Directors Tell the Story

by Bethany Rooney

  The script supervisor’s job is to keep track of the correlation between the script and what is shot. She describes each shot, either on paper or on a laptop, and indicates which takes are preferred after consulting with you. The “scriptie” also makes note of the lens size, the camera roll number, and the sound roll number, so if a shot gets “lost” on its journey from production to postproduction, it will be easier to locate. But the most important facet of the script supervisor’s role, as it relates to the director, is as a “second eye,” another person watching the shot. She is usually someone who has been on a multitude of sets, has observed much filmmaking, and knows when something is good or not. In terms of quality, she will not express an opinion unless you ask for it. But if you need to talk something through, the script supervisor is an informed and helpful resource.

  The other function she performs is the technical one of making sure you don’t cross the line when shooting. The “line” is a figurative one that ensures that when your footage is cut together, it will appear that Character A and Character B are actually looking at one another. This is more difficult than it sounds, because each shot is recorded separately—perhaps not even in the same space and time. Picture two people facing each other, and in the rectangle of your frame, Character A (let’s call her Alice) is looking left-to-right to Character B (Bob) who is looking right-to-left. See Figure 11-1.

  FIGURE 11-1 Character A (Alice) looking left-to-right to Character B (Bob) who is looking right-to-left.

  The “line” would run through the center of their figures, best seen if you imagine that you are looking at them from overhead. See Figure 11-2.

  In its most basic form, the important thing to understand is when you are cutting between the close-ups of Alice and Bob, they need to look at opposite sides of the frame to create the illusion they are talking to each other. So Alice looks right, and Bob looks left, and the audience believes they are facing each other and talking. See Figure 11-3. When you shoot the close-up of Alice, put Bob on the right side of camera (“camera right”) and vice versa. See Figure 11-4. Seems simple enough, until Alice and Bob move around the set, and leave their cozy face-to-face position. Then how do you know where the line is?

  What you have to do is cut the scene together in your head while you are shooting it, so you know which shot you will be cutting from and which shot you will be cutting to. If a character looks camera right to the other character, you would set up the reverse shot in the opposite direction. (Character A looks right, Character B looks left.) For example, in our ongoing story of the Soldier and Wife from Chapter 7, we know the line was set up in the master so the Wife looked right to the Soldier, and the Soldier looked left to the Wife. See Figure 11-5.

  The camera angles on the diagram show that although the first shot is next to (or over the shoulder [OS]) of the Soldier, the lens is seeing the Wife, who looks camera right, and the camera next to/OS the Wife depicts the Soldier looking camera left. See Figure 11-6. So it would be incorrect to place a camera on the other side of the line, because then the Wife would look left and the Soldier would look right. (Stick withus here; we know it’s confusing, but once you get this, it’s easy.) See Figure 11-7.

  FIGURE 11-2 An aerial view of Character A (Alice) looking at Character B (Bob) with an imaginary line running through their bodies.

  FIGURE 11-3 Character A (Alice) looking left-to-right.

  FIGURE 11-4 Character B (Bob) looking right-to-left.

  FIGURE 11-5 The camera and actors’ positions and in which direction they are looking.

  But what if the story took a turn, and the Soldier decided he wasn’t ready to reunite with his Wife, and he wanted to walk away? He could turn 180 degrees and exit, and because he’s on the same plane/trajectory, nothing would change. The Wife would still look camera right to him. He could choose to walk off down the sidewalk to his right (which is also camera right). Again, because the Wife would still look right to him, that is acceptable blocking. But if the Soldier went to his left and crossed camera, the Wife would no longer be looking camera right. She’d be looking camera left, and that is crossing the line. See Figure 11-8.

  FIGURE 11-6 The camera and actors’ positions as well as what the camera sees.

  FIGURE 11-7 The incorrect camera placement. It demonstrates “crossing the line.”

  At that point, the director has three options. The first is to let it be incorrect. We advise against this option, because it’s jarring for the audience when the scene is cut together. The audience registers subconsciously that the Wife always looked camera right to the Soldier, so to have her suddenly look left makes it seem wrong. The second option is to move the camera (dolly) left with the Soldier, always keeping him on camera right. So the looks stay in the same direction, even though the actors have moved. The third option is to show the Soldier crossing the lens, and then shoot another shot of the Wife’s close up and have her look camera left. That way, when it’s cut together, and the audience sees the Soldier cross the lens, and then the next shot is of her looking left, it still cuts together, and everyone follows the flow and the story.

  FIGURE 11-8 The two ways the Soldier might cross and why one cross maintains the correct screen direction and the other does not.

  Most directors will choose option 2 when shooting a scene in which the actors move so as to maintain the established screen direction. Remember, as long as the characters are looking in the same directions (Wife looks right, Soldier looks left) throughout the scene, it will cut together seamlessly. It doesn’t matter so much exactly where they are but rather that the looks are consistent. So while you are shooting, keep in mind how the scene will cut together—which shot you are cutting from, which shot you are cutting to, and know that as long as your characters are consistent—or you show the change in screen direction—all will be well.

