Being A Director Preview

An Introduction to FilmmakingRS GUIDE Being a DIRECTORINSTRUCTO 6tGh–R8thADE

Table of ContentsIntroduction................................................................................................................ viLesson 1: Places Everyone The Role of a Film Director ................................................................11Lesson 2: Film as Art Learning to Think Cinematically ......................................................17Lesson 3: Movie Stars Casting and Working with Actors.....................................................23Lesson 4: Take One Shooting Your Film............................................................................. 29Lesson 5: Your Best Shot Cinematic Techniques.........................................................................33Lesson 6: Bright Lights Storytelling with Light and Color......................................................39Lesson 7: Invisible Art Editing Your Movie ............................................................................ 45Lesson 8: Guiding Your Audience Storytelling through Editing.............................................................. 49Lesson 9: Finishing Touches Harnessing the Power of Music .........................................................53Lesson 10: Rolling Out the Red Carpet The Movie Premier..............................................................................59Glossary ................................................................................................................ 62Appendix: Standards Alignment ........................................................................ 64Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  3

Introduction Being A DirectorIntroduction leader, so as you lead them through each exercise,Welcome to Being a Director! This course builds encourage them to ask questions, think intention-upon the lessons students learned in the Being a ally, and, most importantly, be creative!Screenwriter courses to teach the necessary skills Movie Shooting Basicsfor directing and creating a one-of-a-kind movie 1. B efore filming, always be sure the camera’smasterpiece!One of the most important things to understand battery is thoroughly charged and that there isabout the filmmaking process is just how much plenty of space for recording.effort goes into creating a film. In the next ten If you are using cameras that use tape (like mini-weeks, your students will get a taste of acting, set dv), be sure that the tape has enough room todesign, costume design, cinematography, editing, record the scenes that will be shot -- and be sureand more. While their in-class reading and activity that the tape is cued to a place where nothingwill be structured around thinking like a director important will be taped over!and learning to turn their screenplays into film, the If you are recording to memory cards, be sureshooting and editing of their films will be the most that the cards have plenty of space to capturetime-consuming part of the filmmaking process footage.and will need to be done in teams since one student 2. B e careful that you are prepared to record good,cannot direct, act, film, and edit her or his film all audible sound.at one time. If the camera you’re using has an external micro-Depending on the size of your class, we recom- phone (an extra microphone that can be pluggedmend one of two methods for structuring the work into the camera), be sure to test this microphoneyour students will do to make their own films. before beginning filming. Plug the microphoneOption One: Have the entire class work together on in, and record someone speaking into it; thenone film. Students can take turns each week being playback the footage to be sure the sound wasthe director while learning about the many impor- captured and was easy to understand.tant roles in the filmmaking process. If you will be relying on the camera’s internal mi-Option Two: Break the class into two groups that crophone (microphone built-in to the camera),will each work on one film. With this option, be- complete this same process. Be aware that whenginning in Lesson 4, groups will take turns filming using an internal microphone, the camera willand editing their movies. While one group uses need to be relatively close to any sounds in orderthe equipment, the other will complete an in-class to record them.activity. 3. B efore recording, be aware of the amount of lightOption Three: Break the class into multiple groups in the space in which you are going to record. If(2-3 each) that will each work on one film. With there is low light in a room or if the actors willthis option, beginning in Lesson 4, groups will take be in front of a window or other bright source ofturns filming and editing their movies. While one light, the camera may not be able to get a cleargroup uses the equipment, the others will complete picture. If you’re shooting in these conditions, itan in-class activity. is a good idea to record a test first to be sure youAbove all else, though, this course is about creativ- can see the actors clearly.ity and having fun. Remember, your enthusiasmis contagious. You’re your students’ biggest cheer- Copyright © Community Learning LLC. All rights reserved.4  Instructor’s Guide

