Ron Howard Teaches Directing- Workbook.pdf

RON HOWARD HOWARD

TEACHES DIRECTING

INTRODUCTION ABOUT THIS WORKBOOK

The MasterClass team has created this workbook as a supplement to Ron’s class. Chapters are supported with a review, opportunities to learn more, and assignments. We recommend dedicating a notebook to your course work. MASTERCLASS COMMUNITY

Throughout, we’ll encourage you to discuss elements of the class and share work w ith your classmates in The Hub. Hub. You can also connect with your peers in the discussion section beneath each lesson video.

ABOUT

RON HOWARD Ron Howard is a legend on both sides of the camera. As a child, his portrayal of Opie in The Andy Griffith Show and Richie Cunningham in Happy Days  launched him into every living room in  Americ  Am erica. a. Af After ter leav leaving ing act acting ing to di direc rect, t, Ron Ro n develop de veloped ed an ex extens tensive ive di direc rectori torial al résu résumé mé wh which ich  Apollo llo 13 ,  A Beaut B eautiful iful Mind , Frost/Nixon, Solo: A Star Wars Story, includes Cocoon, Splash, Parenthood,  Apo  Arreste ested d De velo velopment pment . In addition to bei ng a box office blockbuster and the beloved TV series  Arr blockbuster,, he is a two-time t wo-time Academy Award–winni Award–winning ng director.

“I have endeavored my whole life, to try to demystify the process of directing. If you start to look at it piece by piece, scene by scene, sequence by sequence… it is a lot less mysterious. Because these stories, they are mosaics. And the more you understand that, the more exciting it is.”

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SUGGESTED VIEWING •

Splash. Directed by Ron Howard. Performed

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 by Tom Han Hanks ks and Dar yl Hanna Ha nnah. h. USA: USA : Touchstone Home Entertainment, 1984. DVD. •

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Performed by Steve Martin, Dia nne Wiest, and Dennis Dugan. USA: Universal Studios Home Entertainment, 1989. DVD.

Apollo 13. Directed by Ron Howard.

Performed by Tom Hanks and Ed Harri s. USA: Universal Studios Home Entertainment, 1995. DVD.

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A Beautiful Mind. Directed by Ron Howard.

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Cinderella Man. Directed by Ron Howard.

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The Rolling Stones: Gimme Shelter (The Criterion Collection). Directed by Albert

Maysles, David Maysles, and Charlotte Zwerin. Performed by Mick Jagger, Keith Richards (II), Mick Taylor, and Ike Turner. USA: Criterion, 2000. DVD.

Frost/Nixon. Directed by Ron Howard.

Performed by Michael Sheen and Frank Langella. USA: NBC Universal, 2008. DVD. •

Star Wars: Episode IV - A New Hope. Directed

 by Geor G eorge ge Lucas Lu cas.. Per form formed ed by Mark M ark Ham Hamil illl and Harrison Ford. USA: 20th Century Fox Film Corporation, 2006. DVD.

Performed by Russell Crowe and Renée Zellweger. USA: NBC Universal, 2005. DVD. •

La La Land. Directed by Damien Chazel le.

Performed by Ryan Gosling a nd Emma Stone. USA: Lionsgate, Lionsg ate, 2017. 2017. DVD.

Performed by Russell Crowe a nd Jennifer Connelly. USA: Universal Studios Home Entertainment, 2006. DVD. •

Parenthood. Directed by Ron Howard.

Rush. Directed by Ron Howard. Performed

 by Chri Ch riss Hemswor Hem sworth th and Dan Daniel iel Brü Brühl. hl. USA: Universal Pictures, 2013. DVD.

SUGGESTED READING •

Egri, Lajos. The Art of Dramatic Writing:

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McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. New  York, NY: N Y: Penguin Pengu in Ran Random dom House, 2005.

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Mackendrick, Alexander. On Film-making: An Introduction to the Craft of the Director . Edited  by Paul Pa ul Cron Cronin. in. 2nd ed. New York, NY: N Y: Faber and Faber, 2005.

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Campbell, Joseph. The Hero with a Thousand Faces. 3rd ed. San Francisco, CA: New World Library, 2008.

Its Basis in the Creative Interpretation of Human  Moti ves . Rockville, Rock ville, MD: Wildside Press, 2011.

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 Making ing a Good G ood Scr Script ipt Grea Greatt. 3rd Seger, Linda.  Mak ed. Los Angeles, CA: Silman-James Press, 2010.

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Field, Syd. Screenplay: The Foundations of Screenwriting. New York, NY: Delta Trade Paperbacks, 2005.

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2. CHOOSING  A S T O RY  C H A P T ER ER R E V I E W

“Storytelling is almost always a combination of something old and something new. And it’s the something new that  givess it  give i t the t he conte contempo mporar raryy relevance relevan ce that makes it immediate and meaningful.” —Ron Howard SUBCHAPTERS •

Make It Personal

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Present a Fresh Take

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Look for Powerful Moments

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Back up Instinct With Craft

Ron emphasizes fresh storytelling throughout his MasterClass. Familiar myths and themes can feel modern and signi ficant when they are presented in a fresh way, and traditional cinematic approaches can feel new when the stor y feels current. Look for a story that triggers inspiration for you. You should feel an emotional connection rather than an intellectual one, and find visualizing visualizi ng the story—even dreaming of the story—irresistible. story—irresistible. Be sure the story has t he potential to offer something fresh and interesting to audiences and be worth their time and money. money. Evaluate your idea for freshness; then, look for a series of powerful moments within the story. Identify, understand, and  build  bui ld to tho those se scenes s cenes.. If you’ve earne ea rned d it, audie audiences nces wi will ll feel the impact and want to discuss di scuss and revisit that feeling. LEARN MORE

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Ron points out that George Lucas’s Star Wars uses a classic narrative structure, but t hat it feels completely fresh in its new context. Read Joseph Campbell’s The Hero with a Thousand Faces, which deconstructs the fa miliar themes, myths, character psychology, psychology, and narrative nar rative structure found in the Star Wars movies.

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Watch Gil Junger’ Junger’ss 19 1999 99 fil m 10 Things I Hate About You wit  with h an eye for its narrative structure and theme. The film is an interpretation of Shakespeare’s play The Taming of the Shrew, retold in the context of 1990s teenage America. Parse out in your notebook the elements of Shakespeare’s story that Junger retains, and those t hose he updates.

ASSIGNMENT

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What are your instincts, aesthetics, and voice for storytelling through film? Begin to collect and organize stories, themes, themes, films, scenes, filmmakers, TV shows shows,, and other visual styles that you are drawn to in a notebook. Do you notice any patterns? Continue to add to thi s collection throughout your class.

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3. EVALUATING  A S C R I P T C H A P T ER ER R E V I E W

“It’s a way of taking what personally excites you about a story and beginning to deepen your understanding of why it might excite you—beyond some personal connection— to an emotional and intellectual intersection.” —Ron Howard SUBCHAPTERS •

Ask Questions of the Script

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The Checklist: Rate the Key Components

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Build Your Checklist

Falling in love with a story is easy—we already have the instincts to spot a story we love. The challenge is to then take a step back and evaluate that story objectively for its strong and weak points. Even with Ron’s Ron’s exposure to the film medium a nd his experience ex perience  with  wit h creat cr eative ive proble p roblem-solvi m-solving ng on set as bot both h an a n actor ac tor and director, he he still finds f inds parts of the storytel ling process to be mysterious mysterio us and frustrati ng. He created a checklist approach to demystify those problem areas and to give him self a more global view of a project he has fallen in love with. Ron draws from books, colleagues, and his own i nstinctive questions about about the script to form hi s checklist. After the second or third read, he evaluates fundamental ideas like: • • • • • •

What are the screenplay screenplay’s ’s strengths and weaknesses? Are there fatal flaws? Are the characters interesting interesting?? Who is in conflict? Is there a thematic narrative question question?? Is it being answered? What are the themes themes??

