Category Archives: directing a film

Read best of Interviews with Top Hollywood Directors, DPs, Editors, Film Festival Directors

Read the best of Interviews with Top Hollywood Talent and New Film Festivals from around the world:

Go to: https://matthewtoffolo.com/

Interview with High-Rise Director Ben Wheatley:
Interview with Director Ben Wheatley (HIGH-RISE)

Interview with Trent Opaloch: DP of Captain America: Civil War:
Interview with Cinematographer Trent Opaloch (Captain America: Civil War)

Interview with Julio Macat: DP of Home Alone & Wedding Crashers:
Interview with Cinematographer Julio Macat (Home Alone, Wedding Crashers, The Boss)

Interview with Oscar Winner Alan Heim: Editor of All That Jazz & Network:
Interview with Oscar Winning Editor Alan Heim (All That Jazz, Network)

Interview with Cristiano Donzeli: Storyboard Artist Ben-Hur & The Young Messiah:
Interview with Storyboard Artist Cristiano Donzelli (Ben-Hur, The Young Messiah)

Interview with Adam Kirley: Stunt Performer Batman Begins & Casino Royale:
Interview with Stunt Performer Adam Kirley (Batman Begins, Casino Royale, Grimsby)

Interview with Student Cuts Film Festival:
Interview with Festival Director Jaka Polutnik (Student Cuts Film Festival)

Interview with Revelation Perth Film Festival:
Interview with Festival Director Richard Sowada (Revelation Perth International Film Festival)

Interview with Garifuna International Indigenous Film Festival:
Interview with Festival Director Freda Sideroff (Garifuna International Indigenous Film Festival)

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Read Interviews with Professional Storyboard Artists

Read interviews with some of the most talented storyboard artists in the world today. Artists who helped design the shots for some of the most iconic films in the last 10 years, including: Star Wars: Episode VII, The Dark Knight, and the Harry Potter movies.

Interview with Storyboard Artist Cristiano Donzelli (Ben-Hur, The Young Messiah):
Interview with Storyboard Artist Cristiano Donzelli (Ben-Hur, The Young Messiah)

From Cristiano: I’m very passionate about movies, so for me it’s not just a job, it’s more than that. After weeks of drawing the scenes of a film, developing it with the director and seeing it growing little by little, it becomes part of you. So each film I worked for, has been a unique experience, so I’m equally proud of all of them.

Interview with Storyboard Artist Stephen Forrest-Smith (Star Wars, Harry Potter, The Dark Knight):
Interview with Storyboard Artist Stephen Forrest-Smith (Star Wars, Harry Potter, The Dark Knight)

From Stephen: It’s always a strange feeling watching the films that I’ve worked on. Its quite a long time between finishing on them and seeing them in the cinema. I might have worked on two or three films in-between seeing the finished movie. This means I tend to sit there trying to remember what i drew for which part of the movie and if anything made it! Sometimes a sequence will run out just as it was storyboarded then you get a feeling of “deja vu”. Other times its nice to sit back and watch the response of the audience to see if a moment works or not.

Interview with Storyboard Artist Kurt Van der Basch (Star Wars Episodes VII and VIII):
Interview with Storyboard Artist Kurt Van der Basch (Star Wars Episodes VII and VIII)

From Kurt: The storyboard artist can often be among the first crew mambers to start. I did a long job this past year where I was one of the first 3 people hired then slowly more and more crew joined the production. Early on, there’s generally a list of the most complicated scenes which the production need storyboarded for budgeting and planning purposes listed from highest priority to least. In these discussions the 1st Assistant Director is a key player and as the production goes on, it’s the 1st A.D. who always knows best what’s most urgent and what the latest developments are.

Interview by Matthew Toffolo at http://www.matthewtoffolo.com

Read this week’s top interviews from top Hollywood Film Talent

Read new interviews from some of the top film crew talents working on Hollywood Film Sets today. Insightful, entertaining, and educational interviews. Emmy Winners. Oscar Winners. Director of Photographers. Production Designers. Special Effects. Editor. Costume Designers. Directors. Producers.

