A movie director is the one who directs the filming. A movie director controls the artistic and dramatic aspects of the film and visualizes scenarios (or scripts) while guiding technical crews and actors in fulfilling that vision. The director has a key role in selecting cast members, production design, and creative aspects of filmmaking. Under EU law, the director is seen as a film writer.
Movie directors give direction to cast and crew and create an overall vision through which the film eventually becomes materialized, or noticed. Directors must be able to mediate differences in creative vision and remain within the film budget limits.
There are many ways to become a film director. Some film directors begin as screenwriters, cinematographers, film editors or actors. Other film directors have attended the film school. Directors use different approaches. Some common scheme lines and let actors improvise dialogue, while others control every aspect, and demand that actors and crew follow instructions appropriately. Some directors also write their own scenarios or collaborate in scenarios with long-term writing partners. Some directors edit or appear in their movies, or write music score for their movies.
Video Film director
Responsibility
The job of a film director is to imagine how to translate a scenario into a fully formed film, and then realize this vision. To do this, they oversaw the artistic and technical elements of film production. This requires organizing a film crew in such a way as to achieve their vision of the film. It requires group leadership skills, as well as the ability to maintain a single focus even in the fast-paced and stress-packed movie environment. In addition, it is necessary to have an artistic eye to frame the images and provide the right feedback for players and crew, so, good communication skills are a must.
Because a movie director relies on the successful cooperation of many different creative individuals who may be very contrary to ideals and artistic vision, he also needs to have conflict resolution skills to mediate whenever necessary. Thus the director ensures that all individuals involved in film production work towards the same vision for completed films. The set of challenges he has to deal with has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown into good measure". This adds to the pressure that film success can affect when and how they will work again, if at all.
Generally, the sole boss of the director is the producer and studio who finance the film. The role of a director differs from producers in producers who typically manage logistics and production operations, whereas directors are tasked with making creative decisions. The director must work within the budgetary limits of the film and the demands of producers and studios (such as the need to get a certain age rating).
The Board of Directors also plays an important role in postproduction. When the movie is still in production, the director sends "daily" to the movie editor and explains his entire vision for the film, allowing editors to compose editorial pieces. In post-production, the director works with the editor to edit the material into a director's piece. The established director has a "final cutting privilege", which means that they have a final decision on editing the released film. For other directors, studios may order further edits without the director's permission.
The director is one of several positions requiring intimate engagement during each stage of film production. Thus, the position of film director is widely regarded as being very stressful and demanding. It is said that "20 hours a day is unusual". Some directors also take additional roles, such as producing, writing or editing.
Under EU law, film directors are considered "authors" or one of the film's authors, largely as a result of the influence of auteur theory. The Auteur Theory is a concept of film criticism which states that films of film directors reflect the creative vision of personal directors, as if they are the main "auteur" (French word for "author"). Regardless of - and sometimes even because - film production as part of an industrial process, the auteur's creative sound is quite different to shine through studio disruptions and collective processes.
Maps Film director
Career path
Some film directors begin as screenwriters, film editors or actors. Some American cinematographers have become directors, including Barry Sonnenfeld, originally the DP Coen brothers; Jan de Bont, the cinematographer on the film as Die Hard and Basic Instinct, directs Speed ​​and Twister, i>. Recently Wally Pfister, a cinematographer on three films Batman Christopher Nolan made his directing debut with Transcendence . Other film directors have attended film schools to "get formal training and education in their skills". Film students generally learn the basic skills used in film making. This includes, for example, preparations, shooting lists and storyboards, blocking, protocols dealing with professional actors, and reading scripts. Some film schools are equipped with sound stage and post-production facilities. In addition to basic technical and logistical skills, students also receive an education on the nature of professional relationships that occur during film production. Full degree courses can be designed to study for five years. Future directors usually complete short films during their enrollment. The Danish National Film School has a final student project presented on national TV. Some film schools retain the rights to the work of their students. Many directors have been prepared to make a big screen movie by working on television. German Film and Television Academy Berlin as a result works together with Berlin/Brandenburg RBB (Berlin-Brandenburg Broadcasting) and ARTE.
A number of top directors made from $ 133.3 million to $ 257.95 million in 2011, such as James Cameron and Steven Spielberg. In May 2011, the average US film director earned $ 92,220.
See also
- Movie outline
- Alan Smithee (a pseudonym for anonymous director)
- Movie creation
- Auteur Theory
References
Bibliography
- Spencer Moon: Reel Black Talk: Sourcebook 50 American Filmmaker , Greenwood Press 1997
- The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera , Visible Ink Ink, 1999
- International film and filmmaker , ed. by Tom Pendergast, 4 volumes, Detroit [etc]: St. James Press, 4th edition 2000, vol. 2: Board of Directors
- Director of North American Contemporary Film: A Wallflower Critical Guide (Wallflower Critical Guide for Contemporary Directors), ed. by Yoram Allon Del Cullen and Hannah Patterson, Second Edition, Columbia Univ Press 2002
- Alexander Jacoby, Donald Richie: Critical Handbook Japanese Film Director: From Silent Era to Today , Stone Bridge Press, 2008, ISBNÃ, 1-933330-53-8
- Rebecca Hillauer: Encyclopedia of Arabian Woman Filmmaker , American University in Cairo Press, 2005, ISBN 977-424-943-7
- Roy Armes: African Filmmaker Dictionary , Indiana University Press, 2008, ISBNÃ, 0-253-35116-2
- Philippe Rege: Encyclopedia French Film Director , Scarecrow Press, 2009
Source of the article : Wikipedia
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