Then he rates key components on a scale of one to ten. Here are some examples of key components: • •

• •

Lead and key characters Structure: • Suspense • Surprise • Sequences • Momentum Genre Themes

If, for for example, Ron rates the suspense of a script at a “six” that signals that he will have to find ways to strengthen that componentt for the script to work. There i s not a definitive componen equation for an effective script. You have to build your own checklist according a ccording to your taste and judgement, judgement, and Ron reminds remi nds you that whatever resources you use to assemble your own, there is no template or formula.

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3. EVALUATING  A S C R I P T It’s about what helps you as a director understand how narrative  works.  work s. It’ It’ss about a bout ta taki ki ng that t hat emot emotiona ionall conne co nnecti ction on to t o a stor storyy and a nd finding a deeper understanding of why and how it struck you. LEARN MORE

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Read the followi following: ng: •

The Art of Dramatic Writing by Lajos Egri. When Ron

 was a teenage te enager, r, his dad rec recomme ommended nded it, and a nd they t hey ofte often n discussed how characters drive story story.. •

 Making  Maki ng a Good G ood Scr Script ipt Great  by Linda Seger. It’s the

inspiration for many points on Ron’s Ron’s checkl ist. •

Screenplay: The Foundations of Screenwriting by story

analyst Syd Field. •

Robert McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting—anoth —another er resource from which to borrow story evaluation checkpoints.

ASSIGNMENT

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Ron’s checklist is an evolving Ron’s evolving resource built from a collection collection of experiences and resources. Start reading through the list above and design your own checklist for evaluating a script. Use Ron’s examples to get your list started. Post your list in The Hub and Hub and connect with classmates with whom you share a similar approach to story selection. Continue to grow and edit your checklist throughout your filmmak ing process.

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4. REFINING  A S C R I P T C H A P T ER ER R E V I E W

“The director is the keeper of the story. And ultimately it’s the director’s taste that’s going to determine the creative choices that are made.” —Ron Howard SUBCHAPTERS •

Apply Extreme Scrutiny

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Involve Yourself in Rewrites

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Enjoy the Excitement

 You must ex expos posee a scr script ipt to ext e xtreme reme scr scruti utiny. ny. A simple si mple and usef useful ul tool is a readread-through through with actors, with the screenwr iter present, present, followed by a feedback session. Ron puts his trust in the actors’ process in the read-through, acknowledging the “x-factor” that you can gain from that first look at how an actor naturally interprets the character. char acter.  Whe n it’s time  When t ime to rew r ewrite rite a scrip s cript, t, Ron adap adapts ts his work working ing style to the writer’ wr iter’s. s. Sometimes the process looks l ike working side by side; other times it is a series of conversations and then freeing the writer wr iter to write alone. Learn ing about a collaborator’s collaborator’s  work styl stylee helps he lps Ron creat c reatee an a n enviro env ironment nment in whi which ch each e ach per person son excels at their craft, ultimately giving their best to t he project. He’ll He’ ll often defer to the w riter on rewrites because he tr usts that  writer  wr iterss have ha ve lived l ived in the idea ideass and a nd themes t hemes of a scr script ipt for so s o long lo ng that they understand it on a creative level that goes beyond the intellectual.  You will wi ll reac reach h a poi point nt at whic which h you rea reali lize ze that you are a re committed to your vision and that you have some control over it— this is very exciting and you should enjoy it! Now imagine yourself circling circli ng the idea, realizing the g aps, and deciding if you can  bridgee those  bridg t hose gap gaps. s. Notic No ticee who w ho among a mong the acto actors, rs, wr writer iters, s, producers,, and investo producers i nvestors rs is circling with w ith you. They can become your collaborative team to help you actually get your film made. LEARN MORE

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Ron’s approach to dire Ron’s directing cting is very collabor collaborative, ative, and managing a team well wel l makes every step of development development more fluid. Read about work about work st styles yles in the busi business ness world world and  and think about how to best serve the needs of your team.

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You’ll You ’ll see Ron facil itate a read-through in Chapter 20: Frost/  Nixon with a scene from Frost/Nixon that will wil l shine light on his read-through process and other themes he builds on throughout his class.

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4. REFINING  A S C R I P T ASSIGNMENT

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Choose a screenplay for a movie you have not seen. It’ It’ll ll be more useful to objectively evaluate a story w ithout having already seen it as t he finished product. After you’ve you’ve given it a careful read, record your initial reactions to the story in your notebook. Then, put the screenplay through the checkl ist you  built  bui lt in i n Chapter Ch apter 3 and a nd recor r ecord d your you r reaso r easoni ning ng as a s you rate it on on each of the categories on your list.

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5. STORY INSPIRATION: CASE STUDIES C H A P T ER ER R E V I E W SUBCHAPTERS •

Splash

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Cinderella Man

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Cocoon

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Apollo 13

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A Beautiful Mind

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Rush

In these case studies, Ron walks you through his belief that almost all stories are made of something old and something new. He explains how he kept each story f resh and relevant even if the themes, characters, plot, plot, or genre were familiar. familia r. In Splash, the genre was familiar—it’s essentially a 1930s romantic comedy—but the fantasy element of the girl being a mermaid was new, adding comedy and surprising visuals. Ron knew the plot for Cinderella Man was familiar, fa miliar, but when he came across the Popeye “Out to Punch” cartoon in his research, he laughed laughed at how similar similar it was to the story they were telling. It pushed pushed him to tell tel l the story in i n as visceral a way as possible and to root the story i n Braddock’s Braddock’s struggle to pull his family fa mily up and out of poverty. Ron felt that the screenplay for Cocoon was promising but that it didn’t connect with audiences on a human level. His wife Cheryl has a degree in i n psychology psychology and often worked w ith geriatric patients, observi observing ng that as humans we never really g row out of our high school psychology. Ron applied this teenage psychology to the senior citizens in the film a s they began to return to youth, making t he characters more relatable.  Apollo llo 13, Ron started with  With  Apo w ith a journalistic approach, intensely researching the true story. He was primari ly excited about the cinematic ways to take the audience along with the characters. As he got deeper into the project, the emotional themes that he unearthed surprised hi m and contributed to his attachment to the movie. LEARN MORE

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Watch Splash and identify how it mirrors the 1930s romantic comedy genre of movies like Charlie Chaplin’s City Lights.

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The resear research ch for Cinderella Man included watching footage of Jim of  Jim Brad Braddoc dock  k  and  and other boxers of the era, Raging Bull, and cartoons of the era. era . Listen to Ron describe his research process in more detail in this radio interview .

