The director's idea: the path to great directing
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Burlington
Focal Press
2006
|
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xiv, 356 S. |
| ISBN: | 0240806816 9780240806815 |
Internformat
MARC
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| 100 | 1 | |a Dancyger, Ken |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The director's idea |b the path to great directing |c Ken Dancyger |
| 264 | 1 | |a Burlington |b Focal Press |c 2006 | |
| 300 | |a xiv, 356 S. | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-014774075 | ||
Datensatz im Suchindex
| _version_ | 1804135317797601280 |
|---|---|
| adam_text | Contents
viz
Acknowledgments xiii
Part I: What the Director Does
Chapter i • Introduction 2
What Does the Director Do? 3
Who Is the Director? 4
How Did We Get Here 5
Where Are We Today? 6
The Structure of the Book 8
How I Came to Write This Book 9
Chapter 2 • The Director s Idea 12
The Unity of the Production 15
Chapter 3 • The Competent Director 24
What the Audience Wants 25
Directors and Competence 27
Case Study I. The Competent Director:
Antoine Fuqua ( King Arthur, 2004) 29,
Case Study II. The Competent Director:
Simon Wincer ( The Lighthorseman, 1087) 32
Chapter^ • The Good Director 40
How the Director s Idea Works 41
A Case Study in Good Directing:
Michael Mann s Collateral 47
Contents
Adding Value to a Project 49
The Director s Idea 52
Chapter 5 • The Great Director 54
Voice 56
Three Contemporary Great Directors in America 57
Three Contemporary Great Directors
Outside America 63
Chapter 6 • Text Interpretation 72
The Case of Steinbeck s East of Eden 76
yjjj Interior/Exterior 78
Young/Old 80
Male/Female 81
Political/Sociological/Psychological 82
Tone 84
Chapter 7 • The Camera 86
The Shot 87
Camera Placement 89
Proximity 89
Objectivity 89
Subjective Camera Placement 90
Camera Height 90
Camera Movement 91
Movement from a Fixed Point 92
Movement from Movement 93
Lighting 94
Art Direction 95
Sound 96
The Edit 97
Continuity 97
Clarity 98
Dramatic Emphasis 99
New Ideas 99
Parallel Action 99
Emotional Guidelines 100
Tone 100
Tfte Main Character 101
Conflict 101
Story Form 101
Contents
Chapter 8 • The Actor 104
Casting 105
The Character Arc 108
An Aside about Actors as Directors 110
Philosophies of Acting in
Outside In 112
Inside Out 113
The American School 113
The European School 114
Part II: The Case Studies of Directing
ix
Chapter 9 • Sergei Eisenstein: The Historical Dialectic 122
Introduction 123
Text Interpretation 123
Directing the Actor 125
Directing the Camera 128
Directing for the Edit 130
Chapter 10 • John Ford: Poetry and Heroism 134
Introduction 135
The Grapes of Wrath (1940) 137
My Darling Clementine (1946) 137
They Were Expendable (1945) 137
The Searchers (1956) 138
Text Interpretation 138
Directing the Actors 141
Directing the Camera 143
Chapter 11 • George Stevens: The American Character—Desire
and Conscience 148
Introduction 149
Alice Adams (1935) 150
Gunga Din (1939) 150
The More the Merrier (1943) 150
A Place in the Sun (1951) 151
Giant (1956J 152
Text Interpretation 152
Directing the Actors 154
Directing the Camera 156
Contents
Chapter 12 • Billy Wilder: Existence at Stake 162
Introduction 163
The Lost Weekend (1945) 165
Sunset Boulevard (1950) 165
The Apartment (i960) 165
Double Indemnity (1944) 166
Text Interpretation 167
Directing the Actor 169
Directing the Camera 171
Chapter 13 • Ernst Lubitsch: The Life Force of Romance 174
* Introduction 175
Trouble in Paradise (1932) 178
Ninotchka (1939J 179
The Shop Around the Corner (1940) 180
To Be or Not To Be (1942) 180
Text Interpretation 181
Directing the Actors 183
Directing the Camera 184
Chapter 14 • Elia Kazan: Drama as Life 188
Introduction 189
Panic in the Streets (1950) 194
On the Waterfront (1954) 195
East of Eden (1954) 196
America, America (1963) 196
Text Interpretation 197
Directing the Actor 198
Directing the Camera 200
Chapter 15 • Francois Truffaut: Celebrate the Child 204
