actor in the Audition -- Screen Tests -- Viewing Past Work of the Actors -- Contacting References -- Chapter 7: The Rehearsal Process -- The Nine Basic Steps -- The Rehearsal Plan -- The First Rehearsal and Read-Through -- Ensemble Work with the Actors -- Creating the World of the Film -- Developing Character Backgrounds and Histories -- Developing Character Relationships within the Story -- Improvisations, Theatre Games, and Rehearsal Exercises -- Read-Through of the Script -- Improvising the Story -- Rewrites and the Creative Triangle -- Working with Specific Scenes -- Rehearsing the Scene -- Other Rehearsal Exercises -- Staging as a Directing Tool -- Methods of Staging -- Developing an Eye for Staging -- Storyboards -- The Final Reading -- Preparing the Actors for the Production Process -- Chapter 8: Production -- The Nightly Reconsideration Process -- Development Review -- Staging -- Camera Coverage. Communications with the Creative Team -- On the Set -- Working with the Writer and The Actors on the Set -- Rehearsals the Night Before -- Meeting Actors on the Set -- The Rehearsal on the Set -- Rehearsal Exercises in Production -- Back on the Set -- Creating Choices through Bracketing -- Techniques to Trigger Performance -- Using Music to Set Rhythm and Tone -- Dealing with the Problems on the Set -- Rewrites -- Improvising the Scene on Camera -- Finding and Shooting the Details -- Dailies -- Communication -- Chapter 9: Postproduction -- Editing as a Rehearsal Process -- Reviewing Dailies with Your Editor -- Get Away -- Find the Story -- The Editor's Cut -- The Director's Cut -- Establishing Your Process -- Molding the Actors' Performances in Postproduction -- Keeping the Audience Dissatisfied -- ADR as an Area for Performance Adjustment -- Narration and Voice Over -- Postproduction Sound -- The Sound Effects Team -- Music -- The Temp Track -- The First Mix -- Previews -- The Final Cut -- Spotting the Picture -- The Scoring Session -- The Final Mix -- Achieving the Mix You Want -- Letting Go -- Chapter 10: Reconsiderations and Recapitulations -- It's Just Storytelling -- Directors Don't Make Movies -- Only the Characters Can Tell the Story -- The Jigsaw Puzzle Model -- The Nine Steps (Revisited) -- The Alpha Horse -- The 90% Rule -- Chapter 11: No More Acting, No More Directing -- Result Directing -- Result Directing in the Casting Process -- When Result Directing Does Work In Production -- Directing Through Questions Rather than Statements -- The Link between Obstacles and Staging -- The Actor's Greatest Obstacle -- The Theatrical Contract -- Mind the Gap -- The Character's Response to the Gap -- The Emotional Graph -- A Fresh Look at the Rehearsal Process -- No More Acting -- Be Willing to Risk -- No More Directing. The Courage to Break the Rules -- 12. The Ultmate Collaboration: Directors With Directors -- The Role of the Directing Consultant -- A Panel Discussion -- It's a Wrap - For the Moment -- Appendix -- About Mark Travis.
The Creative Collaborarion Between Director, Writers, and Actors.
9781615930814
Electronic books.
PN1995.9.P7T76 2002
791.43
Directing Feature Films. - 2nd ed. - 1 online resource (437 pages)
Cover -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgements -- Preface -- New Introduction -- Original Introduction -- The Role of the Director and the Creative Team -- The Director's Writing Process -- The Director's Notebook -- Formulating the Vision -- Chapter 1: The Directoar And The Script -- Reading the Script - The Script Wash -- Identifying the Passion -- The Core Question -- The Emotional Core -- Telling the Story -- The Audience -- Chapter 2: Terms And Definitions -- The Three - Act Structure -- Overall Objectives -- Objectives (Internal and External) -- Obstacles (Internal and External) -- Means -- Actions -- Independent Activities -- Adjustments -- Public and Private Lives -- Windows of True Nature -- Chapter 3: Working With Writers -- The Writer/Director Collaboration -- The Writer's Vision vs. the Director's Vision -- Discovering the Writer's Vision -- Establishing the Genesis of the Story -- Melding the Writer's Vision with the Director's Vision -- Point of Agreement -- Going from the General to the Specific -- The Process of Rewrites -- Determining Where Rewrites Are Needed - Black Holes -- Determining the Writer's Ability to Rewrite -- Working with the Writer on Rewrites -- The Ripple Effect -- If the Writer Can't Deliver The Rewrites -- Working with the New Writer -- Readings as Part of the Script Development Process -- The Writer as Third Eye in the Rehearsal Process -- The Writer in Production and Post -- The Writer/Director -- In Summary -- Chapter 4:The Secript Breakdown -- Steps to Script Breakdown -- What Is the Story Really About? -- Director's Objective for Telling the Story -- Point-to-Point Description -- Defining the Acts -- Character Objectives and Obstacles -- Objectives in Acts, Sequences, and Scenes -- Obstacles -- Analysis of The Script Units -- Asking the Hard Questions -- Character Arcs. Character Analysis -- Visual and Aural Design Arcs -- Summary -- Chapter 5: The Creative Team -- The Interview Process -- Your Collaborators as Storytellers -- Cinematographer -- Production Designer -- Editor -- Composer -- Sharing Your Vision -- Additional Screening Methods -- Team Members Who Have Been Preselected -- Preproduction with the Creative Team -- Chapter 6: The Casting Process -- Selecting the Casting Director -- Storytelling -- Conveying Your Vision -- The Casting Director's Attitude about Actors -- Access to Talent -- Ability to Negotiate -- Preparation for the Audition Process -- Typecasting -- The Actor/Character Meld -- The ActorKharacter Split -- Selection of Scenes -- Preparing The Actors for the Readings -- Casting Name Actors -- The Audition Process -- The Environment -- The Audition -- The Callbacks -- The Interviews - Getting To Know Your Actors Personally -- Mixing and Matching -- Creating The Ensemble -- Directing the Actor in the Audition -- Screen Tests -- Viewing Past Work of the Actors -- Contacting References -- Chapter 7: The Rehearsal Process -- The Nine Basic Steps -- The Rehearsal Plan -- The First Rehearsal and Read-Through -- Ensemble Work with the Actors -- Creating the World of the Film -- Developing Character Backgrounds and Histories -- Developing Character Relationships within the Story -- Improvisations, Theatre Games, and Rehearsal Exercises -- Read-Through of the Script -- Improvising the Story -- Rewrites and the Creative Triangle -- Working with Specific Scenes -- Rehearsing the Scene -- Other Rehearsal Exercises -- Staging as a Directing Tool -- Methods of Staging -- Developing an Eye for Staging -- Storyboards -- The Final Reading -- Preparing the Actors for the Production Process -- Chapter 8: Production -- The Nightly Reconsideration Process -- Development Review -- Staging -- Camera Coverage. Communications with the Creative Team -- On the Set -- Working with the Writer and The Actors on the Set -- Rehearsals the Night Before -- Meeting Actors on the Set -- The Rehearsal on the Set -- Rehearsal Exercises in Production -- Back on the Set -- Creating Choices through Bracketing -- Techniques to Trigger Performance -- Using Music to Set Rhythm and Tone -- Dealing with the Problems on the Set -- Rewrites -- Improvising the Scene on Camera -- Finding and Shooting the Details -- Dailies -- Communication -- Chapter 9: Postproduction -- Editing as a Rehearsal Process -- Reviewing Dailies with Your Editor -- Get Away -- Find the Story -- The Editor's Cut -- The Director's Cut -- Establishing Your Process -- Molding the Actors' Performances in Postproduction -- Keeping the Audience Dissatisfied -- ADR as an Area for Performance Adjustment -- Narration and Voice Over -- Postproduction Sound -- The Sound Effects Team -- Music -- The Temp Track -- The First Mix -- Previews -- The Final Cut -- Spotting the Picture -- The Scoring Session -- The Final Mix -- Achieving the Mix You Want -- Letting Go -- Chapter 10: Reconsiderations and Recapitulations -- It's Just Storytelling -- Directors Don't Make Movies -- Only the Characters Can Tell the Story -- The Jigsaw Puzzle Model -- The Nine Steps (Revisited) -- The Alpha Horse -- The 90% Rule -- Chapter 11: No More Acting, No More Directing -- Result Directing -- Result Directing in the Casting Process -- When Result Directing Does Work In Production -- Directing Through Questions Rather than Statements -- The Link between Obstacles and Staging -- The Actor's Greatest Obstacle -- The Theatrical Contract -- Mind the Gap -- The Character's Response to the Gap -- The Emotional Graph -- A Fresh Look at the Rehearsal Process -- No More Acting -- Be Willing to Risk -- No More Directing. The Courage to Break the Rules -- 12. The Ultmate Collaboration: Directors With Directors -- The Role of the Directing Consultant -- A Panel Discussion -- It's a Wrap - For the Moment -- Appendix -- About Mark Travis.
The Creative Collaborarion Between Director, Writers, and Actors.
9781615930814
Electronic books.
PN1995.9.P7T76 2002
791.43
Hong Kong Nang Yan College of Higher Education
Lee Yan Fong Library
325-329 Lai Chi Kok Road, Shamshuipo, Kowloon, HONG KONG
Lee Yan Fong Library
325-329 Lai Chi Kok Road, Shamshuipo, Kowloon, HONG KONG