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Developing the Common Language between a Director and DP

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Developing the Common Language between a Director and DP

Collaboration is Key

 

by Adam Matalon

I think that the current ease and accessibility of digital media has created an environment of isolation for many young filmmakers. It is a truer statement that most first-time directors are also shooting and editing their own film rather than having the luxury of other creative individuals by their side. While I applaud the availability of the technology and the ability to refine a workman’s craft with little more than a camera and a laptop, it has created an environment where it is often unfamiliar to evolve a creative vision with others.

Collaboration is key to an expanded and far reaching message, because as focused and directed as your vision may be, it must still pass muster with your audience – the masses.

I think the largest and most important relationship for a director to evolve is the one between DP and Director. For those of you who have not had the luxury of having someone else shoot your movie I encourage the experience. The ability to subdue creative ego and see from another’s perspective is a key component of a supportive on-set environment.

I will momentarily disclaim this statement by saying that I believe that a director drives the bus and that once a film is in production, it is no longer a democracy. However, the creative preparation and preproduction period should include a very clear, passionate and uncensored dialogue between director and DP. This will develop and refine the style and approach to what will ultimately become the ‘look’ of the film. I have seen time wasted again and again between the creative team on set because everyone is seeing something else.

But I digress…

I believe a Director of Photography is that person, who will illuminate your vision with a technical understanding not only of the camera, the lighting but also of the way characters, may convey their message. If a certain character has a nervous ‘tick’ perhaps there must be a focus on the darting minutiae of that actor’s physical performance. How is that shot? Is there a B camera rolling on the actor’s independent physical activity during scenes? How will that translate into the cut?

These are discussions that are key to the vision that you will create together. I have an expectation that I will hear chapter and verse from a DP about their vision of the script and of the characters. I want to hear the things that excite them, the ideas they have for conveying what they see to be the essential dramatic moments of a film. Further, what is the shooting style? Where and when does handheld camera work play? Many times scenes are shot handheld because of time constraints and overruns and not as a result of stylistic choices.

These are important considerations and the Director/DP team should have clear plans for each scene as to where and when various styles are used.

Having this kind of in depth conversation will allow you to understand how you both perceive the film and how you both respond on both an emotional and technical level to the piece. I would hope that any DP I worked with could effectively direct scenes if I should somehow be incapacitated. If by chance you as a director also like to shoot, identify the situations where this could
potentially occur.

The value of all of this preparatory work is two-fold:

One: You will hopefully find a friend who will support you during the difficult moments in production – and understand, that these difficult moments will come.

Two: You will have developed creative shorthand, and an understanding of each scene that will allow you both to piggyback in and out of scenes and create an efficient workflow, which in turn will give you the freedom to concentrate on the filmmaking itself. Time savings translate into extra takes, cost reduction and a more relaxed on-set atmosphere.

On a personal note I have had the good fortune to work with DP/Producer Kevin Burke over the last few years on a variety of projects from Advertising & Marketing pieces to Indie Features, and while I have worked with others he remains the one with whom I have an innate understanding of how a scene can and should be covered. We agree in shooting what we need and not shooting footage that will never ‘make it home’. As time has gone by this has also allowed us to do less prep because we trust that even in a pinch we’ll work out the look and coverage at speed.

There are many long standing relationships between acclaimed directors and DPs. Here are a few practical steps towards developing a relationship.

• Discuss common set language and knowledge of acting, lenses, music, editing.

• Go into production knowing any scenes where you are not prepared to compromise and storyboard the scene as you see it cut. (This is also a great time to extend an invitation to your editor to hear their views.)

• Set aside a day and each bring two favorite movies. Watch them together and understand from each other why they resonate.

• Take key scenes from the script and act them with each other. Find the difficult moments and ask yourselves how you will convey them. Remember to enjoy each other’s opinions and be ready to bow to the other’s expertise and you will prosper.

Developing the Common Language between a Director and DP

Adam Matalon is a writer/director/ producer. He started Chatsby Films to develop his own film and TV projects. He has directed shorts and home DVDs for Sesame Street: All Star Alphabet (Stephen Colbert & Nicole Sullivan), Exploring Together (Matt Lauer), and Moving Together (Sarah Jessica Parker). His film credits include Seasons in the Valley, Death On Demand, and Sex & Camping. He is in early pre-production for a new comedy, Drive- In (2008), and he is producing a pilot for a new reality show. 

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