Introduction 205
The 400 Blows (1966) 206
Stolen Kisses (1968) 207
Love on the Run (197SJ 207
Day for Night (1972) 208
Text Interpretation 209
Directing the Actor 212
Directing the Camera 213
Contents
Chapter 16 • Roman Polanski: The Aloneness of Existence 218
Introduction 219
Rosemary s Baby (1968) 221
Chinatown (1974) 221
Tess (1981) 223
The Pianist (2002) 224
Text Interpretation 224
Directing the Actor 227
Directing the Camera 229
Chapter 17 • Stanley Kubrick: The Darkness of Modern Life 232
Introduction 233 XI
2001: A Space Odyssey (1968) 235
Barry Lyndon (1975) 236
Full Metal Jacket (1987) 237
Eyes Wide Shut (2000) 237
Text Interpretation 238
Directing the Actor 242
Directing the Camera 243
Chapter 18 • Steven Spielberg: Childhood Forever 246
Introduction 247
Jaws (1975J 249
Raiders of the Lost Ark (1981) 249
E.T. (1982) 250
Saving Private Ryan (1998) 251
Text Interpretation 252
Directing the Actors 254
Directing the Camera 255
Chapter 19 • Margarethe Von Trotta: Historical
Life and Personal Life Intersect 260
Introduction 261
The Lost Honor ofKatharina Blum (1975) 264
The Second Awakening ofChrista Klages (1977) 264
Marianne and Juliane (1981) 265
Rosenstrasse (2004) 267
Text Interpretation 268
Directing the Actor 270
Directing the Camera 272
Contents
Chapter 20 • Lukas Moodysson: Empathy and Its
Limits 274
Introduction 275
Fucking Amal (1998) 277
Together (2000) 278
Lilja 4-Ever (2002) 279
A Hole in My Heart (2004) 281
Text Interpretation 282
Directing the Actor 284
Directing the Camera 285
Chapter 21 • Catherine Breillat: The Warfare of Sexuality 288
Introduction 289
Romance (1999) 292
Fat Girl (2001) 293
Sex Is Comedy (2002) 294
Anatomy of Hell (2004) 294
Text Interpretation 295
Directing the Actor 296
Directing the Camera 297
Chapter 22 • Mary Harron: Celebrity and Banality 300
Introduction 301
I Shot Andy Warhol (1995) 306
American Psycho (2000) 307
Text Interpretation 310
Directing the Actor 312
Directing the Camera 313
Chapter 27, • Conclusion 316
Appendix • Finding the Director s Idea 330
Strategy for Reading the Script 331
Moving Toward Interpretation 333
Choosing the Director s Idea 335
Index 338
Contents
|
| adam_txt |
Contents
viz
Acknowledgments xiii
Part I: What the Director Does
Chapter i • Introduction 2
What Does the Director Do? 3
Who Is the Director? 4
How Did We Get Here 5
Where Are We Today? 6
The Structure of the Book 8
How I Came to Write This Book 9
Chapter 2 • The Director's Idea 12
The Unity of the Production 15
Chapter 3 • The Competent Director 24
What the Audience Wants 25
Directors and Competence 27
Case Study I. The Competent Director:
Antoine Fuqua ("King Arthur," 2004) 29,
Case Study II. The Competent Director:
Simon Wincer ("The Lighthorseman," 1087) 32
Chapter^ • The Good Director 40
How the Director's Idea Works 41
A Case Study in Good Directing:
Michael Mann's "Collateral" 47
Contents
Adding Value to a Project 49
The Director's Idea 52
Chapter 5 • The Great Director 54
Voice 56
Three Contemporary Great Directors in America 57
Three Contemporary Great Directors
Outside America 63
Chapter 6 • Text Interpretation 72
The Case of Steinbeck's East of Eden 76
yjjj Interior/Exterior 78
Young/Old 80
Male/Female 81
Political/Sociological/Psychological 82
Tone 84
Chapter 7 • The Camera 86
The Shot 87
Camera Placement 89
Proximity 89
Objectivity 89
Subjective Camera Placement 90
Camera Height 90
Camera Movement 91
Movement from a Fixed Point 92
Movement from Movement 93
Lighting 94
Art Direction 95
Sound 96
The Edit 97
Continuity 97
Clarity 98
Dramatic Emphasis 99
New Ideas 99
Parallel Action 99
Emotional Guidelines 100
Tone 100
Tfte Main Character 101
Conflict 101
Story Form 101
Contents
Chapter 8 • The Actor 104
Casting 105
The Character Arc 108
An Aside about Actors as Directors 110
Philosophies of Acting in
Outside In 112
Inside Out 113
The American School 113
The European School 114
Part II: The Case Studies of Directing
ix
Chapter 9 • Sergei Eisenstein: The Historical Dialectic 122
