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Chapter 1: Production & Form Film 125: the Textbook © Lynne Lerych

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Chapter 1: Production & Form Film 125: the Textbook © Lynne Lerych Chapter 1: Production & Form Film 125: The Textbook © Lynne Lerych Film is a highly collaborative art form that relies upon the skills and talents of many, many people – as you know if you’re the sort to sit all the way through the credits at the end of a movie.1 But chances are that, even if you’re one of those movie dorks who stays in the theatre until the last note of the score plays and the lights come up to reveal the popcorn and Mike & Ikes stuck to the floor in congealed puddles of Dr. Pepper, you still don’t really know what all those people whose names took ten minutes to scroll across the screen actually, you know, do. So this part of Chapter 1 – the “Who Does What?” part – is for you. The following descriptions don’t go to ridiculous lengths to explain every title you’ll ever see in the end credits.2 But they do make an attempt to give you a clue about the major functions of the major players in the art and business of moviemaking. The preparation phase (a.k.a. the pre-production phase) of filmmaking is defined as the part of the timeline that stretches from the initial idea for the film to the beginning of principal photography (shooting). The central activities involved in the preparation phase are writing and revising the script, raising money, hiring cast and crew, and making logistical arrangements for shooting. The producer is the dominant force in this stage of moviemaking. The major players at this point are: The Producer oversees logistics and is responsible for the actual physical product – he or she ensures that the project is completed, often taking on significant financial risk. Although the producer is involved throughout the process, his/her contribution is most prevalent in pre-production because that’s when all the resources (human, physical, financial) are brought together under the producer’s control. The Executive Producer technically supervises the producer, but realistically doesn’t do any actual work. Typically the EP is the person who bought the rights to the book/play or who brings a lot of money to the production (often one of the stars). In pre-production, the Line Producer is typically involved in negotiations with crew. In production, the LP serves as the on-set liaison between the producer and the director and manages the budget and day-to-day operations as soon as principal photography begins. 1 Which you should do, if only because all those gaffers and best boys and spider wranglers deserve a little recognition, too. 2 Because I’m assuming you already know what caterers and accountants are, and you probably don’t really need to know exactly what the “Assistant to Christian Bale” does. Page 1 of 17 Chapter 1: Production & Form Film 125: The Textbook © Lynne Lerych Perhaps not surprisingly, the Screenwriter writes the screenplay (or script). But what you may not know is that the creation of the script can happen in a variety of ways. Some scripts are original and completed before being pitched to a development executive; some are adaptations (which can be commissioned or pitched); some are pitched as treatments (initial script proposals) prior to the script being written. The shooting script is the completed screenplay prior to shooting (production); in many films, the screenplay changes during shooting through authorial revision, notes (from directors/producers), actor contributions, and even audience response at early screenings. The shooting phase (a.k.a. the “production” phase) of filmmaking is defined as the part of the timeline that begins as soon as principal photography begins and ends when principal photography is complete. The central activities in this stage of moviemaking revolve around the recording of actors as they bring their characters to life. The director is the dominant force during this stage. The major players are: The Director oversees all aspects of shooting by directing the contributions of both cast and crew throughout the production phase. The director controls the film’s overall artistic vision by translating the concept of a story into a collaboratively created work of art involving actors, designers, technicians, artisans, composers, musicians, and editors. There are widely varying directing styles, ranging from hands-off directors who begin with a general plot and encourage improvisation (Spike Lee, Gus Van Sant) to intensely controlling administrators (Steven Spielberg, Alfred Hitchcock) to jacks-of-all-trades who write, direct, perform, and even compose their own music (Charlie Chaplin, Clint Eastwood, Woody Allen) to those who routinely collaborate with specific writers (Martin Scorsese, Peter Jackson) or who routinely edit or shoot their own films (Steven Soderbergh, Joel & Ethan Coen). The Production Designer oversees all aspects of the visual creation of the film and is ultimately responsible for the overall look of the movie. The PD collaborates closely with the director and the cinematographer, and