How a Movie Director Think?
How to Be a Ultimate Movie Director, According to Psychology.
If you want to became a Movie director you must know how a
good movie director thinks and here is the psychological techniques of the well
successful movie directors which will helps you a lot.
The eight phases of making a film – PsychTronics.com
1. Script Development
2. Financing
3. Pre-Production
4. Production
5. Post-Production
6. Advertising/Promotion
7. Distribution
8. Exhibition
Tips To Shot A Particular Scene
Tips To Shot A Particular Scene
1– Use
Your Hand as the Foot for a Great Hit!- PsychTronics.com
Want to get a great CU of Person B getting hit in the
face/head by Person A’s foot?
Take the shoe, sock and pant leg of Person A and dress it on
the stunt coordinator’s hand and arm.(re: fit the pant over the arm, put the
sock and shoe on the hand). You can then move the camera in close and use the
stunt coordinator to swing at Person B’s head right beside the camera. You get
a great looking shot and you have more control of the “kick.” I’ve used this
technique several times in fight sequences and it looks great on camera.
2 – Screen
Direction in an Fight Sequence- PsychTronics.com
Which way an actor looks, or which side of the camera he
exits or enters, is called Screen Direction (the “180 degree rule”).
Maintaining proper screen direction is one of the jobs of the Script Supervisor
and is very important to the uninterrupted flow of your story. But should the
screen direction rule always be “obeyed?”
During fight scenes, “crossing the axis” adds a dramatic
sense of confusion to the action – where punches and gunshots come from odd
angles and characters enter and exit unexpectedly. And when you add slow-motion, dutch tilts, hand-held cameras and
jump-cutting techniques, you can create a ballet-like scene that is stylistic
and dynamic.
3 – Page
Count vs Camera Set-Ups – PsychTronics.com
When you look at the 1st AD’s call sheet and see all those
scenes and pages you have to shoot each day, remember: it’s not the page count
that matters as much as the number of set-ups (shots) you have each day.
4 –
Shooting in Slow Motion – PsychTronics.com
You know those wonderful scenes where the actor is walking in
slo-mo and his long coat is blowing dramatically in the wind. (Think of Nick
Cage in Face Off when he gets out of the car at the airport.
A trick to get the coat to billow like that is to have your
costume designer either purchase a coat made of light-weight material, or they
can creatively rip the lining out of the coat. This lightens up the material so
it will move easier in the wind. And by the way – 60fps and 90fps are good
frame rates for the effect.
5 –
Shooting Comedy Scenes – PsychTronics.com
Nothing can kill a comedy scene quicker than the lack of
pace. The pace of comedy needs to be faster than drama – but not so frantic
that there is no time for reactions. And never over rehearse a comedy scene –
use rehearsals to block out actor movement, then turn on the camera and see
what happens!
6 – Work
Expands with the Time Allotted – PsychTronics.com
In a TV Series, you should know what scenes you want to spend
extra time on (more coverage or more time with the actors) and which scenes you
will shoot quickly (to make up for the longer
scenes). Give the 1st AD this information so he can help you
out in the schedule.
Remember, if you are shooting a low-budget movie or a TV
Series, it’s “Gone with the Wind” in the morning and “Duke’s of Hazzard” in the
afternoon!
7 – The
“Walk and Talk” Scene – PsychTronics.com
Two actors have to walk from Point-A (a hallway) and finish
their dialogue when they reach Point-B (an elevator or a door). A quick way of
deciding where they must begin (in the hallway) is to have
them start walking FROM Point-B to Point-A. Where they stop
(finish their lines) is where you can start them for the scene.
8 – Learn
to Balance Your Scenes – PsychTronics.com
Every script will have scenes that are not necessary; scenes
that have nothing going on; or scenes that are only for character development.
But if they haven’t been omitted, (by the producers or writers) you still have
to shoot them. The trick here is to not spend a lot of time on these scenes –
just shoot them fast and get onto the next one.
9 –
Character Objectives – PsychTronics.com
Actors and Directors have to come up with as many objectives
for a character as possible. A character’s objective should be something that
will engage the other characters in a scene; it should create it’s own
obstacles; and it should be something the actor can believe in and commit to.
But there is one important rule to remember when choosing
objectives for a character. An actor can only play ONE objective in a scene!
Always ask yourself “What is the character’s need in this scene?” and then make
sure the actor plays that objective!
10 –
Advice on Making Short Films – PsychTronics.com
My name is Luciano Bresdem, I am from Brazil and I have made
some short films. I would like to share some directing tips that I have
learned.
For me, the most important part for a director is knowing the
script: structure, characters, space, plot,… You should know the material that
you have in your hands. Second thing: You should know what you want to say with
this film – if you don’t know what you want to say, you will lose the control
over the material, actors, and crew. And the last thing: You should find the
ways to say what you want to say. Discipline and organization are important
here. Make a list, in detail, with every aspect of the production (Performance,
Location, Direction of Photographic, Sound,…) and remember that “there’s no
unimportant decisions in filmmaking”.
11 –
Communicating to the Crew – PsychTronics.com
An experienced director should be able to talk to key
personnel in their own terms.
That means you should not only know the techniques of acting
when talking to actors, but you should also understand lenses when talking to a
camera operator and DOP, you should understand costumes when talking to the
wardrobe department, you should understand the basics of hair and make-up….etc.
Does this make you a better director? Not necessarily. But it
will help you to communicate your ideas and vision to the people that have to
make it happen!
