If you want to be a director, you must know and be familiar with the duties and work of the director. Here I will introduce what a director needs. Welcome to read!
The ability a director needs is 1. We can't ignore that a director is also an individual living in society. Rich life experience and ideological perception will cultivate a director's unique ideology, so that the director can create works full of soul and form his own style. From this perspective, the director is a thinker.
Counting the famous directors, there are endless stories behind them, and they all interpret their works with their own unique ideas. Before a director becomes famous, he needs to hone in the hardships of life and create in loneliness. However, when all his films are finally put on the screen under pressure, it may not be all the applause from the audience. Therefore, a successful director must also have a strong psychological quality, and must be a philosopher and warrior who can withstand loneliness and dare to go against the current.
Director Ang Lee was unemployed at home after graduation, and made his first feature film Pushing Hands at the age of 36.
At that time, Feng Dao only proposed to establish a film grading system, but did not say to cancel the film management system, which was criticized by many people. Seeing this, are you afraid of the long and arduous road of directing?
In fact, you don't have to have the above conditions to be a director. That's the real director. There are many second-rate directors on the market now. They may call themselves "famous directors" just to get the title of director and make a bad film or a short film with no plot. You can recognize them easily in many shooting scenes. He was the dumbest one at the scene. He sat in front of the monitor from beginning to end. He usually doesn't know how to take pictures, divide shots and perform. Shouting "stop" and "ok" is all his work.
You can choose to be a second-rate director or a first-rate director. As for what kind of director to be, it depends on your choice, talent, perseverance and luck. However, we believe that everyone who wants to be a director has a dream of being a first-class director.
Kubrick: If the director can handle it, he will handle it. If not, choose it.
Kubrick once said, "if the director can handle it, he will handle it;" If not, then choose. " This view illustrates two points: first, directors should have the creative ability of film directors; Second, we should have the ability of judgment, especially the ability of narrative and modeling expression; We can generally call it artistic sensibility and intuition. But this statement is still very vague and general. What kind of creative ability does a good director need? Before you make a movie, don't rush to start shooting, and see what abilities a successful director needs. Starting from these abilities, you can cultivate yourself and get closer to the director.
Narrative ability
What I mean here is not the ability to tell stories, but the ability to combine the information inside the lens and the relationship between the lenses to form the amount of story information. This involves splicing thinking, which is the embodiment of a relatively large concept of splicing. This process is mainly reflected in the shooting stage, of course, it will also be used in the real shooting and later stage.
Narrative ability
Given the story in the script, different directors will have different ways to organize the plot. Of course, the screenwriter can also give a clear plot. I recommend watching Schindler's List, in which a one-armed worker was killed. This story paragraph is divided into four plots by the director, which are interspersed with each other, reflecting the director's very strong ability to understand and organize the plots, which is amazing. In fact, if you study the classic works carefully, you will find that the stories of those good films that can be circulated for a long time are well-organized, which is what China films need to improve at present.
Field capability
Spielberg said that he is the most camera-conscious American director. For this, many junior directors will think that photographers can help you and they will find better seats. Photographers may have a more reasonable and accurate sense of location, but they still can't reach your understanding of the whole play. A successful director should not expect photographers, artists, etc. Do more. You may not know photography technology or art design, but you must know how to express some connotation with photographic pictures. A director who can help strengthen the success of the film theme needs to have a strong on-site ability, and the cultivation of this ability is based on the director's accumulation of artistic literacy such as photography, art and music.
Literary perception ability
The literary ability here is not the writing ability, but the grasp of human nature and emotion in film works, which we call literary perception ability for the time being. The most brilliant works of art are based on feelings. A movie can become a classic because it mostly reflects memorable events in human life and touches people's inner feelings. The expression of these feelings is based on human nature. A director should have the ability to grasp this kind of humanity, feel emotions and express emotions accurately. Rich life experience, literary reading and the director's personal thinking can help the director cultivate this ability.
"Modeling" expression ability
Photographers and artists work according to the director's requirements, and the director's requirements must be specific, not specious tone like "I feel more beautiful, but it can be more difficult". If so, the executor will not be able to execute it accurately, and sometimes he will misinterpret your request. Therefore, if you don't have this kind of modeling expression ability, when you are in a bad mood, you will be speechless, which is the director's performance of losing control of the film.
