17 Practical Tips for Becoming a Successful Film Director
17 Practical Tips for Becoming a Successful Film Director
Buy a camera, or rent one, go shoot something. Anything, can be a 30 second commercial or a 5 second film. Congrats, you’re a director.
Are you a professional Director? Doubtful, but you are still a director. Keep working at it. Directing is just like any other craft and skill, you don’t just magically become good at it. The more you do it, the better you get. The better you get, the more popular you become and the more likely you are get hired to do something.
1. Work on commercials, shorts, shoot music videos for friends bands, or actively seek out a band you like and offer to do their video for free.
2. Any schmuck can pick up a camera and shoot something, then edit it with final cut or iMovie. But learn pacing, learn cinematography (not just lighting, but how to composite a shot), learn to move the camera and learn how certain moves affect you emotionally as an audience member.
3. Watch tons of films, review them, pick them apart. Find your favorite films and rip it to shreds, watch it over and over again. Watch how the production design and color grade make it look and feel, try to figure out why they decided to cut, or stay on a shot longer. Decide why the director chose the shots he did. 95% of what you do is choosing shots and casting actors.
Always have plates spinning, balls in motion, never let anything rest when you can do it.
4. Write, write, write, write and write. Every director is a writer, even if they don’t actively write, they still understand good storytelling and what goes into making a good story great. If you can’t figure out storytelling, you can’t be a director.
5. Pick up photography. Take photos everywhere. Learn to compose a good photo. Learn how colors affect each other. Learn how framing makes things stand out. Learn how to get depth of focus you want, learn how to get the image that you want in the camera before editing it.
6. Write down everything. Keep a journal. Write 3 pages (750 words) every morning when you first wake up. Use 750words.com if you’d like. Write about anything, just empty your soul and your brain to keep the good stuff filtered.
7. Take acting classes. Act in friends shorts and commercials. Act in some of your own. Learn to make a fool out of yourself in front of dozens of people.
8. Learn how to manage people, learn how to socialize with people. Learn how to think on your toes and always have an answer.
9. Learn how to have faith in yourself and trust your gut, learn when to admit you were wrong. Have confidence in yourself and your work. Don’t setup something you did by explaining why it’s bad.
Every director is a writer, even if they don’t actively write.
10. Create a social presence for yourself, don’t just make a twitter and post things about your cat. You are what you make yourself out to be. If you want to be considered a director, act like it online. Don’t make your twitter bio say “IT Manager by Day, Director by Night”
11. Learn everything, but don’t get good at anything to well, and don’t promote yourself as something else unless you want to be thought of that. If you promote yourself as an editor, and people see you as an editor, then the next project they have they will think of you as an editor and not a director. Don’t spend time developing a proxy career.
12. Network. Go to film festivals, attend networking events, network on twitter, gain followers. Network in real life, setup meetings and actually attend them, NEVER FLAKE. If you flake once, you leave a bad taste in peoples mouth.
13. Go out and live a life. Filmmaking and writing is recreating life, and you can’t create life if you don’t have one (I think Brad Bird said this, someone much smarter than I am did.)
14. Learn how the ad agency system works. Learn who makes decisions, learn why, learn how you can get involved.
Have confidence in yourself and your work. Don’t setup something you did by explaining why it’s bad.
15. Once you have some solid stuff put together (this will take plenty of time), put a reel together, then ship it out to agencies to try to get representation. Get an agent, get a manager, sign on at a commercial directing agency. Start marketing yourself as a director. Show off your reel.
16. Even once you have an agent, they may never get you work. No one cares more about your career than you, if you just sit around and do nothing, why should your agent work his ass off for you? Sure, they are taking 10%, but that other 90% is you, so it stands to reason that you should be doing 90% of the work trying to find you paying jobs.
17. Have a SICK work ethic. Always have plates spinning, balls in motion, never let anything rest when you can do it. Hope this helps. Go out and direct. Don’t wait for the magic directing fairy to come down and grant you three wishes. You’ll never get to where you go unless you start taking those first steps.
Go into this knowing that you are going to make really terrible stuff for 3, 4 or 5 years before the stuff you start making becomes great and looks like it would be on TV.
Never settle for anything less than perfect. Nothing will be perfect, but you can get as close to it as possible.
To become a Director is not so tough these days. All you need to do is just follow these proven 10 tips and you will achieve your goal.
Watch Movies
This is the ideal strategy if you need to watch how stories are told outwardly, and how the camera carries on to influence either. I think a characteristic conceived cinematographer or camera administrator, might have the capacity to focus on the picture and block out the sound easily.
Read Screenplays
The chief’s most essential errand is to interpret the expressions of the script into moving pictures. At times, particularly in film school, you may coordinate your screenplay, your creation. In any case, the truth of the business is that the division of work tends to relief out you to a position: the essayist composes, the maker produces, and the executive coordinates.
Learn Acting and the Actor’s Language
Learning acting is not a huge task, one also has acting skills inherited in them or they can possess such qualities by observing other actors. A standout amongst the most overwhelming parts of filmmaking is coordinating on-screen characters. One book that will help you on this segment of coordinating is Directing Actors: Creating Memorable Performances for Film and Television by Judith Weston.
Figure out How to Interact with People
You’re the chief of the ship, the pioneer of the team. You regulate numerous offices made up of numerous experts. Some have personalities, some are straightforward, some are awkward, some are essentially an agony in the butt. It’s an aspect of your responsibilities to unite everybody with a similar reason and to interact with them nicely.
Turned into A Master Storyteller
One approach to substantiate yourself and construct the certainty of financial specialists is to compose screenplays. Film coordinating is narrating, and you need to demonstrate that you have the standards of narrating down with the goal that makers can wager on you.
Compose Screenplays
Begin with composing screenplays. This will increase your creativity and thinking the process will get enhanced too.
Stay aware of the Trades
This one is more critical than most would suspect. These days, ability alone is insufficient. You need to know how Hollywood capacities from a business position so you can enhance your odds of progress. Perusing exchange distributions is the most ideal approach to finish this.
