Directing your directing career pdf

Directing Your Directing Career. Directing Your Directing Career is the only book in the marketplace written by a working professional that addresses the problems inherent in pursuing a career in directing. Callan's research and experience in the business give her access to top agents in New York and Los Angeles who represent directors, and. From Reel to Deal. Based on his acclaimed "2- Day Film School", Dov S-S Simens serves up a flawless and detailed blueprint for creating successful independent films.

Click here to sign up. Download Free PDF. Directing in Musical Theatre: an essential guide. Directing in Musical Theatre: an essential guide Joe Deer. A short summary of this paper.

Download Download PDF. Translate PDF. Weekly rehearsal schedule: Seussical b. Daily rehearsal schedule: Carousel c. Cast-by-scene breakdowns: Nine e. Scene and song rehearsal unit breakdown: Kiss Me, Kate f. Concept statement: Into the Woods g. Character analysis short : The Light in the Piazza i.

While others usually write those stories, the director guides their telling. In a successful production of even the most complex script, the story emerges clearly and richly for the audience. Arriving at that kind of clarity takes a great deal of preparation and craft. In the musical theatre, this task can be geometrically more complex than in many plays.

Yet, the obligation to guide your production with clarity remains. This book is for those of you who take on this task. Directing a musical involves everything directing a play does — and more. The multilayered texts, logistical concerns and elevated performance styles of many musicals create a complex puzzle for the director to solve.

These complexities, while essential and undeniable, can distract you from the central thrust of your job. The premise of this book is that your mandate, as director of a musical, is to guide the crafting of a body for the spirit of the musical to live in. This book is organized to follow the five phases of creating a successful musical production: 1.

Conception — the period when you research, fantasize, analyze, conceive and articulate the theatrical world of your musical. Though a great musical production seems to spring full-born onto the stage in a way that suggests there is no other possible version of that story, someone read and listened to it and made choices about what story to tell and how everyone involved would tell it.

Collaboration — a director leads the charge for a small army of co- interpreters to tell the story he or she has drawn from the script and score. This all begins in the second phase. The cast is the newest group of collaborators to enter this world. While many people contribute great ideas in rehearsal, someone ultimately has to select the performance choices that add up to your production.

For a musical, this also requires creating musical staging, which constitutes an entire new set of storytelling opportunities. But, without an effective editor, your production will lack cohesion.

No single collaborator is responsible for maintaining and reinforcing an overall vision of the show in the same way as the director. And, though the musical director, choreographer and designers all have a myriad of details to attend to, none of them is expected to guide a show through the reefs and shoals of auditions, studio rehearsals, technical production and opening in the same way a director must.

Performance — when you bring an audience into the fully realized world of your show, and adjust performances and technical elements to maximize the audience experience.

The goal of this book is to give you at least one way of doing everything required clearly and thoughtfully as you move from the fateful day of receiving the script to the end of the journey where you place that tattered binder on your shelf to gather dust. What is a musical? Musical theatre is a curious animal in the world of live performance. On one hand, it is exactly like a play, where you create an imaginary world for actors to play out the story.

This involves interpretation and expression of the text, decisions about movement and behavior for each character, and visual communication of the world of the script through design and composition. Yet, with all these similarities, there is a great deal of difference in the theatrical world of most contemporary drama and that of musical theatre.

Those differences fall into a few central areas: Heightened text — Musicals require characters to sing their most passionate experiences. This simple act thrusts artists and their audience into another theatrical world. And the text itself is sometimes poetic, intentionally witty, powerfully emotional and always tightly constructed. It is not Kitchen Sink Realism. Yet, this is part of what makes a musical powerfully a musical. Heightened visual expression — There are certainly no rules for how one expresses a play or a musical onstage.

But, we tend to identify certain patterns and practices with different forms. Among these in the musical theatre are the ideas of amplified theatrical design and the elaborate use of bodies to create an imaginary world that invites the other conventions we talked about. Heightened reality — All these heightened elements really add up to an elevated sense of reality. All theatre, film and television are artificial and carefully selected imitations of reality.

But, musical theatre often puts artificiality downstage center as one of the appealing features of the art form. The musical theatre is not for everyone. Detractors point to just this set of theatrical conventions as reasons they dislike musicals. Typically, they also rankle at the pure emotionality we associate with many musicals. But, those who like musical theatre, in all its forms, are often attracted to these theatrical oppor- tunities and expectations. We go to the musical theatre to experience something big and to be swept up in the passion of the event, even in its most intimate moments.