supervises the work of the art department, costumers, makeup artists and hair stylists. Also known as the Director of Photography, the Cinematographer oversees camera position, distance, angle, etc., as well as film stocks, lenses, and filters. A crucial area of responsibility for the cinematographer is lighting. He or she supervises the camera operators as well as others on the camera crew (loaders, grips) and the lighting crew (electricians, gaffers). Actors bring the script to life by performing the roles created by the screenwriter under the guidance of the director. Depending on the size/significance of the role played, actors can be classified as stars, supporting players, minor players, and extras. An additional category is stunt players, who perform in scenes (such as fights) that are too risky for other actors (typically stars). Page 2 of 17 Chapter 1: Production & Form Film 125: The Textbook © Lynne Lerych Page 3 of 17 Chapter 1: Production & Form Film 125: The Textbook © Lynne Lerych The director has an entire team of people who work directly for him/her. Some of the more significant players on the director’s team are: The Casting Director recommends/selects actors for the film. Although the actors performing the major roles (stars) are often pre-selected – are indeed a part of the initial pitch in a package that includes writer and director – the supporting and minor players are often hired through an audition process coordinated by the casting director. The Script Supervisor oversees continuity by keeping track of scenes shot and making notes about any differences between the shooting script and the recorded action. He or she works closely with the director during shooting to ensure continuity of props, blocking, costume, hair styles, and other identifiable elements from shot to shot. Now this one might surprise you: the Dialogue Coach feeds lines to actors in place of their co-performers who may not be on set at the time the scene is being rehearsed or filmed. Not to be confused with a Dialect Coach, whose job is to help actors master regional accents or foreign languages necessary for a role. The Second Unit Director shoots at secondary locations (a.k.a. “on location”) to create B roll footage, typically used in establishing shots3 when the action in a film shifts from one place to another. Production Sound Mixers oversee the capture of live sound during shooting. In the past, very little of the sound captured during shooting was used in the final film, but with advances in the quality of sound recording, less and less automated dialogue replacement4 is needed. The Boom Operator assists the PSM by placing and moving the boom microphone during shooting. The production designer likewise has a team of people working to ensure consistent adherence to the original artistic vision of the film’s look: The Art Director reports directly to the production designer regarding all aspects of the setting for the film’s various locations, and also supervises the set designers, graphic artists, and illustrators. The Set Designer is a draftsman, usually an architect, who makes the vision of the production designer and the art director into reality by creating the design and supervising the construction crews. The Set Decorator selects objects and props in keeping with the art director’s conception of the world of the film. The analogous person in the live theatre would be the property master. The Set Dresser is responsible for precise placement on the 3 You’ll learn much more about this in the editing chapter. 4 More about this later in this chapter. Page 4 of 17 Chapter 1: Production & Form Film 125: The Textbook © Lynne Lerych set of the objects and props and set elements (drapes, rugs, etc.) selected by the set decorator. The Costume Designer creates the vision for clothing worn by the actors during filming. Often this means that the costume designer actually creates original costumes by drawing them for use by costume makers. Sometimes, though, the costume designer is more like the set decorator: he or she finds existing clothing that fits the vision of the artistic director. The Costume Supervisor reports to the designer and is responsible for managing the wardrobe department and supervising the construction and/or purchase of clothing for use as costumes. The Key Costumer is assigned specifically to the star in productions involving multiple and/or elaborate changes of costume for the central character. The Make-Up Artist transforms actors into characters through manipulation of hair, makeup, and special effects. Hairdressers maintain and style the hair (or sometimes wigs) of performers. Storyboard Artists draft images of intended shots at the direction of the director, art director, and cinematographer. Individual storyboard images – which in the early days of film were always hand-drawn but which are now often created with the help of computers – provide a useful outline for everyone involved in the behind-the-camera aspects of shooting: the director, the cinematographer, the visual effects director, the grips, the gaffers, and the camera operators.
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