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Acknowledgments | |
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Foreword | |
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Preface | |
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Before the Battle | |
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Preproduction | |
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Soaking Up the Atmosphere | |
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Decisions! Decisions! | |
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Work, Work, Work! | |
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Producer and Director--'Til Death Do Them Part | |
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Crewing Up | |
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Summary Points | |
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Content Is Everything | |
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Casting and Scripting | |
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A Few Examples from the World According to Bob | |
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Perfecting Your Script--Getting the Audience into the Movie | |
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The Hero | |
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The Heroic Quest | |
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Attaining Perfection in Casting | |
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How Do You Define Perfection? Casting Your Leads | |
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Casting Your Supporting Roles | |
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Content and the Producer--Sometimes They Come from Different Planets | |
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How to Be Almost Producer-Proof: Write the Script | |
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How to Be Producer-Proof: Write the Script and Raise the Money | |
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Summary Points | |
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Visual Design | |
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Camera Blocking | |
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Why Move Your Camera? | |
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When Do You Move Your Camera? | |
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Externally and Internally Generated Camera Moves | |
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Moving Establishing Shots | |
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Those Who Break Bob's Rule and Why They Do It | |
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Now That You Know the Rules, It Gets Really Complicated | |
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Summary Points | |
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The Good Moving Master | |
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The Four Tasks of a Good Moving Master | |
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Task 1 - Shows the Audience Everything It Needs to See in a Scene | |
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Task 4 - Picks Up Some Coverage | |
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Task 3 - Generates Eye Candy | |
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Task 2 - Concentrates the Audience's Attention on the Center of the Drama | |
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How Zemeckis Shoots a Moving Master Following the Dictates of the Four Tasks | |
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Summary Points | |
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Lenses--Why Force Perspective? | |
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Lens Selection As a Joint Responsibility between Director and Cinematographer | |
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The Basics of Perspective | |
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Extreme Telephoto and Extreme Wide-Angle versus Normal Perspective | |
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Lenses--Field of Vision and Depth of Field | |
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General Applications of Different Lenses | |
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Forced Perspective Made Easy | |
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How Lenses Affect Movement | |
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Summary Points | |
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Performance | |
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Directing Actors--It Takes Erudition and Intuition | |
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Breaking Down the Script | |
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The Spine of the Film--The Spine of the Characters | |
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The Actor's Objective--An Overview | |
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How Objectives Work--Get-from or Do-to Objectives + Conflict = Reality | |
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Physicalization of the Objective | |
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Identifying the Most-Playable Objective | |
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Ultraplayable Objectives | |
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Adjustments | |
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"The More Adjustments, the Better"--How Come? | |
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All Adjustments Are Gerunds or Adverbs | |
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Improvisation | |
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Script Breakdown--Layout | |
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Summary Points | |
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Rehearsal | |
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Preparation | |
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Credibility versus Interpretation | |
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Objectives and Adjustments in Rehearsal | |
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Physicalization As a Rehearsal Tool | |
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Improvisation As a Rehearsal Tool | |
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Making Weak Actors Believable and Good Actors Great--Improv As a Versatile Tool for Rehearsal | |
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Preparation Is Everything | |
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Summary Points | |
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Set Politics | |
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On the Set | |
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Getting Ahead by Getting Along | |
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Successful Collaboration | |
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Collaborating with the 1st AD | |
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The First Walk-Through for Camera | |
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Collaborating with the Cinematographer | |
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Making Your Stars Shine during Production--Off the Set | |
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During Production--On the Set | |
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On the Set in Front of the Camera and Crew | |
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Collaborating with Your Lead Actors During the First Walk-Through for Camera | |
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Taming the Actors Who Chew the Scenery | |
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Collaborating with Yourself | |
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Summary Points | |
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Postproduction | |
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To the Answer Print and Beyond | |
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Collaborating with Your Editor | |
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Reshoots | |
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Inserts | |
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Post Sound--An Overview | |
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Spotting the Picture for Sound Effects and ADR | |
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On the ADR Stage | |
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Hiring a Composer | |
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Working with the Composer | |
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Sound Mixing or Rerecording | |
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Promotion | |
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To the Answer Print and the Sweet Hereafter | |
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Signing with a Manager/Agent | |
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Signing with a Publicist | |
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Coping with Success or the Lack Thereof | |
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Summary Points | |
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About the Author | |