DramaLabs — Botswana
As a director, these are not the questions tobe asking yourself on the day. You startasking somewhere around your third orfourth read-through of the script (you needto grasp the story and the needs and wantsof its characters before anything else). Youcontinue working on the answers incollaboration with your actorsthrough
, during locations recce,and in discussions (started early on) with thecinematographer (with an eye to budget andtime constraints) — and don’t forget the editor!
Every scene has its own rhythm
You want to search for any little way to heighten the reality without wrecking it, and taking the audience out of the film. — John Seale , Cinematographer
CinematographerEd Lachmansaid in an interview that every scene has its own rhythm. At thetime he was warning against inappropriate use of hand-held camerawork, but the statement“every scene has its own rhythm” stands true on its own.
Rhythm is discovered in a scene, not stamped on it.
The rhythm of a scene originates from,among other things, the script
, theactors’ beats, and the physical actions andactivities (the
) done by, caused byand affecting a character. In the end it allcomes down to coverage and editing.Inappropriate or inadequatecoverage cannot be fixed in post.The job of coverage is to place the camera inthe right place(s) at the right time for the rightreasons to capture and to give visuallyappropriate meaning to the actions of thecharacters and the events of the
as it unfolds.
*See our post:What we mean when we talk about “story”…
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