THE DIRECTOR

The Director is the artist who puts that dream onto a canvas called celluloid or on a state-of-the-art digital format.

The Director is the driving creative force in a film's production, and acts as the crucial link between the production, technical and creative teams. Directors are responsible for creatively translating the film's written script into actual images and sounds on the screen - he or she must visualize and define the style and structure of the film, then act as both a storyteller and team leader to bring this vision to reality.

Directors' main duties include casting, script editing, shot composition, shot selection and editing. While the practical aspects of filmmaking, such as finance and marketing, are left to the Producer, Directors must also always be aware of the constraints of the film's budget and schedule. In some cases, Directors assume multiple roles such as Director/Producer or Director/Writer.

Being a Director requires great creative vision, dedication and commitment. Directors are ultimately responsible for a film's artistic and commercial success or failure.

• The Director is the captain of the ship, who steers the various diverse elements together in a visual way to express the film’s story, theme, and mood.
• The Director carries the creative burden of the film.
• He or she, as the `Team Leader’, so-to-speak, is nominally in charge of everything creative, in so far as he or she directs operations, ranging from budget, to schedule, to script, to actors, to costumes, to sets, to lighting, to cinematography, to editing, to music, to final answer print.
• A director is responsible for overseeing every creative aspect of a film, from start to finish. From the ‘look’ of the film to trademark lighting or mood,
• You can recognize the best and worst directors' films by their artistic signatures. Hitchcock, Spielberg, Woody Allen, Tarantino and Werner Herzog, just for example, each leave their own, distinctive mark on every film they make, for better or worse.
• When a director reads a script he or she develops a personal vision for how that story should be told. Whether it is a dark tale, a story of triumph, or one of passion, the director's unique vision will be responsible for presenting it in a way that no other director would.
• A director sees beyond the words on the page to a moving picture with specific shots, pace, framing, lighting, mood, music, nuance and emotion – all visually created for the screen.
• If the initial script needs work, the director will make suggestions to the writer of the screenplay for improving the script and rendering it more `filmable’.
• The director may bring key crew members to the project that he or she has successfully worked with in the past, such as the Director of Photography. Clean Eastwood is a great example. He rarely makes a feature without his regular Director of Photography, Tom Stern, and Camera Operator Steve Campanelli and Invictus, the film Eastwood recently made in Cape Town with Moonlighting Productions, is a good case in point.
• Despite this, as Director, she or he will be responsible for approving each and every camera angle, lens effect, the lighting, and set design.
• The Director also works closely with the cast, meeting before each scene to do a run through. Here she or he gets a feel for how the actor will play the scene. If needed, the director can provide motivational insight, or tweak performances by making suggestions. He or she, where appropriate, will also listen to the suggestion of the actors, particularly if they are highly experienced marquee names.
• Studio executives or executive producers will visit the set to make sure the project is on schedule and on budget. The director will work with the studio execs to make sure they’re happy about how the film is progressing.
• The Director will also be intimately involved in post-production when the film gets edited into its final form.
• Although a director is responsible for the vision behind a film, a good director also listens to his or her crew and cast and works collaboratively. There are many talented people involved in the making of a film and utilizing each person's talent is what makes a director, and the film, a success.

RESPONSIBILITIES - CONCEPT STAGE

• May write the film's script or commission it to be written
• May be hired after an early draft of the script is complete.
• Must then develop a vision for the finished film, and define a practical route for achieving it.

DURING PRE-PRODUCTION

• Make crucial decisions, such as selecting the right cast, crew and locations for the film.
• May suggest changes to the script, direct rehearsals, scout and approve locations
• May meet Art Directors, Wardrobe and Costume Designers, Construction Managers and Set Decorators to discuss creative interpretation and choices
• Meet the DOP to discuss camera style and shots

DURING PRINCIPAL PHOTOGRAPHY

• Direct the performances of the actors once the film is in production.
• Are responsible for leading and motivating the team to produce the best possible results
• Manage the technical aspects of filming, including the camera, sound, lighting, design and special effects departments in pursuit of the realization of their creative vision.

DURING POST PRODUCTION

• Work closely with Editors through the many technical processes of editing, to reach the final Director’s cut or version of the film.
• Are responsible at all stages for motivating the team to produce the best possible results.
• Must be constantly mindful and always appreciate the needs and expectations of the film's financiers.

SKILLS REQUIRED

• Must have exceptional leadership and teamwork ability, artistic vision and creative skills to develop and realize an engaging and original film.
• Must show real commitment and a deep passion for filmmaking, along with the ability to act as a strong and confident leader of a complex matrix of interconnected teams.
• Must constantly make decisions, but must also be able to delegate, and to collaborate with others.
• Require excellent communication and interpersonal skills to get the best from the filmmaking team.
• Must inspire and motivate the team to produce the film they have envisioned.
• Need an extensive understanding of the entire filmmaking process, from both technical and creative points of view.
• Should possess in abundance, a capacity for long hours of intensive work, attention to detail, and the ability to remain calm and think clearly under great pressure.
• Need great self-belief and the determination to succeed.