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6. DEVELOPING THE FILM C H A P T ER ER R E V I E W

“I have found over the years that you have h ave to understand one thing about directing: that every project you get involved in ultimatelyy is just going to ultimatel find its way to breaking your heart at some point, no matter how successful it is. There’ T here’ss gonna be something about it that  just disap disappoi points nts you.” —Ron Howard

Development is a tough, emotional time duri ng which the Development director’ss vision for the director’ t he script is going to be challenged. It is difficult to get everyone involved involved in the process of making a f ilm to agree on a screenplay worth investing in. As a director, you’ll find that you can either defend the script art iculately or not. If your screenplay makes it out of development hell and to the point where you hear, “Okay, go make it,” you go! Find your collaborators both creative and logistical and stay deeply involved  with  wit h bot h. Ron encourages you to think about development in three phases: • • •

SUBCHAPTERS •

Development Hell

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The Work Begins

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Think in Three Phases

Phase 1: Dream, prep, focus your ambitions, and get real realistic. istic. Phase 2: Make the film and push for every creative creative opportunity. Phase 3: Take the raw material material in for its final rewrite—in the editing room.

LEARN MORE

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Much of Ron’ Ron’ss advice in this chapter encourages you to get emotionally prepared for the long journey of getting a film from phase 1 to phase 2. He points out the many logistical obstacles along the way and encourages you to embrace the constraints you’ll encounter. With the right approach, these constraints can constraints  can lead to creative breakt hroughs much like they do in other industries.

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7. COLLABORATION, PART 1 C H A P T ER ER R E V I E W

Ron’s “Six of One” rule asserts that if anyone he respects enough “Creative problem-solving to hire has an a n intuitive suggestion that still accomplishes the really sustains the sense scene’s scene ’s goals, he will test it. This rule invests people deeply in of inspiration because a the project, builds trust, and makes it easier to say “no” when he director’s job is to maximize needs to. the potential of a story, to  Ak ir iraa Kurosa Ku rosawa wa shar shared ed t he idea id ea of o f worki wor king ng in i n a gro group up of thr three ee fulfill the possibilities that  with  wit h Ron. Ron . Thin T hinkk of a tria t riangle ngle made of thre t hreee collab col laborat orators—the ors—the a story offers. offers.””  writer,  wr iter, dire d irector, ctor, and a nd produce pr oducer, r, for exa example. mple. You drop dro p a crea creative tive —Ron Howard SUBCHAPTERS •

Revel in Collaboration

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Engage With Department Heads

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Work in Threes

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A Beautiful Mind Mind Collaboration  Collaboration

problem in the middle and bounce it around until you have a solution. solu tion. This structure str ucture is also useful when voting ideas in and out. When filming  A Beaut B eautiful iful Mind, Ron, Russell Crowe, and writer  Ak iva Golds Goldsman man work worked ed as a s thre t hreee to fin find d a way to “play fai fair” r” in in revealing the schizophrenia of Russell Crowe’s character, John Nash,, to t he audience. Nash audience. Ak iva’ iva’ss expert exper t knowledg k nowledgee of the t he illness a nd Russell’s Russell ’s idea idea to gradually increase affects a ffects in his performance gave Ron an idea he could work with as a di rector. ASSIGNMENTS

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Start finding people you can work work with on your next (or (or first) film project. • Take a project project-based -based film production production class or a specific screenwriting, editing, acting or lighting class at your local university or community college to get fami liar  with  wit h each ea ch role r ole in i n the t he proce pr ocess. ss. • Join your local film societ society. y. Their websites often have opportunities for g rant funding, residencies, and networking events. • Volunteer as a PA for a fil film m or telev television ision productio production n happening in your area. • The Hub is Hub is a great way to meet other film makers in your region. Introduce yourself and your project or join a project posted by a local cla ssmate.

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8. COLLABORATION, PART 2 C H A P T ER ER R E V I E W

“When it comes to collaboration, try to keep the kind of mental/ emotional equilibrium so that you know you’re open and you hear everybody— but ultimately you listen to yourself.” —Ron Howard SUBCHAPTERS •

Apollo 13 Collaboration 13 Collaboration

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A Collaborative SOS

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Mine Collaborative Brain Power to Elevate Your Choices

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Hear Everyone But Listen to Yourself

 Working  Worki ng in i n thre t hrees es proved p roved inva luable duri during ng the t he fil f ilmi ming ng of  Apollo  Apo llo 13. Ron was committed to representing the a stronauts stronauts’’  work tr truth uthful ful ly, so he, Tom Hank Ha nks, s, and a nd Dave Da ve Scott—the S cott—the fi film’s lm’s technical advisor and Apollo veteran—formed veteran—formed a triangle t riangle to ensure the accuracy of the procedures presented onscreen. Even though their conversation was focused on precision and information, it lead to a creative conversation and opened up new moments for Tom’s character, ultimately contributing more emotion and suspense to the movie. Collaborating with other directors is a way to problem solve solve or open up creative space within your own pract ice. Ron called out an SOS to directors di rectors Martin Mart in Scorsese, Mike Nicho Nichols, ls, and Sidney Lumet when he felt he needed ideas for mining the character B eaut iful Mind. psychology psycho logy of  A Beaut  Wh ile coll  While collabor aboratio ation n is imp import ortant, ant, you must mus t also a lso be sure s ure that you are not directing by consensus. You should encourage creative contributions from your team, but ultimately you make the decisions about what stays stays and what goes. There wi ll be times t imes  when peo people ple reach r each the their ir li limit mits—when s—when the t he product pr oduct ion day d ay has ha s dragged, the crew i s tired, and a nd creative collaborators have pushed pushed an idea as far as they think thin k it can go. But if you’ve established established respect and trust, tr ust, your team will have faith i n your approach and support the best telling of t he story in whatever way the moment demands. LEARN MORE

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Here is a summary of pri nciples for Here is for successful collaborations in the business world. world. Translate each of these principles to the film industry. Re-create Re-create the diagram, and think about the director’ss role in director’ i n promoting these principles.

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Here is an excerpt from Creativity, Inc., written by the Here is t he presidentt of Pixar presiden Pixa r Animation, Ani mation, Ed Catmull. He shares how Pixar uses collaboration and candor to help people f ind their way w ay through murky creative projects. Read it and consider who you can draft to create your own feedback group.

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8. COLLABORATION, PART 2 LEARN MORE

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Assemble your SOS team. This can be a dream list of pros who inspire you, a list of friends you can call in the industry, or a combination of both. Next to their entry, include their area of expertise expert ise and any other strengths. Go to your dream list when you need inspiration or examples to emulate, and go to your friends when you need some real human guidance. Post your list to The Hub and Hub and see which classmates you alig n with—that might be your first step in connecting over a future project.

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9.  WO R K I N G W I T H CINEMATOGRAPHERS C H A P T ER ER R E V I E W

“I have learned more from cinematographers than probably anyone else in the big collaboration of making movies and television shows.” —Ron Howard SUBCHAPTERS •

Find Creative Compatibility

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Rely on Your Cinematographer

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Let Them Stretch You Visuall y

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Don’t Be Intimidated

It is crucial to feel confident about your creative compatibility compatibility  with  wit h your cin cinemato ematogr grapher. apher. Have a conver conversat sation ion about othe otherr fil f ilms ms they’ve done and what you visualize for your project. You want the cinematographer to feel the film t he same way you do. Give them something tangible to react to, like a script, and let them talk about how they naturally begin to visual ize the film. fil m. When you begin working with the right cinematographer, don’t be intimidated by the photography. Talk to them about what you  want  wa nt audience aud iencess to feel and tr trust ust the them m to push the lan langua guage ge of of cinema in your project. LEARN MORE

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Take a photograph photographyy class to build your visual vocabulary vocabulary and to learn the t he basics about capturing light on film. Lear n how to employ terms li ke aperture, shutter speed, exposure, and composition.