Interview with Cinematographer Jeff Cutter (10 Cloverfield Lane)
Interview with Cinematographer Jeff Cutter (10 Cloverfield Lane)

Interview with Special Effects Coordinator Donnie Dean (Emmy Winner – American Horror Story)
Interview with Special Effects Coordinator Donnie Dean (Emmy Winner – American Horror Story)

Interview with Cinematographer Natasha Braier (The Neon Demon, The Rover)
Interview with Cinematographer Natasha Braier (The Neon Demon, The Rover)

Interview with Editor Jake Roberts (Oscar Nominated film BROOKLYN)
Interview with Editor Jake Roberts (Oscar Nominated film BROOKLYN)

Interview with Cinematographer Mitesh Mirchandani (NEERJA)
Interview with Cinematographer Mitesh Mirchandani (NEERJA)

Interview with Director Rob Hawk
Interview with Director Rob Hawk

Interview with Production Designer Jane Musky (When Harry Met Sally…, Ghost)
Interview with Production Designer Jane Musky (When Harry Met Sally…, Ghost)

Interview with Director/Production Designer David Hackl (SAW Franchise)
Interview with Director/Production Designer David Hackl (SAW Franchise)

Interview with Costume Designer Linda Muir (The Witch, Bitten)
Interview with Costume Designer Linda Muir (The Witch, Bitten)

Read 100s of interviews:
http://matthewtoffolo.com/category/matthew-toffolo-wildsound/

Read Interviews from Top Film Crews working in Hollywood

Read interviews from some of the most talented people working in film today:

Interview with Oscar Nominated Production Designer Michael Corenblith:

Interview with Oscar Nominated Production Designer Michael Corenblith (Apollo 13, The Blind Side)

Interview with Star Wars Storyboard Artist Stephen Forrest Smith:

Interview with Storyboard Artist Stephen Forrest-Smith (Star Wars, Harry Potter, The Dark Knight)

Interview with Music Editor/Composer John M. Davis:

Interview with Music Editor/Composer John M. Davis (Pride and Prejudice and Zombies)

Interview with Line Producer Alton Walpole:

Interview with Line Producer Alton Walpole (Crazy Heart, The Spirit, Baraka)

Interview with Star Wars Stunt Performer James Cox:

Interview with Stunt Performer James Cox (Star Wars VII, The Dark Knight Rise)

Interview with Actor James Wallis:

Interview with Actor James Wallis (Shakespeare BASH’d)

Interview with Animator Matt Burniston:

Interview with Animator Matt Burniston (The Mega Plush – Winner Best Film January 2016 Film Festival)

Interview with Filmmaker Jordan Inconstant: 

Interview with filmmaker Jordan Inconstant (YO SOY PEDRO)

Interview with Filmmaker William Mussini:

Interview with Filmmaker William Mussini (F**KING WORLD)

THE DIRECTOR’S FIVE STAGES OF PRE-PRODUCTION

THE DIRECTOR’S FIVE STAGES OF PRE-PRODUCTION

-Scriptwriting
-Production Design
-Script Analysis
-Cinematography
-Rehearsal

SCRIPTWRITING
-Dissect the script and come up with gameplan
-Write down ideas for images for each scene
-Look for connections to your own past experiences

PRODUCTION DESIGN
-Scriptwriting answers the WHAT questions of the story;
Production Design answers the WHERE AND HOW
-The Director begins the prep process by having conferences with his or her Production Designer, explaining each scene of the script as he or she sees it
-Break down the script, answering: How long will it take, and how much will it cost?
-TWO TYPES OF VISUAL DESIGNS – PICTORIAL AND SEQUENTIAL
—-PICTORIAL: Set design, costumes, props, make-up, and any elements that are layered on top of a location and must by built, manufactured or otherwise obtained
—-SEQUENTIAL: Skills of the writer, Production Designer, Director, DOP and Editor
-Once locations are secured, the Director develops an overview of the film

SCRIPT ANALYSIS
-After the Director is totally prepared , and the script is in great shape and the locations are locked NOW it’s time to work out the shot-by-shot plan for each scene and really prepare to start Directing a Film.
-SHOT PLAN Size of the action, size of the shot, choice of lens and camera angle: HOW DO THEY ALL DETERMINE THE NARRATIVE QUALITY OF THE SCENE?
-What is the Director trying to express?

CINEMATOGRAPHY
-DOP’s major responsibilities are lighting, exposing the film, and executing the framing and camera movement determined by the Production Designer, Director and DOP
-It’s a good idea to show the DOP a visual source, illustrating what they’re after stylistically

REHEARSAL TIME
-It is the Director’s job to create an environment in which the actors can connect with their impulses and find the unexpected and unpredictable in their work together
-Even in rehearsals, place the frame around the actor – because it always changes the way a scene plays

For the Director, art of learning the craft is having a good sense of what will work before the camera rolls.

DIRECTOR’S JOB To evaluate what portion of the event you want to feature, and from which vantage point.

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Deadline: FEEDBACK Toronto Film Festival:
http://www.wildsound.ca/submityourfilm.html

– FULL FEEDBACK on your film from the audience. Garner an audience feedback video on your film.

DIRECTING A FILM. Tips to Film Directing from some top Movie Directors

Ideas to be a great Film Director!

Directing a film is the most intensely solitary and intensely collaborative experience you may ever have. On a psychological level, it’s about keeping your ego in perfect balance with your need for input, and your vision moving forward with your changing circumstances.

Whether you’re running your first independent-film casting call or into your millionth day of shooting, you may find some useful ideas here.

A great movie is about catching the audience on every level.

All the great film directors always say: Direct the stories that you know right now. Express yourself in the films. Put your personal vision in the films.

The main questions a Film Director must answer are:
1. Where do I put the camera?
2. What do I tell the actors?
3. What is the scene about?

David Mamet says that directing a film is about shooting a variety of unaffected shots and then cutting them together to effect a mood and feel.

True creativity is allowing your unconscious to be free.

The audience gets the idea – a house looks like a house.

KISS – Keep it simple, stupid

People look at the most overriding thing in the frame. Human perception goes to the most important thing.

Just be honest in making a movie. Then you’ll find that it’s fighting back against you and telling you how to write and shoot it.

IF YOU DON’T KNOW WHAT YOU WANT, HOW DO YOU KNOW WHEN YOU’RE DONE?

“The shots are all you have.”

Directing a film is like climbing a mountain. It’s frightening sometimes and it’s usually lonely but you don’t have to climb the whole mountain all at once.

Pick up people along the way who will be a part of your creative team, and you will be a part of theirs as well. That is 50% of Directing a Film

There are no minor decisions in movie making.

Always prepare the groundwork. See that it allows for the lucky accidents to happen. That’s what makes a first-rate movie.

The director is in charge of keeping the wheels turning. Handling the moods and egos, the politics and personalities, the insecurities of everyone on set.

It’s VALUABLE to have people who challenge you – search for the TRUTH

Tension never helps anything.

ASK YOURSELF:
Does the scene contribute to the overall theme?
Does it contribute to the storyline?
Is the storyline moving in an ever-increasing arc of tension and drama?

As as Director, it’s important to understand each and every line that’s in the script.

Good style is UNSEEN style. It is style that is FELT.