Being A Director Introduction4. B efore you record, also take some time to famil- a. Preview the clips in your sequence by hitting iarize yourself with the calendar. Test it out and the space bar. This will make the clips in your make sure you know where the record and stop “Storyboard” play in the video player pane on the buttons are. right of the screen. b. To shorten or lengthen a clip, click the half5. W hen you are ready to record, always give your- triangle on the side of the clip, and drag the clip self 5-10 seconds of “lead time.” This means you to the desired length. press record on the camera, then wait 5-10 sec- 3. T o add transitions to your movie: onds, before having the actors begin the scene. a. In the left pane under “Edit Movie,” click These extra seconds are important when editing. “view video transitions.” Without lead time, it will be difficult to apply b. To add a transition between clips, click and transitions in the editing process. drag it from the center pane between the two clips you want to add it to in the “Storyboard.”Editing a Movie 3. To add music or other sound effects to your movie:Using Windows Movie Maker a. Click on “Import Audio or Music” in the left(for photos of each of these steps, visit http://www. pane under “Capture Video.”wikihow.com/Use-Windows-Movie-Maker) b. In the center pane, navigate to where the audio1. Begin by importing the video footage you’ve clips are located (tip: save them to your computer or a flash drive for easier access). Preview clips by click- shot into Windows Movie Maker. ing on the once and then using the playback features in movie viewer on the right side of the screen. a. Depending on the kind of camera you’re c. Add sound clips to the movie by clicking and using, you may need to either plug the camera in dragging them to the audio/music section of the via USB or plug the memory card into the com- “Storyboard.” puter’s memory card slot or an adapter. Editing a Movie Using iMovie 1. O pening iMovie and create a new project by click- b. Open Windows Movie Maker and click on ing on the large + sign at the top of the screen (the “Import Video” in the “Movie Tasks” pane on caption says “Create”). Save your project some- the left side of the screen under “Capture Video.” where you will be able to find it later. 2. N ext you will import your footage into iMovie: c. In the center pane, navigate to where the a. Depending on the kind of camera you’re movie clips are located on either the camera or using, you may need to either plug the camera in the memory card. Preview clips (and log them via USB or plug the memory card into the com- on the log sheet) by clicking on the once and puter’s memory card slot or an adapter. then using the playback features in movie viewer on the right side of the screen. d. Click and drag the clip you want to use in your movie to the “Storyboard” at the bottom of the screen. Follow this process until all of the clips you wish to use are laid out in sequential order in the “Storyboard.”2. T o edit your initial “rough cut” before adding transitions:Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  5

Introduction Being A Director b. Click “Import Media” (the icon is a large b. Preview clips using the same steps you used to downward facing arrow) and select the clips preview videos. To add audio to the project, click to be imported. Imported clips will show up as and drag audio clip to the timeline. “New Events” in the workspace at the bottom of the screen. About Community Learning3. To edit your initial rough cut before adding transitions: Our mission is to provide interactive course kits a. To preview clips, double click on a clip in the created around high interest, thematic topics that workspace at the bottom of the screen. engage students in expanded learning through b. Choose the parts of a clip or clips that you hands-on activities and projects. Developed by would like to add to your rough cut by placing subject experts with decades of teaching experience, the red cursor at the desired point in the time- our courses provide full support for administrators line. Clicking on the clip will put a yellow box desiring an engaging, academically enriching around the portion of the clip you’ve selected. program for their staff and students. You can shorten or lengthen the clip by dragging the front of the yellow box. We need your input! c. After choosing the clip’s length, add it to your rough cut by clicking the clip and dragging it to We look forward to working with you and your the Project Library at the top left of the screen. colleagues to create a memorable program for4. To add transitions to your movie: children. We consider you our treasured partners a. Once you’ve added your clips in the order in making these classroom-tested activities even you want them to appear in the Project Library, better. To this end, we invite you to complete a short click the empty space between two clips to add a evaluation about your experiences with Being a transition. Open the transition library by clicking Director. Here are three easy ways to participate: on the transition button in the row of buttons below the preview panel (it looks like two gray 1. Online: Go to http://www.commlearning.com/ triangles). instructor-evaluation/ and fill out the evaluation. b. Click and drag the desired transition between the clips where you want it applied. 