Introduction 123
Text Interpretation 123
Directing the Actor 125
Directing the Camera 128
Directing for the Edit 130
Chapter 10 • John Ford: Poetry and Heroism 134
Introduction 135
"The Grapes of Wrath" (1940) 137
"My Darling Clementine" (1946) 137
"They Were Expendable" (1945) 137
"The Searchers" (1956) 138
Text Interpretation 138
Directing the Actors 141
Directing the Camera 143
Chapter 11 • George Stevens: The American Character—Desire
and Conscience 148
Introduction 149
"Alice Adams" (1935) 150
"Gunga Din" (1939) 150
"The More the Merrier" (1943) 150
"A Place in the Sun" (1951) 151
"Giant" (1956J 152
Text Interpretation 152
Directing the Actors 154
Directing the Camera 156
Contents
Chapter 12 • Billy Wilder: Existence at Stake 162
Introduction 163
"The Lost Weekend" (1945) 165
"Sunset Boulevard" (1950) 165
"The Apartment" (i960) 165
"Double Indemnity" (1944) 166
Text Interpretation 167
Directing the Actor 169
Directing the Camera 171
Chapter 13 • Ernst Lubitsch: The Life Force of Romance 174
* Introduction 175
"Trouble in Paradise" (1932) 178
"Ninotchka" (1939J 179
"The Shop Around the Corner" (1940) 180
"To Be or Not To Be" (1942) 180
Text Interpretation 181
Directing the Actors 183
Directing the Camera 184
Chapter 14 • Elia Kazan: Drama as Life 188
Introduction 189
"Panic in the Streets" (1950) 194
"On the Waterfront" (1954) 195
"East of Eden" (1954) 196
"America, America " (1963) 196
Text Interpretation 197
Directing the Actor 198
Directing the Camera 200
Chapter 15 • Francois Truffaut: Celebrate the Child 204
Introduction 205
"The 400 Blows" (1966) 206
"Stolen Kisses" (1968) 207
"Love on the Run" (197SJ 207
"Day for Night" (1972) 208
Text Interpretation 209
Directing the Actor 212
Directing the Camera 213
Contents
Chapter 16 • Roman Polanski: The Aloneness of Existence 218
Introduction 219
"Rosemary's Baby" (1968) 221
"Chinatown" (1974) 221
"Tess" (1981) 223
"The Pianist" (2002) 224
Text Interpretation 224
Directing the Actor 227
Directing the Camera 229
Chapter 17 • Stanley Kubrick: The Darkness of Modern Life 232
Introduction 233 XI
"2001: A Space Odyssey" (1968) 235
"Barry Lyndon" (1975) 236
"Full Metal Jacket" (1987) 237
"Eyes Wide Shut" (2000) 237
Text Interpretation 238
Directing the Actor 242
Directing the Camera 243
Chapter 18 • Steven Spielberg: Childhood Forever 246
Introduction 247
"Jaws" (1975J 249
"Raiders of the Lost Ark" (1981) 249
"E.T." (1982) 250
"Saving Private Ryan" (1998) 251
Text Interpretation 252
Directing the Actors 254
Directing the Camera 255
Chapter 19 • Margarethe Von Trotta: Historical
Life and Personal Life Intersect 260
Introduction 261
"The Lost Honor ofKatharina Blum" (1975) 264
"The Second Awakening ofChrista Klages" (1977) 264
"Marianne and Juliane" (1981) 265
"Rosenstrasse" (2004) 267
Text Interpretation 268
Directing the Actor 270
Directing the Camera 272
Contents
Chapter 20 • Lukas Moodysson: Empathy and Its
Limits 274
Introduction 275
"Fucking Amal" (1998) 277
"Together" (2000) 278
"Lilja 4-Ever" (2002) 279
"A Hole in My Heart" (2004) 281
Text Interpretation 282
Directing the Actor 284
Directing the Camera 285
Chapter 21 • Catherine Breillat: The Warfare of Sexuality 288
Introduction 289
"Romance" (1999) 292
"Fat Girl" (2001) 293
"Sex Is Comedy" (2002) 294
"Anatomy of Hell" (2004) 294
Text Interpretation 295
Directing the Actor 296
Directing the Camera 297
Chapter 22 • Mary Harron: Celebrity and Banality 300
Introduction 301
"I Shot Andy Warhol" (1995) 306
"American Psycho" (2000) 307
Text Interpretation 310
Directing the Actor 312
Directing the Camera 313
Chapter 27, • Conclusion 316
Appendix • Finding the Director's Idea 330
Strategy for Reading the Script 331
Moving Toward Interpretation 333
Choosing the Director's Idea 335
Index 338
Contents |
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| title_short | The director's idea |
| title_sort | the director s idea the path to great directing |
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