Filmmaking / Directing

What’s one film, series, book, or piece of art that has influenced your creative work the most this year?

I’d love to know what made it resonate for you, whether it shifted your perspective, sparked a new idea, or reminded you why you love telling stories.

Share your pick and your “why” below. Let’s inspire each other.

James Cameron, once again making the plight that Netflix films should not qualify for Oscars. What are your thoughts and why?

https://www.msn.com/en-xl/news/other/james-cameron-says-netflix-films-sh...

Film editing is the only art that is unique to cinema and it separates filmmaking from all other art forms such as photography, theatre and dance. Editing involves carefully choosing and combining shots to create a coherent story that guides the audience's journey throughout the film.

One of the key elements of being a good director is to understand the “principles of montage” which is a film editing technique where shots (images) are juxtaposed to tell a story.

In 1918, Russian filmmaker Lev Kuleshov conducted an experiment where he shot and edited a short film in which the face of a famous Russian matinee idol was intercut with three other shots: a plate of soup; a girl playing ball; an old woman in a coffin. Kuleshov made sure that the shot of the actor was identical (and expressionless) every time he cut back to him.

The film was then shown to audiences who believed that the expression on the actor’s face was different each time he appeared - depending on whether he was “looking at” the plate of soup, the little girl, or the old woman’s coffin; showing an expression of hunger, happiness or grief.

So what does this experiment tell us? By carefully using the principles of montage (the juxtaposition of images to tell a story) filmmakers were able to produce certain emotions from the audience (laughter, fear, crying, shock) by manipulating an actor’s performance.

Understanding how to use Montage is essential for every director because it’s not just about the scene you are filming now, you also need to think about the scenes that come before and after. In other words, you need to think about the “transitions between the scenes.”

Effective montage techniques create emotional connections and provide story context. Mastering transitions helps directors ensure scenes flow smoothly, maintaining story continuity and audience engagement.

As a director, understanding the principles of montage will help you:

1. Block your scenes: Organizing actors' movements and positions within a scene to ensure continuity in the final edited sequence. Thoughtful blocking allows for smoother cutting and helps maintain visual logic across multiple setups. It also provides editors with usable coverage options, preventing gaps in continuity. Strategic blocking can reinforce character dynamics and visual rhythm within a scene.

2. Build psychological tension: Through rapid cutting, visual contrast, or repetition, you can increase the sense of urgency or inner conflict within a character or situation. The pacing and arrangement of shots can mirror rising pressure or instability. Delayed reactions, withheld information, or quick shifts in visual tone can raise the stakes. Repetition or abrupt changes in framing can underline obsessive thought patterns or confusion.

3. Create a more visual script: Crafting scripts that emphasize visual storytelling, allowing scenes to convey meaning through imagery and editing rather than just dialogue. Visual scripts make room for cinematic storytelling beyond spoken words. Writing with shot rhythm, color, and movement in mind encourages a more dynamic use of montage. It also helps directors think in sequences rather than in lines of dialogue.

4. Create emotional impact through rhythm: The length and speed of shots can influence the viewer’s emotional state. Quick cuts can generate urgency or stress, while longer shots can induce calm or suspense. The variation between these rhythms can reflect shifts in the story or character mindset. Editing tempo can also prepare the audience for an upcoming escalation or resolution.

5. Decide your camera placement: Determining optimal camera angles and positions to capture the necessary shots that will be seamlessly edited together to tell the story effectively. Strategic camera placement ensures coverage supports intended pacing and structure. The relationship between shots can only be controlled when coverage considers how scenes will be cut. Knowing where the audience is positioned visually helps guide transitions and emphasis.

6. Focus audience attention: Directing where viewers look by choosing what shot comes next and how it transitions. Cutting between close-ups, reactions, or wide shots controls narrative emphasis. The editor can shape audience interpretation by isolating a glance, object, or gesture. Movement across the frame can also lead the eye intentionally across cuts.

7. Get layered performances from actors: Guiding actors to deliver nuanced performances that can be enhanced through the juxtaposition of different shots, adding depth to their character portrayals. Editing allows subtle emotional beats to build across multiple angles or takes. A reaction held one beat longer or intercut with contrasting action can deepen its impact. Montage lets you draw out complexity by combining micro-expressions, body language, and silence.

8. Maintain visual continuity: Ensuring shots cut smoothly together so that space, time, and action remain consistent. This supports audience immersion and avoids distraction. Matching eyelines, screen direction, and movement are essential for seamless transitions. Good continuity builds trust in the story’s internal logic.

9. Punctuate narrative moments: Sharp cuts, sudden silences, or dramatic inserts can draw attention to turning points or key revelations. Montage allows directors to mark emotional or structural beats with precision. These punctuation points can be used for visual surprises or shifts in momentum. They help reinforce major narrative changes or character choices.

