When it comes to film directing, Jenn Page has directed several Independent feature films. Having worked with some of Hollywood’s top talent, she stopped by Filmmaking Stuff to share some lessons learned as a director.
When it comes to film directing, you are completely responsible for everything on your movie set, one way or another. Everything. And of all that you deal with, the hardest part of film directing is not getting final cut of your baby…
You have put in all the work to make the writer’s script the best it can be, you have hired the most talented cast possible (or even more likely you’ve been handed a cast that you didn’t pick and have had to work hard to make them brilliant), you’ve dealt with numerous fires on set and managed to get through without anyone dying.
Film Directing: The First Six Lessons
Unless you are funding the movie, music video, TV show or web series yourself – Or if you have Ron Howard status, you are not getting final cut. Even if the paper says you are getting final cut, you are not.
Lesson 1 – Know What You Want
Only shoot exactly what you want to be edited into the film. Don’t get the ‘just in-case’ shot or ‘since we have it here’ shot. Know exactly how you want the scene to be edited and only shoot that. And if you don’t know how to edit the scene, it is time to learn because you need to be editing on set, in your head.
That takes confidence in your work and decisions, but film directing is all about confidence (even when you are wrong). If you have any say in the matter, surround yourself with talent (cast & crew) and listen to their advice, needs and opinions. But in the end it is YOUR name on the project so you have to take responsibility from minute one (and minute one is choosing the right script) and never stop taking responsibility.
Lesson 2 – Be Diplomatic On Set
Film directing is harsh when you can’t choose your team, and you get an argumentative personality on set. It really halts production to have to constantly explain your reasoning to your DP or Producers. It also kills your morale and passion for the film. As soon as you start trying to please the producer (or DP) to keep the peace, you get stuck with a mishmash of ideas that are half yours and half someone else’s and not strong in any voice.
You will always end up with a boring movie if there is no clear point of view.
Lesson 3 – Radiate Optimism
Maybe you’ve hit day 12 with 6 more days to go, and you would rather tell the producer to stick the camera where the sun doesn’t shine (while you go find the jelly donuts) than continue to feel disrespected. You are not the first director to decide that you want to quit now and show them how much they needed you. However, the one steady truth remains: your name will be on the film or tarnished by giving up, so you can’t. You have to be the one person on set who stays positive, motivated, and keeps marching through no matter how ridiculous the set becomes.
When it comes to director/producer and director/DP relationships, no matter what is happening on set, you need to be the one making the choices. So even when your DP insists on a close-up, but you know you don’t want one in that moment then you have to trust your gut and move on. If you film that close-up to make him happy, I guarantee the producers will want to use that shot when it’s time to edit. Don’t even give them the opportunity.
Lesson 4 – Go Easy On Coverage
When we are first starting out as directors, we often think coverage means shooting anything and everything we can in a scene. Master, medium, medium closeup, closeup, extreme close up, try from this angle, maybe put the camera over here and shoot from this angle… The list could go on and on. You don’t need all that. Stop wasting precious time on set. When you mentally edit the film as you are going, you know exactly what you need to make the scene be impactful.
Many of you think that you have done this in advance with your storyboards, but even if you have had the rare luxury of a storyboard artist on your film you will rarely have the luxury of time to shoot everything as you planned it. Until you are making big studio films where you get to work on one scene all day, you are in the land of independent features where your storyboards, shot lists, and any thoughts of how the day will go are thrown out the window.
Lesson 5 – Get The Performance
The digital age has created an “It’s not film” mentality. However, we should always shoot like we are shooting film. Make specific choices and don’t waste resources shooting too much. Okay, okay, I am the first person to say “just keep rolling” when on set, but not because I am not sure about what I want, quite the opposite. I keep rolling so my actors can keep working without the break in momentum.
When an actor is in the zone, calling cut can actually be detrimental.
Letting the camera roll long enough to get the performance is still editing. You know you are close to getting the performance you need from them so you keep letting them move through it until the scene is nailed. Now that you have the performance and angle you need, you can move on. There’s no need to get anything else, no matter how much the DP might really want another take for himself. You got what you need, move on.
Lesson 6 – Remember Good Collaborators
I have worked with some of the most giving, talented, open-minded, collaborative, hard-working people on the planet. Producers, DP’s, writers, gaffers, grips, sound mixers, actors, and beyond. I have people that I just adore and will take with me to the top of the mountain. Those are the people you want to have around you on every set, even if you can only get one in, having that person there to back your decisions or just be a lunch buddy, will help make you a better (more relaxed) director.
If you are lucky enough to find a DP that you work well with and they are also an editor, then you are really in for a treat! The two of you will move through shots like warm butter. I rarely have to deal with anyone who isn’t a team player, but it does happen. When it comes to film directing, there is never enough time. So being able to edit while you shoot will actually give you lost time back. Good luck with your film directing.
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Jenn Page has been lucky enough to direct several feature films, working with some of Hollywood’s top talent. The mission of her production company Luminave Films, is to create great projects for women to star in, produce, direct, and even crew on. Since it’s inception she has directed, written, and or produced nearly a 100 projects including web series, music videos, and award-winning profit-generating short films for, by, and starring women. Click here to find out more about Jenn Page.