ASSIGNMENTS

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Many new direc directors tors ask Ron about how to ease the intimidation factor of worki ng with a cinematographer cinematographer.. Having the tools to communicate fluidly with the cinematographer will give you confidence and ease your  worr ies. Tru Trust st them t hem to t o tra t ranslat nslatee how you want w ant audie audiences nces to feel to the photography of the scene but learn a bit of their language too. Practice the t he language of cinema. Run a cinematography case study of one of your favorite fil ms.  Watch the fi film lm for cinem c inematog atography. raphy. Recor Record d light l ighting ing sty styles, les, interesting composition, or camera movements and, side by side,, write down side dow n how those moments are making you feel as a viewer.

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9.  WO R K I N G W I T H CINEMATOGRAPHERS ASSIGNMENTS CONT.

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New directors often ask Ron for advice on meeting with cinematographers because newcomers newcomers find t he technical language of the field intim idating. He tells them to get talk ing to cinematographers, describe what they want to see, and practice the terminology. So, find a part ner to present your case study to using t wo specific scenes. Walk them through the t he cinematographic approach in the scenes and the emotional conten contentt those strategies contribut contributed ed to t he story. The more you practice the language of cinematography, the more productive and creative your meetings will become.

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10. CINEMATOGRAPHY  C H A P T ER ER R E V I E W

“A lot of what we perceive in life has to do with light.” —Ron Howard SUBCHAPTERS •

Let the Movie Talk to You

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Use Light as a Character

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Experiment With Lenses

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Mix the Medium

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Learn From Hobbyists

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Borrow From Documentaries

Ron approaches approaches the cinematography of a film the way an actor approaches a role. He thinks about how to get inside the world of the film and look for the possible ways to deliver that story. He begins to visualize t he the cinematographic choices choices that will  bring  bri ng the t he stor st oryy to li life fe much muc h lik l ikee an a n actor a ctor dis discover coverss the t he detai de tai ls that make up their performance. Ron first learned how to use light as a character in his fil ms on B eautiful iful Mind from his director of photography, Roger the set of  A Beaut Deakins. Deakins Dea kins reflected the psychology of the characters in each sequence with his l ighting techniques. In Splash, cinematographer Don Peterman pushed Ron to not sell the romantic comedy genre short short and still stil l make it visual by playing with telephoto lenses, long lenses, super wide shots, handheld,, and low angles. Variety is energizing to audiences. handheld Salvatore Totino taught Ron about using different lens sizes and different generations to demonstrate how different textures can give an audience different feelings. If you want to peek into different visual styles, don’t forget internet video hobbyists and the endless supply of content they create with a freedom dif ferent from professional professional filmmakers. Documentaries are another great place to borrow st yle and technique. Anthony Dod Mantle, a cinematographer with extensive documentary exper ience ience,, worked with Ron on Rush to  build  bui ld a look that felt unpla unplanned, nned, quic quick, k, and energ ize ized—so d—so that t hat it  would be sugge suggesti stive ve of the feel feeling ing at a Formul Formulaa One On e race. r ace. LEARN MORE

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Ron says of spotting a compelling photograph photograph in a magazine, “Collect it. Give yourself yourself something to ta lk about, to think about, to dream about. And just begin the process of understanding what that movie could be.” Find an image and  journal  jour nal what emot emotions ions it bring br ingss up, what w hat it i t remi re minds nds you of, and what you drew you to it.

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Watch the 19 1970 70 documenta documentary ry Gimme Shelter . Parse out in your notebook the elements Ron references as a source of inspiration for the cinematography of Rush.

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10. CINEMATOGRAPHY  ASSIGNMENTS

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Experiment with photographic techniques as though you  were a cinem c inematog atograph rapher. er. Compo C ompose se five f ive 20-seco 20-second nd shots sho ts fro from m a stationary position—use your phone if you don’t have access to a camera. Compose your shots like you would for for still photography, but let the camera linger for 20 seconds and use  what pas passes ses thr through ough the fra frame. me. It might mi ght be people, p eople, chan changi ging ng sunlight, falling leaves, or ambient sound. Use light, color, contrast, angles, and point of view. A im for the following outcomes as the result of each of your compositions: • • • •

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Convey a feeling or mood Elicit a specific emotion from your audience Generate an emotional theme Play with different visual styles

Post your thre threee best shots to The Hub and Hub and survey your classmates for their reactions.

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11. PRODUCTION DESIGN C H A P T ER ER R E V I E W

“Production designers... have to understand construction. They’re practical people. They have to be. But they also really need to be dreamers.” —Ron Howard SUBCHAPTERS •

Their Job Is Both Creative and Logistical

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Make a Creative Connection

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Come Up With Tangible Examples

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Make a Cohesive Palette and Color

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Help Manage the Collaboration

The production designer designer is in charge of making mak ing sure that every stage and location looks the best it ca n look for each scene. It is a high pressure job job both logistically and creatively. creatively. By the time the director and cinematograph ci nematographer er are on set, the production designer has already worked for weeks in preparation. Much like when you meet with other creative collaborators, you need to have a creative connection with the production designer and feel that their instincts align al ign with how you are going to tell the story.  You’ll spe  You’ll spend nd a lot of t ime wit with h the t he produc pr oductio tion n desig de signer ner at the t he  begin  beg innin ning g of prod product uction, ion, espe especia cially lly when scout scouting ing loca locatio tions. ns. Ron is very clear describing what he wa nts sets and locations to look like and shows the production designer tangible examples and photos. This includes choosing a palette (locations where color cannot be changed) and colors (set colors, costumes) that work together. He has the production designer, costume designer, and prop master post photos of signi ficant pieces in the common areas as a way to constantly remind everyone on set of the overall aesthetic. Sometimes tensions arise bet ween the production designer and cinematographer because they are often each on different timelines and a nd in dif feren ferentt locations but both responsible for executing the overall look of the film. It is the director’s job to manage communication from the beginni ng, so that the core collaborators have a shared vision for the f ilm and a nd healthy  working  work ing rel relatio ationship nships. s. Ron beli b elieves eves that if you do th this is wel well, l, it ultimately results in a better film. LEARN MORE

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Read more about the dual logist logistical/creative ical/creative role of a production designer here here..

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11. PRODUCTION DESIGN ASSIGNMENT

•

The productio production n designer has to juggle the needs of many different departments that contribute to the look of the fi lm  while  whi le mai m aintai ntaini ning ng consis co nsistenc tencyy in i n the t he look. lo ok. Ron spend s pendss a lot of time with w ith the production designer at the beginning of a project gathering material to define t he desired look of the film. As A s a look into that process, pick pick a specific time ti me period and place. Then go out and take 20-30 photos of locations, props, and wardrobe or source reference images to build a sense of that time a nd place. Select from your images to compose a look that works together aesthetically and accurately.. A few examples of specific time and accurately a nd place: • • •

A cabin in the mountai mountains ns in the 19 1950s 50s A free clinic in rural Oregon Oregon in the 19 1980s 80s A 19 1990s 90s waterpark in Southern California

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1 2. CAS E STU DY: DY:  F R O S T/N I X O N  C H A P T ER ER R E V I E W

“I relearned that there is no more powerful conveyor of emotion, humor, [or]suspense than what great actors performing great dialogue can give a director.” —Ron Howard SUBCHAPTERS •

