10 Directing Techniques that Raise a Film’s Quality (Part 2)

This is part 2 of the techniques a director uses to avoid the nightmare that generates lower quality films. Every filmmaker can improve his preparation and therefore the quality of his film by practicing these techniques.

6. Draw Blocking Diagram

Visualizing the shoot is important to the planning process and quickly separates the experienced from the amateur. Sketching out the talent’s blocking gives a director immediate control of the set. However, directors use blocking diagrams as a flexible tool based on collaboration with the talent.

I typically use 3X5 cards or Shot Designer software for blocking diagrams. Shot Designer is ideal for showing the talent a complex action or movement. While it’s not at the level of previsualization software, it gives a great bird’s eye view of movement.

7. Mark Shots

Notating a script for shots and coverage is a great tool for considering multiple perspectives. Most directors use similar markings to that of a continuity supervisor. This includes the shot, duration, cutaways, and specialty gear.

The markings help me to see immediate patterns emerging within a film. This alerts me to story elements that demand a more creative approach. It also gives me insight into what can be dropped should an under funded shoot start to run long.

8. Determine Set-ups and Camera Movement

Camera Setup 001In a similar fashion to a blocking diagram, directors draw up ideal camera positions and mark the desired movements for track and dolly shots. These ideas can then be discussed with the director of photography and the production designer to validate the practicality of each shot.

I typically use 3X5 cards or Shot Designer software for camera set-ups and movement. I’ll also use a large sheet of butcher paper to create a chart shared with the crew on projects with fast and numerous set-ups. Shot Designer is my medium of choice for complicated moving shots, as the movement of characters and cameras can be animated for on set playback.

9. Make Shot List

Once the director of photography (DP) understands the director’s vision, the desired camera shots need to be listed in shoot order. The camera department always appreciates a detailed list that includes specialty gear and lens choices. While this list is typically made in collaboration, it’s a great skill for directors to work in prep.

The smaller the shoot the less likely I am to prep a list for the DP. Not because its not needed, but because smaller shoots don’t have a person on the camera team to reference it during the shoot. Typically the director or assistant director will chat with the DP before each set-up to make sure everyone is on the same page. However, the more complex the shoot, the great the need for the list, especially when using second unit teams.

10. Journal Directing Process

The greatest tool that a professional director has is his journal. It allows him to take notes on actors, crewmembers and story ideas throughout the shoot. It’s also a great reference in remembering what worked and didn’t work for the sake of future films.

I’ve found that journaling is the only method that is profitable in determining how to fix temporary problems with the shoot. It’s a brainstorming board during difficult times and a canvas to express art during the great times. It also helps the director get a feel for his own behavior on set, so he might be able to create a set in which everyone desires to return.

I selected the above ten items out of the 100 plus skills because every Oscar worthy director that I’ve spoken to has used these tools religiously. Also, every director that I’ve talked to that has made bad films did not use these tools. That makes the list a differentiator for me and I hope future directors take the list to heart and practice often.

See previous post (Part 1)

Copyright © 2015 by CJ Powers

10 Directing Techniques that Raise a Film’s Quality (Part 1)

There are over 100 documented techniques that directors develop to master their craft. Independent filmmakers have little patience to develop the skills that delay gratification. This lack of preparation causes poorly managed shoots, fewer artistic choices, bad acting and less coverage.

To avoid the nightmare that generates lower quality films, every filmmaker can improve his preparation by practicing ten directing techniques.

1. Search for Great Stories

There are seven steps to determine if a script is worth shooting. All seven are a part of analyzing the story. By reading a lot of scripts and working through the process of determining which ones are great stories, the director will be able to quickly spot flaws in the next script handed to him for consideration. He will also be able to determine if the flaw can be fixed or if the story should be pitched.

I read and conduct a partial to full analysis on 2-3 stories a month to keep my chops up. This means I read 2-3 stories a week to find the ones worth analyzing. It doesn’t take more than 3-10 pages of reading to know if the story is worth finishing. Those that are worth a full read are considered for analysis.

2. Breakdown Set Pieces

FlashdanceSet pieces are scenes that are designed to have an obvious imposing effect on the audience. They are iconic to the story and many times become culturally iconic. The mere mention of fire trails or light sabers reminds us of Back to the Future and Star Wars. Or, for those who don’t like sci-fi, think about the horse head in bed and a dancer being doused with water, which reminds us of The Godfather and Flashdance.

By finding the 3-8 set pieces in the story, a director can use those scenes to practice the remaining skills. When I first started breaking down set pieces, it took me 45-60 minutes per scene to understand what made those scenes pop. Now, I can find the iconic building blocks within a few minutes per scene.

3. Mark Story Beats

Every script has story beats. Some beats are obvious and some are clouded by subplots or old beats that were never taken out of a previous draft. Some systems recommend 7 beats, others 8, 12, 14, 16, 17, 23, 28, and 32. Each genre tends to have its own rules of beat placement and writing systems. For instance, both the myth and hero processes place varying emotional levels of beats into the story structure.

Marking all the story structure beats within the script gives the director a clear understanding of the story structure, pace, and distortions. Every year I download all Oscar nominated screenplays and search for the beat structure within each story. Patterns within genres and between screenwriters become evident and increase my speed and ability to spot key story elements that must be treated with high importance during a shoot.

4. Mark Entrances, Exits and Power Changes

Well-written screenplays have a shift in power between characters several times within any given scene. Marking each character’s entrances/exits and power shifts, breaks the scene into manageable parts. It also gives the director insight into segmenting the shoot for the greatest on screen emotional impact.

I’ve found that by marking scenes according to the exchange of power, I can instantly tell if the scene will entertain or fall flat. I’ve also found that most scenes that belong in a story, yet are flat, typically have a central element that will play better if the scene is rewritten using subtext. And, those flat scenes that are empty I cut from the story.

5. Notate Verbs for Motivation

With every power shift within a scene the talent needs a new motivation for her character. The best way to inspire the talent is to have a verb ready to suggest the motivation. The verb can be written on the script page with a stronger and weaker verb for back up.

When I’ve suggested to the talent that her character needs to “influence,” I can turn to my back up verbs if she plays it too big or small. For instance, if she plays “influence” too big I can suggest her character needs to “urge,” or if she plays it too small I can suggest she needs to “incite.” By listing all three words on the page, I have immediate tools available for altering a performance should I need it.

To be continued in (Part 2)

Copyright © 2015 by CJ Powers

Learning Leaders Commit to 3 Ideas

Plumber Attention © jokatoonsIt was a night of terrible storms that sent hundreds with flooding basements to local hardware stores for new sump pumps. The plumbing aisle was packed with eager customers, where I witnessed a leadership opportunity. The situation was volatile for the lone employee trying to respond to dozens of desperate people crowding in.

The employee (I’ll call him Bob) was a professional plumber that tried to make a few extra bucks selling supplies at night. He asked his manager to help twice, but received no help. An employee (I’ll call her Anne) from another department saw the crowd and started to help Bob. Within minutes the shelves were empty.

Bob climbed the ladder to the overstock area and passed sump pumps down to Anne. The eager crowd grabbed the sump pumps before she could set them down. Another wave of people entered the plumbing aisle and Anne called the manager for help, but wasn’t able to convince him to participate.

A continuous onslaught of people bombarded the two workers. Anne asked Bob what she should do to help and Bob quickly subdivided their workload. He sold the sump pumps, connectors and pipes, while Anne sold immersible utility pumps and hoses.

Another surge of people overwhelmed Bob with foolish questions. Their urgent agenda didn’t allow time for listening to Bob’s expert advice in solving their crisis. He acquiesced to their foolish demands, knowing they’d return within the hour.

Anne knew the ramifications and called the manager. She demanded that he help in the plumbing aisle or send two employees in his place. She hung up, to help another handful of people, before he could respond. Anne shifted over to yet another group needing help and noticed that the manager stepped into the far end of the aisle, helped one person and then left.