10. Show character transformation: Sequences of changing behavior, location, or appearance can be assembled to trace a character’s internal or external journey. This helps visualize growth, breakdown, or decision-making. Changes in performance across scenes can be emphasized through visual callbacks or contrasting shots. The montage itself can function as a character arc when transformation is gradual or fragmented.

11. Strengthen scene transitions: Smooth or stylized transitions can create continuity across space, time, or emotion. Montage techniques help guide the audience clearly from one moment to the next. Thematic or visual links between shots can build coherence even across large time jumps. Matching action, shape, or motion helps scenes connect visually and narratively.

12. Use montage for exposition: A series of short shots can quickly deliver background information or narrative setup. This economizes time while still establishing key context. Visual exposition avoids overload by distributing information across multiple shots. Rhythmic cutting can keep exposition engaging and dramatically purposeful.

Next Article: Part 7 (THE PRINCIPLES OF MONTAGE)

STEP 3: PERFORMANCE

Almost everything you need to know about directing actors can be explained in these 3 words: MOTIVATION DETERMINES BEHAVIOR

When we break these words down, we see that:

MOTIVATION (Our inner world)

DETERMINES (Controls)

BEHAVIOR (Our outer world)

If we break them down further, we see that:

What our needs are (MOTIVATION)

Will decide (DETERMINES)

What actions we take to fulfill our needs (BEHAVIOR)

And if we break this down into Text and Subtext:

MOTIVATION (Character Subtext/Super Objective)

DETERMINES (Will decide how an actor plays)

BEHAVIOR (The Script Text/Objective/Want)

One of the main responsibilities of a director is to help actors achieve a realistic performance, and a good director does this by “listening for the truth” and by asking:

1. Do I believe them? Directors need to ensure the actor's emotions match the character's situation and motivations. If the performance feels forced, they need to help the actor find more genuine emotions and reactions.

2. Do the words make sense? Directors need to make sure the lines flow naturally and communicate the intended meaning and subtext. If the dialogue feels awkward, directors need to work with the actors to adjust their delivery or suggest minor script changes.

3. Are the characters believable? Directors need to make sure the character's actions, speech, and reactions match their character’s personality and backstory. If their behavior doesn’t seem to match the “reality” of the character, directors need to help the actor explore the character's motivations more deeply.

The key to getting a realistic performance from an actor is to first understand the character’s objectives. Objectives should be clear, concise and stated in one simple sentence: “To discover where the gun is hidden.” There should be one main objective per character per scene: “What do they WANT in the scene?”

A character’s objective should create obstacles for the character. Look at what the character does (their behavior) rather than what they say. Look at what happens in the scene, and how it ends.

On the set, actors want to work with directors who understand their vulnerability, so it’s incredibly important to create a good relationship with every actor in your film. And what do actors want more than anything from this relationship with the director? TRUST!

If actors feel they cannot trust the director to know a good performance from a bad performance, they will begin to monitor their performances and start to direct themselves: they will become “Director Proof!”

Remember, to find the character they are playing, actors must surrender completely to feelings and impulses, and a good director understands an actor’s vulnerability and creates a safe place for them to perform.

Next Article: Part Four (STEP 4: THE PSYCHOLOGY OF THE CAMERA)

QUOTE: “As a writer, you can’t get too eager and give too much away too quickly. The Slow Reveal is paramount to any story and is vital in creating tension in a film. Keep in mind that tension is the result of conflict and that conflict arises from slowly revealing a series of mysteries leading to the central mystery of the film.” Wayne Camilleri

The "slow reveal" in filmmaking refers to a technique where information is gradually unveiled to the audience over time, rather than being presented all at once. It involves teasing out details, plot points, or character traits slowly throughout the film, creating a sense of suspense, mystery, or intrigue.

This technique is often employed to build tension, engage the audience, and maintain their interest throughout the story. By withholding certain information initially and revealing it gradually, filmmakers can heighten anticipation and keep viewers invested in the narrative. The slow reveal can also enhance storytelling by allowing for gradual character development, plot twists, or thematic revelations.

In practice, the slow reveal can be achieved through various cinematic techniques, such as strategic editing, subtle visual cues, cryptic dialogue, or gradual exposition. It requires careful pacing and timing to ensure that the information is revealed at the most impactful moments, keeping the audience engaged while avoiding confusion or frustration.

The Power of “The Reveal!”

Reveal isn’t just a way to keep the audience engaged; it’s also a way to keep them coming back for more. Each reveal should deepen the audience’s understanding of the characters, the plot, or the world of the story, making them eager to uncover what comes next.

The idea of 'Reveal' is central to my approach to storytelling. I believe in challenging the audience’s perception of reality, gradually peeling back the layers of illusion to reveal deeper truths about the characters and the world they inhabit. Each reveal should be like a puzzle piece falling into place, adding richness and complexity to the story.

The key to a great reveal is timing. You want to tease the audience with hints and clues, gradually building suspense until the big moment hits them like a punch in the gut. But it’s not just about shocking the audience; it’s about satisfying their curiosity and rewarding their investment in the story.

Organic Tension: Using Angles Instead of Cuts in Moving Conversations

When you’re working on the blocking of a two-person dialogue scene with movement, the essential element is the rhythm of movement. It’s tempting to rely on rapid cuts or multiple framings, but here’s the nuance: if you treat the characters’ blocking as a kind of dance, the camera stops being a passive recorder and becomes an active partner in that choreography.

- For example, when one character steps forward, rather than cutting, you can let the camera track smoothly with them, keeping the energy continuous.

- When the dialogue builds toward tension, shifting the camera’s angle instead of changing the shot size can make the confrontation feel more immediate and natural.

- In essence, blocking in these scenes is less about static positioning and more about shaping the flow of gaze and movement.

This way, the audience doesn’t just listen to the dialogue—they inhabit the space, sensing the exchange with their whole body.

Blocking, at its core, is the relationship between the actors and the camera. It is not about perfecting dialogue or exploring an actor’s motivation, unless that motivation directly affects their movement. Blocking defines where the actors move, when they move, and how they engage with the physical space.

Effective blocking reinforces the emotional flow of the scene, clarifies character relationships, and guides the viewer’s focus within the frame. I suggest you start thinking of blocking as the choreography of a dance or ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.

So…before you figure out your blocking plan, you must know these five things:

1. When (and where) were the characters last seen? Knowing each character’s last location and situation helps maintain the logical flow and continuity of the story. This awareness prevents jarring jumps in time or geography that could confuse the audience. It also helps the director track character progression and physical presence across scenes.

2. What is the last shot of the previous scene? Identifying the last shot of the previous scene ensures a smooth transition to the next scene. This allows for visual or thematic connections that bridge moments and maintain narrative rhythm. It also guides pacing decisions and shot design for a coherent viewing experience.

3. What is the first shot of the scene you are working on? Knowing the first shot of the current scene sets the tone for a strong visual scene opening for the audience. It introduces the setting, mood, and character state with clarity and purpose. The opening image acts as a visual entry point into the world of the scene.

4. What is the last shot of the scene you are working on? Determining the last shot of each scene helps plan a powerful exit leading to the first shot of the next scene. It helps underline key story beats, emotions, or questions that will carry forward. This exit moment often defines how the audience feels as they leave the scene.

5. What is the first shot of the next scene? This shot sets the visual and story tone for what follows, establishing mood, rhythm, or contrast from the previous scene. It helps shape how the audience reorients themselves to a new time, place, or character situation. Planning this shot ensures a purposeful transition that supports continuity and storytelling momentum.

Your blocking plan will also be determined by:

1. Whose POV is being expressed at the time? (Is it the writer, the character or the director?) Identifying whose point of view is being expressed clarifies the scene's perspective and emotional tone. Understanding the POV also guides decisions on camera angles, dialogue delivery, and visual style to effectively reinforce the chosen perspective. It helps the audience know whose inner world or experience they are meant to follow. This decision shapes the emotional lens through which the scene is filtered.

2. What distance are you from the subject? (What is the size of the shot?) Determining the distance from the subject helps decide the shot size, (close-up, medium shot, or wide shot.) Understanding shot size is crucial for conveying emotional impact and visual storytelling. It also aids in planning camera movements, framing, and composition to enhance the story. Distance influences how intimate or detached the audience feels from the character. It also helps control what visual details are emphasized in the frame.

3. What is your relationship to the subject? (What is the angle of view - your choice of lenses?) Choosing your relationship with the subject involves selecting the angle of view and the appropriate lenses. The angle of view can show power dynamics or emotions: a low-angle shot makes the subject look powerful, while a high-angle shot makes them appear vulnerable. Understanding these choices helps create the right emotional and visual impact, aligning with the narrative’s needs.

4. Where is the subject positioned within the frame? (Framing and screen direction) The subject’s placement affects how the audience perceives importance, isolation, or connection. Positioning to the left or right, or using center framing, can suggest balance, tension, or focus within the composition. Framing choices influence visual hierarchy and guide the viewer’s eye across the scene. They also help establish continuity and screen direction between cuts.

5. What is the physical environment doing to the blocking? (Space, architecture, obstacles) The geography of the space influences where actors can move and how they interact with their surroundings. Doorways, walls, stairs, or furniture can shape movement patterns, pacing, and the dynamics between characters. Physical features can create visual barriers, define power zones, or introduce tension based on distance or proximity. Smart use of space adds texture and realism to character interaction.