  It sounds complicated, and it can be—especially when you are shooting a party scene, or a Thanksgiving dinner scene, or any scene with multiple characters who move around within the set. One of Mary Lou’s mentors, Michael Lembeck, told her, “You’re not a director until you’ve shot a poker game.” But you will have done your blocking and shot listing in prep, and you’ll feel confident that you have a handle on it because you have indicated in your script which shot you anticipate using on every line. And your script supervisor will help you keep track of this line, or screen direction, especially if the blocking deviates from the way you have planned.

  The other person who can assist you in this is the DP, who is—in addition to other skills—very aware of screen direction. If you question whether you’ve crossed the line, it warrants discussion with your script supervisor and DP. The DP will also help you place the cameras and the actors to get the shot with the correct screen direction. For example, if you need a character to look camera right (as the Wife does), then you would put the actor playing the Soldier to the right side of the camera, which means the camera is on the actor’s left. Or if it’s an OS shot, the camera would again be on the actor’s left side, looking over his shoulder and incorporating his body in foreground (fg), but most of the frame would be filled by and focused on the Wife. See Figure 11-9. If, however, you make a mistake, and put the camera on the right side of the actor, that would make the Wife look left to the Soldier, which would be crossing the line. See Figure 11-10.

  Your script supervisor will help you keep track of this line, or screen direction, especially if the blocking deviates from the way you have planned.

  FIGURE 11-9 The camera placement for the over the shoulder (OS) shot.

  FIGURE 11-10 The correct and incorrect camera placement for the close-up in order to maintain correct screen direction.

  No matter how long a person has been directing, these questions of crossing the line continue to come up, especially in a scene in which the blocking is complex. When that happens, imagine cutting the scene together and what the previous shot screen direction is. The difficulty happens when you haven’t yet shot the pre
vious shot because in the shooting order, lighting takes precedence. As you may remember from Chapter 8, you ask your DP to light the widest shot (probably the master) in one direction and then continue lighting in that same direction. After you and the crew have lit and shot everything in one direction, you’ll turn around to shoot in another direction. If, however, you are not on one axis, but looking in all four directions, the screen direction becomes complicated. Just know that you can discuss it with your script supervisor and DP and agree on the correct looks. But sometimes you end up shooting a close-up “both ways,” meaning that you do it twice, once with the actor looking right, and once with the actor looking left. Then you know that in the editing room, you are protected and the film will cut together.

  The DP is really your creative partner on set, helping you bring to life what was previously just in your head. He may use a viewfinder to set up a shot prior to bringing the camera to set or may use an application, like Artemis, for the same purpose. But you will discuss what the shot is exactly, based on your vision. You do not have to tell the DP which lens to use. Just describe how you “see” it. You might say something like, “I see this as starting with an empty frame, then when Character A enters, dolly back with her to pick up Character B in foreground, becoming an over. Long lens, kind of moody.” Your DP may have questions or suggestions. But at that point, you step out of the way to allow the DP to get the grip, electric, and camera crews working on setting up the shot. Once you see that cameras are in place, step back on set to watch the shot and refine it with the camera operator. After the lighting is complete, you’ll do a “second team and background” rehearsal, so the camera crew practices the shot, the DP can check lighting, and you can make sure that when the actors are called to set, all the physical elements are in place and ready.

  Prior to working together on set, you will have interacted with the DP in prep. As you begin to block and shot list, you can talk to the DP about what you’ve planned and solicit an opinion. You should consult with your DP about your planned camera placement and whether you need to order special equipment to achieve the shots. The DP will also, hopefully, have the time (if not currently shooting the previous episode) to survey locations with you, in order to talk about logistics and staging the scene in backlight. This means the actors are facing away from the sun, and the DP can light their faces in individual and subtle ways—for the sun is definitely not a subtle front light. It flattens the planes of faces and makes the actors squint. Not a pretty sight. But when the sun is behind the actor, it gives a “hair light,” or glow on the shoulders and top of the head, which is attractive and separates the actor from the background in this two-dimensional presentation. The DP and the gaffer will either work with an old-fashioned compass on the technical scout, or use some new smartphone applications, like Helios, which gives you precise information when you’re asking a specific question, such as, “This scene shoots next Thursday, third scene up. We anticipate arriving at this location at 2:00 p.m. Where will the sun be then?” Once you have that information, you may want to adjust your planned blocking so that the actors are in the best light, and the shoot goes more quickly and easily because it is staged in backlight.

