Directing: Film Techniques and Aesthetics, Fifth Edition
Michael Rabiger & Mick Hurbis-Cherrier
2013
Focal Press, Burlington, MA, USA
517 pgs.
So you want to be a movie director? Read this book. That’s
it, you’re ready!
Comprehensive is too weak a word for the contents of the
freshly updated “Directing.” In contrast to past tomes I’ve reviewed in the
publisher’s FilmCraft series, this is not a string of anecdotal accounts about
an aspect of the film profession. Possessed of a depth and scope far beyond
what might suffice for laymen, this is a playbook for people who are serious
about learning how to do this job called directing.
Film-school education has long turned away from the days
when theory, interpretation, and critique held sway. The film industry is the quintessential
capitalist/industrial venture – every movie a startup, an invention, an
experience, a product, a gamble on the ability of the filmmaker to connect with
a paying audience. And, like most artistic endeavors, you learn a lot more and
a lot faster on the ground getting it done than sitting around thinking and
talking about it. Film is a practicum: if you can’t make it happen, you won’t
get far.
That being said, this would be the book to read before
diving in to the daunting business of directing. The key to its effectiveness
as an introduction, a classroom text, a reference work, or as a literal template
for a specific film project is its straightforward, forthright style, peppered
with both flashes of humor and a serious sense of purpose. The concern of the
authors to be as clear and logical as possible is clearly felt, and the text is
profusely illustrated with relevant stills and diagrams as well.
The organization of “Directing” is as impressive as the
scope of work it suggests is the director’s responsibility is staggering. The
book begins with basic premises through storytelling, film aesthetics, and
cinematic “language,” on to preproduction, casting, working with actors, hiring
a crew, breaking down the script, all the way through post and concluding with
a friendly reminder to the filmmaker not to drink too much after the first
screening, so that he or she can network more effectively.
Original author Michael Rabiger’s work has been seamlessly updated
by Mick Hurbis-Cherrier, who writes with a similarly engaging thoroughness. (We
are even treated to a photo of Rabiger’s father, makeup artist Paul, brushing
Shirley Eaton down with gold paint for her memorable appearance in “Goldfinger.”)
The upshot for me, personally, after reading “Directing” is
that I do NOT want to direct. It seems to demand a combination of the
personality traits of Superman, Moses, Patton, and Renoir, with a double
portion of the patience of Job.
A caveat – this is a text loaded with valuable content, and
it means slow going and careful digestion for the reader who wishes to make full
benefit of it.
“Directing” is exemplary not only in its address of its
subject, but as a model for anyone who would seek to cover a subject
thoroughly, with insight, and a healthy sense of how a neophyte should proceed.
Really? You really want to direct? Read “Directing” and call me in the morning.
No comments:
Post a Comment