5 Must Knows If You’re Going To Be A Film Director


5 Must Knows If You’re Going To Be A Film Director


There is no cut and dry method to becoming a film director. There’s no two identical stories that tell the journey of becoming a film director. To each one they must pave their way. However, there are five must knows in the journey of becoming a film director and we thought we’d share them.

1. Know How To Edit
Many aspiring film directors have the misconception that they can become knowledgeable and effective directors without knowing how to edit. A misconception, in part, perpetuated by many academic film institutions because they separate editing from directing in their film departments, they shouldn’t! Editing and directing go hand in hand. If you don’t know how to block a scene in a manner that the shots can be assembled coherently, which is editing, then it’s safe to say you’re far ways from being a director.
This misconception is also perpetuated by many aspiring directors themselves. They’ll say, “I want to be a director” but they don’t want to learn editing or know how to edit. They find it tedious and cumbersome. They talk about how “my” editor will take care of the editing. Unbeknownst to them, because they don’t know how to edit, they shoot shots that are incoherent with the blocking of a scene. It then becomes difficult or impossible for “their” editor to edit the scene and film as they imagined, if at all.
Editing is not you aimlessly jumping between close ups to medium shots, to establishing shots, etc., not emoting the viewer at all, which is what you absolutely need to do.
2. Know The “WHY” Of Your Shots
If you’re going to be a film director you need to convey your shots effectively. And the essence of doing so is to first and foremost know the why of your shots. Otherwise you’ll just be picking random shots from camera A, B or C or from whatever angle best covers your mistakes; this distills your coverage.

Showing shots gratuitously will hurt you when you want to show a shot meaningfully. Your shots need to convey a message, otherwise, there’s no need to show them.

3. Know Greats And Study Them
Know great film directors. Great film directors transcend time periods. Great film directors go back to the pioneers of film to contemporary film directors. Study these directors and what makes them great. Study their coverage of scenes, e.g., their shots, their camera angles, their framing, etc. Study the stories they tell, how they tell them. See if you can become familiar with their work to the point that you can identify their filmic style. See if you can identify filmmakers whom they have influenced by their works.

Knowing and studying great film directors is important to do because no one is born a great film director, it is learned!

4. Know How To Work With Limited Resources
The reality is that most directors will be working under the guise of limited resources. However, limited resources are not a curse, but rather an opportunity to get creative. To get creative with how you decorate a set, with shooting on location, with getting talent, etc.

Limited resources does not equate to limited imagination. And imagination is the key to creative thinking that’ll find solutions to what your lack of resources may unable you to do.

5. Know How To Receive Criticism
It’s imperative that you know how to receive criticism. That you don’t become defensive when others criticize your hard work. As a film director you should want to hear criticism. Cultivate an environment where criticism is welcomed. Where people don’t sugar coat opinions because they don’t want to hurt your feelings.

You need to take what is being said and apply it, or not! Take the feedback and weight it out, especially if it’s being reiterated by various parties. If it’s good for the film, apply it. If it’s not, don’t! Remember, It’s your film, but it’s their opinion. Right or wrong, they’re entitled to it.

Ultimately, criticism can make your film better, and at the least, it can help you develop thick skin.

And with that said, not every criticism merits hearing.

Director
A TV or film director is responsible for taking a script and turning it into a movie or TV episode, but their responsibilities can vary by medium. A film director oversees all the artistic and technical aspects of a movie. They are in involved in pre-production, production, and post-production to ensure that their vision of the script comes to life.
During pre-production, the director will coordinate with the unit production manager (UPM) to create a budget and hire production staff. They will also work with casting directors to cast actors, approve locations, and develop the style of the feature. Once filming begins, the director will help actors fine tune their performances and work with the director of photography (DP/cinematographer) to set up shots. Then when filming has finished, they work closely with the editors to ensure the final product meets their expectations.
In TV, the director is responsible for visualizing an episode from the script to screen, but has less creative input as they need to match the established tone and look of the show. While a film director is the lead authority on a movie set, the showrunner assumes that role in television. Many directors will be brought on during the course of a TV season, but unless they are also a producer or writer, a TV director’s input is focused only within the episode they are directing.
First assistant director
The first assistant director (1st AD) acts as a liaison between the director and the rest of the crew and is responsible for keeping the production on track. In pre-production, 1st ADs break down the script, prepare shooting schedules, and hire crew members. During production, they are tasked with keeping production on schedule, supervising the cast and crew, and ensuring that all safety standards are met.
You may be familiar with the iconic slate board clap and call to action before a scene starts, but there’s a lot that goes on before “action” is ever called. Before filming begins on a scene, the first assistant director will “call the roll” to make sure the sound, camera, and other departments are ready before filming begins. If you’ve worked as a Background Actor, you know to listen for 1st AD cues like “background” and “back to one.”
Second assistant director
The second assistant director (2nd AD) supports the first assistant director and directs Background Actors. Second ADs create call sheets for the following day and coordinate with actors, background, and other departments to make sure everyone is on set and camera ready. Before filming begins, the 2nd AD will instruct Background Actors where and when to move in a scene, which may involve crossing the camera. Second assistant directors are also in charge of the distribution and approval of various paperwork, like Background Actor vouchers and production reports.
Second second assistant director
Some larger productions may have an additional 2nd AD called the second second assistant director. On productions with a large cast or complicated production schedule, the second second assistant director will take over some of the second assistant director’s responsibilities, like coordinating the Background Actors or working on the production reports.
Second unit director
To expedite the production process, films and TV shows will often have a second unit crew that films simultaneously with the main unit to capture footage for stunt sequences, inserts, establishing shots, and cutaways. The second unit director’s role is to oversee this crew and ensure the footage shot matches the look and style of the rest of the project.
There are many roles on a production that are essential for getting movies and TV shows made. Learn more about the different types of acting jobs and the production crew members you should know.




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