2. Email: The evaluation form is located on your5. To add audio or music to your movie: Teacher Resource CD. Fill out the pdf form, save a. Import audio files by clicking “Import Media” and email it to us at [email protected]. (as you did for video footage) and navigating to where the audio clips are saved (tip: save them to 3. Fax: Tear out or copy the form on the following your computer or a flash drive for easier access). pages and fax the completed form to our toll-free fax at: 1-888-675-0238. Your feedback will be used to take Being a Screenwriter to the next level in interest and relevance for our young learners. As a thank you for completing the evaluation, we’ll send you a $50.00 coupon good for any Being a Screenwriter resupply items. Valid for one year. Tell us what you thought of your teaching experience! Share your thoughts6  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Being A Director Introduction Being A Director Welcome to Being a Director, a hands-on, action- packed course designed to teach you everything you need to know in order to direct and produce your very own film! In this course, you’ll learn everything from set and costume design and techniques for working with actors to how to film a scene and edit and add music to a film. You’ll hear all about how directors think through the filmmaking process, and you’ll get to practice each of the many steps along the way. As you learned in the Being A Screenwriter series, the first step to a great film is a heart-tugging, gut-wrenching story -- one that’s filled with love, jealousy, action, drama, or all of the above. This course takes that story and turns it into a live, visual production that audiences will watch with excitement and intrigue. Just like a real director, you’ll move through the process of making your movie in three phases: pre-production, production, and post-production. You’ll work with your classmates to plan out every last detail of your movie: what your characters will wear, how they will look, the kind of props they will use, and how you’ll use your camera to capture the action. Using clips from famous movies like Harry Potter, E.T.: Extra Terrestrial, School of Rock, and Men in Black, you’ll gain insight into how directors think, what their roles are on a movie set, and how they interact with other crew members in order to create a movie that moves audiences and wins Oscars! You’ll also engage your creative side as you draw storyboards, act out scenes, film video clips, and edit your movie. Plus, just like in the Being A Screenwriter courses, you’ll play some super fun games to help you learn all about the filmmaking process. As you’ll learn in the coming lessons, every director gets her or his start in filmmaking from one small project that leads to another. Whether you’ve made movies before or not, this course can be your first small step toward a future full of creative energy and blockbuster films! What you’ll learn in the next ten lessons will give you the skills and know- how to continue making movies on your own in and out of the classroom. So what are you waiting for? Get out your director’s chair, and let’s get the cameras ready! It’s time to make a movie!Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  9

Lesson 1Places EveryoneThe Role of a Film Director

Lesson 1Places Everyone: The Role of a Film Director Objectives to actors, and oversee the movie’s editing. Because of their direct involvement in each part of this process, • Learn about the responsibilities of a film director directors have a big impact on their films -- even • Learn about the importance of teamwork to the though they may have a large crew helping them. If you enjoy movies, you probably already have a filmmaking process few favorite directors. They’re likely your favorite • Review the importance of storyboarding in the because you know you can count on them to deliver a certain type of movie each time they create one. filmmaking process For instance, Danny Boyle, the director who made Slumdog Millionaire, 127 Hours, and Trainspotting Materials is great at making gritty, energetic, personal movies. Steven Spielberg, on the other hand, often makes • Pencils epic, expansive, feel-good films. • Student Books It’s this distinctive style that makes the director so • Projector important to a movie. She or he translates a movie’s • Computer with Internet for showing movie clips script into a visual work of art in the same way a • White board sculptor or a painter creates a visual masterpiece • Dry erase marker from an idea. To help your students get a feel for how directors af- Preparation fect a film, you’ll play a game today that asks students to look for distinctions between the styles of different Place pencils and student books at each student’s directors. This might be tough for them at first, but desk encourage them to look carefully at each clip -- ask Set up computer and projector them what they notice about the colors they see, the Cue up movie clips costumes, the mood they feel as the clip unfolds. Looking at a movie for these types of details will Notes for the Instructor likely be new to your students, but these are skills they’ll be building in the lessons to come. EncourageWelcome to Lesson One! In this lesson, you’ll help them to think critically, to notice even the smallestyour students understand the role of a director. No intricacies of each scene. Starting them early willdoubt that they’ve probably heard the word “direc- only reinforce what they’ll learn as they progress!tor” before, but it will be your task to help them Of course, the key to getting your students excitedunderstand what it means. about becoming a director is for you to be excited, asThe director of a movie is the person responsible for well. As you begin this journey with your students,how a film looks, sounds, and comes together from try to learn with them. As you watch movies at homebeginning to end. In today’s lesson you’ll get started in your personal time in the weeks to come, payby talking about how a director accomplishes this. attention to the concepts we’re learning. The wonder-A director is the person responsible for every part of ful thing about the art of filmmaking is that there isthe filmmaking process. She or he helps translate the always something to discover.script into storyboards, cast and provide directionCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide  11