Begin Building Your Portfolio Today
So also, to Become A Master Storyteller and Write Screenplays above, you need to discover approaches to persuade others that you are great at what you do. Having screenplays to show is one way, however executives truly need to concentrate on demonstrating their movies. You need to safeguard all that you shoot, and you ought to shoot as regularly as possible.
Read comic books
Comic books are incredible for future executives and cinematographers since they are significantly visual. Furthermore, since they don’t require a camera team, comic book artists can draw amazement striking edges that can serve as motivations to you.
DIRECTING, SELF-DEVELOPMENT
Becoming a Movie Director – 9 Tips for Success
You dream of directing. You can see the lights, the camera… the action!
Whether it be directing commercials, short films, or one day, directing feature films, you have a big dream.
Your dream is attainable. As many before me have said, it is no easy path–but it is doable with consistency and hard work. However, even if you have the drive and energy to do what it takes, it’s hard to aim that energy if you aren’t sure where to get started.
I plan to point you in the right direction.
These items are basically what I’ve done to get where I am today.
If you put time into growing and learning new skills, you can become an effective storyteller and leader; a movie director.
For now, I’ll assume that you’re really starting from zero and haven’t made a lot of progress toward your goal, but you’re ready to start.
Your dream is attainable. As many before me have said, it is no easy path–but it is doable with consistency and hard work. However, even if you have the drive and energy to do what it takes, it’s hard to aim that energy if you aren’t sure where to get started.
I plan to point you in the right direction.
These items are basically what I’ve done to get where I am today.If you put time into growing and learning new skills, you can become an effective storyteller and leader; a movie director.
For now, I’ll assume that you’re really starting from zero and haven’t made a lot of progress toward your goal, but you’re ready to start.
1. Should I go to film school, or figure it out myself?
There’s not much that hasn’t been said on this topic, but it’s still a very popular question because it’s often where aspiring filmmakers get hung up (and it’s a big decision, so no surprise there).
Here’s the disappointing answer: It depends.
There are pros and cons both to film school and self-teaching.
Basically, they look like this:
Pros – Film School:
– Access to network with many passionate, creative, driven individuals (some, but not all of your classmates)
– Access to mentors right away in your instructors (with varying quality based on school)
– Use of school equipment for class projects (varies by school)
– A step-by-step walkthrough of filmmaking fundamentals
– Learning the ‘right’ way to do things (the Hollywood industry standard)
– Learn lots of theory and understand why things work how they do
Cons – Film School:
– Cost of school and debt (unless you get financial assistance or scholarships)
– Can get stuck in the Hollywood mindset of how to do things (‘they must be done this way!’)
– Time is utilized as dictated by your courses
– If you aren’t mature yet, you may waste time in money in school if you aren’t focused
– If the school isn’t great, you may not do enough hands-on practice to apply the theory you learned
Here’s the disappointing answer: It depends.
There are pros and cons both to film school and self-teaching.
Basically, they look like this:
Pros – Film School:
– Access to network with many passionate, creative, driven individuals (some, but not all of your classmates)
– Access to mentors right away in your instructors (with varying quality based on school)
– Use of school equipment for class projects (varies by school)
– A step-by-step walkthrough of filmmaking fundamentals
– Learning the ‘right’ way to do things (the Hollywood industry standard)
– Learn lots of theory and understand why things work how they do
Cons – Film School:
– Cost of school and debt (unless you get financial assistance or scholarships)
– Can get stuck in the Hollywood mindset of how to do things (‘they must be done this way!’)
– Time is utilized as dictated by your courses
– If you aren’t mature yet, you may waste time in money in school if you aren’t focused
– If the school isn’t great, you may not do enough hands-on practice to apply the theory you learned
Thanks for the great overview, Aputure.
Pros – Self-Teaching:
– Flexibility to approach filming however you like
– Learn to think outside the box and use unusual solutions, not pre-taught answers
– Spend your money on your films and practice instead of school (or just save the money and shoot on the cheap)
– Avoid potential debt of school
– Forced to network more and increase people skills in order to meet collaborators
– You focus on and learn what works on screen
Cons – Self-Teaching:
– No classes, teachers, or structure to compel you to do the legwork for your learning
– No special guidance from people unless you go out of your way to find mentors
– Don’t necessarily learn the finer elements of technique due to less theory learning
What did I do?
I learned most of what I know through self-education and hands-on practice.
I did not go to film school. I wrote, shot, edited, and repeated for four years.
Then, I finally caved and went to film school for a full semester.
I also took a handful of random night classes in film over the next few months. I learned some additional skills and made a couple films, but then decided it would be better for me to continue on my own.
The fact is that your circumstances will vary. However, there are so many wonderful (and often free) online resources out there, and more all the time.
It’s worth checking them out before you make a decision. If you’d like to read people’s thoughts on film school, here’s the Reddit thread you need.
2. Get on any film set you can, in any role
What does this do for you? Immersion.
Student. Professional. Intern. Actor. Background actor. Whatever.
By getting on a ton of sets and experiencing different things, you will be immersing yourself into the practices of filmmakers.
As with those learning a second language and living within a foreign country, you too will learn more quickly if you live in the filmmaking environment.
You’ll pick up on their lingo, language, methods of communication, learn the function of equipment, see good and bad practices, and much more.
Even if you are an unpaid Production Assistant and you don’t do a whole lot, soak it all in.
Observe your surroundings and take note.
I remember the very first set I was on. I volunteered to be an extra for a film student’s final project, a WWII short drama following a Soldier on his way home from war. I couldn’t have known that this was a student film by what I experienced.
It was so out of my league that I was starstruck. I thought it was amazing. I got a feel for the environment, how crew went back and forth, constantly communicating, each handling their own specific tasks.
It was very much worthwhile.
Student. Professional. Intern. Actor. Background actor. Whatever.
By getting on a ton of sets and experiencing different things, you will be immersing yourself into the practices of filmmakers.
