Film Directing 127: Day One
/LEVEL 100 blogs are for film students and first-time directors taking on the directing role for a short film. The series is designed to help and guide new filmmakers through the director’s prep duties, pre-production activities, and principle photography dynamics.
Watch your actors like newborn babies.
Your first day on set as a director will undoubtedly be memorable. Make it a good one.
At the student level, your first day may be the only day that you’re directing. Schools have rules, and one-day shoots are common.
Shoot days can be stressful. Expect a lot of questions that need to be answered in a short period of time. Whatever happens, you’ll walk away knowing a lot more about yourself and the challenges of directing.
If you’re following the suggestions in LEVEL 100, the plan for the day is:
shoot 2 – 3 pages,
with 2 – 3 actors,
in one location.
Every day of film production requires the director to have a plan and then execute it. The question is: can the scheduled work be completed in the allotted time?
Depending on your visual approach, you could have anywhere between 8 – 15 camera setups. Who knows? Maybe you want to shoot it all in one shot. But that’s all planned out, right?
Prior to everyone arriving on set, the call sheet has been approved and sent out to the cast and crew.
Best recommendations for a good start — arrive early, be well-rested, and don’t drink too much coffee.
Keep an eye on the collective energy. Make everyone feel comfortable and welcome. Plan on having a fun day.
There’s usually some milling about and small talk before the first assistant director says, “We are on the clock.”
Prior to jumping straight into the work, consider gathering the whole gang for a quick intro and statement of gratitude. Heartfelt comments go a long way to starting the day on the right foot.
On smaller shoots, introduce the actors and any new faces.
After introductions and thanking everyone for joining you on this journey, hand it over to the first assistant director to review the safety issues, the accident and first aid procedures, plus any sensitivities for the location or set.
Be sure that all questions are answered and understood.
***
With everyone ready to work, the AD calls the scene number and says, “Blocking is up.”
First read: Gather the actors and have them read the scene. No acting, please! Just let everyone hear the dialogue in its entirety. Say, “action.” When it’s finished say, “Cut. Okay. Good. Thank you!”
*NOTE* When the actors read the scene — watch them. Watch what they do. Do NOT read your script while the actors are reading. You should be familiar with the material.
Discuss the readthrough. Take the time you need with the actors to address any of their concerns about the scene, the set, the props, etc.
Second read: Get your actors into their starting or first positions. Let them know they can feel their way through it and move around the set. Watch what happens naturally. Where do they feel comfortable delivering a line? When do they move closer? When do they move apart?
*NOTE* Yes, you have a plan – but here’s the trick: you want the actors to think it’s their idea, it’s their character’s idea.
Let them organically find their place and movement in the set. Hopefully their choices are similar to your blocking plan. Who knows? Maybe someone has an idea that makes the scene better or funnier. Watch and listen for good ideas. This is what co-creating is all about.
If you like to take scribble notes, do it.
When the scene is finished say, “Cut. Good. Thank you.” Or something like that.
Don’t talk too much. Don’t overthink it. Be brief. Be concise. Build trust with these readthroughs.
Third read: Get the actors back to 1st positions. Let them know you’re going to stop and start this time. Call, ‘action.’
Stop and start as the actor movement and places are determined. The camera assistant puts down tape marks for key positions.
Fourth read: Get back to first positions and run the scene at the performance pace.
If it’s good, let the AD know that’s a ‘cut on blocking.’
***
Best Case Scenario #1: The actors have naturally landed in the positions that you pre-visualized in your prep — so the shots you’ve planned are going to work.
Best Case Scenario #2: The actors have taken direction, and have moved and stopped as you’ve suggested – and the shots you’ve planned are going to work.
Best Case Scenario #3: There’s been a change with the actor actions or positions that makes the scene better. Your visual plan is able to accommodate it – and the shots in your anticipated shot list are easily revised.
***
After the actor movement and positions have been established, it’s time to call the shots. Show the DP and 1st AD where the camera goes, what you’re looking for, the framing, and any camera movement for each set-up.