Lesson 1 Places Everyone: The Role of a Film DirectorBy paying attention to these details, you’ll become a Filmmaking is for dedicated people -- and there’sbetter film viewer and gain insights into what it takes one person in the process who needs to be the mostto become a filmmaker. You can impart these lessons dedicated of all: the director. She or he is the oneto your students as you move through this course. person responsible for absolutely every part of thisOne last things to note as students begin their direct- long process.ing journeys: If you’re a fan of film or have a favor- Just because filmmaking is a lot of work, though,ite director, you might have noticed that directors doesn’t mean the process isn’t fun. The great thingdevelop and change with experience. For example, about filmmaking is that there is something forbefore Steven Spielberg hit it big with Jaws in 1975 everyone. Movies are basically big melting pots ofand launched an unprecedented filmmaking career, all kinds of art: writing, acting, music, photographyhe spent many years working on projects many -- even sculpting and painting sets and sewing andpeople have never heard of. That’s because it takes designing costumes! So whatever your strength andtime to become a good director. And, as you’ll learn, whatever your preference, there will be somethingmaking a movie is a long process -- one that you only for you in the filmmaking process.become better at by repeating. Your students will In this course you’ll learn it all! Of course, you’lllearn the basics in this course, but it will take prac- learn about being a director and how to manage alltice to win an Oscar. Remind them that everything of the parts of making a movie, but you’ll also learnthey create in this course is only a building block for about all of the people directors rely on to createthe movie-making careers they have ahead of them. their films, including: Actors Notes for the Student Artistic DirectorsIn the Being A Screenwriter courses you’ve already Cinematographerscompleted, you learned what it takes to write your Editorsown movie script. You’ve developed your story, your Each of these people helps the director create one orcharacters, and your dialogue, and you’ve pitched more of the many essential elements of a film: acting,your film to your peers. You’ve put in a lot of work, costumes, sets, music – the list goes on.so you may be surprised to hear that writing a But it’s the director who is ultimately responsiblescreenplay is only the very first step of making an for a movie. She or he is the person who makes theactual movie. decisions about what actors will be in the film, whereTurning a script into a movie is an enormous un- the cameras will go during filming, and what kind ofdertaking. In Hollywood, directors and their crews sound effects will be added when the movie is edited.can take a year or more to make a film from start to Because directors are so essential to the filmmakingfinish. In addition to writing the film (which you’ve process, the movies directors make tend to have aalready learned takes a great deal of time and en- similar look and feel. This is called the director’sergy), movies have to be planned and casted. Sets aesthetic. Most directors have a certain way theyhave to be made, costumes picked out, make-up and tell a story. For instance, Titanic and Avatar are twoother special effects created -- and that’s just before movies made by director James Cameron. If you lookthe movie starts to be filmed! closely, you’ll notice some similarities. They are bothOnce the movie is shot, or recorded, it needs to beedited together. Then music needs to be added. Andsometimes the filmmakers will even decide they needto go back and shoot some more footage after they’vealready wrapped up!12  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Places Everyone: The Role of a Film Director Lesson 1long movies, and they both take place on elaborate can see in their films. I’m going to play three clipssets. They also both have a moral in the ending. from three different directors. Let’s pay attentionOther directors, like Wes Craven who makes horror to each of the clips and see if we can see learn tomovies like Scream and Nightmare on Elm Street, tell directors apart.make shorter films in real-life locations that are 3. P lay the clips for Martin Scorsese. Ask the studentspurely for entertainment. to fill out the “What do they have in common?”As you move through this course, think about your section of the page for Martin Scorsese. Discussown aesthetic. What kinds of movies do you like? their answers.What kinds of movies would you like to make? Get 4. P lay the clips for Steven Spielberg. Ask the stu-started brainstorming about what you’re own aes- dents to fill out the “What do they have in com-thetic might be. mon?” section for Spielberg and the “How are they different sections for Scorsese and Spielberg. Vocabulary 5. P lay the clips and fill out the sections for ChrisActor: person playing a character in a film Columbus. Discuss answers as a class.Aesthetic: the look or feel the films of a director havein common. Activity 2: Accepting the PitchArtistic Director: person responsible for set design, (15 minutes)costumes, props, and artwork within a movie. 