A short lull hit the aisle for a few minutes. During that time the manager returned and pulled Anne for other duties. He had her move cleaning supplies to the front of the store for the people’s anticipated return after their projects were finished.

Anne started setting up a display and noticed more people headed to the plumbing aisle. She immediately headed back to plumbing and the manager asked where she was going. She replied, “The aisle is filled with customers and I have to help Bob.” The manager responded in a shocked tone, ”Really?” As Anne disappeared into the aisle, the manager shouted out, “I’ll support that.”

Bob and Anne continued handing out various pumps until the shelves and overstock areas were empty – fifteen minutes past the store’s closing time.

I walked slowly toward checkout and heard the manager start to chum around with the two workers, as if he had participated in the workload. Then he exclaimed, “I can’t understand why hardly any of the pumps from the palette I put up front sold.”

“What?” shrieked Bob. “We told customers that we were out. Why would you take them up front?”

“To save them a trip to the plumbing aisle,” said the manager.

Bob countered, “But they’d have to come to plumbing anyway for the connectors.”

The next day, I purchased cleaning supplies and bumped into Bob and suggested the night before was kind of crazy.

Bob Responded, “Yeah, we sold close to a years worth of sump pumps in one night.”

“It’s a good thing you had help,” I reminded him.

“You’re not kidding,” he said. “I had just made the decision to quit and walk out, but I stopped when Anne started helping me. She was a godsend.”

“That wouldn’t have been too good of an idea, would it?” I questioned.

“What else could I do,” Bob exclaimed. “I was going crazy and my supervisor refused to help. I don’t need this kind of pressure in my life with what little I get paid. Besides, I learned this morning that there were several employees last night sitting on their hands because their departments didn’t have any customers.”

I felt for Bob and Anne. They would‘ve benefited from a Learning Leader – A leader who commits to three ideas in supporting their employees.

THE PERSON IN NEED DEFINES WHAT SUPPORT LOOKS LIKE

A Learning Leader seeks the advice of the expert in order to streamline workflow and avert crisis. Bob was the only expert that could determine the best way to handle the unexpected demand brought on by the flood. Taking advantage of the moment to learn what things should and should not happen during a future crisis will make the Learning Leader invaluable.

Bob was also the only one who could assign tasks to get everyone through the crisis. When Anne volunteered, he quickly assigned her something simple based on her background or lack thereof. Bob knew what items required Q&A to determine the best solution and what items could be supplied with little information. He was the only one in a position to define what help looked like for a volunteer.

DOING YOUR OWN THING TO HELP IS NO HELP AT ALL

The manager had no idea that he hindered sales by moving sump pumps to the front of the store – Out of sight for those making a beeline to the plumbing aisle. His idea to help the customer avoid the crowds was illogical because of the needed connectors. Had he first asked Bob, “What can I do to help?” Bob would’ve told him to hunt for every pump in the overheads and loading dock, and bring it to the middle of the aisle for customers.

The Learning Leader would’ve gained the knowledge that in a crisis everyone heads to where the answer resides, not where the product is stored. The vast majority of people headed to the expert to learn what they needed from the shelf. A Learning Leader would’ve realized that his expert was important to the customer looking for a solution, which could then be pulled from the shelf by any volunteer.

GIVE KUDOS TO EMPLOYEES FOR AVERTING (NOT SURVIVING) A CRISIS

Comraderie is common after a crisis especially if the employees commiserate together. However, its more profitable for the manager to encourage everything the employees did in advance that prevented a greater crisis. These elements can be easily picked up by a manager willing to listen to what could’ve been done better or what was averted because of Bob’s common practices.

A Learning Leader would immediately follow up a crisis with questions about what worked well and what daily preparation diminished the crisis. This is the opposite of the manager looking for attention. He would rather speak of how he and his team put out a fire – The sexy thing to do when vying for a promotion.

Only leaders that are willing to learn from their people know how to manage during a crisis. They learn what helps and doesn’t hinder. They also gain wisdom for next year’s crisis.

Copyright © 2015 by CJ Powers