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Book Description

Directing drama for the single camera is like no other form of Filmmaking, or any other medium involving actors. Experience in documentary or theatre may provide useful clues, but the techniques for drama film directors, although not basically complicated, are unique. Experienced directors in other spheres of directing will find this book invaluable if they wish to move into single camera drama, as will students setting out on their careers. Directing Single Camera Drama is a synthesis of the skills required to bring drama to the screen.

Directing drama for the single camera is like no other form of Filmmaking, or any other medium involving actors. Experience in documentary or theatre may provide useful clues, but the techniques for drama film directors, although not basically complicated, are unique. Experienced directors in other spheres of directing will find this book invaluable if they wish to move into single camera drama, as will students setting out on their careers. Directing Single Camera Drama is a synthesis of the skills required to bring drama to the screen.

A unique feature of the book is the inclusion of ten short film drama scripts which need only half a day's rehearsal and one short day's filming. Each have their various technical demands, and they are arranged in ascending order of dramatic and creative difficulty. They can be photocopied and used for non-broadcast training drama exercises.

Mike Crisp worked as Production Manager, and later Director, on many classic BBC TV series, such as Fawlty Towers, Porridge and Steptoe and Son. He was, for 10 years, a senior producer with the BBC's TV Training Department. He is the author of The Practical Director now in its second edition and also published by Focal Press.

Reviews:

'Directors in other spheres of directing who wish to move into single
camera drama will find this book invaluable, as will students setting out on
their careers.'
Voice of the Listener

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Table of Contents
  6. Acknowledgements
  7. 1 Introduction
    1. Stage and screen
    2. Essentials
    3. Preserving real time
    4. Continuity and weather
    5. Screen essentials
    6. The scene must hold the audiencé’s attention
    7. The scene must edit together in a believable way
  8. 2 Location filming
    1. The recce
    2. The director of photography (or lighting cameraman)
    3. The gaffer
    4. The sound recordist
    5. The designer
    6. The grips
    7. The production manager
  9. 3 The director’s role
    1. The producer
    2. The star
    3. The actors
    4. Rehearsals
    5. Blocking
    6. Rushes
  10. 4 Sound
    1. Microphones
    2. Post-synchronization and history
    3. Technical knowledge
    4. Synch sound or post-synch?
    5. Post-synch and the low-budget film
    6. Interrupted dialogue
    7. Creative use of sound
    8. Stereo
    9. Stereo systems in use
    10. Stereo for feature films versus TV films
  11. 5 Cinematography – what the director needs to know about It
    1. Steadicam
    2. Crossing the line
    3. Summary
  12. 6 Storyboards
    1. Version one
    2. Version two
    3. Version three
    4. Version four
    5. Getting the shot you want
  13. 7 Filming dance
  14. 8 Directing techniques
    1. Comedy
    2. Action sequences
    3. Fights
    4. Filming with animals
    5. Breakaway props
    6. Bullet hits
    7. Fire scenes
    8. Smoke
    9. Lightning
    10. Action locations
    11. Chases
    12. Editing action
    13. The director’s role
    14. Working with the designer
    15. Props
    16. Floor plans
    17. Mirrors
  15. Appendix 1: Exercise scripts
  16. Appendix 2: Glossary
  17. Index
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