1. Begin by explaining to the class:Casted: Hiring actors to play roles in a movie.Cinematographer: the head of filming and lighting As you learned at the end of Being A Screenwriteron a film set 2, in the movie industry, the decision of whichDirector: The person responsible for overseeing the screenplays get made into movies often goes to acreative aspects of a film, including the story, the ac- team of producers working in conjunction withtors, the cinematography, and the artistic direction. the director. Screenwriters “pitch” their movieEditor: person who assembles the shots of the film ideas to these movie professionals, and if they likeinto a final movie. the idea, they will “pick up” a movie.Shoot: A slang word directors use instead of “record” 2. A sk students for volunteers to pitch their screen- plays. Activity 1: The Effect of a Director 3. Write the names of the movies being pitched on (15 minutes) the whiteboard.1. Have students turn to Lesson 1, Activity 1 in their 4. Have students deliver their pitches. student books. 5. Take a vote on the pitched films and tabulate the2. E xplain: scores on the whiteboard. Depending on whether your class will produce one or two (or more) mov- ies, choose the winners.Directors are often considered the artist behind amovie, and many have their own styles that youCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide  13

Lesson 1 Places Everyone: The Role of a Film Director Wrap-up (10 minutes)Students can use this time to finish up their story-boards. Once the storyboards are complete, studentscan answer the following questions on the Wrap Uppage of their student books.In today’s lesson you learned about a director’s “aes-thetic.” What kind of aesthetic do you think you’llhave as a director? Are there any genres, styles, orstories that you think you’d focus on if you had thechance to have a career making movies? Clean-up (10 minutes)1. Collect pencils and student books 2. Clean off white board3. Put away computer and projector Other Directions, Discussions and DestinationsThe following activities and websites will enrich whathas been learned in this lesson.1. Now that students have learned some of the roles members of a film crew play in the making of a movie, encourage them to pay extra attention to the credits on their favorite movies and T.V. shows. They might even begin to notice some of the same people working on some of their favorites!2. Students interested in learning more about some of Hollywood’s best directors can visit AMC’s 50 Greatest Directors list to see the greats behind some of the most successful movies of all time. They can even vote for their favorites: http://mov- ies.amctv.com/movie-guide/the-50-greatest-di- rectors-of-all-time/14  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Lesson 3 Movie StarsCasting and Working with Actors

Lesson 3Movie Stars: Casting and Working with Actors Objectives until they get it right. • Be able to identify the five types of actors While directors guide actors in their performances, • Be able to work with actors to achieve an emo- actors nevertherless bring a certain style and exper- tise to a movie. There are five main types of actors: tional performance Impersonator, Personality, Wild Card, Character, • Cast the students’ movies and the Star. Definitions of these actors appear in the vocabulary section. And each of these different types Materials of actors have their own ways of performing and • Timer relating to the characters they portray. • “Working with Actors” cards In today’s lesson, your students learn about both • Pencils roles: directing actors and being an actor. • Student Books Acting can sometimes be a tricky subject to teach, especially to young people. Some kids love the Preparation opportunity to be in front of people or the camera. Print and cut out “Working with Actors” cards. Others are more timid or downright frightened. Set a pencil and student activity book at each desk. During the lesson today, be on the lookout for these different reactions. If a student doesn’t want to act, Notes for the Instructor they certainly don’t have to. As they learned in lessonIn this lesson students will familiarize themselves one, there are many jobs on a movie set. If they don’twith the members of a filmmaking crew who bring want to be in front of a camera, they may choosethe movie’s characters to life: actors. among the many other creative outlets in filmmak-Actors, as you probably know, take a role in a screen- ing.play and make it come alive by interpreting the The activities in today’s lesson, though, are designedwords in the script. Actors use their facial expres- to make acting as fun and welcoming as possible.sions, their body movement, their voices, and their Students will practice both acting out a scene andemotions to tell the story that comprises a film. directing an actor through one. They will flex theirThroughout the production phase of a movie, ac- creative muscles and find their strengths and weak-tors and directors work closely together to interpret nesses - ultimately learning about how they best cana script and turn the words written in a screenplay contribute to the filmmaking process.into a believable story. For a movie to be successful, In today’s second activity, students spend some timedirectors and actors have to collaborate. Directors casting the movies each group is making. Since eachhave to be clear about how they want a scene to look; group has their own script, each might need a dif-they have to give the actors advice on their gestures, ferent number of actors. If your class is taking turnsmannerisms, vocal inflection, and emotions. Actors shooting (meaning if you only have one camera andalso have to be willing to try that scene over and over multiple groups), then it could be a good idea to allow students from other groups to act in a movie. Or if a group needs more actors than they have, encourage them to think about having some stu- dents play more than one role and to use costumesCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide  23