12 – A
Quote from Frank Capra – PsychTronics.com
Here is one of my favorite tips – and it comes in the form of
a quote from the legendary director, Frank Capra.
“There are no rules in film making, only sins. And the
cardinal sin is Dullness.”
13 –
Dealing with Actors who Change Dialogue – PsychTronics.com
When dealing with actors who want to improvise and change
their dialogue, make sure they know what the intent of the scene is first. Once
you and the actor both agree on the scene intent, they can go ahead and
improvise their dialogue – and the objective of the scene will still be met.
14 – The
Director and 1st AD Relationship – PsychTronics.com
In Television – The 1st AD works WITH the Director FOR the
Producer
In Features – The 1st AD works FOR the Director, WITH the
Producer
15 –
Directing for an Audience – PsychTronics.com
As a director, it’s important to properly gauge the length of
time the viewer needs to digest the information in a scene. (the greater
audience involvement, the more successful the film)
Remember, an audience will accept as pertinent almost
anything portrayed on the screen, even if it seems to make little sense. (If
it’s there, it must be for reason.)
16 –
Actors Should “Do” Rather than “Say” – PsychTronics.com
When working on your script, and when shooting on the set,
make sure you have the actors “do things” rather than “say things.”
17 –
Developing Small Character Roles – PsychTronics.com
Any character in a script that is worth keeping is worth
developing. Allow the smaller roles to have offbeat remarks or unique bits of
action to make them memorable.
18 –
Understanding the Business of Film – PsychTronics.com
Understanding the differences and similarities between both
TV and Film is essential to a successful and productive career in the film
business because of one word: POLITICS!
19 – When
to Use a Second Camera – PsychTronics.com
Shooting with a second camera is a must if you want to save
time on the set.
1. Action Scenes – you should always use several cameras
during Action and stunt scenes.
2. Dialogue Scenes – you will need to work closely with the
DOP, and the soundman, about when to use the second camera, what it is covering
and what lens to use.
3. Filming kids and animals – this will help you get the shot
on the first or second take as both children and animals will never do the same
thing twice.
20 – Night
Shooting – PsychTronics.com
Shooting at night takes more time than shooting in the day so
make sure you are totally prepared. It is also helpful to know how to cheat
your reverses – so you can spend less time lighting and more time shooting.
21 –
Working with Visual Effects – PsychTronics.com
Most film and TV programs today utilize some form of special
visual FX (Green screen, motion control, computer screens etc.) Because of the
complexity of these shots, make sure you work very closely with the Visual FX
Supervisor to properly schedule all of the plate shots, reference shots and
green screen shots.
22 –
Blocking a Scene Tips – PsychTronics.com
Having a shot list will help you during the blocking process.
The shot list is like a map: it gives you a path to your destination but you
don’t always have to follow it
1. let the actors show you what they want to do first, then,
when you make a suggestion, it is based on something you have already seen
2. in Television, speed is essential, so try and block some
scenes so that your action takes place in one direction (to avoid turning the
camera around for reverses)
23 – Why
study the history of film? – PsychTronics.com
“Films are cultural artifacts created by specific cultures,
which reflect those cultures, and, in turn, affect them. Film is considered to
be an important art form, a source of popular entertainment and a powerful
method for educating, entertaining or indoctrinating citizens. The visual elements
of cinema gives motion pictures a universal power of communication.”
24 – Why
study film theory? –
PsychTronics.com
“As the new art form of the twentieth century, film
immediately and continuously invited theoretical attempts to define its nature and
function. Mostly as a result of film’s own inferiority complex as the youngest
of the arts, the impetus for much of early film theory was to gain a degree of
respectability.”
25 – Is
there an actual definition of making a movie? – PsychTronics.com
Here’s the one I like the best: “Making a movie (or
documentary) is the art of visually telling a compelling story with believable
characters.”
26 – The 5
Steps to Creating to Scene Transitions – PsychTronics.com
Making a movie is not just about the scene you are filming
now. As a director, you need to know these five steps to creating scene
transitions:
1. The scenes that come before
2).The scenes that come after
3. The last shot of the scene before
4. The first shot of the next scene
5. The TRANSITIONS between all scenes
27 – What
are the steps to become a director? – PsychTronics.com
A director can come from a production background (AD, DOP,
Editor) or from a creative background (Producer, Writer, Actor.) Or he could
just be the producer’s brother-in-law! There are few rules when it comes to
declaring yourself a director. Remember, everyone’s background and
circumstances are unique. What may work for one person may not (and probably
won’t) work for another.
28 – The 4
steps to be successful in the film and TV business –
PsychTronics.com
1. Understand the BUSINESS OF FILM!
2. Understand the POLITICS OF FILM!
3. Understand the DIFFERENCES between film and television
4. Know the POWER PLAYERS, and HOW TO DEAL WITH THEM!
29 – Want
to know what it’s like to be a Television Director? –
PsychTronics.com
1. In TV, the Director is very much like a Guest Star (show
up-work-leave)
2. The 1AD and the DOP run the set (they are the continuity
on the show)
3. The Director works for the Producer…
4. The Producer works for the Production Company…
5. The Production Company gets money from the Network for the
show.
6. It is the Producer who has the final say on casting,
wardrobe, locations etc.
7. It is the Producer who gets the “final cut”
8. But of course you want to work as a TV Director – because
there’s no life like it!
Hope these Tips will Help you to Become a good Movie
Director.
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+ comments + 1 comments
what a amazing techniques...........
i liked it soo much......
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