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Production

Students MUST write, shoot, direct and edit their first films.
There are several things I do not like about filmmaking, production is one of them. In fact, this is the one aspect that kill my interest in film directing. First, you have to be organized and disciplined. I am not organized and I love to change things all the time, which is a nightmare time for everybody who want things to be done. I have deadlines. (I am describing all the qualities film directors MUST have). Besides, I am too old for around-the-clock shooting schedule (an excuse), but if I need to write, I can't. You have to forget about everything, while in production.

There are even more serious reasons for disliking this period of production. It's getting more comercial every day, even in no-budget productions. Quite understandable; too many things cost too much, besides everybody begin to thing about the AFTER! Of course, actors want to be seen, they want to seen by everybody on Earth and beyond. I understand it. We are in America, where rich and famous are the same people; if you become famous, you are to be rich. The very thought of "selling" film, spoils everything for me. So, director should be tolerant to fame and money, to tours, meeting people and telling them that you got a masterpiece. Don't laugh, I am serious.

[ ... ]

I am a latecomer; there are better organized texts on the Internet -- for example: 

DIRECTING 101
BY ERNEST PINTOFF

TABLE OF CONTENTS
PREFACE BY ERNEST PINTOFF vii
ACKNOWLEDGMENTS xi
FOREWORD BY RAY GREENE xiii
HOW MY CLASSES ARE CONDUCTED 1
SELECTING AND ACQUIRING MATERIAL 3
BUDGETING AND FINANCING 9
CASTING AND COMMUNICATING WITH ACTORS 13
CREW SELECTION 21
LOCATION 27
PRODUCTION PLANNING 31
FILMING TECHNIQUES 35
BLOCKING AND STAGING 41
DIRECTING SHORTS, COMMERCIALS AND MUSIC VIDEOS 47
MUSIC 51
POST PRODUCTION 55
PREPARING A SAMPLE REEL
PITCHING 63
AGENTS AND DIRECTING ASSIGNMENTS 65
MINORITY FILM DIRECTORS 67
CONTEMPORARY FILMMAKERS 69
ARTICLES BY GRADUATES AND FILMMAKERS 77
OBSERVATIONS 115
RECOMMENDED BOOKS AND FILMS 117
GLOSSARY 119
STUDIES OFFERED IN FILM, TELEVISION AND VIDEO 147
BIBLIOGRAPHY 183
INDEX 187
http://www.mwp.com/pdf/Directing101.pdf
"... If you are a student, do not overlook the value of studying the humanities, history, and social sciences. Absorbing technical and production skills should only be part of your education. Read and write as much as possible. I believe that sensitivity to people as well as an awareness of society and the world is essential. A career in movies or television may be extremely rewarding both creatively and financially, but getting the right foundation is half the battle." ERNEST PINTOFF
"Each of my three-hour directing classes is preceded by a brief review of what aspiring filmmakers are accomplishing, either positively or negatively. Then, two students are given exactly one hour to complete an adapted scene in class. I suggest that students adapt material from accomplished writers whose work has not already been visualized on film.
After each scene, I present my critique, then invite the class, as well as the actors, to critique their colleagues.
Although various aspects of directing are examined, special emphasis is placed on commitment, director’s choice of material and acting.
I do not permit students to utilize their own in-work or completed screenplays. It is suggested that my students adapt their screenplays from quality fiction writers such as Hemingway, Kafka, Poe, and Salinger.
I advocate that all scenes work in totality. They should have a beginning, middle, and end.
Playwrights whose work is suggested for adaptation are Edward Albee, Sholem Aleichem, Samuel Beckett, Bertolt Brecht, Paddy Chayevsky, Bruce Jay Friedman, Herb Gardner, Lorraine Hansberry, Lillian Hellman, Israel Horovitz, Langston Hughes, Eugene Ionesco, Claude Van Italie, Leroi Jones, Arthur Kopit, Claire Booth Luce, David Mamet, Terrence McNally, Arthur Miller, Clifford Odets, Eugene O’Neil, John Osborne, Harold Pinter, Luigi Pirandello, Murray Schisgal, Peter Shaffer, Sam Sheppard, Tom Stoppard, and Wendy Wasserstein."

Summary

Get yourself a good crew! The team is everything!

CREW

Questions

Write down all the possible problems you can run into during the shooting of film. Are there ways to simplify the story, to make less shots, to cut -- before you start shooting?

Here is a sample from Vancouver Film School
http://www.vfs.com/index.php 

Sample Classes:

*Film Theory
Intro to Documentaries
*Directing
*Elements of Story & Screenplay
Basics of Design
Intro to Budgeting & Scheduling Breakdowns
*Cinematography
Lighting
Sound
*Dramatic Scene Study
*Short Subject Screenplay
Producing
Locations
Script Supervising
16MM/DVCam
AVID DV XPRESS
Feature Film Writing
Production Management
The Discipline of Editing
The Director/Producer Relationship
Film Financing
The Independent Producer
Editor/Director Relationship
The above is what you need to know; I marked the topics we will touch in our class.

Homework

In your shot-by-shot book must be many LISTS: prop list, costumes, locations, shooting schedual and so on!

Each group must have a producer!

Notes

Watch the films by the great directors! And -- take a stage management class (or stage manage the show); experience is the best teacher.


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