Lesson 3 Movie Stars: Casting and Working with Actorsto distinguish between characters. Do whatever will The Character Actor – Character actors are peoplework best for your class and your students; but don’t who can often play many different types of roles butbe afraid to encourage them to get creative with the rarely star in a movie. These types of actors oftenlogistics. Learning to problem solve on the spot is appear in costume or heavy make-up so that they areone of the marks of a true director, after all! not easily recognizable between films.Once students have casted their films, they are ready The Star – The star actor is someone who is widelyto move into the production phase and begin shoot- known by movie viewers. This person may or maying their movies—which means they’ll need to be not be a great actor, but she or he is someone whoprepared with the sets, props, costumes, and make- people are excited to see on screen, sucah as Tomup they’ve decided they want in their films. Cruise or Gwenyth Paltrow.At the end of today’s lesson, remind students to bring Selecting the type of actors to appear in the film isany costumes or props that they will need to the next one of the most important tasks of a director. Actorssession. If you have time, consider adding a work day bring characters to life, so a director needs to chooseto your schedule for students to set up their films in actors who will be a good fit for the characters theyorder to construct any sets or props they might need. are playing. While you won’t be able to cast TomOtherwise, be sure they have everything with them Cruise or Julia Roberts in your movies, you probablywhen they come to the next class! do have each of these types of actors in your class. Is there someone in your class who has a distinctive Notes for the Student personality that might be similar to one of the char-Now that you’ve planned what each of the scenes in acters in your film? That person might be a Person-your movie is going to look like, you need to figure ality Actor. Is there someone who seems to be goodout who will appear in your movie. In this lesson we at everything—no matter what they do? That personlearn more about one of the most essential aspects of might be a Wild Card.a director’s job: working with actors. Once a director has chosen her or his actors, theyYou probably are familiar with what actors do, and also need to make sure the actors are playing theirit’s likely you even have a few favorites. Typically roles with the right amount of energy and the rightactors can be classified into one of five categories, amount of emotion. For instance, a screenwriterthough some actors can move between categories. might write a scene in which an actor needs to sayHere are the five: the line, “I miss my mom.” Depending on what theThe Impersonator – This type of actor often plays director envisions for the scene, though, an actorhis or her role by mimicking or doing impressions of might say the line in a number of different ways.others. Will Smith in Ali would be an impersonator If the character is supposed to be sad, the directoractor. might ask the actor to say the line softly or to soundThe Personality Actor – this is an actor who seems like she or he is crying. If the character is supposedto rely on his or her own personality for many roles to be sarcastic, though, the director might ask theand often play the same type of character. Adam San- actor to roll her or his eyes when she or he says thedler and Melissa McCarthy fit into this category. line.The Wild Card Actor – The wild card actor is some- The ability to coach actors to give good performanc-one who can play a wide variety of roles easily. John- es is essential for a director. You’ll get some practiceny Depp and Julia Roberts would fit into this catego- with this in our lesson today.ry because they can play many different roles easily.24  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Movie Stars: Casting and Working with Actors Lesson 3 Vocabulary 5. S et the timer for 5 minutes. After 5 minutes, tellCharacter Actor: Character actors are people who the students to switch roles.can often play many different types of roles but rarelystar in a movie. These types of actors often appear in 6. If you think you’ll have extra time in the lesson,costume or heavy make-up so that they are not easily collect the cards, have the students find new part-recognizable between films. ners, and complete the process again.Impersonator Actor: This type of actor often plays Activity 2: Casting Your Moviehis or her role by mimicking or doing impressions of (15 minutes)others.Personality Actor: this is an actor who seems to rely 1. H ave the students break into the groups withon his or her own personality for many roles and which they are making their movies.often play the same type of character.Star Actor: The star actor is someone who is widely 2. Explain:known by movie viewers. This person may or maynot be a great actor, but she or he is someone who You and your team(s) now need to cast actors forpeople are excited to see on screen. your film. Keep in mind that everyone will get aWild Card Actor: The wild card actor is someone chance to direct, shoot, and edit the movies youwho can play a wide variety of roles easily. are working on even if you also want to act in the movie, so don’t feel as if