Splicing ability
This is the technical work of post editing. A director doesn't have to have high editing skills, but he must have keen editing thinking. With this kind of thinking, the director knows how to shoot scenes and how to effectively edit and combine materials in the later stage. Of course, there is a further editing skill-the dialectical relationship between shots, which is the performance of editing to strengthen the narrative depth. There are many examples, and many masters have wonderful ways to deal with them. Antonioni, Si Tong, Shunji Iwai and Yang Dechang all have great dialectical relations.
After reading these, have you really found the direction to cultivate the director's ability? And if you can cultivate your own director consciousness and ability from these aspects at the beginning, as long as you can stick to it, I believe it won't be too far from the director's dream!
What does a director need? Ability 2 1. Love and feelings for movies.
Only love can make you outstanding. Before grasping a film, directors need to cultivate rich emotions and keen artistic perception. For a thing, "like" is a necessary condition, especially if this kind of "like" is professional, then you need to be mentally prepared.
Second, pay attention to the cultivation of strength and prove yourself with strength.
The director's basic accomplishment needs some self-improvement. The first is the ability to act, especially in many cases today, when two professions are combined, the film director's ability to control the plot becomes extremely important. A good playwright may have many qualities to rely on, such as observation and sensitivity to life. A qualified playwright should at least be familiar with the characters and story structure.
Therefore, the director must be able to master the temperament of the whole story in the early stage and control the whole story on the spot. Secondly, mastering audio-visual language is the most basic skill of film art, and film is audio-visual art, which is the delay of projecting three-dimensional space onto two-dimensional plane in time. Audio-visual ability is essentially the ability to turn concepts, emotions, stories, temperament and other things into movie pictures and sounds (or the ability to reflect those elements in the pictures).
This includes many aspects, such as lens setting, script creation, post-creation and so on. These all depend on the director's own audio-visual language ability. There is also the familiarity and basic judgment of art in various departments of film creation. Therefore, a professional film director needs to learn and be familiar with the early art design, renderings, post-special effects production and editing skills, as well as the performance, film recording, art, clothing, makeup, props and so on in the shooting stage.
Whether it's an actor with outstanding acting skills like Zhao Wei, or a director with Xiao Yang, the editor of the talented juvenile class recently, or a director with Ning Hao, the "crazy" director, their cases only prove that only people who are good enough can become directors.
Third, pay attention to the accumulation of contacts.
The help of distinguished people is probably one of the classic bridges in China's cultural tradition. Even Zhang Yimou and Chen Kaige, who are now the main directors of China, have to rely on Wu's appreciation and promotion. Not to mention Ning Hao and Xiao Yang recently. If Ning Hao didn't rely on Andy Lau's investment, it would be difficult to shoot Crazy Stone as scheduled, and perhaps there would be no subsequent Crazy Racing. As for Xiao Yang, with the aura of a talented editor, he got financial aid and support from Chen, and became the director of the juvenile class at a young age. You have a wide range of friends, and you are really good at it. You must not worry about meeting your movie Bole, which will make you a director with twice the result with half the effort.
Fourth, bear loneliness.
It's a bit like daydreaming to become a director from a person who loves movies, but it's actually very simple, just stick to it and do only one thing.
When James Cameron went to college, he was disappointed with college life and ran out of the campus to explore the society. He used to be a mechanic and drove big trucks for others. 1977, he saw george lucas's classic sci-fi movie Star Wars, and he realized excitedly that this was what he wanted to create. So, along the way, he became a famous director.
Similarly, Clint Eastwood has been a walk-on in the film industry for more than 60 years. * * * participated in 48 films, directed 3 1 works, worked as a producer of 18 films, and made music for 9 films until he won the lifetime achievement award of Cannes International Film Festival.
Speaking of walk-on, I can't help thinking of king of comedy. From a walk-on to a famous star, from acting without professional recognition to Stephen Chow, whose acting and directing are recognized by the film industry, only I know the bitterness.
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