Camera, lighting, sound, set dec, props, continuity, and stand-ins are all watching and listening.
Be happy with the blocking and the shots. Discuss and confirm the order of the shots.
The DP selects the first shot to light, which is usually a master or wide shot because it establishes the lighting for the coverage and following shots. Be patient as it may take a while to light the first shot. Remember, it may be the first time for many of the crew to be working together.
The 1st AD gets a time estimate from the director of photography. The actors are released for hair, makeup and wardrobe. The DP tasks the lighting and rigging crew with duties. The sound mixer and boom operator get their gear ready to go.
When the camera and lights are set, your actors return and rehearse with camera and sound. From their first positions, have them walk through the scene at half-speed. Start and stop as needed for any issues or technical adjustments, such as framing, focus, microphone boom shadows, etc.
When problems are fixed, that’s a ‘Cut on Rehearsal’.
The AD says, ‘Camera is up.’ Everyone resets to first positions.
“Quiet on set. Roll camera. Roll sound. Slate it please.”
The camera operator, focus puller, and boom operator may need to reframe and refocus after the slate. When things are ready, the operator says, “Frame.”
Take a few seconds to let everyone settle, and then say “action.”
Watch carefully. Make mental notes or take scribble notes, if that’s your style.
When the dialogue and action is done, the scene may feel finished, but don't rush to end it. Take a few breaths — and then say, “Cut.”
As soon as you can, make eye-contact with your actors. Nod, smile, let them know you’ll come over in a moment.
Check with camera, sound, and continuity. Listen to their comments. There will likely be suggestions and some corrections to address.
Tell continuity what you’d like to note about the take, what you liked, whether or not you’re circling the take, and if there were dialogue problems ask them to help the actor make the necessary corrections after you’ve spoken with them.
Let the 1st AD know that you’ll be going again.
While the crew is resetting, this is your opportunity to speak with your actors.
***
If you have two actors in your scene, speak to them together about your thoughts on the take. Let them know what you liked. Dress in the notes from your key crewmates and make sure that you’ve explained it clearly.
It's also good to have a private conversation with each actor. Out of earshot of everyone.
This is an opportunity to discuss their performance one-on-one. If you want an actor to ramp up the intensity or turn it down, find the language to help them escalate or de-escalate the emotional event.
Consider focusing on a couple of lines of dialogue — or a key moment. Direct them on how you’d like to adjust the energy for this next take with a verb, a pause, or a look.
Keep it simple. Be brief. Listen to your actors if they have questions. Make eye contact.
Wrap up the discussion and give them time to process your direction.
When everyone is ready in first positions, the 1st AD calls for the roll and a new slate is up for take 2.
Wait while everyone settles. Take a breath, and call, “action.”
***
For every take — watch your actors like newborn babies.
Did they take your note? Are they living truthfully in the moment? Are they listening to – but not anticipating - the dialogue?
You are the taste filter for their performance. They are trusting you.
After a couple of hours, and again at lunch, check with your AD on how things are moving. If you’re behind, acknowledge that you have to recalibrate your plan or your approach. Discuss any proposed changes with your AD. They may have suggestions that will help.
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Some parting advice:
It’s important to make your day — which means getting at least one shot of every scene that you need to advance the story.
Don’t wear your actors down. If their eyes glaze over when you’re talking with them, you’re wearing them down.
Be kind. Genuinely kind. It’s a team effort and you are leading the team.
Make good choices.
If an actor wraps early, make sure the AD announces that they are wrapped and be sure to thank them for their wonderful work. At the end of the day, thank everyone! Make it personal.
With student and indie filmmaking, directors can do their part to help with the wrap. It’s a thoughtful gesture that won’t go unnoticed.
So… Congratulations!!! You made your day as a first-time director! It took a lot of patience, planning and energy to get through it.
Feel good. It’s a big deal!
Celebrate!