POTENTIAL CAREER PATH

While there are numerous and diverse training courses and reference books on directing, formal qualifications are not necessary to become a Director.

• Studying the art and craft of directing is important, but the role can only really be mastered through in-depth practical experience over the long term.
• Writing a screenplay, directing one's own short film or an amateur play, are all good starting places. Extensive industry experience is also crucial to this role
• Up-to-date knowledge of filmmaking techniques and equipment is vital, as is learning how to work with actors to create a performance.
• Many Directors work their way up over many years from entry level positions, getting work experience as a Runner on a film set or in a production office as an ideal starting point.
• Observing successful Directors at work, working under the mentorship of successful directors or around them, whilst immersing oneself in the practical process of filmmaking, are vital first steps on this fiercely competitive and highly challenging career path.

FIRST ASSISTANT DIRECTOR (FIRST AD or AD)

The First AD is the person who organizes the crew to the best advantage for filming.

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The Fiirst AD is the Director's right hand person, taking responsibility for a number of important practicalities so that the Director is free to concentrate on the creative process. He or she usually designs and controls the shooting schedule and generally liaises between the production office and the set. He or she is responsible to the Director for the efficient execution of the schedule on set and assists the director, when required, in the direction of extras, crowd scenes and special effects.

The AD is also responsible for production paperwork, including overtime authorization.

During pre-production:

• First ADs break down the script into a shot-by-shot storyboard
• Work with the Director to determine the shoot order, and how long each scene will take to film.
• The First AD then draws up the overall shooting schedule (a timetable for the filming period). Once the film is in production, The First is in charge of making sure that every aspect of the shoot keeps to this schedule.
• Before the shoot, the Firsts' main task is to create the filming schedule, working in careful consultation with the Director in order to fulfil his or her creative ambitions.
• When drawing up the shooting schedule, First ADs must also be aware of budgetary constraints, cast availability and script coverage. Preparing the storyboard, overseeing the hiring of locations, props and equipment, and checking weather reports, are all key pre-production duties for Firsts.

PRINCIPAL PHOTOGRAPHY RESPONSIBILITIES

First ADs' main duties are:

• Assisting the Director
• Coordinating all production activity
• Supervising the cast and crew.
• The 1st AD is also in charge of a department of other Assistant Directors and Runners.
• Overall, they provide the key link between the Director, the cast and the crew, whilst also liaising with the production office, and providing regular progress reports about the shoot.
• During production, the First AD must ensure that everyone is on standby and ready for the Director's cue for action.
• First ADs' core responsibility is to keep filming on schedule by driving it forward, so they frequently make announcements and give directions to co-ordinate the cast and crew.
• They also control discipline on the set and supervise the other Assistant Directors.
• The First AD oversees the preparation of the daily 'call sheet' (a document detailing daily shooting logistics, which is distributed to all cast and crew).
• Firsts are also responsible for health and safety on set or location, and must take action to eliminate or minimize hazards at all times.

SKILLS

• First ADs must be authoritative team-leaders and motivators, whilst also being approachable team players.
• They need exceptional organizational and time-management skills.
• The ability to plan ahead, trouble-shoot and pay close attention to detail is vital in this role.
• Being an excellent communicator, with tact and diplomacy skills, is also essential as they must routinely deal with problem or even crisis situations.
• They are also constantly required to prioritize tasks, and as they may be frequently interrupted, the ability to multi-task is crucial.
• Firsts work long and often unsocial hours on a freelance basis, so a strong commitment to the job is essential.
• They also usually work under highly pressurized and stressful conditions, so a flexible, upbeat and positive approach is highly valued.

QUALIFICATIONS AND EXPERIENCE

• No formal qualifications are required to become a First Assistant Director.
• Extensive industry experience gained through working on set or on location is the key route to develop the necessary skills.
• Most First ADs start as Runners, before progressing through the other Assistant Director roles (Third Assistant Director and Second Assistant Director).
• Please note that this route may take a number of years.
• Firsts need specific experience in planning and budgeting (and how this affects scheduling), as well as in-depth knowledge of, and qualifications in, current Health and Safety legislation and procedures.
• Regular Health and Safety training courses should be undertaken, in order to keep this knowledge up to date.
• A full driving licence is generally deemed necessary.

SECOND ASSISTANT DIRECTOR

The Second Assistant Director (Second AD or Second) is the First Assistant Director's right hand person. The Second AD's main function is to ensure that all the First AD's orders and directions are carried out.