  The main thing is to foster a creative partnership with your DP, who will be the one lighting the set and helping you achieve your desired look. The DP will take your idea and “make it happen,” using knowledge and experience to light the set appropriately, communicating with the lighting and grip crews to place lamps and then flag them off to be extremely specific about each light. Because here—just as in every other aspect of filmmaking—more specificity means better work.

  The DP is responsible for the “picture” part of “motion picture,” which is where this visual medium started. The DP creates mood by lighting and oversees the framing of the shots. If you are not strong in using the camera well, the DP can be an invaluable asset. Most DPs advance to their position after having previously been a camera operator, so they are extremely familiar with the equipment and what it can do, plus they are artistic in nature themselves. If, on the other hand, you feel confident in this area, it may work out that the DP is simply suggesting refinements and backing you up in the case of a mistake in crossing the line or forgetting a shot. The DP also supervises the camera operator’s framing and the 1st assistant cameraperson’s focus ability. If you are the type of director who is on set with the actors, not sitting at the video monitors (which we hope is true), the DP will watch the monitor and let you know if there are any technical difficulties, like soft focus. The DP continues to oversee the picture quality in postproduction, when he supervises the color correction of the digital final product to make sure that the show is finished in the intended way.

  If the AD is your lieutenant, the DP is a captain, because many of the crewmembers report to directly to the DP. The electric, grip, and camera departments are under his supervision. No one in those departments is hired without the DP’s consent and all consider him to be their boss. So in order for you to command the set, it is necessary to have a good working relationship with the DP and share creative sensibilities.

  Everyone on the crew and staff is listed on the daily call sheet. We discussed the front of the call sheet in Chapter 5, when we talked about how the 2nd AD lists actors’ call times and daily script requirements such as props and wardrobe. The back of the call sheet lists every position needed for that day, and the name of the person who will be doing the job. See FIGURE 11-11.

  Call everyone by their name. Smile at them and interact in a personal and interested way. Ask their opinion when you have a question pertaining to their area of expertise. Gather them in; enlist their support in achieving your vision. Convince them to have the same enthusiasm for this wonderful adventure that you do.

  For a standard TV show or feature film, the staff and crew listed there total about 120, including some of the writing and postproduction staff. It is to your advantage to learn everyone’s names and positions in order to communicate clearly and inspire everyone to feel like a vital part of the organization—which they are. Bethany always conceives of this concept as a long line of interconnected cogs. The director is the one at the front, pulling everyone along and leading the way. But the director is the same size cog as everyone else, because if any one cog falls out of the line, it can go nowhere. So everyone is of the same importance. When that is your philosophy, it will be demonstrated by your actions: you will call everyone by their name. Smile at them and interact in a personal and interested way. Ask their opinion when you have a question pertaining to their area of expertise. Gather them in; enlist their support in achieving your vision. Convince them to have the same enthusiasm for this wonderful adventure that you do.

  FIGURE 11-11 The back side of a blank call sheet.

  YOUR CREW AND WHAT THEY DO

  So let’s talk about these “cogs” and what they do. We have already discussed ADs, the DP, and the script supervisor. Here are the rest of those positions, listed by call sheet order.

  Camera Department

  Camera operator: Composes and executes the shot using the picturerecording device, whether the medium is film, tape, or digital. Figure 11-12 shows Bethany discussing the composition of a shot with A-Cam operator Ben Spek on the set of Brothers & Sisters.

  1st Assistant Camera: Focuses the camera lens during the shot; supervises the physical operation of the camera.

  2nd Assistant Camera: Keeps the camera log, noting duration of each shot and the physical statistics (type of lens, focal length), does the slate (you know, the board that is slapped shut to identify and signal the beginning of the take), organizes and protects the equipment.

  Loader: Makes sure there is film (or whatever) in the camera, also known as “stuffing the turkey”; makes sure the recorded medium gets to the transportation department at the end of the shooting day so that it may begin to be processed.

  Digital Technician: Watches monitors to make sure the picture quality is accep
table, adjusts gain and balance on the hard drive as necessary; this is an optional position if the DP wants to handle this himself.

  Trainee: Someone who wants to learn!

  FIGURE 11-12 Bethany discussing the composition of a shot showing actor Cantrell Harris with A-Cam operator Ben Spek on the set of Brothers & Sisters. (Brothers & Sisters trademarks and copyrighted material have been used with the permission of ABC Studios.)

  Electrical Department

  Gaffer: Oversees the electrical crew and sets lights; the DP’s second-in-command.

  Best Boy: Executes gaffer’s instructions; may scout locations on behalf of the electrical crew and prepares accordingly, ordering equipment and manpower; next in command to the gaffer.

  Lamp Operator: Moves lights into position; may be four or more on crew.

  Genny (Generator) Operator: Supervises the power source.

  Rigging Crew: Lays cable and prepares sets and locations electrically ahead of time; hangs and prerigs lights in the pattern dictated by the DP; consists of a gaffer, best boy, and lamp ops.