This book embraces them with the strong insistence they be employed with an equally heightened sense of truth and passion behind them. Good acting, spoken or sung, is not a negotiable element in any production. But, there are many forms of good acting, dance and singing. Music tells the story — What makes a musical a musical is the practice of having characters burst or gently slide into song and dance to express their most pas- sionate experiences.

The pure emotionality of seemingly spontaneous singing, musical accompaniment and dance are the defining features of the musical theatre. Compare Pygmalion and My Fair Lady to see how much dialogue is excised in telling almost the same story. In its place are a lot of songs and dances. This condensation of the script is a highly efficient distillation of character and circumstance that leads to the inevitable pressure to sing and dance.

And the most potent experiences are expressed in those songs. Expanded time — As much as we accept the tight construction of dialogue scenes, we also understand that time can seem to stand still, or at least stretch, as characters explore their feelings through song and dance.

Make sure that you develop good relationships with your editors to ensure that you are on the same page. In post-production, you'll also figure out the music and all the other finer points to draw it all together. You can start creating films on your smart phone. All you need along with the phone are some actors and a good story idea. Not Helpful 9 Helpful You can start training at any age! Keep in mind, however, that if you wish to attend film school, you will need to finish high school first.

Other than that, you can make films at any age. Not Helpful 14 Helpful Let them know that you are much more interested in doing this than any other thing in your life. Show them that you have enough knowledge about film making by talking about it in an authoritative and learned way. Ultimately though, you make the decision about your career, not your family, so look around for a suitable film school and talk to them about your hopes.

By becoming a director yourself and getting noticed among the different filmmaker unions and guilds. Seek to stand out from other directors of your category. If you become noticed, then a famous director may become interested in working with you but you'll need to have carved out a known niche and have specific desirable qualities. Read the biographies of great film directors to begin your in-depth research.

Not Helpful 18 Helpful If you're following the standard format for a movie script like a script made in the Celtx computer program , the script should be 43 pages. The format allows for each page of a script to be approximately 1 minute of the film. It would be difficult for a deaf person to be a film director, but it is not impossible.

Read a lot of scripts, and try writing your own. Also, take some film classes and consider joining a film club at your school. Not necessarily, but if you want to be a GOOD film director, then you have to know how to be good at acting. This will help you guide the actors better, and make it easier to create more dramatic, believable scenes. Not Helpful 16 Helpful This is entirely up to you. A TV series is a big commitment, as they generally tend to run for several seasons--that is, if the pilot episode gets approved and the series gets renewed for another season.

A movie on the other hand is generally more expensive to make, but is usually a one-time deal--unless you plan on making sequels from the start. Not Helpful 11 Helpful I'm an ideas person, but I can never get my cast to stay while I set up. What can I do? Julia Pearse. What you need to do is prepare everything before you hire a cast. That means complete your script, prepare your camera shots, and have a setting and schedule. If everything is planned ahead of time, they will not leave.

Not Helpful 2 Helpful Include your email address to get a message when this question is answered. By using this service, some information may be shared with YouTube.

Be very visual with your directing and spend as much time as needed on your short films, and only when you are truly ready, try to make your full-length.

Helpful 5 Not Helpful 0. Without them you are nothing. Helpful 3 Not Helpful 1. If you really want to become a film director, keep in mind that this will be a long-term pursuit and the jobs in the film industry that you get along the way may not pay very much. Therefore, you will need to learn how to live frugally as you continue to work towards your goal.

Create a budget for yourself and stick to it. Helpful 2 Not Helpful 1. Be nice to everyone. The film industry is smaller than you think and people talk.

Helpful Not Helpful This is a very difficult to achieve career and may take you well into your mid-thirties, if ever, to achieve it. Keep on pursuing your dream though, and if you want it badly enough, you'll make it. Helpful 32 Not Helpful 6. You Might Also Like How to. How to. More References 1. About This Article. Co-authored by:. Co-authors: Pervasive Function - Directing is required at all levels of organization. Every manager provides guidance and inspiration to his subordinates.

Continuous Activity - Direction is a continuous activity as it continuous throughout the life of organization. Human Factor - Directing function is related to subordinates and therefore it is related to human factor.

Since human factor is complex and behaviour is unpredictable, direction function becomes important.