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“I know the first film I ever saw it must have been some time in 1924, when I was six or so… was Black Beauty. About a stallion. I still recall a sequence with fire. It was burning, I remember that vividly. And I remember too how it excited me, and how afterwards we bought the book of Black Beauty and how I learned the chapter on the fire by heart at that time I still hadn’t learned to read.”
– Ingmar Bergman

    * * * * *

What you do with the camera:
-Can make up for a deficient performance
-Can make a good performance better
-Can create mood
-Can create ugliness
-Can create beauty
-Can provide excitement
-Can capture the essence of the moment
-Can stop time
-Can define character
-Can provide exposition
-Can make a joke
-Can make a miracle
-Can tell a story

SHOOTING THE MOVIE

-Be prepared, organized and disciplined. Get body in mental shape.
-Relax in the morning. Do something different to get mind moving.

If your concentration breaks, you know something has gone wrong. Do another take.

A good day is a day the actors don’t get bored.

REVIEW THE DAY MENTALLY:
-Did you get what you wanted?
-Do you need additional coverage?
-Is there anything you want to reshoot?

All good work is self-revelation.

Making a movie is going through a series of battles. If you think you’ve won, you will only have to fight them over again.

    * * * * *

“Cinema is a matter of what’s in the frame and what’s out.”
– Martin Scorsese

    * * * * *

THE DIRECTOR’S JOB FOR DIRECTING A FILM

To care about and be responsible for every frame of every movie you make. To make the best possible movie you can make.

There’s a sensual satisfaction in working in close unions with strong, independent and creative people: actors, assistants, electrics, production staff, props, make-up, costume designers – all those personalities who populate the day and make it possible to get through.

You gradually build up the psychological situation piece by piece, using the camera to emphasize first one detail, then another. The point is to draw the audience right inside the situation, instead of leaving them to watch it from outside. And you can do this only by breaking the action up into details and cutting from one to the other, so that each detail is forced, in turn, on the attention of the audience, and reveals its psychological meaning.

If the camera is always in one position and you don’t cut, you will lose your power over the audience. They will watch the scene without really being involved in it. They won’t understand what the characters are feeling.

If the take is good, move on. Try to improve on something later, not something that doesn’t need it, or isn’t going to be any better.

Look for something that has style and visual energy.

Given time and freedom, the actors will fall naturally into their places, discovering when and where to move, and you will have your shot.

THE ESSENTIAL PRINCIPALS OF CINEMA HAVE TO DO WITH THE HUMAN NEED TO MASTER AND KNOW THE WORLD.

Think about the music and sound effects the moment you begin directing a film.

Directing a Film is not only creatively handling actors and interpreting the screenplay. It also includes the ability to complete a day’s work on time and on schedule. A director who is properly prepared allows for creativity, while planning for the inevitable problems.

A director who is able to think creatively while making instantaneous decisions based upon the pressures of production is a successful director.

“A movie is never finished, only abandoned.”
George Lucas

WORKING WITH YOUR CREW WHEN DIRECTING A FILM

-If you want professional reliability from your crew, you must first be a model of professionalism yourself.
-Trust your crew reasonably and they will rise to crisis selflessly

-Have meals and coffee breaks built predictably into the schedule
-Always maintain communication
-Keep abreast of developments
-During breaks, encourage discussion of the production
-Above all, encourage involvement
-Shooting should take place in as calm an atmosphere as possible
-A calm, respectful atmosphere is a necessity
-Choose colleagues carefully
-If you are sympathetic towards the crew’s problems, they will be generous when you want their help solving one of yours

DIRECTING THE CREW WHEN DIRECTING A FILM
-Scheduling and communication is a necessity before the shoot
-Make sure everyone knows and keeps to their area of responsibility
-Encourage moment-to-moment communication during the shoot
-Encourage the crew to act supportively towards the TALENT
-Encourage solidarity and maintain professionalism when there are internal disagreements

* * * * *
Deadline: FEEDBACK Toronto Film Festival:
http://www.wildsound.ca/submityourfilm.html

– FULL FEEDBACK on your film from the audience. Garner an audience feedback video on your film.