As with those learning a second language and living within a foreign country, you too will learn more quickly if you live in the filmmaking environment.
You’ll pick up on their lingo, language, methods of communication, learn the function of equipment, see good and bad practices, and much more.
Even if you are an unpaid Production Assistant and you don’t do a whole lot, soak it all in.Observe your surroundings and take note.
I remember the very first set I was on. I volunteered to be an extra for a film student’s final project, a WWII short drama following a Soldier on his way home from war. I couldn’t have known that this was a student film by what I experienced.
It was so out of my league that I was starstruck. I thought it was amazing. I got a feel for the environment, how crew went back and forth, constantly communicating, each handling their own specific tasks.
It was very much worthwhile.
3. Get experience in different crew roles
Experiment!
On my first set, I was an extra. Then, a script supervisor (‘sure, I can do that!’, I said, having never done it before) for a 4 day student film shoot. After that, I was a grip. I distinctly remember carrying, by hand, a 50+ pound box of camera jib weights, about half a mile through sand. That was a multiple day shoot for a student film.
Then I was a gaffer, assistant camera, and so on.
This is highly valuable for a director for several reasons.
First, when you get started, you won’t always have all the crew you need.
It’s going to help you a lot to know how to jump in and, with some competence, light an actor, set up a piece of equipment, break down a script, and so on. What’s the alternative, to give up? That’s obviously not an option, so the next best thing is to give it your best shot–and it helps to be well-rounded.
Second, as you grow and work with more crew, you will be a better director.
No one expects the director to be an expert at everything.
However, if you understand the basics of what each of your crew does, you will be able to speak their language. You will have an easier time knowing what to ask from them, what they need, how to make their experience pleasant, and much more.
Ultimately, this leads to better teamwork, a more streamlined shoot, and a higher quality film.
On my first set, I was an extra. Then, a script supervisor (‘sure, I can do that!’, I said, having never done it before) for a 4 day student film shoot. After that, I was a grip. I distinctly remember carrying, by hand, a 50+ pound box of camera jib weights, about half a mile through sand. That was a multiple day shoot for a student film.
Then I was a gaffer, assistant camera, and so on.
This is highly valuable for a director for several reasons.
First, when you get started, you won’t always have all the crew you need.
It’s going to help you a lot to know how to jump in and, with some competence, light an actor, set up a piece of equipment, break down a script, and so on. What’s the alternative, to give up? That’s obviously not an option, so the next best thing is to give it your best shot–and it helps to be well-rounded.
Second, as you grow and work with more crew, you will be a better director.
No one expects the director to be an expert at everything.
However, if you understand the basics of what each of your crew does, you will be able to speak their language. You will have an easier time knowing what to ask from them, what they need, how to make their experience pleasant, and much more.
Ultimately, this leads to better teamwork, a more streamlined shoot, and a higher quality film.
4. Self-educate with books, videos, articles, and courses
This is pretty straightforward. If you want to become good at anything, you have to dedicate some time to learning.
Absorb the knowledge and wisdom of filmmakers past by consuming their content. There’s decades of valuable knowledge out there. Personally, I love to read, and some of the greatest knowledge I’ve gained as a director was from these books.
Just remember: Practice without learning from others experience leads to making mistakes you can avoid. However, book-learning and theory without hands-on, real application and practice leads nowhere.
Don’t let reading articles and watching videos become a method of procrastination. Get out there and make films! That leads me to my next point…
Absorb the knowledge and wisdom of filmmakers past by consuming their content. There’s decades of valuable knowledge out there. Personally, I love to read, and some of the greatest knowledge I’ve gained as a director was from these books.
Just remember: Practice without learning from others experience leads to making mistakes you can avoid. However, book-learning and theory without hands-on, real application and practice leads nowhere.
Don’t let reading articles and watching videos become a method of procrastination. Get out there and make films! That leads me to my next point…
5. Write, shoot, edit, collaborate, repeat
This is where things get real! In the end, a director is a storyteller.
Yes, a good director is many things – a leader, a manager, a diplomat, an organizer, a motivator… But while that is all important, it happens behind the scenes.
What people see is the story that unfolds before them. Ultimately, the only way for you to become a good storyteller – and director – is to practice telling stories in your medium.
You must write, shoot, edit, and repeat. With each iteration, though you will make painful mistakes and criticize yourself harshly, you will be growing in leaps and bounds with each project. Whether you write, shoot, and edit a scenario, a short scene, a skit, or an entire short film, you need to practice.
Here’s my last note. While I stole the mantra ‘write, shoot, edit, repeat’ from Film Riot (because it’s a great catchphrase), the ‘collaborate’ bit is my own addition.
Here’s why I say ‘write, shoot, edit, collaborate, repeat’.
Practice is great. Even practice all by yourself is helpful. However, you will learn even faster if you make an effort to collaborate on projects with other crews. Other teams. Work with other directors. Don’t stay within your little bubble.
Other teams will do things differently than you do, and you will learn from them.
Chances are, they will learn something from you as well. In the process, you are networking and making strong connections for future projects and possibly even partnerships. Win-win.
Yes, a good director is many things – a leader, a manager, a diplomat, an organizer, a motivator… But while that is all important, it happens behind the scenes.
What people see is the story that unfolds before them. Ultimately, the only way for you to become a good storyteller – and director – is to practice telling stories in your medium.
You must write, shoot, edit, and repeat. With each iteration, though you will make painful mistakes and criticize yourself harshly, you will be growing in leaps and bounds with each project. Whether you write, shoot, and edit a scenario, a short scene, a skit, or an entire short film, you need to practice.
Here’s my last note. While I stole the mantra ‘write, shoot, edit, repeat’ from Film Riot (because it’s a great catchphrase), the ‘collaborate’ bit is my own addition.
Here’s why I say ‘write, shoot, edit, collaborate, repeat’.
