INDEX
A
A/B roll printing process, 510
Above and below the line costs, 362
Abstraction, 63
Academy Awards, 18
Acknowledgments, 558
Acquisition on film, 364
Acted upon and the actor, 57–58
Acting
for the camera, 14
in isolation, 287
relaxed, 13
see also Actors; Learning about acting
Acting in Film: an Actor's Take on Movie-Making (BBC TV tape, NY: Applause Theatre Publishers), 13
Action
and lines of character, 336–337
Action match editing, 52
Active verbs, 337
Actor and the acted upon, 57–58
integrating the cast into the script, 162–164
see also Screenwriting; Writing process
Actors
costs of, 10
and crews, 385
emotions of, 282
ideal, 285
negative traits, 320
stay busy in character, 281
training for, 14
see also Actors' problems; Casting; Casts; Directing actors; Learning about acting; Preparing a scene
acting in isolation, 287
anti-intellect actors, 288
clinging to the letter of the script, 287
control battles, 288
fear of changes, 287
ideal actors, 285
mere mortals, 286
not listening, 286
over-intellectualizing, 288
perceptions of acting, 285
playwriting, 288
professionals, 290
romantic entanglements, 289
tension, 286
unpunctuality and commitment problems, 289
withdrawal, 289
see also Actors; Directing Actors
Adam, Ken, 350
Adams, Ansel, 147
Adaptation from literature, 159–162, 189–190
faithful adaptation, 160
free adaptation, 160
see also Screenwriting; Writing process
Adobe Photoshop, 354
Adobe Premiere, 496
ADR. See Automatic dialogue replacement
for actors, 268
juxtaposing in, 51
Aesthetics and authorship, 191–248
Afghanistan, 8
African Queen (Huston), 227
After Hours (Scorsese), 224
Albee, Edward, 86
Alcott, John, 350
Alekan, Henri, 95
Alexander Nevsky (Eisenstein), 73
Alice in the Cities (Wenders), 200
Alice Through the Looking Glass (Carroll), 195
All About My Mother (Almodóvar), 201
All the President's Men (Pakula), 519
Allocation of shooting time per scene, 371
Alphaville (Godard), 228
Alternative points of view, 113–114
Alternative routes to becoming a director, 12
Altman, Robert, 12, 52, 84, 95, 142, 200, 214, 319, 520
Amadeus (Forman), 196
Amber Films, 166
Amber Group, 596
Ambient sound and presence tracks, 456, 512
Ambivalence or behavioral contradictions, 255
American Beauty (Mendes), 350–351, 353
American Film, 162
American in Paris, An (Minelli), 227
American video recording standard, 364, 367
Analytical graphics, 21
Analyzing drama, 21
Andersen, Hans Christian, 228
Anderson, Paul Thomas, 201
Andrew, Dudley, Concepts in Film Theory, 216
Angel at My Table, An (Campion), 36
Anna Karenina (Tolstoy), 195, 206
Annie Hall (Allen), 84
Answer print (trial print), 498, 510
Antagonists, 229
Anti-globalization movement, 176
Anti-intellect actors, 288
Anti-social habits, 25
Anti-theater, 166
Antonioni, Michelangelo, 73, 214, 222, 227
Anxieties of actors, 464
Archetypal human qualities, 13
Archetypes, 16, 169, 170–171, 207–210, 215
Ardolino, Emil, 419
Art director (AD), 398
Artificiality, 284
Artistic identity, 1–44, 24–27, 242
Artistic license, 34
Artistic process, 29–30, 128, 151
Arts
in twentieth century Russia, 14
versus therapy, 24
see also Adaptation from literature
Aspect ratio, 410
Assessment in shooting projects, 96–97
Assistant cinematographers (ACs), 396, 437
Assistant directors (ADs), 393–394, 437, 446, 464, 475, 487
Assistant producers, 391
Association of Independent Video and Filmmakers, 592
Associate producers, 391
Astrology, 175
Atmosphere track, 456, 457, 508
Atmospheres and background sound, 552
Attitude, 405
as active participants, 528–529
co-creation of, 15
consumption patterns of, 9
editor as proxy for, 495
needs of, 8
understanding the, 204
Audio sweetening process, 499, 545
Audio Technica, 454
Audio-Vision-Sound on Screen (Chion), 452
Auditioning. See Casting
Auditions broadsheet, 268
Aural motifs, 237
Auteur and authorial control in filmmaking, 17–18, 66, 145–146, 203, 212
Authorial point of view, 58–59
Authorship. See Story idea development
Authorship through improvisation project, 114–118
Automatic dialogue replacement (ADR), 451, 457, 508, 547
Avid|DS HD, 367
Avventura, L' (Antonioni), 73, 194, 222, 227
Awards, 600
Axes or lines of tension, 427
B
Back matched continuity, 460
Background sound, 552
Backgrounds, 418
Backlight, 91
Backlit picture, 89
Badlands (Malick), 199
Ball, Lucille, 208
Ballard, Carroll, 226
Balon Rouge, Le/The Red Balloon (Lamorisse), 240
Balthazar (Bresson), 11
Barney (sound-proof casing), 456
Barry Lyndon (Kubrick), 350, 351, 353
Barry Lyndon (Thackeray), 350, 351
Bashu, the Little Stranger (Beizai), 11
Basic stories in fiction, 170–174
Battleship Potemkin, The (Eisenstein), 73, 402
Beats, 18–19, 22–23, 260–262, 331–332, 338
rehearsals, 324
Beauty and the Beast (Cocteau), 95
Beginners
and auteur filmmaking, 17
festivals, 591
not using Hollywood as a model, 10–11
see also Career track; Film schools
Behavior versus dialogue, 133–134
Behavioral contradictions, 255
Being John Malkovich (Jonze), 227
Beizai, Bahram, 11
Benedek, Laslo, 86
Bennett, Alan, 36
Berger, John, 163
Bergman, Ingmar, 4, 73, 162–163, 196, 214, 234, 319
Four Screenplays of Ingmar Bergman, 236
Four Stories by Ingmar Bergman, 163
Berkeley, Busby, 229
Bernstein, Leonard, 161
Best boy electricians, 396
Best boy grips, 396
Bicycle Thief, The (de Sica), 11, 196
Billy Elliot (Daldry), 78
Billy Liar (Schlesinger), 221
Biographical points of view, 196–197
Biography of character, 336
Birth of a Nation (Griffith), 227
Black Stallion, The (Ballard), 226
Blade Runner (Scott), 228
Bleak House (Dickens), 335
Blink (Quinn), 347
Block, Mitchell, 239
Blocking, 84–85, 294, 346, 401
changes in, 448
character and camera, 85
and first rehearsal, 434
Blocking, acting, and camerawork assessment form, 609–610
Blocks in writing process, 150
Blue or green screen, 355
Blue Velvet (Lynch), 73, 95, 224, 228, 351
Body mikes, 454
Bogart, Humphrey, 227
Boll, Heinrich, Lost Honor of Katharina Blum, The, 220
Bond, James, 237
Bonnie and Clyde (Penn), 199
Book publishing, 5
Boom, 455
Boorman, John, 34, 140, 196, 227
Bootleg copies, 5
Boredom-motivated camera movement, 50
Boxcar cutting, 526
Bracketing the script, 462
Branagh, Kenneth, 278
Brassed Off (Herman), 168
Brazil (Gilliam), 228
Breakaway props, 460
Breakdown or crossplot, 254, 263, 264
Breaking the 180-degree rule, 85
Breaking In: How 20 Movie Directors Got Their First Start (Jarecki), 575
Breaking into the industry, 590–602
Breaking the Waves (Von Trier), 147
Brecht, Berthold, 209, 227, 237
Brechtian distancing and audience identification, 237–238
Bresson, Robert, 11, 12, 225, 235, 270
Notes on the Cinematographer, 270
Bridging emotions exercise, 114
Brief shots, 49
Bronte, Charlotte, Jane Eyre, 161
Bronte, Emily, Wuthering Heights, 195
Buddhism, 25
Buddy films, 208
above the line and below the line costs, 362
contingency percentage, 363
indirect costs, 363
Bunuel, Luis, 239
Butch Cassidy and the Sundance Kid (Hill), 208
C
Cabinet of Dr. Caligari, The (Wiene), 228
Cable, movies on demand, 9
Caine, Michael, 13
Camera, 401
filters for, 148
height of, 417
as instrument of revelation, 418
mobile versus fixed, 403
noise filter for, 364
as observing consciousness, 404–405
placement in script breakdown, 427–430
speed compromises, 418
as witness, 14
see also Mise en scene
Camera assistants or assistant cinematographers (ACs), 396, 435
Camera eye versus human eye, 409–410
Camera-to-subject axis, 55
Camera-to-subject distance, 412, 414
Hero with a Thousand Faces, The, 171, 173–174
Masks of God, The, 171
Mythic Image, The, 171
Cardioid or directional mikes, 454
breaking into the industry, 590–602
agents, 599
crafts leading to directing, 596–597
developing new projects, 598–600
documentaries, 597
festivals and conferences, 590–591
form and marketability, 599
internships, 593
learning from other people's work, 599–600
location, 590
presenting yourself for employment, 600–602
subjects for fiction, 598
television, 596
authorship essentials, 603–604
becoming a director, 603
educational progress, 603
entertaining an audience, 603
self-help, 577
Carné, Marcel, 16
Carney, Ray, Films of John Cassavetes, The, 67
Carroll, Lewis, Alice Through the Looking Glass, 195
Cassavetes, John, 12, 67, 163, 164–165
active search for actors, 268–270
announcing decisions, 277
attracting applicants, 268
character descriptions, 267
cold reading, 272
importance of, 266
improvisation, 274
interview, 274