you need to choose one Activity 1: Working with Actors role over the other. (15 minutes) 3. H ave students turn to Lesson 3, Activity 3 in their1. Have students each find a partner. student books.2. Give each student one “line” card and one “direc- 4. A s a group, students should list all of the roles tion” card. in the movie for which they will need actors and3. H ave each pair choose one student who will be actresses. the director and one who will be the actor. Both 5. W hen they’ve identified the roles, have each group students will get a turn to play both roles. select a page from their screenplay that actors can4. Explain: read to audition for their roles. Have students read together to audition. I will set five minutes on the timer. When time 6. A s a group, students should discuss the auditions begins, the actor will read her or his line. The di- and decide who will play which roles in their films. rector will then coach the actor to say the line with They can write the names of the chosen actors and the emotion on the “direction” card. For instance, actresses in the their activity books. if the actor has the line “I need some breakfast” and the director has the “sad” card, the director Wrap-up (10 minutes) will coach the actor to be more sad by saying Allow students to use this time to finish their audi- things like, “Try frowning,” or “Try and make tions and actor selections if they are still working. your eyes look sad.” After 5 minutes we will switch Remind students that in the next lesson they will be roles. shooting their films. If they need to bring any cos- tumes or props from home for their movies, they need to do so for the next lesson.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  25

Lesson 3 Movie Stars: Casting and Working with ActorsWhen they are finished with Activity Two, they Actors lists at http://movies.amctv.com/mov-can answer the following questions in their student ie-guide/the-50-greatest-actors-of-all-time/ andbooks: http://movies.amctv.com/movie-guide/the-50-Now that you’ve learned about the five different types greatest-actresses-of-all-time/.of actors, what kind of actor do you think you wouldbe if you were a movie star? Why? 4. Students can learn more about some of today’sWhat kind of actor is your favorite movie star? Why? best actors through the Screen Actors’ GuildIn the next lesson you’ll begin planning how to film Awards. All movie stars belong to the Screenyour movie. Keeping in mind what you’ve learned so Actors Guild, an organization that works to ensurefar about acting and mise-en-scene (costumes, props, actors are represented fairly. Each year the Screenand sets), what are you most excited about trying in Actors’ Guild Awards honor the best actors in ayour movie? variety of genres. Browse recent winners at http:// www.sagawards.org/Clean-up (10 minutes)1. Collect pencils and student books.2. Collect and put away “Working with Actors” cards.3. Put away projector and computer.Other Directions, Discussions andDestinationsThe following activities and websites will enrich whathas been learned in this lesson.1. Now that students have learned about the five types of actors, encourage them to think about what categories their favorite actors might fit. As they watch movies and television shows in be- tween lessons, challenge them to try to identify one of each of the five types in the programs they are viewing.2. Between lessons, students can practice their acting skills at home or with their friends. Encourage them to continue to experiment with how to convey emotions through their words. They can also practice working with actors by teaching their friends and family members to say lines with dif- ferent emotions as they did in today’s activities.3. Students can learn more about some of the best actors of all time by browsing AMC’s 50 Greatest26  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Lesson 5Your Best Shot Cinematic Techniques

Lesson 5Your Best Shot: Cinematic Techniques Objectives You’ve probably seen directors using camera angles • Understand how shots make up a scene in the movies you watch. In this famous clip from • Be able to identify several different types of shots The Matrix (http://movieclips.com/ePfg-the-ma- • Make a shot list for the filming of movies trix-movie-rooftop-showdown/), the director uses quite a few fast-paced shots to help convey the action Materials happening on the rooftop. If you watch closely, • Student Books though, you’ll notice that in each shot we see a dif- • Pencils ferent amount of information. Sometimes we just see • Computer with Internet access Neo’s (Keanu Reeves’) face. Other times we see Neo • Projector and the entire rooftop. Sometimes we are looking up • Video Camera at Neo. Other times we are looking straight on. Each of these different ways of presenting a shot are called Set-up angles. 