THE DIRECTOR

• Has a need to tell a story and say something about the human
condition.
• Has a lively curiosity.
• Is a passionate observer of behaviors.
• Never says ‘no’ to an idea, instead they say ‘show me.’
• Is thoroughly prepared in pre, rehearsal and shoot.
• Stop talking! Be brief and to the point.
• Has highly developed skills in leadership and people management.
• Is a good listener with the skills to diplomatically terminate an
overextended discussion.
• Knows enough about every crew role to communicate effectively.
• Knows a lot of actors and what those actors can do.
• Sets the standard for energy and focus during rehearsal and shoot.
When these qualities are lacking in the director, everyone’s
concentration and imagination drain away.
• Is flexible and open to opinions.
• Invites collaboration because wisdom and imagination don’t always
necessarily reside in the directors head.
• Is quick-witted and decisive.
• Is will to admit a mistake or error in judgment.
• Is honest enough to say ‘I don’t know.’
• Is realistic and reasonable, with the ability to compromise.
• Is able to look objectively at their own work and discard their most
precious creations when its clear they are not working.
• Always keeps the actors informed – about a delay, why their doing
another take, size of shot, when it’s a rehearsal… and so on.
• During the shoot, require a quiet and concentrated set.
• Establish a call rhythm – finishing with ‘and action!’ This gets
everyone from actors through to crew smoothly into the shot.

• Knows absolutely that directing imaginatively for story and

character take a life-time.
 THE ROLE OF THE
DIRECTOR
• Interpret the story through creative investigation
of the text and subtext.
• Communicate his/her vision to the cast and crew.
• Direct the actors to help them achieve vivid,
imaginative, characterisations which best tell the
story.
• Deciding shots which best tell the story.
 SCRIPT ANALYSIS

• The script is the blueprint from which all crew

members’ work. The directors role is to extract
meaning and determine what the script is
saying the ‘message’ or ‘statement.’ Script
analysis is intended to stimulate the director’s
imagination.
 SCRIPT ANALYSIS
• 1. FIRST IMPRESSIONS: read the script from
start to finish, avoid interruptions, concentrate
and try and read right through in one sitting.

• 2. THE GIVEN CIRCUMSTANCES:

information provided by the writer about
situation, relationships, character detail,
conditions, background, attitudes, – anything
and everything that will assist you to get to the
centre of the drama.
 SCRIPT ANALYSIS
• 3. RESEARCH: most scripts make reference to
conditions and circumstances - historical, social and
political - that the director needs to research. Most do
far too little research and the usual result it that the
directors interpretation is less imaginative, less detailed
and not as intriguing.

• 4. THE STORY: a director must intimately know the

story they are telling. They must be able to write a
synopsis that tells us something about the
circumstances of the story and the relationships
between the main characters.
 SCRIPT ANALYSIS
5. THE CHARACTERS: refer back to your notes on given
circumstances and then research the script for each characters:
relationships, habits, behavior, activities, mannerisms and more
broadly: work, recreational and domestic activities.

6. THEMES: the word theme is often used loosely. The themes

contribute to the meaning of the story, but they are not the whole
meaning. Themes are topics, concepts and ideas treated in the
screenplay. For example: dominance, jealousy and married love
OR the nature and problems of perfectionism.
 SCRIPT ANALYSIS
• 7. STYLE: is the sum of all aspects of the
production, including design, lighting, camera,
effects, sound, character behaviors and music.
 WRITING A SYNOPSIS
A synopsis is NOT a short story version of the
script.
For example:
‘It’s a cold snowy evening in Copenhagen.
Barbara Gunn is in her rented apartment.
Stuart, her husband, arrives home with their
son Shaun who has dropped a bottle of
champagne…. etc ….etc.’
 WRITING A SYNOPSIS
• A synopsis, to be of use, is brief and character centred.
For example:

• ‘Barbara Gunn, her university lecturer husband Stuart,

and their three children are in Denmark for six months.
Stuart is dissatisfied with his job at the university, the
weather, the political climate and is critical of Barbara’s
personal needs. Barbara is concerned about their
relationship, she demands change and equality.’