Practice is great. Even practice all by yourself is helpful. However, you will learn even faster if you make an effort to collaborate on projects with other crews. Other teams. Work with other directors. Don’t stay within your little bubble.
Other teams will do things differently than you do, and you will learn from them.
Chances are, they will learn something from you as well. In the process, you are networking and making strong connections for future projects and possibly even partnerships. Win-win.
6. Find a mentor
A common piece of advice for any aspiring professional is to find someone who is 2 steps ahead of you and reach out to them.
Why only 2 steps?
If you look too far ‘above your station’, your chances of getting a response are much lower. Steven Spielberg isn’t going to reply to your Facebook message. But a local production company owner or director who has a couple of feature films under his belt just might.
The reason you should look for a mentor is the same reason you should take advantage of books, articles, courses, and other knowledge that experienced pros have shared.
What makes a mentor different is they can actually help you get hands-on experience, specialized knowledge, and help you with unusual problems or questions.
How do you find a mentor? Good question. You can find mentors on sets where you are helping out, networking events, or you can reach out to production companies.
But how do you ask someone to be your mentor?
Well, you don’t really just come out and ask them. Don’t be so blunt and say, “will you be my mentor?” It comes across as a request for a large commitment, which can be a turn off for someone who’s very busy. It’s a bit unnatural as well.
Let the relationship develop naturally.
Make it seem like a small commitment for them in order to make it a more attractive request.
Ask them for a limited, defined piece of their time. “Can I reach out to you once in a while with a quick question? I would really appreciate any information you could provide.” Or, simply ask if you can have their contact info in case you have a question and could really use their expertise.
People love to feel important and valued, so the chances they will say no to that request are very low. Another thing you could ask is, “would you mind if I came into your studio/on set some time to see how you do things? I really want to learn and I’m happy to help out. Alternatively, I can just observe if you’d prefer that.”
Just make sure that you are more of a help than a hindrance. If that means being a silent ‘fly-on-the-wall’, so be it. Make sure they will want to have you around again and talk with you.
Why only 2 steps?
If you look too far ‘above your station’, your chances of getting a response are much lower. Steven Spielberg isn’t going to reply to your Facebook message. But a local production company owner or director who has a couple of feature films under his belt just might.
The reason you should look for a mentor is the same reason you should take advantage of books, articles, courses, and other knowledge that experienced pros have shared.
What makes a mentor different is they can actually help you get hands-on experience, specialized knowledge, and help you with unusual problems or questions.
How do you find a mentor? Good question. You can find mentors on sets where you are helping out, networking events, or you can reach out to production companies.
But how do you ask someone to be your mentor?
Well, you don’t really just come out and ask them. Don’t be so blunt and say, “will you be my mentor?” It comes across as a request for a large commitment, which can be a turn off for someone who’s very busy. It’s a bit unnatural as well.
Let the relationship develop naturally.
Make it seem like a small commitment for them in order to make it a more attractive request.
Ask them for a limited, defined piece of their time. “Can I reach out to you once in a while with a quick question? I would really appreciate any information you could provide.” Or, simply ask if you can have their contact info in case you have a question and could really use their expertise.
People love to feel important and valued, so the chances they will say no to that request are very low. Another thing you could ask is, “would you mind if I came into your studio/on set some time to see how you do things? I really want to learn and I’m happy to help out. Alternatively, I can just observe if you’d prefer that.”
Just make sure that you are more of a help than a hindrance. If that means being a silent ‘fly-on-the-wall’, so be it. Make sure they will want to have you around again and talk with you.
7. Hone your people skills
As a director or freelancer of any kind, your people skills are incredibly important to your success. A lot of this industry is about networking, communication, diplomacy, and managing or leading people.
On set directing a client project.
So, it stands to reason you need to constantly work on those skills if you want to be a director.
In particular, you should be putting regular time into networking. Connect with new people, reconnect with people you thought were good to know, and maintain relationships.
Business is about people working together, in the end, so stay at the forefront of people’s minds and make sure they like being around you.
As a director, I find it especially important to learn and apply principles of a servant leader. People love to work with someone who genuinely appreciates their input, cares for their team, and is a strong decision-maker.
Learning these qualities can help you put together a terrific crew.
8. Stay outside your comfort zone
The place where you will make the most progress is always somewhere between comfortable and stressed. There is a place where a moderate amount of stress and new experience will help you grow.
Most people just call that ‘getting outside of your comfort zone’, but science backs me up on this. Good stress is a real thing. On one extreme side of that good stress is laziness and backtracking, and on the other side is a panic attack.
How do you stay in the middle of that spectrum? Here’s the warning sign: If you feel complacent or like things are too easy, take on a new challenge. That’s what I do.
If I feel like I’m slipping into laziness and not being productive, I first recognize what’s happening. Then, I find some kind of project that I can work on to keep my skills up to speed and learn something.
Whether that’s tackling a writing project, shooting a practice scene for a technique you haven’t tried, or making a film, do something. On the other hand, you can fend off overwhelming stress by instituting good daily habits that will stabilize your life: good diet, adequate sleep, stress outlets (friends, family support, exercise), a regular schedule and rituals, etc.
Most people just call that ‘getting outside of your comfort zone’, but science backs me up on this. Good stress is a real thing. On one extreme side of that good stress is laziness and backtracking, and on the other side is a panic attack.
How do you stay in the middle of that spectrum? Here’s the warning sign: If you feel complacent or like things are too easy, take on a new challenge. That’s what I do.
If I feel like I’m slipping into laziness and not being productive, I first recognize what’s happening. Then, I find some kind of project that I can work on to keep my skills up to speed and learn something.
Whether that’s tackling a writing project, shooting a practice scene for a technique you haven’t tried, or making a film, do something. On the other hand, you can fend off overwhelming stress by instituting good daily habits that will stabilize your life: good diet, adequate sleep, stress outlets (friends, family support, exercise), a regular schedule and rituals, etc.
9. Make your first movie
This is really a suggestion. But… if your goal is to make a feature film someday, you need to do it at some point, right?
Here’s my biggest tip for you: Don’t wait until everything is ‘just right’. It will never happen!
If you’re a perfectionist or a planner like me, this is especially difficult. You want things to be set up and planned out just-so, so your film can be the perfect masterpiece you want it to be. A great saying is that ‘perfect is the enemy of good’.
In other words, if you don’t take the leap at some point and simply do it, your goal of perfection will keep you from creating anything, much less anything good.
This also holds true for any large project, including short films, writing a feature film screenplay, or shooting a full feature film.
Take it from someone who has been there, done that. When I made my first film, I had a great partner, and though I hadn’t learned this lesson yet, he had. He knew that if we didn’t just start, even though we didn’t feel ready, our film would never happen.
(By the way, that’s why having a good partner for your first movie is a great idea!)
Here’s my biggest tip for you: Don’t wait until everything is ‘just right’. It will never happen!
If you’re a perfectionist or a planner like me, this is especially difficult. You want things to be set up and planned out just-so, so your film can be the perfect masterpiece you want it to be. A great saying is that ‘perfect is the enemy of good’.
In other words, if you don’t take the leap at some point and simply do it, your goal of perfection will keep you from creating anything, much less anything good.
This also holds true for any large project, including short films, writing a feature film screenplay, or shooting a full feature film.
Take it from someone who has been there, done that. When I made my first film, I had a great partner, and though I hadn’t learned this lesson yet, he had. He knew that if we didn’t just start, even though we didn’t feel ready, our film would never happen.
(By the way, that’s why having a good partner for your first movie is a great idea!)
How to become a movie director (one step at a time!)
1. Should I go to film school, or figure it out myself? Film school and self-teaching have their own pros and cons, but I strongly suggest checking out all the resources out there before you take the leap and spend money on film school.
2. Get on any film set you can, in any role. By immersing yourself in the world of filmmaking, you will soak up all sorts of knowledge. This is especially great for those not getting a formal education, as it will help fill in any knowledge gaps.
3. Get experience in different crew roles. By being well-rounded, you can pitch in when you need to for your films. Your knowledge will also make you better at communicating and working with different crew types.
4. Self-educate with books, videos, articles, and courses. Take the time to educate yourself as much as possible – but don’t forget to get out there and apply it.
5. Write, shoot, edit, collaborate, repeat. The only way you get better at filmmaking, storytelling, and directing is by making films. (Whoa, no way!) Go make some films, then find people to collaborate in different capacities so you can learn what other people are doing.
6. Find a mentor. A mentor is great at sharing very detailed, in-depth knowledge that you might not find online, where a majority of content is directed at beginners. They can also answer specific questions when problems arise and you can’t find the answer any other way.
7. Hone your people skills. Filmmaking involves working with people. Lots of them. So naturally, you need to make sure you can communicate effectively, are enjoyable to work with, and can network.
8. Stay outside your comfort zone. You don’t want to end up having a panic attack from stress overload… but you also don’t want to become so comfortable that you are complacent. Keep growing by challenging yourself periodically.
9. Make your first movie. You want to be a director, right? Remember that there will never be a perfect time, nor will you ever have everything you think you need to make a film. Eventually, you have to make the leap.
Well, this was an enjoyable article to write. I had to think back to when I got started – and what I wish I knew (and applied).
I sincerely hope that if you are an aspiring director or filmmaker of any kind reading this, that you found something valuable for you. If you did, you can get more stuff like this every week by subscribing below.
I hope you will join our Storyteller community! I answer questions for my subscribers who reply to my emails.
Best of luck to you – get to work on that dream of yours!
2. Get on any film set you can, in any role. By immersing yourself in the world of filmmaking, you will soak up all sorts of knowledge. This is especially great for those not getting a formal education, as it will help fill in any knowledge gaps.
3. Get experience in different crew roles. By being well-rounded, you can pitch in when you need to for your films. Your knowledge will also make you better at communicating and working with different crew types.
4. Self-educate with books, videos, articles, and courses. Take the time to educate yourself as much as possible – but don’t forget to get out there and apply it.
5. Write, shoot, edit, collaborate, repeat. The only way you get better at filmmaking, storytelling, and directing is by making films. (Whoa, no way!) Go make some films, then find people to collaborate in different capacities so you can learn what other people are doing.
6. Find a mentor. A mentor is great at sharing very detailed, in-depth knowledge that you might not find online, where a majority of content is directed at beginners. They can also answer specific questions when problems arise and you can’t find the answer any other way.
7. Hone your people skills. Filmmaking involves working with people. Lots of them. So naturally, you need to make sure you can communicate effectively, are enjoyable to work with, and can network.
8. Stay outside your comfort zone. You don’t want to end up having a panic attack from stress overload… but you also don’t want to become so comfortable that you are complacent. Keep growing by challenging yourself periodically.
9. Make your first movie. You want to be a director, right? Remember that there will never be a perfect time, nor will you ever have everything you think you need to make a film. Eventually, you have to make the leap.
Well, this was an enjoyable article to write. I had to think back to when I got started – and what I wish I knew (and applied).
I sincerely hope that if you are an aspiring director or filmmaker of any kind reading this, that you found something valuable for you. If you did, you can get more stuff like this every week by subscribing below.
I hope you will join our Storyteller community! I answer questions for my subscribers who reply to my emails.
Best of luck to you – get to work on that dream of yours!
Attention, Filmmakers: Here’s 12 Tips for Directing Your First Feature Film
Attention, Filmmakers: Here's 12 Tips for Directing Your First Feature Film
Six year ago, I decided to make a comedy about the paradox of family – how it can simultaneously be our source of strength and the root of all our problems, and for better or worse, it’s forever. This week my debut feature film, “The Discoverers,” rolls out on VOD and DVD capping off an award-winning festival run and theatrical release.
Making my first feature was one of the most difficult and rewarding experiences of my life. It was honor and privilege to work with an all-star cast and crew of 200+ creative collaborators who helped me learn these lessons that I hope will inspire other first-timers to realize their vision.
Here are 12 things i learned along the way:
1. Feel it.
Ultimately, as the director, your job is to become the emotional truth barometer on set. So when the camera starts rolling, forget about everything else and just try to feel the performance on each take. I liked to stand as close to the lens as our AC would let me to feel what the camera is recording. From editing to finding music to color correct and the mix, feel the movie you want the audience to experience.
2. Find your key frames.
Prepping “The Discoverers,” I shotlisted and storyboarded, but I knew we wouldn’t have time to do everything I imagined on paper. I developed a key frame system, which became extremely helpful on set. The idea is to try to distill each scene down to a single image that represents what the scene must achieve dramatically. It may be an extreme wide shot that acts like a punch in the gut, a lyrical tracking shot, or the close up you’re saving for emotional impact. When you have to start combining shots on set, you’ll know the essential image you’ll need for each scene to serve its dramatic function.
Prepping “The Discoverers,” I shotlisted and storyboarded, but I knew we wouldn’t have time to do everything I imagined on paper. I developed a key frame system, which became extremely helpful on set. The idea is to try to distill each scene down to a single image that represents what the scene must achieve dramatically. It may be an extreme wide shot that acts like a punch in the gut, a lyrical tracking shot, or the close up you’re saving for emotional impact. When you have to start combining shots on set, you’ll know the essential image you’ll need for each scene to serve its dramatic function.
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3. Your film is only as good as your collaborators.
I think it was Elia Kazan who first said 90% of directing is casting. While it’s certainly true with actors, I think the same principal applies to your creative crew. Have a clear aesthetic vision and create a space where people can bring their talent and experience to do their best work. Find collaborators who will challenge your ideas and push you creatively. We had ambitious goals and limited resources, but everyone stretched themselves to make something much grander than any one of us could have imagined.
4. Make a lookbook.
4. Make a lookbook.
I started collecting images when I was first writing “The Discoverers,” which I eventually made into a printed book. It’s an opportunity to show people the film you want to make: how light, color, and form will function, character sketches, location ideas, tone exploration, how you’ll shoot different locations, etc. It was a helpful tool to show investors, became a great conversation starter when interviewing creative keys and became the keystone for refining the film’s aesthetic design. I suggest getting a cheap portable USB scanner for image collection. I made pilgrimages to the Mid-Manhattan Picture Library to leaf through their vast image files and scoured the Columbia and NYPL arts libraries to scan photographs, paintings, and other visual inspiration. I also took film screen-grabs and combed Flickr, Google and Getty Images for additional material.
5. Know your film’s spine.
Your film’s spine will drive every aesthetic decision you make, so develop a clear and focused throughline. In prep and on set, you will be asked thousands of questions: what should the protagonist’s house look like; which jacket should they wear; what color should we paint the walls; what kind of camera language should we use; what about lighting? With a cohesive spine, you can vet each choice through that prism. Since “The Discoverers” was a return to the pastoral story where each of the characters stripped from their urban selves saw themselves and each other in a new light, we developed an aesthetic arc with four movements (city, suburbs, forest, Pacific) where light, color, camera movement, and form could evolve over the course of their journey.
6. Help your actors build characters before coming to set.
Hopefully you’ll get some rehearsal time, but even before your actors get to set, you can help them build their characters. Take this time to learn their language – are they method or Meisner, what’s their process? I shared my visual research, music, books, and movies, we talked backstories, and I gave them homework. I asked Griffin Dunne, who plays an academic, to immerse himself in Lewis and Clark literature and sent him on a research expedition to a historical archive. For Cara Buono, I asked her to read about Alice Waters, speak with Etsy crafters, and chat with Hollywood Farmers Market vendors. I had Devon Graye read Rilke’s Letters To A Young Poet, hang out with skaters, and send me drawings. Madeleine Martin went vegan and became a Mother Jones, Howard Zinn and Barbara Ehrenreich expert.
7. Always carry a pocketful of toys.
I started collecting toys to experiment with blocking and camera movement when I was making short films. In the beginning, spaceships and animals were actor stand-ins until I upgraded to wooden artist models you can find at any art supply store. During prep I blocked out scenes with my DP and we’d photograph reference shots. On set I’d always carry a pocketful of toys and matchbox cars to illustrate a tracking shot or where the camera would go. As a parting gift, my Production Design team gave me a new set of toys, so I’m ready for the next film.
8. Over-prepare, then leave it all behind.
The one thing you have before the camera starts rolling is time. Time to breakdown your script, storyboard and pre-visualize. Once you get on set and are in real locations with actors breathing life into your characters, there never seems to be enough hours in the day. Not to worry, you can throw out all your prep work and respond and adapt to the magic that collaboration brings, confident that you know what you need.
9. Understand everyone’s job.
In film school we worked on each other’s crews to cycle through every role on set and learn from each other. Try to master everything you can, from budgeting to scheduling, camera to sound, grip and lighting, how to transcode and edit. It will empower you to know what is possible and enable you to make creative decisions when faced with resource constraints.
10. Be open to ideas, and protect your initial inspiration.
When you’re writing, get as much feedback as you can. Same goes for test screenings to refine the cut. During prep, go through the script with your actors, and make script changes if something revelatory emerges. Be open to new ideas wherever they come from, but know the film you want to make and protect your initial inspiration that brought everyone together to make the movie.
11. You set the tone.
Embrace the experience of making a movie and bring your energy, inspiration, and excitement to set. Try to create an environment where your cast and crew feel free to take risks and make great work. At wrap time, I also tried to personally thank each and every cast and crew member for their work each day. Filmmaking is a collaborative medium and everybody should be treated with respect and have their efforts acknowledged.
12. Don’t compromise (until the last minute).
Your creative keys don’t want you to compromise. Neither do your actors. They want you to be bold and ambitious and take chances. Most likely, they aren’t doing your project for the money, they were moved by the script or creative opportunities the film presented, so don’t compromise – at least until the last minute. Then, be realistic and embrace the idea that often the best creative solutions come from limitations.
How To Be A Good Director
Director. The title is synonymous with indispensability in our minds when on the subject of film. Next to actors, directors are the most famous film personalities because it’s widely accepted that a film is 100% their vision from stem to stern.
A film with a certain director’s name attached comes with certain tangible expectations. Think of these names: Scorsese, Tarantino, Villeneuve, Bigelow, Spielberg.
We immediately think of moods, tones, genres, and styles when someone utters these names. We attach meaning to them because we’ve come to expect a specific quality of film from the men and women behind these names.
But what does a director actually do? And how does one do it well? That’s something most are unsure how to answer.
If you’ve been following my past articles, I’ve walked you through the steps for getting involved in filmmaking all the way through to making your first short film.
As an indie film director, you will undoubtedly wear many hats on and off set, but directing will be your main job. And if directing is your dream, I would recommend you also read our article Seven Essential Tools Every Director Should Have.
With that in mind, let’s break down what it means to actually be a good director.
Part 1: The Performance
You could argue that the job of a director is divided into working with the actors and working with the rest of the crew. A good director knows how to work with both the actors and the crew and make it all come together. In this first part, we’ll take a closer look at how the director best aids the actors in order to get a great performance on camera.
Work with Actors
At the most basic, core level, the director’s main responsibility, whether big budget or small, whether Hollywood or Bollywood, whether found-footage superhero horror or sci-fi slasher family comedy thriller with political overtones, is to work with actors.
Other departments have their own heads making decisions that they will clear with you when appropriate, but if no one directs the talent, then performances could be all over the spectrum from take to take.
Don’t leave it up to actors to guess what you want, work with them to shape the performance.
Give Clear Direction
When discussing what approach you want your actors to take regarding their characters and performance, try and keep it as clear and concise as possible.
Philosophical discussions involving moral outlook and character biographies should be discussed in pre-production before you get to set. Did Character A betray Character B when they were stuck behind enemy lines ten years ago, resulting in Character B’s nihilistic outlook on life? Discuss it in pre-pro.
Keeping it as clear as possible helps actors narrow their performance to the correct beats you’re looking for. Try to give them one change at a time, one thing to try differently, in the next take. Don’t get carried away in your role.
Giving actors a research paper of direction is overwhelming. How can they possibly take it all into account at once for the next take? They’d have nothing but bullet-points flying through their heads, losing the thread altogether.
This goes hand in hand with step three:
Wants Vs. Feelings
When directing your actors, talk more about what a character wants and less about how they feel. It’s easier to make defined choices when they’re looking for something tangible from another actor rather than to just act an emotion.
For example, picture this scene:
Character A is explaining something important to Character B, who is on the couch playing video games.
You tell Actor A something like, “You want him to understand what you’re saying is important.”
For Actor B, you say, “You don’t get what she’s saying and you want to play your video games.”
This gives each actor a very specific intention involving the other person in a simultaneously descriptive and concise way. It’s something tangible to grab onto while still having the freedom to figure out how to approach this intention creatively.
Now think about the alternative, talking about just feelings.
You tell Actor A, “You’re frustrated.” and Actor B, “You’re confused.”
That’s it. Those are the feelings they should be performing, but with nothing concrete to attach them to. It’s too vague. It leaves the actor with only the script for guidance and their own interpretation of the scene.
Giving actors an intention or motivation will elicit the feelings you’re looking for naturally, connected to the interplay between the two actors in the scene, rather than each of them just playing the generalized feeling of frustrated or confused.
That’s not to say that feeling or emotion is never to be used as directorial tools.
Take the scene above. Say the actors are doing everything exactly how you want it. They understand their intentions and are playing off each other.
The scene is great, but you just want a little more from Actor A. It’s acceptable then in this situation to tell them, “That’s exactly what I’m looking for, just give me a little more frustration.”
You can even tell them the specific line you’re looking for more frustration from, or just have them lay it on thicker across the board.
Intention and motivation are an actor’s base from which to build a performance off of, so this is what you should give them most often to help them make their creative choices.
Feelings and emotions can be used as tools for refinement to tweak a performance to exactly the level you’re looking for, but they should never be used as the foundation of your direction.
Modeling Lines? Don’t, Just Don’t!
This is a biggie. Never, ever model dialogue for your actors. Seriously. It might seem more convenient than using all the directorial tools at your disposal, to just quickly say, “I want you to say the line more like this: Blah blah, blah blah.” but that’s a huge no-no.
It’s insulting to your actors. Actors are artists just like you, and they deserve the respect of being allowed to do their job.
Acting is all about making creative choices and taking creative ownership of the characters the actors portray, adding dimension and depth where you might not have expected.
If you take away the opportunity for those choices to be made, then they aren’t actors anymore, they’re mouthpieces parroting your lines.
So let your actors act, and give them some freedom with the character.
This leads us to the next point…
Be Open To Suggestions
Filmmaking is a collective enterprise and collaboration is the word most thrown around when talking about film .
Your crew is your collaborators. This means that, while you are, arguably, at the top of the pyramid, everyone comprising all the other levels have ideas too.
Be open to those ideas. Especially regarding actors.
Actors train to embody the characters they play. They give your words and characters life. As a result, they may have some ideas of their own as to what a character may do or whether a line sounds authentic or forced.
They may come to you asking to change things in the script or try something new performance-wise. Don’t shoot them down outright. Listen to what they have to say, and, even if you don’t agree on the surface, let them give it a shot if you have the time to spare. You may be pleasantly surprised.
There are countless YouTube videos documenting ad-libbed lines or acting decisions that weren’t in the script but ended up being loved by the directors and, later on, audiences.
“I’m walkin’ here!”
“Hey Malkovich, think fast!”
“You can’t handle the truth!”
“Here’s Johnny!”
I bet you can name a few of the movies these lines come from. Each line is now a classic and each one was added by the actor.
Hell, even Johnny Depp’s entire comedic characterization of Captain Jack Sparrow from Pirates of the Caribbean wasn’t in the script originally. Depp decided Sparrow would be more memorable with a less serious bent, and he was right.
These are extreme cases. Most of the time, actors will come to you with small things here and there that they want to try out. Maybe these end up being more truthful to the character or add shade to them that you didn’t originally spot.
Just be open to change and don’t be afraid to change the script on the fly. Make room for some experimentation. Many minds see more than one.
Lead with the Positives
Actors and directors are constantly in dialogue about performance. Your job is to communicate what you’re looking for and theirs is to perform it.
With that in mind, you have to recognize that acting is a very difficult job and that putting yourself out there in performance, with all eyes on you, can be trying.
So, when a performance isn’t quite the way you want it to be, recognize that you should approach with sensitivity and don’t hit your poor actors with the negatives right away, or, in fact, at all.
Instead, lead with the positives.
Say something like, “That was great, this time let’s try it this way.” or “I like that, let’s try it more (insert direction here) now.”
This way you avoid hurt feelings and bruised egos, and you still get a changed performance the next take.
Treat your actors as people with feelings. They know they won’t nail it perfectly how you want the first time through, so they’re waiting to be directed.
It’s up to you to use sensitivity and kindness to help nudge them in the direction you’re looking for.
Summing up Part 1
Did you get all that?
That’s the meat and potatoes of directing right there, working with the actors to get the best performance you can jointly deliver.
Is that all? Well, no. It’s definitely the biggest chunk and where the bulk of your time on set will be…ahem, directed, but there’s more.
Part 2: The Rest of Production – On Set
This is where the mythos of the director comes in; the idea that every on and offscreen decision branches from their fingertips. While this is true to an extent, your involvement in the minutiae of each department will depend on your experience and comfort with said departments.
You might want to have a say in everything from camera filter to gel color temperature to makeup stock, or you might prefer to leave these choices to your department heads. It all depends how sure-footed you feel in your role.
The more films you direct, the more comfortable you’ll be.
But let’s talk about some things that are absolutely your responsibility from a leadership standpoint on set, no matter your experience level.
Set the Example
As director of an indie film, all of the crew are there at your behest, because you had a film you wanted to make. As a result, it’s your responsibility to ensure that everyone feels welcome and happy to be on set.
Set the example you wish others to follow. Stay upbeat, enthusiastic, and positive; look like you want to be there. This is your story, and your excitement for it will communicate itself to your crew.
If you look pumped to be making this film, they will be pumped to work on it. If you’re slumped, scattered, and unmotivated, then that tone will be set accordingly.
Address Concerns
Part of keeping people happy is hearing everybody and addressing concerns if there are any. These could be more than just creative differences.
Crews are comprised of many people, and not everyone will always get along. Disagreements may happen, issues may arise.
This being your set, it’s your job to iron these out and ensure that smoothness and agreeability returns to the set. Be the mediator, show your crew you care about them as much as you do your film, and that will inspire loyalty to the project.
Be Respectful
This one could be a subheading of addressing concerns, but part of keeping people happy and positive is treating them like adults. Never yell or belittle anyone publicly or privately.
If there’s a disagreement between you and someone on the crew, or you see someone slacking or not doing their work, don’t call them out then and there. Hash it out in private and always in a respectful manner.
Just because everyone is technically working for you doesn’t give you free reign to terrorize the cast and crew.
Make Sure Everyone Has What They Need
Since you’re running an indie film set and roles will likely be limited, make sure you’re checking that everyone has what they need on set. This isn’t just from an equipment standpoint, but also quality of life.
Check that craft services are fully stocked with snacks and water; check that there’s an area away from the hustle and bustle of the set for people to wind down or take a load off.
Make it known that people can come to you if they have requests or something they want to discuss.
You’re the director, but you’re also the caretaker of your set, and that’s a role to take seriously.
Don’t Micromanage
This one might seem strange considering it’s your vision that’s being communicated in all avenues of the film, but micromanaging other departments’ work is a strict negative.
Once you’ve issued your wants and choices to your departments, let them work on realizing them. Unless they ask for clarification or help, don’t presume you can do their jobs better than they can, even if you moonlight as a cinematographer, gaffer, makeup artist, life coach, or set clown on some shoots.
Give your crew the space to breathe and work, and then check in and give comments when they’re ready to show you the result. Don’t be the extra cook in the kitchen while letting your souffle burn to a crisp…or something like that.
Always Check the Monitor
Before going for a take, always check the monitor to get a sense of how the shot looks on camera at this very moment.
This one might seem obvious, but, hey, in the confusion of production hustle and bustle, sometimes you might forget.
Don’t wait for a take and then check it during replay, because it’ll be too late to salvage that take if you notice it needed some minor adjustment after the fact.
Also, if possible, watch the take through the monitor as it unfolds. Your audience will eventually be watching your movie on a screen, so you want to make all your decisions based on how it looks on the monitor, not to your eyes, as this is how you will deliver the final product.
This will help tailor your directing as well, helping actors find their frame-lines and adjust their movement to what’s visible on camera.
If it was a play, that would be a different story, but it’s not. Keep your peepers on the monitor.
Conclusion
And that’s all there is to it. “Yeah, 2500 words later,” you’re thinking.
I know, it can seem overwhelming, like the head manager of a giant operation or the brain of some fluid machine, but if you keep your head about you and stick with the tips in this article, you’ll be directing the hell out of some shorts very soon.
Remember, working with actors is the number one thing you’re expected to do. That’s where you should get comfortable first.
If you have to leave camera, lighting, production design, and other decisions to their respective departments, don’t fret about doing so. Focus on crafting a performance with your actors because there’s no one else to handle that job if you’re busy mixing with other departments.
Once you get the hang of it, then feel free to branch yourself out and become the auteur you were meant to be.
Have you directed independent shorts or features? Do you have any tips to add to this article based on your observations or experiences?
Drop a comment below and enlighten us!
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