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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 | |