I have directed shows with a 1^st AD and without one. I can tell you the differences in how the sets were run and how much of my time was focused on the actors instead of the petty problems that surface during a shoot. The best thing about having a 1^st AD on a film is the amount of my time that is freed up to focus on bringing the story to life.

It shouldn’t be a surprise that out of all the national and international productions that I’ve directed, only those pictures with a 1^st AD won major awards for “Best Director.” The first time I noticed this pattern was at the U.S. and International Film and Video Festival where I was competing against thousands of directors. The ability of each director was high and the only difference between the top ten were subtle nuances that required a 100% focus on their craft.

A good 1^st AD is extremely valuable to a director and his creative process. It frees him up to work more closely with the actors, bringing such depth to their characters that the audience is compelled to watch the movie again. This freedom also gives the director more time to develop his shot list with the DP, focusing on the cinematic vision that drives the emotional beats within the story.

Some of the key responsibilities managed by the 1^st AD are below:

• Run the set.
• Develop the script breakdown.
• Work with the director on the shooting schedule.
• Manage the schedule.
• Coordinate production activities.
• Manage the 2^nd and 3^rd ADs and oversee the Runners/PAs.
• Oversee the blocking of atmosphere.
• Be the liaison with the production office.
• Be the link between the director and the cast & crew.
• Oversee the publishing of the production reports.
• Oversee the acquisition of locations, props, and equipment.
• Oversee the development of previs or storyboards.
• Keep up to date on the weather reports.
• Manage set/location discipline.
• Work within budget limitations.

The qualities or skills of a great 1^st AD are:

• Diplomatic.
• Authoritative.
• Approachable.
• Organized.
• Time Manager.
• Trouble Shooter.
• Detail Focused.
• Crisis Manager.
• Risk Mitigator.
• Multitasker.
• Knowledgeable of Health & Safety Laws.
• Flexible.
• Flexible.
• And, Flexible.

Great 1^st ADs are hard to come by, but are worth every penny. Most directors can make a really good film without a 1^st AD, but he typically can’t focus on the subtle nuances of the story, while staying within budget, unless he has one.

Copyright © 2013 by CJ Powers

Have you ever regretted locking a script, because an hour later you had revisions? You no longer have to regret it, as long as you know the rules to manage the most current version of the screenplay. And the good news is that the rules are standardized within the production community. However, the rules do change a bit from the United States, to England, to India, to China, to Australia, etc.

While my readers are from over 100 countries, I will limit this article to the rules used in the U.S..

Colored Paper

The original locked script is published on white paper. Any changes to a script page are distributed on colored paper. There is a hierarchy of colors so everyone knows what order of change they have received. The paper colors are in the below order:

• White
• Blue
• Pink
• Yellow
• Green
• Goldenrod
• Buff
• Salmon
• Cherry
• Tan

Should a script have more changes after the color tan is used, the colors start again from the top.

The color pattern is helpful during a production that sees many changes. For instance, if the production manager couldn’t find you with last night’s changes and hands you a yellow script page, you would know to pitch it if the director handed you a green page after his brilliant ideas developed during breakfast.

Revision Marks

Once the script is in everyone’s hands, all revisions need to be marked. The revision mark is in the right margin and typically set at 7.8” from the left edge of the paper. The most common mark is the asterisk.

If a scene is replaced with one or two other scenes, then the revision is noted. In the below example, scene 72 was omitted, and then replaced with two new scenes marked by a letter to convey order.

72       OMITTED

72A     INT. CELLAR – NIGHT

The lamp cord dangles over the Zombie.

72B     EXT. BARN – CONTINUOUS

The farmer grabs a special zombie-killing pitchfork.

73       EXT. CELLAR – CONTINUOUS

The farmer breaks the lock off of the cellar door.

If a series of scenes are omitted the script would read as follows:

72       OMITTED

thru

72B

73       EXT. CELLAR – CONTINUOUS

The farmer breaks the lock off of the cellar door.

If a scene or two need to be squeezed into a script, the scene number would have an A or B added to it, like below:

78       INT. BUS – DAY

Isabella abruptly turns from Josh and looks out the window.

78A     EXT. PARKING LOT – CONTINUOUS

Isabella steps down from the bus and keeps walking.

78B     INT. BUS – CONTINUOUS

Josh grabs his mangled flower bouquet and heads to the door.

79       EXT. TRAIN STATION – CONTINUOUS

Josh hands Isabella a bouquet of flowers.

Should another scene idea pop into the writer’s head that must be located between 78A and 78B, a letter would precede the number.

78A     EXT. PARKING LOT – CONTINUOUS

Isabella steps down from the bus and keeps walking.