6. What are the emotional beats of the scene? Blocking should reflect the shifts in emotional energy, such as moments of confrontation, revelation, or intimacy. Movement and positioning can emphasize changes in tension or connection between characters. Actors may come closer or pull away as emotions rise or fall, making physical space reflect internal conflict. These beats should be built into movement choices, not left to chance.

7. What is the rhythm and pacing of the dialogue? Fast-paced exchanges may require minimal movement to keep focus on delivery, while slower moments may benefit from more deliberate physical transitions. Matching physical movement to the tempo of speech enhances clarity and impact. Well-paced blocking prevents visual monotony and keeps the energy of the scene alive. It also allows breath and space for actors to build dynamics through pauses or silence.

8. Are there entrances, exits, or reveals that need to be staged? Timing and positioning are key for dramatic reveals, surprise entrances, or meaningful exits. These beats often define character power, narrative turning points, or visual punctuation. Blocking these moments precisely can heighten suspense, shift power dynamics, or deliver visual payoff. Missed timing here can dull the impact of key dramatic beats.

9. What is happening in the background or other planes of action? Secondary actions, background movement, or extras should be considered to maintain depth and visual interest. Foreground, midground, and background elements can work together to create layered compositions. Interactions between planes can support subtext or echo the main story. Proper blocking ensures that the background doesn't distract but instead reinforces the scene's meaning.

10. What lighting or camera limitations influence the blocking? Actor movement must respect lighting setups, focus zones, or dolly tracks. Technical constraints can help shape creative decisions when incorporated early into the blocking process. Working within these limitations can lead to elegant visual solutions and more efficient shooting. It also ensures that performance and technical execution remain in harmony.

When you first start directing, blocking a scene can be one of the hardest parts of your job. But like anything else in life, blocking takes practice, and the more times you do it, the more comfortable you will become. At first, it may feel mechanical or too technical, but over time it becomes instinctive and expressive. You’ll begin to see how movement, space, and emotion all work together to shape a scene. Eventually, blocking will feel as natural as choosing camera shots or guiding an actor’s performance.

Next Article: Part 6 (THE PRINCIPLES OF MONTAGE)

It seems that Apple TV+ just quietly pulled the plug on the French-thriller series THE HUNT from its services over...plagiarism allegations? The show was set to premiere this week, but got yanked after "similarities" were flagged in its premise. No official word yet on if it's gone for good or just delayed, but pulling it this last-minute is a pretty clear signal. It's an important lesson to learn from since pitching a show or movie, especially when based on IP, it is an imperative to have the rights status is clarified.

It's a wild situation and a rare case of a major streamer halting a fully-produced show right at the finish line, some may even compare it to SAVANT that experienced the same situations.

Read the details: https://www.hollywoodreporter.com/tv/tv-news/the-hunt-pulled-apple-tv-pl...

This refers to the visual meanings of shots and angles. Where you put the camera can either enhance or detract the audience’s understanding of what the scene is about, and what the characters are feeling.

Audiences will assume that every shot or word of dialogue in a film is there to further the central idea, therefore, each shot you use should also contribute to the story or the idea you are trying to convey.

Since viewer emotion is the ultimate goal of each scene, where you place the camera involves knowing what emotion you want the audience to experience at any given moment in the scene. There are 3 main “audience camera angles of view” shape how audiences perceive and engage with a film.

1. Objective: This angle represents the audience's point of view. The camera is placed outside the action, serving as an observer who is not involved in the scene. It provides a neutral, detached perspective, allowing the audience to see the entire scene and the characters within it.

This angle is commonly used for establishing shots, wide shots, and scenes where the director wants the audience to take in the overall context without aligning too closely with any character's perspective. It also creates a sense of objectivity and detachment, helping the audience understand the broader context of the scene.

2. Subjective: This angle acts as the viewer's eyes. The camera is placed inside the action, making the audience feel as if they are experiencing the scene firsthand. It creates a sense of immersion by positioning the camera where a character's eyes would be, effectively putting the viewer in the character’s shoes.

This angle is often used to heighten the emotional intensity of a scene by making the audience feel part of the scene such as in horror films where the viewer sees what the character sees, or in action sequences to provide a first-person perspective.

3. Point of View: This angle takes on the role of the character’s eyes, capturing exactly what the character sees. This creates a direct connection between the character’s experience and the audience, allowing viewers to see the world from the character’s perspective.

This angle is used to provide insight into a character’s experience, thoughts, or feelings. It is often employed in scenes where a character is observing something important or reacting to events in their environment. It also helps to strengthen empathy and understanding, allowing the audience to see the world through the character's eyes.

Next Article: Part 5 (BASIC BLOCKING AND STAGING TECHNIQUES)