Find the Energy

•

Discover on the Day

•

Make the Shooting Style Reflect Character

•

Let Fear Energize You

Frost/Nixon was shot as an independent film with a li mited

 budget . One  budget. O ne of the fir first st big bi g decisi de cisions ons to make m ake in ter terms ms of production design design was to decide how to show the era of the film, the 1970s. Per production designer Michael Corenblith’s suggestion, they toned down the over-the-top 70s style and palette in order to reflect t he undercurrent of tragedy in the story. Ron wanted to shoot a phone conversation between Frost and Nixon with both actors actual ly speaking over the t he phone in  back-to-backk sets  back-to-bac se ts so that it would wo uld capt capture ure the ener energy gy of the t he stage st age production. Corenblith Corenblith found a way w ay to make the set work. They had four cameras going at once and the scene captured the energy Ron envisioned. envisioned. They were even able to shoot it in half t he time. The actors in the fi lm had already worked together on stage in the 2006 Frost/Nixon play, so in order to ensure that their performances were fresh, Ron kept Michael Sheen and Fra nk Langella apart apar t throughou t hroughoutt production—a production—a practice they had started during the t heater run. Ron chose a naturalistic style, hired camera crew with documentary ex perience perience,, and rarely ran rehearsals. Instead he started with t he actors’ natural blocking tendencies tendenci es and gradually g radually added in specific staging. Writer Peter Morgan had always talked about Frost/Nixon like it was a  boxing  boxi ng match, m atch, so some s ome of the t he inter i ntervie view w scenes s cenes were shot to reflect the combative nature of t he conversation with rapidly paced cuts making the Q&A feel like a blow-by-blow broadcast. Other scenes were designed more to make audienc audiences es feel li ke they were watching television, and by the end they moved to close-ups— closeups—all all about their innermost feelings. Ron was anxious going into Frost/Nixon because it was financed, planned, and shot like an indie. Ultimately, the challenges energized him. He relearned t he power of performance and shot the movie at a point in hi s career where he had more confidence in the cinema a nd was able to save powerful moments of performance for the perfect opportunity.

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1 2. CAS E STU DY: DY:  F R O S T/N I X O N  LEARN MORE

•

Watch Wat ch a recording of the interview scene scene from the original Frost/Nixon play to get a sense of the live-action energy energy that Ron wanted to preserve in the f ilm adaptation.

•

Read more on Ron’ Ron’ss process of openi opening ng up the story for the film version in this 2008 interview . Which shots in the film could not have existed in the play?

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13. RESEARCH C H A P T ER ER R E V I E W

“Preparation is about “Preparation broadening your understanding of the factors that can influence the story and broaden the possibilities of that story.” —Ron Howard SUBCHAPTERS •

Use Researc h to Reinforce Your Vision

•

Generate Creativity from

 Alt hough it can  Although c an feel li like ke a mecha me chanica nicall proce pr ocess, ss, thoroug t horough h resea re search rch can inspire creative conversation. Ron will assemble a research reel of media, photographs, stills, etc. and often something in that collection will wi ll catch the t he production designer’s designer’s eye so that an idea executed in the new project has an authentic reference point. Small, researched details at t he root of a scene resonate  with  wit h audience aud iences. s. You’ You’ll ll rec recal alll from f rom Chapt Chapter er 5 that t hat the fre freshnes shnesss of  Apollo  Apo llo 13 was born of intense research. Sti ll, that approach doesn’t doesn’t supersede emotion. In the best cases, it rein forces and amplifies that emotion. LEARN MORE

•

Meticulous Research •

Broaden the Possibilities Using Research

Watch David Fincher’s Zodiac for a look at how research done  by the t he dire d irector ctor and wr writer iter ref refreshe reshed d a stor storyy by repl replaci acing ng the t he mythic nature of the crimes with actual facts drawn from police reports and interviews they themselves conducted. conducted.

ASSIGNMENTS

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If you you already have a story story you you plan plan to tell, start start a research research reel. Assemble A ssemble media footage, interviews, documentaries, stills, and photos. If you don’t have a project at the moment, choose a historic figure, local cri me, or event event in your family fami ly history and begin a research reel.

•

Like Robert DeNiro in Backdraft, practice researching a character by interviewing interv iewing someone connected to your research reel. This could be any person who has authentic insight into the topic of your research reel.

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14–16. CASE STUDI ES: SCENE DECONSTRUCTION C H A P T ER ER R E V I E W

Ron stumbled upon Raiders of the Lost Ark on an in-flight screen

“These are building blocks and decided to watch it again hoping to better understand the that at least worked in challenges of staging a nd shooting action. His headph headphones ones were these particular  broke n but he could  broken co uldn’t n’t stop gla ncin ncing g up at the t he scree s creen n and a nd got go t circumstances but again— hooked by the action sequence. He found the silence made it easier to track cuts, shots, pace, camera setups, mechanics, you know it’s not to do staging, and even drama. anything but excite you, excite your imagination,  Apollo llo 13  was to establish Ron’s focus in the launch scene in  Apo and stir a kind of a menu of emotional connections between the char acters, to build tension, possibilities for you to draw and to build suspense. The emotional context begins triumphant t riumphant and brave. The sequen sequence ce was shot with an extremely detailed upon, because there are planned shot list. Then as the astronauts enter space, the camera always many, many different ways to present a presses in on them to communicate the tension of a crucial moment—passing through the atmosphere. The movie was shot dramatic idea, an exciting in sequence as much as possible so even the actors had been idea to audiences.” anticipating the launch, which furt her added to its energ y. —Ron Howard SUBCHAPTERS •

Raiders of the Lost Ark

•

Apollo 13

•

A Beautiful Mind

Ron shot  A Beaut di fferent styles in mind. B eaut iful Mind with three different First, straightforward w ith a sense of nostalgia. Second Second,, thriller-like, with noir shadows. And third, with what Ron calls the “clear, cold bright of day.” This is the sequence in which Alicia confronts the naked truth t ruth about her husband. But the scene following this reali zation was shot differently from any other sequence in the movie, almost as a mini–suspens mini–suspensee sequence. Ron talks about seeing the sequences as “bundles” “bundles” that bring the audiencee to highs, lows, and new narrative questions. audienc LEARN MORE

•

Watch The Bourne Identity and note how its action sequences are shot completely different from Raiders of the Lost  Ark . Compare the two styles in your notes. What emotional response did it draw? How did it feel in comparison?

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14–16. CASE STUDI ES: SCENE DECONSTRUCTION ASSIGNMENT

•

Analyzing what what great great directors have done in the past is a way to gather inspiration and practical suggestions for filming styles and for building a menu of possibilities. With the sound off watch each of these scenes a few t imes: • •

•

Max:: Fury Fu ry Road  scene in which the War Boys The  Mad Max pursue Furiosa and Immortan Joe’s wives. The Matrix scene (no CGI used!) in which Neo and Trinity initiate an actionaction-packed packed lobby shootout during the first leg of Morpheus’s rescue.

As you you watch, keep a running log of the cutting cutting patterns patterns and staging. Keep these deconstructions in your notes as a practical reference if you want a scene to play in a similar way and as a source of inspiration when thinki ng through an action sequence in your project.

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17. CASTING C H A P T ER ER R E V I E W

“There has to be some kind of connection between the actor, the performer, and that character that you can  just readi readily ly acc accept.” ept.” —Ron Howard SUBCHAPTERS •

Be Meticulous in Casting

•

Follow Your Gut

•

Look for Creative Compatibility

•

Test the Waters

•

Overcome Casting Missteps

•

Respond to the Intangible Qualities

Ron was surprised when he began casti ng by the revelation that most actors were sk illed enough to play t he role, but but that he had to pick “the one.” As he advises, use chemistry as a tiebreaker. You You need to feel a connection between t he actor and the role, sense creative compatibility, compatibility, and trust t rust your gut. Testing an actor is a great way to see how an actor takes direction and reveals his or her working style. Ron Ron tries to bring actors together for testing before final casting to make sure they  work as a whole w hole a nd in i n pairs pa irs for cruc c rucial ial rel relatio ationship nships. s. Be meticulous in order to avoid replacing an actor on set and resorting to shooting techniques to minimize a role. LEARN MORE

•

Throughout this chapter Throughout chapter Ron emphasizes the gut feeling and intangible qualities to pay attention to during the delicate process of casting. Ron cites Tom Hanks as Forrest Gump as an example of great casting wherein the actor seems to have an innate connection to the character. Watch Watch a few scenes from Tom’s audition audition for  for the film and note your own gut feeling if  were you in i n the t he dire d irector’s ctor’s shoes. s hoes.

•

Identify other films that you feel are exceptionally Identify exceptionally cast. Look for footage from the casting room and see what you feel from that first exposure e xposure to the role. Could you see the connection immediately?

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18 & 19.  WO R K I N G  WI  W I T H A C T O R S , PARTS 1 & 2 C H A P T ER ER R E V I E W

“It’s not essential that you lead them. It’s essential that you protect them.” —Ron Howard SUBCHAPTERS •

Protect Your Actors

•

Understand How They Approach Their Role

•

Take Acting Class es

•

Prepare for Every Moment

•

Trust Experienced Actors to Get There

•

Let Actors Participate

•

Know Your Ensembl e’s Diffe rent Styles

•

Your Stylistic Choices Influence Performances

To protect protect your actors, start with a clear picture of their  working  work ing st style. yle. Some act actors ors oper operate ate fro from m a psyc psycholog hologica icall space, sp ace, other respond to simple result-based direction. The more you learn how to help help your actors, the more they will help the the movie. Ron came to directing with an act ing background so often actors feel like they t hey can trust him hi m from the get-go. get-go. Take acting classes to understand the process of inhabiting a character. You’ll be more confident and empathetic when giving dire ction and be bet better prepared to help actors through tough scenes. Trust t hat experienced actors can pinpoint exact emotions and give t he performance you need. In Ron’s story about his experience directing veteran Jason Robards Jr., he was blown away by Jason’s ability to move into a dif ferent level of emotion with the direction he himself supplied, “Ron, do—do you want a sadder face?” The results stunned Ron. If you ask actors to only dutifu dutifully lly execute a direc director’s tor’s plan, Ron feels that “you’re not making artists of them. You’re not inviting them to express ex press themselves, to make creative choices and contributions..” Bringing an contributions a n actor into a collaborative role is a show of respect and un locks an a n honesty that ultimately audiences  will  wi ll pick up on. on .  Whe n worki  When wor king ng with w ith an ense ensemble mble of actor a ctors, s, star st artt by lear ni ning ng about a bout how each actor works best and do what you can to shoot in a way that best supports each person’s approach or prioritize to benefit the style of the actor car rying the t he scene. The choices choices you are making withi n the frame will wi ll influence the  way that act actors ors per perform form.. Be B e sure su re you k now how ho w to get the performance you want from that actor or that t he frame is not encroaching upon an actor you want to encourage to be free. LEARN MORE

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For insight into the most most practiced methods actors study to approach their role, read about different acting methods like those of Stanislavski Stanislavski,, Meisner Meisner,, and Strasberg Strasberg..

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18. & 19.  WO R K I N G  WI  W I T H A C T O R S , PARTS 1 & 2 LEARN MORE CONT.

•

Watch Jason Robards Jr. in the father-to-son conversation scene from Parenthood  that Ron describes in “Trust Ex perienced Actors to Get There.”

•

Read Directing Actors by Judith Weston for more detail on the relationship between actors and directors.

ASSIGNMENTS

•

Ron comes to directing from acting and finds it vital for for directors to take ta ke acting classes a nd scene studies. Sign Sign up for a an acti ng, improv, improv, or scene study class in your area. Learn the t he language that will wi ll help you guide a per formance and network  with  wit h actor a ctorss who w ho may ma y someday so meday beco become me coll c ollabor aborators ators..

•

Expose yourself yourself to to the anxiety and pressure of acting by by performing a monologue in front of fr iends or at an open mic. This will wi ll give you a source of authentic empathy for what an actor is feeling in a difficult diff icult scene. You You can reference this database of database  of film fi lm monologues.

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20–26.  F R O S T/N I X O N 

STAGING C H A P T ER ER R E V I E W

Chapters 20–26 provide a unique opportunity to watch Ron’s directorial approach in action. He directs actors and camera crew through the readread-through, through, rehearsals, staging, block ing, and framing. In Chapters 20–23, we see Ron directing in the naturalistic, feature style in which Frost/Nixon was shot, showcasing the most lush of his approaches. In Chapters 24 and 25, Ron reworks the scene to be shot using a steadicam and a POV sequence. In Chapter 26, he demonstrates an indie film style meant to maximize maximi ze coverage with limited resources. C H A P T ER ER B R E A K D O W N

Chapter 20—Read-through & Staging Rehearsal:  Actors do a

simple read-through of the scene and Ron provides feedback.  Actorss are  Actor a re told t old to t o make ma ke tho those se adjust a djustments ments for the t he next ne xt read-through and Ron plants the idea of staging. He wants to see how the actors move on t heir own before dictati ng movement. movement. He then gradually begins to fill in the space with movement. Chapter 21—Feature Staging for Masters:  In this chapter the

shots will be the most ambitious and closest to the feature style of the film. Ron shoots a lot of varied coverage including some hand-held camerawork. He makes constant adjustments to actors’ movement and cameras, emphasizing that he is never afraid to interrupt or stop-and-go as needed to ensure he has the masters he needs. When he sees an organic opportunity to add to the story visually visual ly,, he seizes it. Chapter 22—Feature Staging for Coverage:  Gathering coverage

provides material in the editing room for cutaways to place emphasis on a line or reaction, or the option to ex tend or tighten a scene. All of these options give a director the ability to refi ne a story in i n postproduction. Shooting effective coverage and quick pickups can help you avoid the need to reshoot later. Chapter 23—Alternate Staging Possibilities:  Ron provides his

reasoning for certain blocking and he shows how to stage the actors to build an axis a xis along which cameras can move to capture a breadth of useful reaction shots. When you’re staging, the genre doesn’t matter. It’s about meeting objectives for the scene and the inherent conflict.

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20–26.  F R O S T/N I X O N 

STAGING CHAPTER BREAKDOWN CONT.

Chapter 24—Steadicam Staging:  Shooting with a steadicam i n

one continuous shot, a “oner,” requires technical willingness from actors as the shooting is highly choreographed and actors need to be able to hit specific ma rks to create a seamless feel. Note how differently Ron builds builds out the blocking w ith this new camera and aesthetic. He stages as if he is the steadicam in order to accommodate the camera. Chapter 25—Steadicam Staging for Frost POV:  Next, Ron shoots

from David’s point of view—first filming David head-on and then filming from f rom his eyeline. This footage could be intercut with other steadicam footage or could work on its own entirely. Chapter 26—Staging for Indie Shoot:  This chapter demonstrates

an indie style which is useful when logistical and budgetary challenges must be accommodated. Staging is dictated instead of naturally letting letti ng ideas unfold or exploring input from collaborators in order to save time (and money). There is one rehearsal followed by multipurpose shots. Ron moves and speaks more quickly and his practical directions communicate a sense of urgency. LEARN MORE

•

Watch Alejand Alejandro ro Gonzá González lez Iñárr Iñárritu’s itu’s Birdman  and note the oners. Try to visualize v isualize how the scenes were staged for the string of continuo continuous us shots throughout the film.