A78B   INT. TICKET BOOTH – CONTINUOUS

The Conductor glances out the window at a woman walking alone.

78B     INT. BUS – CONTINUOUS

Josh grabs his mangled flower bouquet and heads to the door.

If a lot of the page is deleted within a locked script, it will remain short or mostly blank. If a lot of scenes are added, then an extra page would be added and marked with a letter after the page number. This means that page 51 would have a page 51A added to it.

Once 50% of the script has seen changes, the writer typically replaces it with a new draft on all white papers with no asterisks.

Copyright © 2013 by CJ Powers

In the day and age of uploads, many actors find themselves performing to a camera in their living room and uploading their interpretation of the character. The better the camera, lighting and the actor’s understanding of the character, the better chance of he or she has of making the cut, or not.

Real auditions and screen tests are in person with the director. In fact, I’d say that the audition process is more about the director than about the actor. Auditions are not performances. It is a process that helps the director determine if the actor has the faith, patience and trust required to build the character according to his vision. The audition is a tool for the director to see if the actor has the elements that make the character who and what they are.

Inexperienced directors, who are unsure of the rehearsal and audition process, often settle for actors who have learned certain skills that present a superficial reality, rather than properly develop a character that captures the hearts of the audience. When this occurs, the director typically gets whatever they see in the audition in their film, rather than a truth based, believable character.

Instead, the director should focus on 3 key audition elements:

The Right Actor for the Right Role. The Back To The Future trilogy made box office history because Michael J. Fox was the perfect person to play the role of Marty. His timing was impeccable and his actions were an ideal fit for the character’s adventure. However, Eric Stoltz was first hired to play Marty and three weeks into production, Director Robert Zemeckis realized he had hired the wrong actor. He immediately let Stoltz go and hired Fox.

The director’s job in the audition is to make sure he is getting what he thinks he is getting. He needs to work with the auditioning actors and explore the development of the character using sides. While working with the actor, the director should be asking himself the following questions:

• Do you see the character in the actor?
• If you see a version of the character, is it a version that will work?
• Is the actor interesting to watch?
• Does the actor surprise you with various readings against the original line?
• Do you get drawn into the character or do you see the actor?

If several of the above questions get a positive response from the director, it is a signal that further exploration should take place. However, if most of the above items aren’t checked off, the director has one of two choices to make: Shoot a film that doesn’t match his vision; or, Search for another actor.

A Truthful Performance. Many independent films have good performances, but lack great performances. This is due largely to the fact that middle range actors are readily available and have memorized certain actions, looks or gestures that work on screen, but are superficial. Seldom do independent film budgets allow the director and actor to develop a character that is captivating. Most settle for the memorized gimmicks and quick cuts.

Experienced directors know to look for key abilities in their actors by asking themselves the following questions:

• Does the actor work in the moment?
• Does the actor listen to the director?
• Does the actor listen to the other actors in the scene?
• Does the actor anticipate the line, or allow the circumstances in the moment to prompt it?
• Is the actor teachable?

Directors struggle when faced with a name actor that won’t take direction. Not only does the performance lack truthfulness and believability, but it also falls short of the director’s vision.

A Great Working Relationship. On one project I have in development, the producer suggested we use Al Pacino as one of the three main characters. After reviewing his work, I realized his performance was either hot or cold, depending on the film. I asked the producer to do some research and we soon learned that when he has a great working relationship with a director his performance is award winning, and when he doesn’t have a strong relationship, his work suffers – A risk I wasn’t willing to take.

Directors know there is a balance between getting an actor’s performance to perfectly match his vision, and drawing from the creativity that a talent brings to the set. This collaborative process is key to the film’s success.

It reminds me of Tom Cruise’s collaboration. You will never see Cruise running down steps in an action movie. He learned from several productions early in his career that he looks awkward, not macho, running down steps. Whenever he’s in a good collaborative mode with his director, they reposition action to improve his macho look.

Directors keep their eyes open during the audition for the following:

• Does the actor listen to you?
• Does the actor collaborate well?
• Does the actor accept an atmosphere of open and free exchange?
• Is the actor willing to explore playing what they hint at in a bigger way?
• Is the actor willing to turn overt play into something subtler?
• Do you and the actor work as a team to attain, change, and surpass the expectations you have for the character?

Anything shy of learning the answers to the above 16 questions makes auditions a complete waste of time.  The trend of seeking audition reels is no better than receiving headshots, as none of the above critical questions can be answered by watching a series of clips – It’s all about the collaborative process that builds a great relationship between the director and actor.

Copyright © 2013 by CJ Powers

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