long- or short-term choices, 273
mix and match actors, 275
passive search for actors, 268
phone applicants, 270
reading from script, 274
reviewing impressions, 276
typecasting, 273
see also Actors
Casts, 7
protection of, 471
see also Actors; Rehearsals
Catcher in the Rye, The (Salinger), 160
Cathartic contact, 205
Celebration, The (Vinterberg), 5, 147
Celine and Julie Go Boating (Rivette), 234
Censor, internal, 158
Cercel, Elif, Director's World, 148
Change, 10
Changing screen direction, 60–61
Chaplin, Charlie, 208, 228, 241
Character and camera blocking, 85
Character definition, 257
Character-driven stories, 151
Characterizations, stock, 15
Characters
acted upon, 175
attitude beats, 22
background development, 323
biography of, 336
conflict, growth, and change, 136–137
creation of, 151
function of, 338
metaphorical, 231
and motives, 255
nature of, 329
oppositional, 229
reactions of, 343
rhythm of, 335
static definition, 135
thought beats, 22
thumbnail sketches of, 267
within the story narrator, 194
see also Preparing a scene
Chariots of Fire (Hudson), 222
Cheating distances, 434
Checkerboard rolls, 510
Checkerboarding, 549
Checklists
aesthetics and authorship, 243–248
writing and story development, 188–190
Chien Andalou, Un/The Andalusian Dog (Buneul), 239
Childhood stories, 38
Children of Paradise, The (Carné), 16
Chion, Michel, Audio-Vision-Sound on Screen, 452
Chocolat (Hallström), 350, 351–352, 353
Chocolat (Harris), 350, 351–352
Christian mystery plays, 13
Cinema
as a collaborative art form, 18, 25
French New Wave, 17
German Expressionist, 14
Cinema's strengths, 151–152, 205
Cinestory, 144
Citizen Kane Book: Raising Kane, The (Kael), 86
Citizen Kane (Welles), 95, 201, 256, 417
Clap-sticks, 446
Cleese, John, 208
Cleo from 5 to 7 (Varda), 222
Clichés, 33
Clockwork Orange, A (Kubrick), 73, 228
Close shots, 50
Closely Watched Trains (Menzel), 198
Cocteau, Jean, 95
Codecs, 513
Coen, Ethan, 201
Coen, Joel, 201
Coincidence, reliance on, 217
Cold reading, 272
with actors, 328
with screenwriters, 127
Collaborative art forms, 18, 25
Collective medium of cinema, 3–4
Collective unconscious, 175
Color film, 148
Color saturation level, 95
Columbia College Chicago, 25, 365, 574, 593
Comedy, 208
Commitment problems, 289
Commitments, 25
Community, 205
Comparative levels in sound, 556
Competitiveness, 25
conflicts and composing to sync points, 643
copyrighting, 539
fitting music, 544
guide tracks, 540
keys, diegetic and non-diegetic music, 542–543
live music session, 544
the mix, 544
time needed for composition, 543
see also Editing; Music; Sound
Composite prints, 510
Composition, 70
Compression, 513
Compromises in filming, 408–409
Computerized editing, 4
Concentration, 64
Concepts in Film Theory (Andrew), 216
Concerned observer, 54–55, 63, 108, 109, 212–214, 245, 346
into storyteller, 214
Conditional tense and nonlinear time, 221
Conflict in drama, 19, 20, 21, 175, 212
and form, 233
growth and change in characters, 136–137
see also Genre, conflict, and dialectics
Conforming (negative cutting), 498, 511
Confrontation, 23
Consciousness reproduction in film, 47–48
Consequential loss, 373
Construction specialists, 399
Contingency coverage, 371
Contingency percentage, 363
bracketing the script, 462
coordinating and reporting, 459
coverage, 462
monitoring dialogue, 461
crossplot, 461
planning the shoot, 460
types of continuity, 460
wardrobe and properties, 460–461
script supervisor's positioning, 462
timing, 461
Continuity and expository editing, 52
Continuity reports, 448
Continuity scripts, 131
Continuity supervisor, 390–391
Continuous recurrence of birth (palingenesia), 171
Continuous time, 223
Contractual obligations, 558–559
Control battles, 288
Control issues, 25
Controlling point of view, 195–196, 202–203
Coordinating and reporting in continuity, 459
Copying limitations, 513
Copyrighting, 129, 161–162, 539, 561
Cost flow and cost reporting, 373
Costner, Kevin, 495
Costumes, 352
Countdown to shooting, 443, 445
Counterpointing visual and aural impressions, 520, 525–526, 526–528
Coverage in continuity, 462
Coverage planning in script breakdown, 422–426
Crab dollying, 51
Crafts leading to directing, 596–597
Creative Filmmaking From the Inside Out: Five Keys to the Art of Making Inspired Movies and Television (Dannenbaum, Hodge, and Mayer), 177, 179
Credibility, minimizing, and story tension, 155–156
Crews, 7
contracts for, 374
costs of, 10
and director of photography (DP), 381
discussing their impressions of the shoot, 475
initiative of members, 473
lines of responsibility, 387–389
people with experience, 385–386
relations with cast and the public, 474
temperaments of crew members, 386–387
viewing dailies, 501
see also Departments and job descriptions
Cria (Saura), 196
Crib sheets in script breakdown, 431
Cries and Whispers (Bergman), 163
Criminals, 177
Criticism
from the cast, 470
from the crew, 470
of screenplays, 127, 149, 156–157
Critique sessions, 97
Crossing the line or scene axis, 57, 85, 428–429, 448
Crouching Tiger, Hidden Dragon (Lee), 227
Cukor, George, 229
Cultural barriers, 3
Culture, mass, 8
Cumulative setup/take system, 439
Cunningham, Imogen, 147
“Cut to seagulls,” 477
Cutaway shot, 105
Cutting on action, 102
Cutting room, 7, 10, 11, 348, 489
see also Editing; Postproduction
Cutting techniques, 532
D
Dailies, 472, 475, 476, 478, 494
reactions, 502
syncing, 500
Daldry, Stephen, 78
Dances with Wolves (Costner), 495
Danish Dogme 95 cinema group, 146–149, 596
Dannenbaum, Jed, Carroll Hodge, Doe Mayer, Creative Filmmaking > From the Inside Out: Five Keys to the Art of Making Inspired Movies and Television, 177, 179
DAT. See Digital audiotape (DAT) sound recorders
David Copperfield (Cukor), 229
Davidson, Alan, 239
Davis, Andrew, 74
Day for Night (Truffaut), 289, 386, 466
Day-for-night shooting, 94
Days of Heaven (Malick), 77, 195, 197
Deacon, Lois, 482
Death of a Salesman (Benedek), 86
Death of a Salesman (Miller), 86
Death of a Salesman (Wender), 86
Decentralization, 5
Defiant Ones, The (Kramer), 208
Dehumanization, 49
Delegating by directors, 464
Deliverance (Boorman), 143, 227
Delivery mediums, 3
Democratizing film production, 10
Departments and job descriptions, 388–400
art director (AD), 398
construction specialists, 399
make-up and hairdressing, 400
special effects, 399
camera assistants or assistant
cinematographers (ACs), 396
director of photography (DP), 395
script supervisor (continuity supervisor), 390–391
postproduction department, 400
production department, 391–394
assistant directors (ADs), 393–394
production manager (PM), 392–393
sound recordist and boom operator, 397–398
see also Career track
Design for directing, 143, 203
Design proposals, 354
Design. See Production design
“Designing a Movie for Sound” (Thom), 235, 546
Designing a world, 352
Determinism versus free will, 211
Deus ex machina, 217
Developing new projects, 598–600
Developing Story Ideas (Rabiger), 27
Developmental process for story ideas, 31–32
Diagnostic flow chart in editing, 533–535, 563
Diagnostic questions in editing, 515–517
Diagnostic questions for script breakdown, 421–422
Diagramming film in editing, 533
Dialectical editing, 52
Dialectics. See Genre, conflict, and dialectics
shooting of, 453
Dialogue scene assessment form, 612–613
Dialogue scene project, 110–114
Dialogue sequences, overlap cut, 529–530
Dialogue tracks and the problem of inconsistencies, 550–551
Bleak House, 335
Diegetic (realistic) film sound, 235
Different angles on the same action, 61–63
DigiDesign, 499
Digital audiotape (DAT) sound recorders, 4, 115, 367, 438, 453–454, 521
Digital Betacam, 365
Digital camcorders, 4
Digital copying, 513
Digital editing from film dailies, 503–506
Digital filmmaking, 5
Digital Nonlinear Editing (Ohanian), 504
Digital still camera, 354
Digital systems, 5
Digital video (DV) camera, 365, 511
Digital video or film with video feed, 478
Diploma mills, 574
Direct cinema experience, 67, 115
Direct continuity, 460
Directed and reflected sound, 455–456
Directing
by asking questions, 321
from your own screenplay, 156
looking through the camera, 474–475
as storytelling, 55
see also Mise en scène; Preparing a scene; Rehearsals; Shooting
Directing actors, 278–284, 463–472, 486
act as if nobody's present, 283
artificiality, 284
before the take, 467
business, 281
criticism and feedback, 469–472
delegating, 464
demanding more of actors, 468