1. Place a student activity book and pencil at Though you’ll no doubt quickly realize there are many, many camera angles used in films, to keep it each desk. quick and simple for your students, we’ll focus on 2. Set up the computer and projector. just a few angles: 3. Cue up video clips for “Identifying Camera Establishing shot: A shot large enough to show the entire setting of a scene. It “establishes” to the viewer Angles” activity. where the scene takes place and who is in it. Long shot: A shot that appears to be taken a long way Notes for the Instructor from the subject. If a person appears in the shot, theAs you read in Lesson 4, the activities in this lesson viewer would be able to see the person from head-to-will be brief to allow students the time to continue toe in a long shot.filming their movies. If your students are taking Medium shot: A shot that appears to be taken a me-turns filming their movies, you can present the dium-length distance from the subject. If a personfollowing lesson to the group (or groups) that are appears in the shot, the viewer would be able to seewaiting to use the camera while the other group (or the person from approximately the waist up.groups) film their movies. Close-up: A shot that appears to be taken close to theThis lesson will add to what students learned in subject. If a person appears in the shot, the viewerthe previous lesson regarding cinematography by would be able to see just the person’s head, neck, anddiscussing another important element of shooting shoulders.movies: camera angles. Extreme close-up: A shot that is taken extremely close to the subject. This is often a shot of an important object—perhaps in a character’s hand or the char- acter is looking at. If a person appears in the shot, this viewer would only be able to see one part of the person—such as their eyes or hand.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  33

Lesson 5 Your Best Shot: Cinematic TechniquesThis clip from The Good, the Bad, and the Ugly watched from Harry Potter and the Deathly Hallows(http://movieclips.com/rRi5-the-good-the-bad- Part I in the last lesson, sometimes we could see ev-and-the-ugly-movie-three-way-standoff/) is a erything that was in the room; sometimes we couldfamous example that demonstrates how these angles see just Harry and his friends behind him; and some-are used. times we could see just Harry’s face. Each of theseWhen the clip opens, the first shot, of the gun in the different types of shots is a different angle, and eachholster and the man off in the distance, is an estab- has its own name. Here are a few of the most com-lishing shot because it shows the viewer where we are mon angles directors and cinematographers use:and what is happening. Next, the director switches Establishing shot: Usually the first shot in a scene, thisto close-ups of the men’s faces and hands. At around shot shows the viewer the scene’s setting. It “estab-1:20 in the clip, the director switches to extreme lishes” to the viewer where the scene takes place andclose-ups of the men’s eyes. At 1:34, the director who is in it.switches to a very quick medium shot as Clint East- Long shot: A shot that appears to be taken a long waywood fires his gun. Then we see a long-shot of the from the subject. If a person appears in the shot, thegun shot taking place. viewer would be able to see the person from head-to-The use of these camera angles serves to focus our toe in a long shot.attention on exactly what the director wants us to Medium shot: A shot that appears to be taken a me-see. Though your students won’t have time to in- dium-length distance from the subject. If a personclude as much detail as has been included in this appears in the shot, the viewer would be able to seeclip from The Good, the Bad, and the Ugly, you can the person from approximately the waist up.remind them as they plan and shoot their movies Close-up: A shot that appears to be taken close to thethat angles should be used to purposefully direct a subject. If a person appears in the shot, the viewerviewer’s attention to the most important information would be able to see just the person’s head, neck, andin a shot. Encourage them to try all of these different shoulders.angles throughout their films even if they cannot use Extreme close-up: A shot that is taken extremely closeeach angle in every scene they film. to the subject. This is often a shot of an important object—perhaps in a character’s hand or what the Notes for the Student character is looking at. If a person appears in theIn the previous lesson you began learning about shot, this viewer would only be able to see one partcinematography—the process by which the director of the person—suchas as their eyes or hand.and her/his team set up the cameras and shoot their There are many other shots filmmakers use, but thesefilms. You developed a shot list to help guide your are the most common. For more examples of shotswork. Now you’ll add a bit more information to your you might try, you can check out the examples inshot list. And if you’ve already begun shooting, don’t your Student Activity Book.worry. The information you’ll learn in this lesson In the previous lesson, you planned out each of yourwill help you as you continue, but you’ve probably shots in a shot list. Today you’ll add angles to eachalready begun following the steps we’ll discuss today of your shots. Don’t forget what you learned aboutwithout even knowing it! a director’s aesthetic, though. Directors are artistsIn addition to breaking a scene into shots—as we who meticulously place everything in their movieslearned in the previous lesson—directors also break to tell the story written in their script as effectively astheir shots into “angles.” Angles refer to the way in possible.which a shot is filmed. For instance, in the clip we34  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Your Best Shot: Cinematic Techniques Lesson 5Just as you carefully considered the costumes, sets, Activity 1:props, and actors that will be in your film, you Identifying Camera Anglesshould also carefully consider your angles. As you (15 minutes)review your shot list, ask yourself which angle wouldbe most appropriate for what you want the audience 1. H ave students turn to Lesson 5, Activity 1 in theirto see in that very moment. Will you be introducing Student Books.your audience to a new place? Then use an establish-ing shot. