If casting is the key ingredient of prep, and working with actors is the focus of production, then editors are the main character of post-production. This episode looks at the fast-spaced editing in the television world and compares it with the more flexible possibilities of independent cinema, uncovering multiple lessons that can be gleaned from each. In the end, editing is another type of writing, an essential tool for directors to craft their visions.
At the very core of the craft of directing is working with actors. Central to the Bobby Roth method of directing is to prepare as extensively as possible in preparation in order to be available to the actors during production. During production, time is especially precious, and actors require great attention and sensitivity to deliver their best performances. In this double-episode, we take an extended look at the question Bobby is most frequently asked by students and young film makers: how do you get actors to do what you want? Interviews with more than twenty leading actors shed a diverse array of insights into what is expected of directors and the best strategies for building productive working relationships with them.
Perhaps the single most make-or-break element of directing is casting. It is also the element of directing that differs most between film and television production. This in-depth look at lessons learned from both film and TV, with case studies from Bobby's independent films Manhood and Jack the Dog, as well as guest casting experiences on Lost, offers practical lessons in how to cast across media, when to trust your intuition and when to listen to casting directors, and which common casting mistakes are easy to avoid.
One of the main elements of prep, in both film and television, is producing the shot list. This episode covers not only what a shot list is, how it should look, and whom to give it to, but also how to imbue camera instructions with emotion and personal investment. Extensive case studies from Lost and Marvel's Agents of S.H.I.E.L.D. demonstrate the way personal experience can and should affect everything from lens choice to camera placement.
It may seem self-explanatory, but how a director reads a script has a large impact on the way she/he prepares. This episode looks at how various key collaborators, such as first assistant directors, cinematographers, and editors, read a script in different ways, and emphasises the many different kinds of rereading required of directors. It also examines strategies for improving scripts under the crunch of production schedules.
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