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| Foreword | |
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| Acknowledgments | |
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| Introduction | |
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| Film Language and a Directing Methodology | |
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| Introduction to Film Language and Grammar | |
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| The Film World | |
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| Film Language | |
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| Shots | |
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| Film Grammar | |
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| The 180-Degree Rule | |
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| The 30-Degree Rule | |
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| Screen Direction | |
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| Film-Time | |
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| Compression | |
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| Elaboration | |
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| Familiar Image | |
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| Introduction to the Dramatic Elements Embedded in the Screenplay | |
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| Spines | |
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| Whose Film Is It? | |
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| Character | |
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| Circumstance | |
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| Dynamic Relationship | |
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| Wants | |
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| Expectations | |
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| Actions | |
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| Activity | |
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| Acting Beats | |
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| Dramatic Blocks | |
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| Narrative Beats | |
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| Fulcrum | |
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| Organizing Action in a Dramatic Scene | |
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| Dramatic Elements in Alfred Hitchcock's Notorious Patio Scene | |
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| Notorious Patio Scene Annotated | |
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| Staging | |
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| Patterns of Dramatic Movement | |
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| Changing the Stage within a Scene | |
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| Staging as Part of a Film's Design | |
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| Working with a Location Floor Plan | |
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| Floor Plan for Notorious Patio Scene | |
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| Camera | |
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| The Camera as Narrator | |
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| Reveal | |
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| Entrances | |
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| Objective Camera | |
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| Subjective Camera | |
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| Where Do I Put It? | |
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| Visual Design | |
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| Style | |
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| Coverage | |
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| Camera Height | |
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| Lenses | |
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| Composition | |
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| Where to Begin? | |
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| Working toward Specificity in Visualization | |
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| Looking for Order | |
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| Dramatic Blocks and Camera | |
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| Shot Lists, Storyboards, and Setups | |
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| The Prose Storyboard | |
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| Camera in Notorious Patio Scene | |
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| First Dramatic Block | |
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| Second Dramatic Block | |
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| Third Dramatic Block | |
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| Fourth Dramatic Block and Fulcrum | |
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| Fifth Dramatic Block | |
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| Making Your Film | |
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| Detective Work on Scripts | |
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| Reading Your Screenplay | |
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| A Piece of Apple Pie Screenplay | |
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| Whose Film Is It? | |
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| Character | |
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| Circumstance | |
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| Spines for A Piece of Apple Pie | |
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| Dynamic Relationships | |
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| Wants | |
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| Actions | |
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| Acting Beats | |
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| Activity | |
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| Tone for A Piece of Apple Pie | |
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| Breaking A Piece of Apple Pie into Actions | |
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| Designing a Scene | |
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| Visualization | |
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| Identifying the Fulcrum and Dramatic Blocks | |
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| Supplying Narrative Beats to A Piece of Apple Pie | |
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| Director's Notebook | |
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| Staging and Camera for A Piece of Apple Pie | |
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| Staging | |
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| Camera | |
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| Conclusion | |
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| Marking Shooting Script with Camera Setups | |
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| Working with Actors | |
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| Casting | |
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| Auditions | |
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| First Read-Through | |
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| Directing During Rehearsals | |
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| Directing Actors on the Set | |
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| Managerial Responsibilities of the Director | |
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| Delegating Authority While Accepting Responsibility | |
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| The Producer | |
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| The Assistant Director | |
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| A Realistic Shooting Schedule | |
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| Working with the Crew | |
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| Working with the Director of Photography | |
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| Postproduction | |
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| Editing | |
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| Music and Sound | |
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| Locking Picture, or, How Do You Know When It's Over? | |
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| An Audience and a Big Screen | |
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| Organizing Action in an Action Scene | |
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| Staging and Camera for Over Easy Action Scene | |
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| Development of Screenplay | |
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| Director's Preparation for Directing an Action Scene | |
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| Where to Begin? | |
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| Over Easy Action Scene/Staging and Camera Angels for Storyboard Artist | |
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| Organizing Action in a Narrative Scene | |
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| Staging and Camera for Wanda Narrative Scene | |
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| What Is the Scene's Job? | |
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| Choosing a Location | |
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| Staging | |
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| Camera Style in Wanda | |
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| Learning the Craft Through Film Analysis | |
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| Alfred Hitchcock's Notorious | |
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| Overview of Style and Design | |
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| First Act | |
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| Second Act | |
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| Third Act | |
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| Summary | |
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| Peter Weir's The Truman Show | |
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| Overview of Style and Design | |
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| First Act | |
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| Second Act | |
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| Third Act | |
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| Summary | |
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| Federico Fellini's 8 1/2 | |
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| A Masterpiece? | |
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| The Director as Auteur | |
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| Dramatic Construction | |
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| Overview of Style and Design | |
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| Detective Work | |
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| First Act | |
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| Second Act | |
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| Third Act | |
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| Summary | |
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| Styles And Dramatic Structures | |
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| Style | |
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| Narrative, Dramatic, and Poetic Visual Styles | |
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| The Variety of Dramatic Structures | |
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| Tokyo Story, Yasujiro Ozu (1953, Japan) | |
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| Some Like It Hot, Billy Wilder (1959) | |
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| The Battle of Algiers, Gillo Pontecorvo (1965, France) | |
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| Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland) | |
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| Sex, Lies, and Videotape, Steven Soderbergh (1989) | |
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| Shall We Dance?, Masayuki Suo (1996, Japan) | |
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| The Celebration, Thomas Vinterberg (1998, Denmark) | |
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| The Insider, Michael Mann (1999) | |
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| The Thin Red Line, Terrence Malick (1998) | |
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| In the Mood for Love, Kar Wai Wong (2001, China) | |
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| Little Children, Todd Field (2006) | |
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| What Next? | |
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| Building Directorial Muscles | |
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| Writing for the Director | |
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| Begin Thinking about Your Story | |
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| Concocting Your Feature Screenplay | |
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| "Writing" Scenes with Actors | |
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| Shooting Your Film before You Finish Writing It | |
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| The Final Script | |
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| Shooting without a Screenplay? | |
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| Questions Directors Should Ask about Their Screenplays | |
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| Conclusion | |
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| Bibliography | |
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| Index | |