dividing attention between cast and crew, 466
emotional memory, 280
emotions of actors, 282
feedback for actors, 464
focus and relaxation, 280
losing and regaining focus, 281–282
maintaining focus by doing, 279–280
mannerisms, 283
naturalness, 278
never demonstrate, 282
never say “be yourself,” 282
reaction shots, 469
removing obstacles, 279
run through, 467
set specific, positive goals, 283
setting up new shots, 468
side coaching, 469
stay busy in character, 281
theater and film acting compared, 278–279
see also Actors; Actors' problems; Preparing a scene
Directing the Documentary 2nd Edition (Rabiger), 69, 482, 597
Director of photography (DP), 395, 402, 420, 432, 446, 464, 475
Directors
as active observers, 345
alternative routes to becoming, 12
ceding control, 482
collaborations and working partnerships, 128
crediting of, 148
and dramatic presentation, 12–15
fulfilling authorship intentions, 479–481
job description, 3–23, 389–390
limiting responsibilities, 473
moving beyond realism, 481–482
partnership with editors, 494–495
professional competency of, 6
reports by, 448
as role models, 471
in shooting, 446
women and minorities, 8
writer-director (hyphenate), 145–146
see also Career track; Preparing a scene; Theme identification of directors
Director's World (Cercel), 148
Dirty Dancing (Ardolino), 419
Discontinuity, 120
Discreet Smoke HD, 367
Disney, Walt, 541
Displacement, 148
Displacement principle, 255
Displacement and transformation in story idea development, 39–40
Dissonance, 526
Distribution, 5
Divine forces, 23
Dmytryk, Edward, On Screen Directing, 417
editors of, 489
Dollying, 419
Dollying, tracking, or trucking, 51
Dollying versus zooming into close up, 412
Don't Look Now (Roeg), 119, 221, 237, 402
Double system video, 443
Double-system recording, 439
Dr. Mabuse (Lang), 228
Drama
analyzing, 21
masks and the function of, 15–16
propaganda and dialectics, 211–212, 245
Dramatic clarity, 479
Dramatic content, 401
Dramatic Institute, Sweden, 433
“Dramatic and Melodramatic Beat Structures” (Heil), 22
Dramatic poetry, 4
Dramatic presentation and directing, 12–15
Dramatic situations, 171, 172–173
Dramatic and technical quality, 478–479
Dramatic tension, 331
Dramatizing an environment assessment form, 612
dramatic arcs, 21
Goblin Teasmade (trademark), 19
narrative functions of beats, 22–23
three-act structure, 23
Draughtsman's Contract, The (Greenaway), 229
Dreaming and films, 15
Dress rehearsal, 436
Drowning by Numbers (Greenaway), 229
Dry run, 436
Duality and conflict, 210, 244
Dumb-Waiter, The, (Pinter), 311, 344
Dupe negatives, 498
Dupont numbering, 502
Duration, rhythm, and concentration, 64, 73
DV origination for eventual film transfer, 366
DVCAM multistandard player and recorder, 368
DVD players, 599
Dybek, Stuart, “We Didn't,” 174
Dynamic character definition, 135–136
E
Eden Valley (Amber Films), 166
Edge numbering, 502
Edison, Thomas, 367
Edit decision list (EDL), 10, 368, 498, 499, 503, 511, 514
action match, 52
diagnostic flow chart, 533–535
diagramming film, 533
as active participants, 528–529
imagination of, 528
computerized, 4
continuity and expository, 52
dialectical, 52
digital editing from film dailies, 503–506
ending, 538
marking up the script, 506–507
in movement, 430
as observing consciousness, 520–522
as refreshment, 430
rough cut viewing, 519–520, 563
sound effects as scene elision, 531
sync coding film, 502
timecoding and window dub (linear video), 502–503
visual and aural editing rhythms, 525–526
see also Composers; Cutting room; First assembly editing; Postproduction; Sound
Editing assessment form, 608
creative contribution of, 494
and diplomacy, 493
partnership with directors, 494–495
EDL. See Edit Decision List
Effectively small light sources, 90
Effects track (FX), 457
Effects and wild tracks, 457
Eisenstein, Sergei, 73, 152, 239, 402
Eisner, Lotte, 152
El Mariachi (Rodriguez), 128
Electronic projectors, 4
Elision, 64
Emagic Logic Audio, 539
Embedded values, 177
Emotional demand order, 371
Emotional memory, 280
Emotions of actors, 282
Employer's liability, 373
English Patient, The (Minghella), 227
Enneagram, 175
Entertainment industry, 176
Entertainment and violence, 8
Entrepreneurial producers, 145–146
exotic, 227
expressionist, 228
Epic fables, 18
Epic hero, 194
Equipment
insurance for, 373
for postproduction, 367
testing and repairing, 363
Equus (Lumet), 86
Equus (Schaffer), 86
Errors and omissions insurance, 373
E.T. (Spielberg), 228
Ethics of representation, 177–179
Europe, Europa (Holland), 176
European cumulative setup/take system, 439
European PAL (Phase Alternate Line) system, 364, 367, 368, 503, 591
European producers, 391
European video recording standard, 364, 367, 368, 503, 591
Exotic environments, 227
Expanded time, 222
Expanding and collapsing the screenplay, 170
Exposition, 257
Expressionist environments, 224, 228
F
f/64, 147
Faces (Cassavetes), 67
Facets Multimedia, 239
Facial affect, 175
Fades, 532
Fairy tales, 228
Falk, Peter, 347
Fanny and Alexander (Bergman), 196
Faraway, So Close! (Wenders), 238, 402
Fassbinder, Rainer Werner, 12, 166, 325
Fat and the Lean, The/Gruby i Chudy (Polanski and Rousseau), 240, 241, 594
Fatal flaw: generalized interpretation, 263
Fawlty Towers series, 344
Fear of changes, 287
Feedback for actors, 464, 469–472
Feedback (criticism) in editing, 536–538
Festivals, 567, 590–591, 592, 600
Feudal attitudes, 175
Fiction, 34
Fiction and the documentary, 85, 125
Fictionalizing characters, 39
Fidelity guarantee, 373
Field, Syd, 140
Fields, W.C., 208
Fiennes, Ralph, 15
Figgis, Mike, 5, 419, 433, 570
Fill light, 91
Film Directing Shot by Shot (Katz), 420
Film industry, 4
breaking into the industry, 590–602
Film look and video look, 414, 416
Film mixes and TV transmission, 557
Film process in editing, 508–510
Film producer's indemnity, 373
flow chart for, 442
versus video production, 3, 9–10, 414, 416
Film production equipment, 364
Film School Confidential: The Insider's Guide to Film Schools (Kelly and Edgar), 575
Film schools, 3, 4, 6, 572–577, 604–605
entrepreneurial producers, 145–146
group work in, 25
and the professional system, 10
see also Beginners
Film and theater acting compared, 278–279
Film without video feed, 478
Filming, observational, 67
Filmmakers Magazine, 144
Filmmaking
auteur and authorial control, 17–18
digital, 5
Films
democratizing production, 10
and dreaming, 15
length and structure of, 348, 518
noir, 194
as reproductions of consciousness, 47–48
Films of John Cassavetes, The (Carney), 67
Final Cut Pro, Macintosh, 367, 496, 497, 511
Financial backing, 6
Firewire or IEEE1394 socket, 366
First assembly editing, 494–495, 508–518, 563
minimizing generational losses, 513
sound considerations, 512
composite prints, 510
machinery, 508
sound track evolution, 508–509
leave it to the editor, 518
length, 518
structure, 518
resolutions about development, 517
timecode: NTSC drop frame and non-drop
linear online and offline editing, 514
video process, 511
hardware and software, 511
diagnostic questioning, 515–517
interruptions, 515
second viewing, 515
see also Editing
First impressions of script, 253
First read-through in rehearsals, 320–324
First timing of script, 263, 265
Fishpole boom, 455
Fitting music, 544
Fitzgerald, F. Scott, 201
Fixed versus mobile camera, 403
Flash photography, 93
Flashbacks, 459
Flashforwards, 459
Flat and round characters, 229–230
Fleming, Victor, 196, 219, 227, 228
Floor marks, 435
Floor (or ground) plan, 78–79, 80, 99, 423–425
Flow chart of scenes, 132
maintaining focus by doing, 279–280
and relaxation, 280
Foley, Jack, 547
Foley stage and recreating sync sound effects, 547–548
Forbidden Relations (Kovács), 404
Ford, John, 74
Foregrounded track, 107
Foreshadowing, 257
Forest Gump (Zemeckis), 218
Brechtian distancing and audience identification, 237–238
conflict and vision, 233
long versus short takes, 238–239
aural motifs, 237
visual motifs, 237
textural design, 235
see also Style
Form and aesthetics questionnaire, 621–625
Formal working structure, 387
Forman, Milos, 196
Format for screenplays, 129–131
Forster, E.M., 229
Forward momentum, 217
Four Screenplays of Ingmar Bergman (Bergman), 236
Four Stories by Ingmar Bergman (Bergman), 163
Four Weddings and a Funeral (Newell), 21
400 Blows, The (Truffaut), 27, 196
Fowles, John, 86
French Lieutenant's Woman, The, 29, 160
Maggot, A, 29
Frame, Janet, 36
Frankish, John, 352
Free will versus determinism, 211
French Connection, The (Friedkin), 74
French Lieutenant's Woman: A Screenplay, The (Pinter), 86
French Lieutenant's Woman, The (Fowles), 29, 160
French Lieutenant's Woman, The (Reisz), 160
Freud, Sigmund, 215
Friedkin, William, 74
Fugitive, The (Davis), 74
Full Frontal (Soderbergh), 5
Full Monty, The (Cattaneo), 168
Function of character, 338
Function of each scene, 335
Fundraising and writing the prospectus, 179–181, 190
Furniture and practical lamps, 353–354
“Future of Filmmaking, The,” American Cinematographer (Nguyen), 5
Future and nonlinear time, 220–221
Futurism, 208
Futuristic environments, 227–228
G
Gabbeh (Makhmalbaf), 11
Game for scene writing, 182–187
Gangster films, 208
Gangsters, 177
Gardner, Garth, Gardner's Guide to Colleges for Multimedia and Animation, Third Edition, 575
Genealogical chart, 388
see also Departments and job descriptions
Generalized interpretation as fatal flaw, 263
Generational losses, 513
Genre, conflict, and dialectics, 204–214, 244
concerned observer's world, 212–214
determinism versus free will, 211
drama, propaganda, and dialectics, 211–212, 245
duality and conflict, 210, 244
genre and dramatic archetypes, 207–210
genre and point of view, 206–207
microcosm and macrocosm, 210–211, 245
observer into storyteller, 214
options, 205
significance of the visible, 204–205
survival film, 213
Genre movies, 148
George III, 36
German Expressionist cinema, 14, 195, 228
Ghobadi, Bahman, 11
Given circumstances, 253–254, 328, 336
Go-Between, The (Losey), 197, 229, 541
Goals in directing actors, 283
Goblin Teasmade (trademark), 19
Godard, Jean-Luc, 120, 160, 199, 200, 208, 209, 214, 221, 222, 228, 238, 239, 241
Going and returning techniques, 97–104
Gold, Jack, 348
Goldfinger (Hamilton), 400
Gone with the Wind (Fleming), 227
Gophers, 449
Gosford Park (Altman), 95, 142, 200, 520
Grab-shooting, 395
Graded rolls, 510
Grammar. See Screen grammar
Graphic representation, 432
Graphics in script interpretation, 257–263
Greek mythology, 36
Green screen, 355
Greenaway, Peter, 216, 229, 238
Grimm brothers, 228
Grosz, George, 228
Groundhog Day (Ramis), 223
Growth and change in characters, 136–137
Guardian Weekly, 170
Guide tracks, 540
Gun mikes, 454
“Gypsy Blood” (Sanders), 365
H
Hallowe'en (Carpenter), 226, 237
Hallström, Lasse, 350, 351–352, 353
Hamlet (Shakespeare), 278
Hammid, Deren, Maya, and Alexander, 239
Hand boom, 455
Hand props, 460
Haneke, Michael, 34
Hard lighting, 90
Hard textured background, 414
Harmony, 5225
Harris, Joanne, Chocolat, 351
Heavyworks, 511
Heil, Douglas, “Dramatic and Melodramatic Beat Structures,” 22
Hepburn, Katharine, 227
Heraclitus, 26
Hero with a Thousand Faces, The (Campbell), 171, 173–174
Herrmann, Bernard, 541
Herzog, Werner, 12, 152, 196–197, 269
Hi8, 511
Hi-res (high resolution), 499
High Hopes (Leigh), 163
High-contrast picture, 88, 89, 91
High-definition (HD) video camera, 9, 410, 511
High-definition video camera, Sony CineAlta, 5, 6, 365, 366
Hill, George, 208
Hindus, 25
Hiroshima Mon Amour (Resnais), 220
History for story ideas, 35–36
Hitchcock, Alfred, 199, 214, 226, 238, 402, 493, 541, 542
Hobbes, Thomas, 234
Holland, Agnieszka, 176
Hollywood as a model, 10–11, 12
Holocaust, 208
Home theaters, 9
Hope and Glory (Boorman), 34, 140, 196
Horror genre, 14
Hotel (Figgis), 5
How to Read a Film (Monaco), 207–208
Hudson, Hugh, 222
Hughes, John, 208
Hugo, Adéle, 27
Human awareness shifts, 532
Human eye versus camera eye, 409–410
Husbands (Cassavetes), 67
Huston, John, 227
Hypercardioid or gun mikes, 454
Hyphenate (writer-director or editor-director), 145–146, 495, 533
Hytner, Nicholas, 370
I
I Ching, 182
Icons of cultures, 36
Idea clustering, 150
Ideal actors, 285
Ideation in story development, 31, 32–34
Idiots, The (von Trier), 5, 147
Il Postino (Radford), 34
i.LINK 1394 DV in/out cable, 513
Illusion, 191
Image design, 401
Immigrant civilization, 176
Implied points of view, 198–199
in casting, 274
exercises for, 249
script developed from, 164–166
and script order, 370
techniques of, 67
see also Learning about acting
Improvised scene assessment form, 614–615
In the White City (Tanner), 163
Incoming shots, 430
Inconsistent voice qualities, 551
Inconsistent backgrounds, 551
Indirect continuity, 460
Indirect costs, 363
Inner life of characters, 341–343
Insert shot, 105
Insurances, 373
Intellectual property, 373
Intensity and fatigue, 470–471
Interior monologue, 106, 284, 313–314
Interior monologue assessment form, 610–611
Interior voice of character, 338
Internal censor, 158
Internal and external composition, 75–77
International association of film schools, 146
International Film Schools Association affiliated schools, 580–589
Internet, 159
short film examples on, 9, 239
Interpositive process, 498
Interpreting a text, 132
Interview in casting, 274
Ironic juxtaposition, 257
Italian commedia del arte, 13
Ivan the Terrible (Eisenstein), 73
J
Jam-synch (synchronize), 457
James, Henry, 66
Janacek, Leos, 64
Jane Eyre (Bronte), 161
Jarecki, Nicholas, Breaking In: How 20 Movie Directors Got Their First Start, 575
Jean-Luc Godard (Roud), 241
Jetée, La/The Jetty/The Pier (Marker), 232, 240
Jeunet, Jean-Pierre, 222, 405–406
Jews, 36
Job descriptions. See Departments and job descriptions
Job listings, 579
Jonah Who Will Be 25 in the Year 2000 (Tanner), 163, 164, 200, 238
Jonze, Spike, 227
Journals
personal, 35
Journey of the Eagle (Troell), 221
Jules and Jim (Truffaut), 27, 195, 197
Jump cuts, 120
Jung, Carl, 215
Jur, Jeff, 419
Jürges, Jürgen, 402
K
Kabuki theater, 13
Kael, Pauline, Citizen Kane Book: Raising Kane, The, 86
Kafka, Franz
Metamorphosis, 256
Trial, 229
Katz, Steven, Film Directing Shot by Shot, 420
Kazan, Elia, 86
Keaton, Buster, 208
Kelly, Karin and Tom Edgar, Film School Confidential: The Insider's Guide to Film Schools, 575
Kem, 504
Key grips, 396
Key light, 90
Key scenes and scheduling for performances, 370–371
Keycode (trademark), 363, 498, 503, 504
Kiarostami, Abbas, 11
Kimbrell, Marketa, 32
Kluge, 238
Knowing narrator, 194
Kodak's student program Web site, 363, 500
Kokoschka, Oskar, 228
Kopple, Barbara, 166
Korty, John, 160
Kovács, Zsolt Kézdi, 404
Kragh-Jacobsen, Søren, 146–147
Kramer, Stanley, 208
Kubrick, Stanley, 73, 228, 350, 351, 353
L
L cuts, 529
Lady in the Lake, The (Montgomery), 195
Lamorisse, Albert, 240
Lange, Jessica, 162
Language barriers, 3
Language. See Screen language
Lap cuts, 529
Last Year in Marienbad (Resnais), 221
Laurel and Hardy, 208
Lavalier or body mikes, 454
Lawson, John Howard, Theory and Technique of Playwriting, 331, 335
Laying music tracks, 551
Lazan, David S., 351
Leadership hierarchy, 148
Learning
by experience, 125
by experiment, 3
from other people’s work, 599–600
the scene, 339
Learning about acting, 291–310
analyzing beats and dramatic units, 295
directors learning from, 293–295
journaling, 295
value of, 292
improvisation exercises, 297–310
bridging emotions, 306
developing an emotion, 305–306
domestic appliance, 298
duo, no words, 302
duo, with words, 304
ensemble situations, 305
inner conflict, 309
make your own character, 304–305
see or be seen, 297
solo, no words, 301
timber!, 299
who, what, when, and where?, 300–301
actions at beat points, 315
characterizing the beats, 314–315
improvising an interior monologue, 313–314
let's be British, 316
marking beats in a text, 312–313
spot check, 316
switching characters, 317
translating a scene into an improvisation, 317–318
developmental process, 311–312
read through, 311
“useful when,” 312
see also Acting; Actors; Improvisation
Learning environment, 4
Leaving Las Vegas (Figgis), 419, 433
Lee, Ang, 227
Lee, Spike, 5
Leigh, Janet, 226
Leigh, Mike, 12, 163, 168, 319
Lens speed, 417
Lenses and image texture, 412–414
Leotard, Philippe, 275
Levring, Christian, 146
Libraries, 159
Life is Sweet (Leigh), 163, 168
Life issues, 27
special, 148
with stand-ins, 435
quality of light, 90
ratio, 92
style of lighting, 88
Like Father (Amber Films), 166
Line producers, 391
Linear editing, 511
Linear online and offline editing, 514
Linear time, 220
Lines of responsibility, 388
see also Departments and job descriptions
Literary storyteller, 54
Literature
see also Adaptation from literature
Literature and Film (Richardson), 204
Live music session, 544
Living Desert, The (Disney), 541–542
Lloyd, Harold, 208
Lo-res (low resolution), 499
Loach, David, 12