•

Watch Frost/Nixon paying close attention to the scene used in these chapters. Try to pinpoint the process Ron demonstrated in the first staging stagi ng style.

ASSIGNMENTS

•

As you you watch these these chapters chapters for the first time, take notes notes on the choices Ron makes and the direction he gives to get the shots and performances he needs for each approach. Ron  believe  bel ievess that t hat l im imitat itations ions can push creat ivit y among a mong a st rong team. What is i s successful about each of t hese approaches? approaches? Does one style succeed more than the other in the case of this story? Which approach did you like best and why?

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20–26.  F R O S T/N I X O N 

STAGING ASSIGNMENTS CONT.

•

On your second watch, take notes on how Ron manages the people on his team and t he environment that creates. What sense do you get of his relationship with the crew? Where do you see his collaborative work style coming through through??

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2 7.  F R O S T/N I X O N 

STUDENT BLOCKING REVIEW  C H A P T ER ER R E V I E W

In the first approach of the block ing exercises, Ron wanted to

“Again, the director is the show how how staging can fall into place following following the instincts of first audience member so the actors, the point of view of t he director, and what could be if you make yourself an done with the camera. There are so many different but successful successful audience member and start  ways to appro a pproach ach the stag ing but it is the dir direct ector’s or’s job to nar n arrow row that down and commit. The more you know what you love as a to understand what it is viewer,, the stronger your viewer your decision decision-making -making process will be. that you like about it, you can carry that sorta focus Screenwriters have to cover a lot of emotional ground in a scene into your work when you so it’s it’s good to give your actors something for t heir character to begin to make a film.” do. If they stay too focused on the other actors throughout the scene it feels unrealistic. Give them some “business.” If normal —Ron Howard SUBCHAPTERS •

Find the Fluidity

•

Give Actors Some Business

•

Remain Flexible

•

Marry Acting to Staging

•

Make Compromise Work

•

Discover Your Person al Preferences

life is happening during a scene scene,, it will wi ll feel more honest and human. Lengthy continuous shots require rigorous attention to the actors’ performances in the scene because the shot cannot be cut with any supporting footage later on. The idea is to go into the editing room with a compl complete, ete, stand-alone stand-alone performance. This type of scene can stick with audiences because they watch it unfold without the manipulation of editing and that feels very honest. Ron likes to shoot to leave himself with exit points so that any happy accidents that may happen in performances can  be worke w orked d in i n later. la ter. Pre Prepar paree as a s much muc h as a s possi p ossible ble but bu t wal w alkk onto ont o set s et open to the possibilities. In Chapter 24 Ron wanted to try to stage a oner shot but the space  was too tig tight ht so it was w as broke broken n into i nto t wo and a nd it requ require ired d a more technical approach from t he actors and more choreographed staging. He then experimented with point of view where the actor looks directly direct ly into the lens and therefore directly at t he audience. audience. This too requires high technical demands of the actor who is not reacting to another actor and often can see their own reflection in the matte glass of the camera.  Whe n you have to compro  When c ompromis misee for ti time me or budget’s sake, s ake, kee keep p the compromise simple and remember that audiences won’t know  what you couldn’t co uldn’t get. g et. A place pl ace that is easi easily ly lit l it with w ith some natu natura rall depth may not be everythi ng you dreamed but it can be effective and visually solid. RON HOWARD

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2 7.  F R O S T/N I X O N 

STUDENT BLOCKING REVIEW   As a dire d irector ctor you need ne ed to disc d iscover over and beco become me comfor c omfor table wit with h your creative process for staging. You might plan the majority of scenes ahead of time or lean toward discovering the staging on set. Staging is one of the most important aspects of directing  but it does not need to be b e compli co mplicated cated.. Ron’ Ro n’ss frie f riend nd and a nd mentor me ntor George Lucas said, “No well-written scene has ever gone bad  because  beca use the di direc rector tor stag staged ed it and a nd shot sho t it wit with h a wid widee shot, shot , a medium, and two close-ups.” You’re not going to ruin a  well-writ  wel l-written, ten, wel w ell-cast l-cast scene wit with h simpli si mplicit city. y. ASSIGNMENT

•

Choose one film to work with for for the following assignments assignments:: •

Stage your own read-through read-through of a scene scene from the the film. Follow Ron’s example and include a way for your actors to provide feedback. • Restage and shoot 5– 5–10 10 stil ls or if you can collabor collaborate ate  with  wit h actors, ac tors, rest restage age a shor t scene s cene and imple implement ment one of the styles Ron demonstrates in the student blocking chapters.

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28 . EDITING, PART 1 C H A P T ER ER R E V I E W

Ron urges brutal honesty in the editing process. It’s when you

“Play with the shots and have to leave the story you hoped you were shooting and instead the footage to create a look at the raw material you actually have. Be open to the different rhythm and possibilities that the footage offers. therefore a different feeling It is necessary to tell your editor your basic ex pectations for your and a sort of set of  work ing rel  working relatio ationship. nship. Do you want w ant to dire d irect ct t he editor e ditor to your yo ur impulses or data that are sense of how scenes should be put together or do you want to coming to the viewer.” open it up to the editor’s instincts? A good editor is proficient, —Ron Howard professional, profess ional, hardworking, able to tak e direction, direct ion, and has good, SUBCHAPTERS •

Find a Great Editor

•

Have a Conversation Early On

•

Your Central Characters Inform the Editing Style

•

Discover New Possibilities

solid taste. A great editor is a ll that plus an upgrade to superb taste and a creative eye—available to spot new ideas to present to the director. LEARN MORE

•

Compare the editing style of this scene with scene with Braddock as a fighter to the editing in this scene as a husban husband d and father from Ron’ Ron’ss Cinderella Man.

•

Watch the Frost/Nixon interview scenes (like a verbal boxing ring) and track the t he similarities between the cutting patterns and to Jim Braddock in t he ring. Cinematographer Salvatore Totino and editors Dan Hanley and Mike Hill a ll worked on Cinderella Man and thought the interview scenes needed the same kind ki nd of combative energy as a physical fight scene.

•

t he greatest editing challenge Ron ever faced. Apollo 13 was the  Watch the lau launch nch scene s cene and ident identif ifyy all a ll th three ree per perspe spect ctives ives (astronauts, mission control, and family) woven together through the editing technique.

ASSIGNMENT

•

Study other films to see how character influences editing style. Pick a fil m you love and write a character summar y for each of the key roles. Watch the film w ith the sound off and take notes on when, where, and how cuts are made.  Ana lyze the conne connecti ctions ons bet between ween your char characte acterr summa su mmarie riess and screening notes.

RON HOWARD

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29 . EDITING, PART 2 C H A P T ER ER R E V I E W

“When you discern that there’s a weakness that is not fundamentally wired into, baked into the thematics of the story, it just has to do with something that you could address [editorially], it’s important to go ahead, toss and turn, talk to your editor, talk to your producers, talk to your friends and drill down on on  —Ron Howard that.” —Ron that.”