Under the supervision of the First AD, the Second looks after the cast. From time-to-time and where required, they also take charge of the set and organize the next day’s call sheet. Second ADs tend also to be a liaison between the set and production office.

Seconds have two main responsibilities during production:

• They prepare and draw up the 'call sheet' (a document detailing daily filming logistics, which is distributed to cast and crew), under the supervision of the First
• They oversee all the movements of the cast, ensuring that the principal actors are in make-up, in wardrobe, or standing by on the set at the correct times.

On smaller productions, where there is no Third Assistant Director, Seconds may also be responsible for finding and looking after background artistes (extras). Most Seconds also assist the First in liaising between the set or location and the production office, updating key personnel on the timings and progress of the shoot.

RESPONSIBILITIES

On each day of a shoot:

• Seconds must prepare and draw up the next day's call sheet, (which involves confirming the details of who needs to be on set and at what time, the transport arrangements, extras required etc.).
• These details must be approved by the production office before the Seconds can distribute the call sheet to the cast and crew.
• Ensuring that everyone knows their 'call time' (the precise time they will be required on set) is a key responsibility - any delay to filming due to bad time-keeping negatively affects the day's schedule and budget, and is considered unprofessional, extremely inefficient and most important, very costly.
• Once the day's filming has begun, Seconds must ensure that all actors are ready for filming when they are required, which entails coordinating any transport requirements, as well as make-up and wardrobe timetables.
• In some cases, Seconds may also be in charge of finding extras, sometimes in large numbers at short notice, and coordinating their transport to, and activities on, the set or location.

SKILLS

• Seconds must have excellent organizational and time-management skills to co-ordinate arrangements and to make efficient plans.
• First-class communication and interpersonal skills are also essential, as Seconds must deal with a large number of people, convey messages and give instructions clearly, concisely and confidently.
• Cast members may be under pressure to learn script lines, or to hone their performance, and need to be dealt with tactfully and diplomatically at all times.
• Paying close attention to detail and always attaining very high standards of efficiency are vital skills for successful Seconds.
• To win and maintain the confidence of First ADs, Seconds must consistently offer capable support and assistance. As the work is on a freelance basis, and involves long and unsocial hours, Seconds must be extremely motivated and always flexible.

QUALIFICATIONS/ EXPERIENCE

• No formal qualifications are required to become a Second Assistant Director.
• Industry experience is key, and the best way to gain this is via the conventional entry level position as a Runner or Production Assistant, eventually acquiring enough on-the-job experience to progress to the role of Third Assistant Director, and then on to becoming a Second.
• A full driving license is generally required for this role.
• Regular Health and Safety training courses should be undertaken, in order to keep this knowledge up to date.

THIRD ASSISTANT DIRECTOR

The main function of the Third Assistant Director (Third AD or Third) is to support and assist the First and Second ADs in whatever ways are necessary on the set or location.

This can involve a wide variety of tasks, but the key duties of most Thirds revolve around the movement and activities of background artistes (extras).

Thirds may be required to direct the action of extras, or of vehicles appearing in the background of the shot, especially in large crowd scenes.

Thirds also act as messengers on the set or location, and are often required to convey messages and relay information to cast or crew members, usually by radio link.

RESPONSIBILITIES

• Thirds are responsible for coordinating the extras to arrive at the right time and place for filming.
• Once the extras are on set or location, Thirds are in charge of preparing and cueing them, and sometimes also directing them, in any required background action.
• They must also supervise and look after they extras - they may be on standby on the set or location all day, despite only being needed for a short period.
• Thirds may have to keep members of the public out of shot, and off the set or location, so that they don't interrupt filming, cast or crew.
• Thirds may also liaise with the Location Manager, and may be given responsibilities with regard to the security and locking up of studios or locations after filming has taken place.
• Firsts or Seconds may also provide Thirds with specific information to add to the daily progress reports, before they are sent to the production office.

SKILLS

• Thirds must have excellent organizational and time-management skills, as well as a good stock of common sense.
• The ability to take instructions and carry them out with enthusiasm and efficiency is vital.
• Communication and interpersonal skills are also essential, as Thirds spend most of their working days interacting with a large number and variety of people.
• Diplomacy and patience are required when coordinating and directing large groups of extras.
• As the work is freelance and involves long and unsocial hours, Thirds must be highly motivated and always flexible.

POTENTIAL CAREER PATH/ QUALIFICATIONS/ EXPERIENCE

No formal qualifications are required to become a Third Assistant Director. Industry experience is the key, and the best place to start is via the conventional entry-level position as a Runner or Production Assistant.

With sufficient on-the-job experience, individuals may then progress, usually relatively quickly, to becoming a Third Assistant Director. Regular Health and Safety training courses should be undertaken, in order to keep this knowledge up to date.

A full driving license is generally required.