Location exploitation project, 107–110
Location order, 370
Location sound, 451–458, 486–487
automatic dialogue replacement (ADR), 451, 457
monitor all recorded sound, 451
recording requirements, 455–457
ambient sound and presence tracks, 456
directed and reflected sound, 455–456
effects and wild tracks, 457
smart slate, 457
sound source to microphone distances, 456
boom, 455
mixing desk, 455
soundscapes, 458
unwanted location ambience, 453
Location visiting, 356
Long versus short takes, 238–239
Long- or short-term choices in casting, 273
Long-take method, 402
Lord of the Rings (Jackson), 18, 399
Lord of the Rings (Tolkien), 18
Lossy codecs, 513
Lost Honor of Katharina Blum, The (Boll), 220
Love scenes, 15
differences in priorities, 11–12
drama in the familiar, 18
Low-contrast picture, 90
Lucas, George, 5, 18, 208, 228, 366
Lumet, Sidney, 86
Lumiére, Louis and Auguste, 66
Lunch Date, The (Davidson), 239
Luther, Martin, 36
Lynch, David, 73, 95, 214, 224, 228, 235, 241, 351
M
M*A*S*H (Altman), 520
M & E tracks. See Music and effects tracks
McClaren, Norman, 232
Machinery for editing film, 508
Macintosh Final Cut Pro, 367
Mackie, 455
Macrocosm and microcosm, 210–211, 245, 322
Madness of King George, The (Hytner), 370
Maggot, A (Fowles), 29
Magic hour, 94
Magnolia (Anderson), 201
Maintenance tools, 368
Make-up and hairdressers, 353, 400, 446
Makhmalbaf, Mohsen, 11
Malick, Terence, 77, 195, 197, 199
Malkovich, John, 227
Mamet, David, On Directing Film, 152, 214, 405
Man against himself, 329
Man against man, 329
Man against nature, 329
Mannerisms, 283
Mansfield, Jane, 547
MAP CC BiRD, 21
March, Fredric, 86
Marketability, 599
Marking up the script for editing, 506–507
Marriage of Maria Braun (Fassbinder), 166
Martin, Steve, 208
Marzaroli, Louise, 352
Masks
and the function of drama, 15–16
Masks of God, The (Campbell), 171
Mass culture, 8
Mass entertainment, 3
Master shot, 434
Match cut rules, 102
Match-edit, 503
Matchback process, 10
Matchbook conforming, 498
Maurits Binger Film Institute, 596
Measuring progress, 481
Medieval Christian mystery plays, 13
Medieval morality plays, 18
Medium of origination, 365
Memento (Nolan), 223
Men of Honor (Tillman and Teitel), 25
Mentors, 593
Menzel, Jiri, 198
Meshes of the Afternoon (Denen, Maya, and Alexander Hammid), 239
Metamorphosis (Kafka), 256
Metaphorical characters, 231
Metaphorical writing, 15
Metaphors and symbols, 140–141
Metzner, Ernö, 240
Michaud, Paul, 27
Mickey Mousing, 541
Microcosm and macrocosm, 210–211, 245, 322
Micromanagement, 392
Middle class, 177
Middle of the World, The (Tanner), 221, 275
MIDI. See Musical Instrument Digital Interface
Miller, Pat P., Script Supervising and Film Continuity, 459
Mime, 13
Minelli, Vincent, 227
Minghella, Anthony, 227
Minimizing and story tension, 155–156
Mise en scéne, 143, 203, 327, 335, 401–419, 485–486
aspect ratio, 410
backgrounds, 418
camera eye versus human eye, 409–410
camera height, 417
camera as instrument of revelation, 418
camera as observing consciousness, 404–405
camera-to-subject distance, 412, 414
film look and video look, 414, 416
fixed versus mobile camera, 403
lens speed, 417
lenses and image texture, 412–414
long-take method, 402
relatedness: separating or integrating by shot, 403–404
short-take method, 403
simplicity in filming, 404, 419
speed compromises for the camera, 418
storyteller's point of view, 405–406
study the masters, 419
subjective or objective camera presense, 403
work within your means, 419
zooming versus dollying into close up, 412
see also Shooting
Miss Julie (Figgis), 433
Mix and match actors in casting, 275
Mixing desk, 455
Mobile versus fixed camera, 403
Models, 355
Modern Times (Chaplin), 228
Monaco, James, 195
Monitoring all recorded sound, 451
Monitoring dialogue, 461
Monitoring progress, 477–483, 487
Monroe, Marilyn, 289
Monster lighting, 91
Montage, 520
Montgomery, Robert, 195
Moral propaganda, 39
Morale, fatigue, and intensity, 470–471
Morality plays, 18
Moravia, Alberto, 160
Mouchette (Bresson), 11
Movement and action, 340
Movements that lead to regrouping, 429–430
Movie Magic (software), 362
Movies
Mozart, Wolfgang Amadeus, 229, 541
Much Ado About Nothing (Branagh), 278
Mulligan, Robert, 197
Multi-disciplinary medium, 7
Multiple points of view, 200–201
Mummers, 13
Munch, Edvard, 228
Munich action-theatre, 166
Murch, Walter, 546
Muriel (Resnais), 220
Murnau, F.W., 228
Music, 147, 247–248, 508, 512, 564
Music assessment form, 609
Music and effects tracks (M & E tracks), 557
Musical Instrument Digital Interface (MIDI), 499, 513, 539, 540, 543, 544
Mystery of Kasper Hauser, The (Herzog), 196–197, 269
Mystery plays, 13
Mythic Image, The (Campbell), 171
N
Nagra recorders, 367, 438, 453
Naive narrator, 194
Naked (Leigh), 163
Narration or voice-over, 550
Narrative functions of beats, 22–23
Narrative types, 194
Narrow (telephoto) angle of acceptance, 411, 412, 413, 414, 415
Narrowcast, 5
National Television Standards Committee (NTSC) system, 364, 366, 367, 368, 503, 514, 591
Naturalness, 278
Naudet, Gedeon, 51
Naudet, Jules, 51
Nazis, 36
Neal, Brian, 458
Negative cutting (conforming), 498
Negative insurance, 373
Neighbors (McClaren), 232
Newell, Mike, 21
Newspapers for story ideas, 35
Nguyen, Tommy, “Future of Filmmaking, The,” 5
Nichols, Mike, 86
Night So Long, A (Pion), 130
Night-for-night shooting, 94
9/11 (Jules and Gedeon Naudet), 51
Nixon, Richard, 309
NLE database, 500
No Lies (Block), 239
Nolan, Christopher, 223
Non-diegetic sound, 237
Non-drop frame code, 364, 513–514
Non-professional actors, 11–12
Non-realistic presentation versus realistic presentation, 13–15, 212
Nonlinear editing (NLE) systems, 366, 495–497, 511, 512, 518
Nonlinear time
and the conditional tense, 221
and the past, 220
Normal angle of acceptance, 411, 413, 414, 415
Norse sagas, 64
Northanger Abbey (Austen), 263, 264
Nosferatu (Murnau), 228
Notes on Cinematography (Bresson), 225
Novalis, 134
NTSC. See National Television Standards Committee
Nuclear attack, 208
Nyman, Michael, 229
O
O Brother Where Art Thou? (Ethan and Joel Coen), 201
Objectivity and subjectivity, 63
Observational filming, 67, 114
Observer. See Concerned observer
Observing consciousness
Occurrence at Owl Creek Bridge, An (Enrico), 232, 237, 239
Offline video editing machines, 511
Ohanian, Thomas, Digital Nonlinear Editing, 504
Oliver Twist (Lean), 229, 400, 419
Omniscient storyteller, 193–194, 195, 226
On Directing Film (Mamet), 152, 214, 405
On Screen Directing (Dmytryk), 417
Onmidirectional mikes, 454
Onscreen length and maintaining time, 348
Open versus closed scripts, 133
Opera, 13
Oppositional characters, 229
Optical effects, 498
Oral history, 36
Oral storyteller, 54
Oral tradition, 204
Organizational chart, 388
see also Departments and job descriptions
Original Kings of Comedy, The (Lee), 5
Original screenplay, 86
Osborne, John, 36
Outcomes assessment forms, 45, 607–620
blocking, acting, and camerawork, 609–610
dramatizing an environment, 612
editing, 608
music, 609
parallel storytelling, 615–617
Outgoing shots, 430
Over-intellectualizing, 288
P
P + S Technik Mini35 Adapter, 416
PAL (Phase Alternate Line) system, 364, 367, 368, 503, 591
Palette (colors), 353
Palingenesia (continuous recurrence of birth), 171
Pan shots, 51
Panasonic AG-DVX100 camera, 366
Panasonic equipment, 367
Panning of camera, 55
Parable, 218
Parallel storytelling, 118–120, 257
Parallel storytelling assessment forms, 615–617
Parallel time, 223
Paris, Texas (Wenders), 140, 196, 234
Partie de Campagne, Une/A Day in the Country (Renoir), 240
Pas de Deux (McClaren), 232
Past and nonlinear time, 220
Pather Panchali (Ray), 196
Penn, Arthur, 199
People of color, 177
Perceptions of acting, 285
Perfectionism, 150
Performances, stylized, 229–230
Personal journal, 35
Personal qualities, 569–571, 591–592
Personal quest, 30
Personality Types (Riso and Hudson), 175
Perspective in shooting, 411–412, 414
Peter and the Wolf (Prokofiev), 237
Phone applicants, 270
Piano Teacher, The (Haneke), 34
Piano, The (Campion), 36, 37, 140, 196
Pickpocket (Bresson), 11
Pickup shots, 447
Picture composition analysis, 70–77
Pierrot le Fou (Godard), 199, 200
Pinter, Harold
French Lieutenant's Woman: A Screenplay, The, 86
Pion, Lynise, 130
Piracy, 5
Pitch bending, 499
Pitching your work, 127, 143–144
Pixels, 366
Placing marks, 435
Planes, Trains and Automobiles (Hughes), 208
Planet of the Apes (Schaffner), 208
Plato, 598
Platoon (Stone), 211
Playwriting: The Structure of Action (Smiley), 22
Plot beats, 22
Plot-driven narrative, 194
Points of view, 35, 45, 48–49, 52–54, 193–203
authorial, 58–59, 201–202, 203
character within the film, 197–198
character within the story, 194
checklist, 243
narrative types, 194
omniscient storyteller, 193–194
and script breakdown, 427
in script interpretation, 262–263
shot, 58
shots, 105
subsidiary characters,’ 203
variations, 196
Polanski, Roman, 225, 226, 237, 240, 241, 594
Political propaganda, 18
Polonsky, Abraham, 237
Polti, Georges, Thirty-Six Dramatic Situations, The, 171, 172–173
Post-synchronizing, 508
Post-synchronizing dialogue, 547
Postproduction, 9, 11, 143, 489–565
composers, 564
dailies, 562
diagnostic methods, 563
editing in general, 562
first assembly, 563
rough cut, 563
sound effects and music, 564
sound mix, 564
titles, 565
trial audience, 564
equipment for, 367
director-editors, 495
see also Cutting room; Editing
Postproduction department, 400
POV. See Points of view
Power, 177
Power abuse, 25
Practical lighting, 91, 92, 354
Premise of screenplay, 142, 142–153, 256
Premixing, 555
action and lines of character, 336–337
active verbs, 337
adaptation of character, 338
backstory, 336
beats, 338
biography of character, 336
function of character, 338
given circumstances, 336
interior voice of character, 338
what are other characters trying to do to
what is my character trying to get or do?, 337
backstory, 328
character's rhythm, 335
dramatic tension, 331
dramatic units, 332
function of each scene, 335
given circumstances, 328
nature of acts, 329
nature of characters, 329
thematic purpose, 336
rehearsing with the book, 339–340
learning the scene, 339
movement and action, 340
order of scenes, 339
rehearsal space, 339
rehearsing without the book, 340–344
adaptation between characters, 343
inner life of characters, 341–343
reactions, 343
significance of space, 341
subtext, 344
thought and will into action, 340–341
useful misperceptions, 343–344
see also Rehearsals
Preproduction indemnity, 373
Preproduction meeting, 249
Preproduction party, 464
Prescriptive writing, 150
Presence tracks, 106, 107, 456
Present tense, 60
Prioritizing in editing, 517–518
Processing labs, 368
Producing and Directing the Short Film and Video (Rea and Irving), 239
authorship and monitoring progress, 487
directing actors, 486
planning on paper, 484
preparing to shoot, 485
scheduling and reconnaissance, 484
script supervision, 487
shooting, 485
Production design, 350–355, 380
blue or green screen, 355
costumes, 352
designing a world, 352
examples for discussion, 350–352
make-up and hairdressing, 353
models, 355
moods, 353
palette (colors), 353
proposing a design, 354
questionnaire for, 354
showing ideas, 352
sound, 352
walls, furniture, practical lamps, 353–354
Production manager (PM), 392–393, 464
Production meeting, 356–374, 380
agreement on budget and schedule, 372
caveats, 372
expect the worst, 372
test it first, 372
cost flow and cost reporting, 373
crew contracts, 374
draft schedule, 356
acquisition on film, 364
postproduction, 367
sound, 367
testing and repairing equipment, 363
insurances, 373
production party, 374
production stills, 369
allocation of shooting time per scene, 371
emotional demand order, 371
key scenes and scheduling for
location order, 370
script order, 370
under- or overscheduling, 371–372
weather or other contingency coverage, 371
troubleshooting, 356
Production party, 374
Production stills, 369
Professional competency of directors, 6
Professional and student productions compared, 10–11
Professionals, 290
Progressive scan mode, 366
Projects
seeing with a moviemaker's eye, 70–95
for theme identification of directors, 27–29
Prokofiev, Sergei, 237
Propaganda and dialectics, 211–212, 245
Prosumer camcorders, 513
ProTools software, 367, 499, 545, 550
Proust, Marcel, 66
Providence (Resnais), 196, 198
Psycho (Hitchcock), 199, 226, 541
Psychoacoustics, 546
Psychotherapy, 27
Public or third party liability, 373
Pudovkin's categories of juxtaposition, 52, 53
Pull-down mode, 504
Pulp Fiction (Tarantino), 84, 160, 201
Punctuality, 289
Q
Quality of the edited piece, 478–479
Que Viva Mexico (Eisenstein), 73
Questionnaire for production design, 354
Quinn, Declan, 419
R
Rabiger, Michael
Developing Story Ideas, 27
Directing the Documentary 2nd Edition, 69, 482, 597
Rabiger, Paul, 539
Radford, Michael, 34
Ramis, Harold, 223
Raw materials in story idea development, 34–39
Ray, Satyajit, 196
Rea, Peter and David K. Irving, Producing and Directing the Short Film and Video, 239
Reader's scripts, 131 Reading, 15
Reading from script in auditions, 274
Real and subjective time, 223
Realistic versus non-realistic presentation, 13–15
Rear Window (Hitchcock), 199
Recording requirements, 455–457
Regional film production, 166–168
Rehearsals, 249, 265, 319–327, 378–379
beats and dramatic units, 324
before the camera rolls, 433–436
blocking, 346
blocking and first rehearsal, 434–435
cast research, 320
characters' background development, 323
directing by asking questions, 321
director as active observer, 345
documentary coverage of fiction film, 69
dress, 436
dry run, 436
first meeting, 320
first setup and lineup, 434
first walk through, 434, 435–436
for inexperienced casts, 162
learning lines, 321
lighting with stan-ins, 435
negative traits, 320
for non-professional actors, 11, 12
note taking, 321
one scene at a time, 324
one-on-one work with actors, 323–324
onscreen length and maintaining time, 348
placing marks, 435
planning and scheduling, 320
preparation for, 263
problems in, 311
rigging the stage, 434
sound, 556
space for, 339
thematic purpose focus, 322–323
top-level problems, 324
trial movie, 349
see also Preparing a scene
Reisz, Karel, 160
Relatedness, 428
separating or integrating by shot, 403–404
Relaxed acting, 13 Release prints, 498
Release script, 86
Religious texts, 218
Renoir, Jean, 240
Repulsion (Polanski), 225, 226
Researching to be a storyteller, 66–67
Resnais, Alain, 12, 196, 198, 214, 220, 221
Resources, monitoring, 477–478
Resumes, 600
Retrograde time, 223
Retrospective view, 35
Return of the Native, The (Gold), 348
Reverberation, 452
Revolution, 176
Rhys, Jean, Wide Sargasso Sea, The, 161
Rhythm, 64
visual, 73
Rhythmic interplay, 525
Rhythmic patterns, 64
Rhythmic sound design, 235–236
Richardson, Lucy, 352
Richardson, Robert, Literature and Film, 204
Richardson, Tony, 198
Rigging the stage, 434
Riso, Don Richard and Russ Hudson, Personality Types, 175
Rivette, Jacques, 234
Rodriguez, Robert, 128
Roeg, Nicholas, 119, 221, 237, 402
Roemer, Michael, Telling Stories: Postmodernism and the Invalidation of Traditional Narrative, 191, 216
Roll camera. See Shooting
Romantic entanglements, 289
Romeo and Juliet (Shakespeare), 161
Roommates (Yates), 347
Roosevelt, Franklin D., 282
Rosenbaum, Jonathan, 223
Rosenblum, Ralph, When the Shooting Stops … the Cutting Begins, 495, 526
Rosi, Francesco, 11
Roud, Richard, Jean-Luc Godard, 241
Round and flat characters, 229–230
Rousseau, Jean-Pierre, 240
Rowlands, Gena, 165
Run camera, 436
see also Shooting
Run through, 467
Running lines, 435
S
Safety copies, 557
Salinger, J.D., Catcher in the Rye, The, 160
Salvatore Giuliano (Rosi), 11
Sanders, Samantha, 365
Sartre, Jean-Paul, 285
Saura, Carlos, 196
Savage Eye, The (Strick), 229
Scene breakdown. See Script breakdown
Scene dialectics, 481
Scene writing assessment form, 617–620
Scene-writing exercises, 182–187
see also Screenwriting; Writing process
Scene/setup/take system, 438
Schaffer, Peter, 86
Schaffner, Franklin, 208
Schedule for production, 356, 372
Scheduling the shoot, 369–372, 431–432, 484
allocation of shooting time per scene, 371
emotional demand order, 371
key scenes and scheduling for performances, 370–371
location order, 370
script order, 370
under- or overscheduling, 371–372
weather or other contingency coverage, 371
Schindler's List (Spielberg), 15, 36, 208
Schlesinger, John, 221
Schöndorff, Volker, 196 (or Schlondorff • •)
Schygulla, Hanna, 166
Sci-fi films, 208
Scorsese, Martin, 59, 224, 228
Screen direction and angles, 60–63
abstraction, 63
authorial point of view, 58–59
pan shots, 51
static position, 50
tilt shots, 51
zooming, 51
concerned observer and storyteller, 54–55
duration, rhythm, and concentration, 64
brief shots, 49
close shots, 50
wide shots, 50
the actor and the acted upon, 57–58
crossing the line or scene axis, 57
screen direction and angles, 60–63
changing screen direction, 60–61
different angles on the same action, 61–63
subjectivity and objectivity, 63
subtext, 58
shot denotation and connotation, 58
shot point of view, 58
transitions and transitional devices, 65
traveling camera movements, 51
crab dollying, 51
craning, 51
dollying, tracking, or trucking, 51
unacceptable point of view, 59–60
see also Screen language
see also Screen grammar
seeing with a moviemaker's eye, four study projects, 70–95, 121–122
shooting projects, 96–120, 122–123
see also Story idea development
criticism of, 127
difficulty of reading, 128–129
expanding and collapsing, 170
premise, 142
treatment, 142
readings of, 158
see also Screenwriting; Script interpretation
Screenwriters, collaboration with, 127
Screenwriter's Forum, 144
behavior versus dialogue, 133–134
characters “doing or getting,” 134–135
conflict, growth, and change, 136–137
dynamic character definition, 135–136
metaphors and symbols, 140–141
plot, 139
plot points, 140
static character definition, 135
cost of, 10
difficulty of reading scripts, 128–129
directing from one's own, 127–129
premise, 142
treatment, 142
open versus closed scripts, 133
preparing to interpret a text, 132
resources for, 144
script form confusions, 131–132
split page or TV screenplay format, 131, 154
standard script forms, 129–132
trap for the unwary, 131
Web sites, 144
workshops, 144
see also Scene-writing exercises; Screenplays; Script interpretation; Writing process
Script breakdown, 420–432, 484
axes or lines of tension, 427
crossing the scene axis, 428–429
movements that lead to regrouping, 429–430
no rules, only awareness, 428
relatedness, 428
sightlines and lines of tension, 428
subjective and objective, 427–428
floor plan and storyboard, 423–425
script breakdown, 425
crib sheets, 431
in movement, 430
as refreshment, 430
keeping track, 432
Script interpretation, 70, 253–265, 375, 378
ambivalence or behavioral contradictions, 255
breakdown or crossplot, 254, 263, 264
displacement principle, 255
establishing characters and motives, 255
fatal flaw: generalized interpretation, 263
first impressions, 253
premise or thematic purpose, 256
rehearsal preparation, 263
silent film action, 254
subtexts, 254
three-act structure, 256
see also Screenplays; Screenwriting
Script order, 370
Script Supervising and Film Continuity (Miller), 459
Script supervisor (continuity supervisor), 390–391, 432, 446, 487
Script supervisor reports, 448
Script supervisor's positioning, 462
Scripted scene compared with film outcome, 85–87
Scriptwriting. See Screenwriting
Search-motivated camera movement, 50
Secular narrative, 176
Security spyglass, 411
Seeing with a moviemaker's eye, four study projects, 70–95, 121–122
project 5–1: picture composition analysis, 70–77
form and function, 77
internal and external composition, 75–77
strategy for study, 71
visual rhythm, 73
project 5–2: editing analysis, 77–85
analysis format, 78
character and camera blocking, 85
fiction and the documentary, 85
first viewing, 78
point of view and blocking, 84–85
project 5–3: scripted scene compared with
comparison, 87
study of film version, 87
study materials, 86
study of original, 86
project 5–4: lighting analysis, 87–95
Self-assessment, 567
Self-effacing storyteller, 193
Self-evaluation, 10
Self-help, 577
Self-inventory project, 28
Self-knowledge, 7
Self-recognition, 27
Semester in LA program, 146, 593
Sennheiser, 454
Sensory overload in directors, 463–464
September 11, 2001, attacks, 8, 51, 209
Sequence transitions, overlap cut, 530–531
Sets, wardrobe, props insurance, 373
Setup and lineup, 434
Setup and take numbers, 438–439
Seventh Seal, The (Bergman), 73, 234
Shakespeare, William, 592
Hamlet, 278
Romeo and Juliet, 161
Sheriff of Fractured Jaw, The (Walsh), 547
Shoeps, 454
Shohan, Naomi, 351
countdown to shooting, 443, 445
starting without clapper, 446
keeping track of what's shot, 448–449
blocking changes, 448
director, script supervisor, and continuity reports, 448
looking through the camera, 474–475
monitoring progress, 477–483, 487
ceding control, 482
cost reports, 483
“cut to seagulls,” 477
dramatic and technical quality, 478–479
fulfilling authorship intentions, 479–481, 487
measuring progress, 481
moving beyond realism, 481–482
pickup shots, 447
planning for, 460
printing the take, 447
problems in, 311
camera log, 440
double-system recording, 439
flow chart for film production, 442
flow chart for video production, 445
sound recorder log, 441
shot and scene identification, 437–439
setup and take numbers, 438–439
speed of, 464
wrapping for the day, 449–450, 476
see also Mise en scéne
Shooting projects, 96–120, 122–123
developing abilities, 97
exploring the basics, 96
project 6-1: going and returning techniques, 97–104
project 6-2: character study, 104–107
project 6-3: location exploitation, 107–110
project 6-4: two-character dialogue scene, 110–114
project 6-5: authorship through
project 6-6: parallel storytelling, 118–120
Short Budget Estimate Form, 357–361
and beginners, 127
Short stories, 159
Short-take method, 403
Shortcuts (Altman), 84
Shot and scene identification, 437–439
Shots
connotation, 58
point of view, 58
reaction, 469
setting up, 468
Shyamalan, M. Night, 196
Side coaching, 469
Sightlines and lines of tension, 427, 428
Significance of the visible, 204–205, 244
Signifying by actors, 13
Silhouette, 94
Simple narrative, 194
Simplicity in filming, 404, 419
Single system video, 443
Sinise, Gary, 319
16 mm film, 364
Sixth Sense (Shyamalan), 196
65 mm Imax, 5
Skelton, Red, 208
Sketch artists, 354
Skills for scene writing, 182–183
Slacker (Linklater), 216
Slapstick comedy, 14
Slingblade (Thornton), 84
Smart slate, 457
Social change, 208
Social science and social history for story ideas, 38–39
Social skills, 7
Social times, 471
Soft lighting, 90
Soft textured background, 414
for composers, 539
for editing, 489, 496–497, 503
Sony CineAlta high-definition video camera, 5, 6, 366
Sony DSR-25, 368
Sony DV camera, 366
Sophie's Choice (Pakula), 195
Soul Food (Tillman and Teitel), 25
Sound, 5, 147, 154, 352, 546–557, 564
atmospheres and background sound, 552
comparative levels, 556
considerations for, 512
dialogue tracks and the problem of
diegetic (realistic), 235
film mixes and TV transmission, 557
Foley stage and recreating sync sound effects, 547–548
juxtaposing, 52
laying music tracks, 551
music and effects tracks, 557
narration or voice-over, 550
non-diegetic, 237
post-synchronizing dialogue, 547
premixing, 555
procedures in sound mix, 548–550
rehearsing, 556
safety copies, 557
traditional mix chart, 552–555
as transitional device, 65
see also Composers; Location sound; Music; Sound design
Sound design, 235–236, 402, 545
discussions, 546
textural design, 235
Sound dissolves, 553
Sound editing. See Sound
Sound editors, 493
Sound effects (FX), 408
Sound effects as scene elision, 531
Sound Ideas, 548
Sound libraries, 548
Sound mix engineers, 493
Sound mix. See Sound
Sound modulations, 552
Sound perspective, 454
Sound source to microphone distances, 456
Sound track evolution, 508–509
Sound-proof casing, 456
rehearsal, 339
significance of, 341
Special effects, 399
Special marks in life, 26
Speed compromises for the camera, 418
Spelling checks, 149
Spielberg, Steven, 15, 36, 208, 228
Spiritual beliefs, 205
Split page or TV screenplay format, 78, 79, 131, 154
Sprocket holes, 557
Stagecoach (Ford), 74
Standard screenplay forms, 129–132
Stanislavsky, Konstantin, 14, 48, 256
Star Wars (Lucas), 18, 208, 228
Static character definition, 135
Static position, 50
Steadicam (trademark), 364, 402, 419
Steiger, Rod, 319
Steinberg Cubase, 539
Step outline, 141–142, 153, 169, 170, 253
Still photographs, 369
Stock characterizations, 15
Stone, Oliver, 211
Short versus long takes, 238–239
Story of Adéle H., The (Truffaut), 27, 196
Story idea development, 31–40, 42–43, 169–181, 190
basic stories in fiction, 170–174
character development problems, 174–175
displacement and transformation, 39–40
ethics of representation, 177–179
expanding and collapsing the screenplay, 170
fundraising and writing the prospectus, 179–181, 190
childhood stories, 38
dreams, 38
myths and legends, 36
newspapers, 35
personal journal, 35
social science and social history, 38–39
researching to be a storyteller, 66–67
writing modes, 31
Story line or editing analysis form, 258, 259
Storyboard, 73, 98, 100, 423–425
Storyteller, 54–55, 233, 245, 346, 405–406, 427, 482–483
Storytelling, parallel, 118–120
Streep, Meryl, 319
Streetcar Named Desire, A (Kazan), 86
Streetcar Named Desire, A (Williams), 86
Strick, Joseph, 229
Stroszek (Herzog), 269
Structure of a film, 215–219, 245–246
Student and professional productions compared, 10–11
Studio executives, 144
Studio systems, 5
Stunt persons, 447
see also Form
Stylized performances, 229–230
Stylized worlds, 225–227, 246–247
fully stylized, 227
occasionally stylized, 226–227
Stylizing dramatic material, 13
Subject-motivated camera movement, 50
Subject-to-subject axis, 55, 84
Subjective or objective camera presense, 403, 427–428
Subjectivity and objectivity, 63, 212
Subjects for screenplays, 127–128, 375, 598
Subjects to avoid for story ideas, 39, 128
Subsidiary characters' points of view, 203
Subtexts, 58, 244, 254, 332, 333–335, 344, 470–480
Sundance Film Festival, 5, 128
Superficial action, 148
Supernatural forces, 23
Superobjective, 256
Support groups, 34
Survival film, 213
Suspicion (Hitchcock), 542
Sync coding film, 502
Sync points, 643
Syncing dailies, 500
Synecdoche, 63
Syntax, 138
T
Table editing-machines, 496, 504, 508, 509
Tailoring in sound mixing, 555–556
“Tall tale” convention, 194
Tampere Polytechnic Institute in Finland, 458
Tanner, Alain, 12, 163, 164, 200, 221, 238, 275
Tarantino, Quentin, 84, 160, 201
Taste of Cherry (Kiarostami), 11
Taste of Honey, A (Richardson), 198
Tati, 208
Taxi Driver (Scorsese), 59, 228
Technique, 97
Technology and learning by experiment, 3, 4, 9
Teitel, Bob, 25
Telephoto angle of acceptance, 411, 412, 413, 414
Telescope, 411
Television, 596
European, 391
Television screenplay format, 78, 79, 131
Television transmission, 557
Television westerns, 542
Tell Them Willy Boy is Here (Polonsky), 237
Telling Stories: Postmodernism and the Invalidation of Traditional Narrative, (Roemer), 191, 216
Tension, 286
Terence, 320
Terra Trema, La (Visconti), 11
Teshigahara, Hiroshi, 237
Tess (Polansky), 237
Test it first, 372
Testing and repairing equipment, 363, 368
Testing with a scratch cast, 157–158
Text exercises. See Learning about acting
Textural sound design, 235
Thackeray, William, Barry Lyndon, 350, 351
and film acting compared, 278–279
filmed, 151
Theater community, 158
Thelma and Louise (Scott), 208
Thematic purpose, 218–219, 246, 256, 322–323, 336, 338–339
Theme identification of directors, 24–30, 43–44
life issues, 27
dream journal, 29
self-inventory, 28
Theory, 47
Theory and Technique of Playwriting (Lawson), 331, 3335
Therapists, 34
Therapy versus arts, 24
Third party property damage, 373
35 mm film, 4, 9, 10, 364, 416
Thirty-Six Dramatic Situations, The (Polti), 171, 172–173
Thom, Randy, 451
“Designing a Movie for Sound,” 235, 546
Thornton, Billy Bob, 84
Thought and will into action, 340–341
Three-act structure, 23, 108–109, 256, 330
Thumbnail sketches, 267
Tillman, George, Jr., 25
Tilt shots, 51
continuous time, 223
expanded, 222
linear time, 220
nonlinear time and the conditional tense, 221
nonlinear time and the future, 220–221
nonlinear time and the past, 220
parallel, 223
real and subjective time, 223
retrograde time, 223
time loops, 223
Time for Drunken Horses, A (Ghobadi), 11
Time loops, 223
NTSC drop frame and non-drop frame, 513–514
Timed rolls, 510
Timing and continuity, 461
Tin Drum, The (Schöndorff), 196
To Kill a Mockingbird (Mulligan), 197
Tokyo Story (Ozu), 49, 222, 223
Toland, Gregg, 95
Tolkien, Lord of the Rings, 18
Tolstoy, Leo, Anna Karenina, 195, 206
Touch typing, 149
Tous les Garcons s'Appellent Patrick/All the Boys Are Called Patrick (Godard), 239
Tracking or trucking, 51
Trade journals, 592
Traditional mix chart, 552–555
Tragedy, developmental curve for, 218
Transitions and transitional devices, 65
Traveling camera movements, 51
Traveling matte, 355
Treatment of screenplay, 142
Trial of Joan of Arc (Bresson), 270
Trial (Kafka), 229
Trial print, 498
Trial showing in editing, 535–536, 564
Trial (Welles), 229
Triangle Project, 146
Troell, Jan, 221
Troubleshooting, 356
Trucking, 51
Truffaut, Francois, 27, 156, 195, 196, 197, 228, 289, 386, 466
Tunnel vision, 39
Two Men and a Wardrobe/Dwaj Ludzie z Szafa (Polanski), 240, 594
Two-character dialogue scene project, 110–114
2001 (Kubrick), 228
Typecasting, 273
Typefaces, 129
Typing errors, 149
U
U-Matic, 511
Überfall/Accident/Police Report/Assault (Metzner), 240
UFVA. See University Film and Video Association
Umberto D (De Sica), 11
Umbrellas of Cherbourg, The (Demy), 228–229, 402
Unacceptable point of view, 59–60
Under- or overscheduling, 371–372
Union required insurances, 373
Unions, 558
University Film and Video Association (UFVA) affiliated film schools, 579–580
University of Southern California School of Cinema and Television, 177
Unpunctuality and commitment problems, 289
Unwanted location ambience, 453
Updike, John, 160
USB cables, 513
V
Values, embedded, 177
Van Dyke, Willard, 147
VanDerBeek, Stan, 222
Varda, Agnes, 222
Variations in points of view, 196
Variety, 592
VCR players, 599
Vehicle insurance, 373
Verbal action, 341
Verbal rhythms, 138
Vernacular speech, 138
VHS editing, 511
VHS tape, 513
Victimhood, 176
Video camera, Sony CineAlta high-definition, 5, 6
Video look and film look, 414, 416
see also Screenwriting; Writing process
flow chart for, 445
low-cost of, 4
versus film production, 3, 9–10, 414, 416
Video to film transfers, 366–367
Videotape, 5
Videotaping rehearsals, 324–326
Vinterberg, Thomas, 5, 146, 148
Violence and entertainment, 8
Visconti, Luchino, 11
Visible, significance of the, 204–205, 244
determinism versus free will, 211
of fiction script, 125
of life, 26
Visual and aural editing rhythms, 525–526
Visual motifs, 237
Visual rhythm, 73
VO. See Voice over
Vocabulary, 138
Vogler, Christopher, Writer's Journey, The: Mythic Structure for Storytellers and Screenwriters, 174
Voice over (VO), 54, 106, 107, 550
“Vow of Chastity” (Dogme Group), 147–148
W
Waking Life (Linklater), 5, 235
Walker, Roy, 350
Wall Street (Stone), 211
Walls, furniture, practical lamps, 353–354
Walsh, Raoul, 547
Wardrobe and props, 399–400, 460–461
Weather or other contingency coverage, 371
Web sites, 363, 451, 452, 500, 548, 575, 579, 580, 591, 592, 593, 596, 599, 600, 649–650
Weir, Peter, 78
Welles, Orson, 95, 201, 229, 256, 417
Wenders, Wim, 86, 95, 140, 196, 200, 234, 238, 402
West, Mae, 208
West Side Story (Bernstein), 161
Weston, Edward, 147
When the Shooting Stops … the Cutting Begins (Rosenblum), 495
Where Is the Friend's House? (Kiarostami), 11
White Balloon, The (Panahi), 11, 222–223
Who's Afraid of Virginia Woolf? (Albee), 86
Who's Afraid of Virginia Woolf? (Nichols), 86
Wide angle of acceptance, 411, 413, 414, 415
Wide Sargasso Sea, The (Rhys), 161
Wide shots, 50
Widmer, Jörg, 402
Wiene, Robert, 228
Wild Child, The (Truffaut), 27
Williams, Tennessee, 86
Window dub (linear video), 502–503, 514
Wings of Desire (Wenders), 95, 238
Withdrawal, 289
Witness (Weir), 78
Witnessing, 54
Wizard of Oz, The (Fleming), 196, 219, 228
Woman in the Dunes (Teshigahara), 237
Woman is a Woman, A (Godard), 208, 209
Woman Under the Influence, A (Cassavetes), 163, 164–165
Working environment, 3
Workprint, 479
World Soundscape Project, 458
Wrapping for the day, 449–450, 476
Writer-director (hyphenate), 145–146
Writers' groups, 158
Writers Guild of America, 599
Writer's Journey, The: Mythic Structure for Storytellers and Screenwriters (Vogler), 174
Writing manuals, 150
Writing modes, 31
blocks, 150
character creation, 151
credibility, minimizing, and story tension, 155–156
directing from your own screenplay, 156
Dogme Group and creative limitation, 146–149
entrepreneurial producers, 145–146
finishing the project, 158
form follows function, 153
idea clustering, 150
mood creation, 151
screenwriting defined, 149–152
step outline, 153
testing with a scratch cast, 157–158
touch typing, 149
writer-director (hyphenate), 145–146
see also Actor-centered films; Adaptation from literature; Scene writing exercises; Screenwriting; Story idea development; Video novel
Writing and story development, 125–190
see also Story idea development; Writing process
Wuthering Heights (Bronte), 195
Z
Zaxcom Deva II, 454
Zed and Two Noughts, A (Greenaway), 216, 229
Zemeckis, Robert, 218
Zooming, 51
Zooming versus dollying into close up, 412