Ron emphasizes the value of showing your edit to an audience for feedback. You might be surprised by the way moments of confusion for the audience can lead you to a new, more creative version of a scene. It’s also helpful to watch films you love with the sound off to pinpoint inspiring edits. Prepare yourself for the first cut to be brutally long, difficult to watch, and potentially even hear tbreaking. Then, do the unsettling but essential work of opening up problems problems to discover solutions— solu tions—you you might even find a little t hrill in the results. LEARN MORE

•

SUBCHAPTERS •

Show the Edit to an Audience

•

Uncover the Story Again

•

Watch Other Films with the Sound Off

•

The First Cut Will Break Your Heart

•

Find the Thrill in the Discovery

Duri ng editi During editing, ng, you’ you’ll ll see the same footage over and over so it is useful to return to your first impressions of a scene when you’re you’ re deep in the process. Listen to editor Walter editor Walter Murc Murch h explain his technique for capturing his initial reactions to a shot—a reaction you only have one chance to preserve.

ASSIGNMENT

•

Build and edit a storyboard storyboard to show to an audience audience using composed snapshots. To keep it simple, frame your story around your perspective on a n outing. Use a two-pack of disposable cameras and head out to an event, hike, party, or even just a walk . Take pictures of the setting, objects, or people that stand out, and obstacles you encounter on the way. Lay out the photos and tel l the story of your outing. Critique each photo it on its own and its role in the story. Arrange, edit, and add text or sketches if you see fit. Now show it to a friend or classmate and gather gat her feedback.

RON HOWARD

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30. SOUND DESIGN C H A P T ER ER R E V I E W

Like each step of the filmmak ing process, sound sound design is

“The sounds— sounds—you you know, another opportunity to make choices that drive home how you whether it’s percussion  wa nt to tel  want telll your you r stor story. y. Ask yours yourself, elf, how should s hould sound tr travel avel or wind instruments or throughout the theater? How are the pitch, speed, and volume synthesizers are creating of the dialogue contributing to the story? How should the sound sounds that we relate to on design make audiences feel? We react to sound on a primal level and great sound design can trigger primal connections at this kinda primal level.” precise momen moments ts in the story. Unrealistic Unrealistic and unnatural sounds —Ron Howard SUBCHAPTERS •

Sound Design Works on a Subliminal Level

•

Design Sound That’s Best for Your Story

•

can translate into moments of great impact—as can dropping sound effects at opportune moments

Ron reminds us that all of these elements of postproduction— editing, music, music, sound effects, mi xing— xing—all all of these details detail s of the t he viewing experience ex perience “put “put the finish fi nish on the movie” and present it at its best.

Put the Finish on the Movie

LEARN MORE

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Close your eyes and listen to the unnatural, anxietyinducing sounds in The Silence of the Lambs  during the scene in  which  whi ch Clar C larice ice goe goess dow nsta nstair irss to Han Hanniba niball Lect L ecter’s er’s cell cel l for the first time. Then watch the TEDx Talk, “The “The Beautiful Lies of Sound Design” Design” to learn more about creating sounds and how they work on audiences.

ASSIGNMENT

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Record and analyze a soundscape. Choose a unique environment where you can record. Without making a ny sound of your own, record 1–3 minutes of continuous sound in the environment. Then listen and try to identify the source of every sound heard. What sounds did you expect to hear? What sounds surprised you? What sounds were easy or di fficult to identify? What emotions did specific sounds draw out? Next, post your recording to The Hub and Hub and select a classmate’s recording to put through the same questioning. You won’t have context for their recording so your analysis might be a l ittle more challenging in this round.

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31 . MUSIC  AN  A N D S C O R I N G C H A P T ER ER R E V I E W

“In the world of working with composers or making decisions on your own, it’s so much about asking yourself the question ques tion what should the music be?  And you’ you’llll have prob probabl ablyy an instinctive answer and that may be right. r ight. But it’s always worth saying, ‘What else?’” —Ron Howard SUBCHAPTERS •

Talk to Composers Like Actors

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Use Score to Reinforc Reinforce e Theme

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Frost/Nixon Score Frost/Nixon Score

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A Beautiful Mind Mind Score  Score

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Find Music Before Shooting

Talk to composers like li ke you would an actor or screenwriter. They are able to listen l isten to the director’ director’ss motivations and rei nforce those feelings, feeli ngs, themes, or rationa rationale le for a scene. The best composers pick up on details of actors’ performances and build cues cues to add dimension to the story. Ron originally told composer Hans Zimmer that he saw Frost/ Nixon as a film with a 70s rock ‘n’ roll soundtrack and that he’d only need about “seven or eight minutes of score.” But Zimmer and writer Peter Morgan pushed Ron to try a n approach that reflected the actors’ performances. That score became suspenseful and even psycho psychological, logical, bringing the sound “much “muc h closer to t he heartbeat of the characters” char acters” and leaving Ron grateful that he was talked out of his initia l idea. In the examples in this chapter, score composition followed the shooting of each scene. Another interesting approach is to start  with  wit h a piece of music mu sic a nd shoot sho ot w ith a tempo te mpo and sound in mi mind. nd. Even if that music does not end up in the final cut, its presence at a shoot can inspire actors and convey an emotional tr uth of the story. LEARN MORE

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Listen to Hans Zimmer’s Zimmer’s full ful l score for score for Frost/Nixon. In your notebook, write out how the score landed close to the “heartbeat of the characters.”

ASSIGNMENT

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At this point point in the class, class, we’v we’vee seen seen and studied  A B eaut eautiful iful Mind in multiple chapters. This time, only listen to the movie but do not watch it. Identify and list t he emotions you feel throughout at the time you are feeling them. t hem. Keep your list down to single words (e.g., fear, anticipation, confusion) or simple phrases. Upload your list to The Hub and Hub and compare your emotional map with your classmates. Was there an overall steering steeri ng of your reactions as viewers or were responses more subjective?

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32. FIN D A STORY  YO U L OV E C H A P T ER ER R E V I E W

“When you tune your antenna to...the language of cinema—to moments, to feelings, you begin to experience the world in ways that inspire you.” —Ron Howard

Ron leaves you with encouragement to experience your surroundings as a fil mmaker and to enjoy the frames you spot in nature. Trust your instincts and dig into the tools of your craft.  You’ve finished fin ished your Mas Master terCla Class ss w ith Ron Howard! How ard! Congratulations! We We hope you feel inspired to trust your instincts and continue searching for your your story to tell. tel l.  We want wa nt to mak makee sure su re that your ex exper perience ience wit with h Ron and your classmates doesn’t stop here.  You can ca n stay st ay in touch t ouch wit with h your yo ur pee peers rs by: b y:

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Joining The Hub to Hub to connect with your classmates Contributing to lesson discussions at the end end of each video Uploading your relevant assignments in The Hub for Hub for peer feedback  Submitting an Office Hours question to Ron

RON’S FINAL ASSIGNMENT

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Go out, out, find a story you you love love,, and tell it! it! Start Start small or start developing something bigger. Find your creative collaborators and remember throughout each step of the process that you are the keeper of the singular story that you need to tell.

EXTRA CREDIT OPPORTUNITY

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Tweet your thoughts and questions to @RonH @RonHoward oward and @masterclass. Be sure to include #RonHowardMasterClass #RonHowardMasterClass in your message.

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