1. Rabiger, M. Directing : film techniques and aesthetics, (p. 385-400). 3rd ed. Boston : Focal Press, 2003.
Before I read this article, I have learnt some knowledge about the structure of crew members and division of labor. I have to admit that the crew is really similar to a sophisticated instrument. Shooting a film is a challenging and big task for crew members. Only can each element operate smoothly, the whole crew will go well as well. No one is able to responsible for actor, director, cinematographer, editor etc by his or her own effort, because filming is a kind of art that needs cooperation within a group.
One of the first points in the reading that makes me impressive is Rabiger said everyone you recruit must understand and accept your commitments to the project and to the importance of drama, which is first and foremost. Actually, the situation that the same crews appear in two different movies will never happen. The director and producer always select the crew member who have a good cooperation before. It doesn’t have to spend too much hours communicating about trivial details or extra stuff. According to Rabiger’s argument, a good director is exact leader who possess of a lively mind, broadly knowledge in the arts and other traits like these during the film production. As I know, every director has their own way of working. For different films, a director has their various ways to deal with and direct a film even if the film is directed by the same director. A director who comes from art director tends to concentrate more on artistic expression, however, assign others to take responsibility of shooting techniques. The well-known director Alfred Hitchcock is exactly an good example.
Another point I picked up and excited me is the figure of crew structure. A producer holds total power over other positions including the director. However, a director is the exact leader when implementing a film. The audience always expect that director can play full to exert his or her creativity to shoot a film. Besides, only should everyone take care of their responsibilities and not to interrupt each other’s areas, the crew would function well. Because in a well-established crew, everybody is professional in their areas and can constantly strive for excellence. Only in this way, the final film would be perfect under the director’s leadership.
2. Mackendrick, A. On film-making: an introduction to the craft of the director, (p. 1790194). London:Faber and Faber, 2004.
Actors are the central to a film, because they are the main body that will be presented on the screen. Director and actors have a close relationship to work for achieving better performance.
Antonioni argues that actor does not need to understand, he needs to be. To some extent I do not think this sentence he said is wrong. Excellent actors expect to act their roles in an immersive way to show protagonist or key support’s characteristics and behavioral patterns. However,
The first point I took from reading is that the director is an interpretive artist and is often called upon to be critical and self-consciously analytical in his approach. The responsibility that a director can take is trying to lead the performances of the actors and the development of the story, without being overly used. Every actor has their own performing ways to be the role. Directors must have absolute respect to the actor, sympathize as well as understand actors’ job. Actually, to some extent, actors are not only the people who show themselves out, are also the main reason that a story is worth being into a film. An actor who are intelligent and instinct do not need too much critical and intellectual comprehension.
Another tip I chose is that theater is predominantly an art of the spoken word, and in an effective stage performance a skillful actor can, through shifts of intonation, phasing and subtle timing in the delivery, reveal the subtext of his lines. It has to admit that a good stage performer is always a good screen actor, but there are difference between stage and film of acting. Many characters have been played over and over, so actor is so familiar with the role he or she plays. However, stage art is a kind of live performance that has only-one-chance to play a role. If there is something wrong with the performance, actors need to fix it immediately based on many years of experience and try not to let the audience be aware of. As for the film performance, the director and producer are looking for the person who fits the world they are creating and no actors has played it before, therefore there is no reference point. So director and editor are able to deal with subtle relationship between roles and polish characters artistically further. Additionally, performance in a film doesn’t rely totally on actors’ ability and experience, sometimes depends on editing, lighting or other methods to make it more fluent.
Gross, S & Ward, W 2007, Digital Moviemaking, Wadsworth Publishing, United States of America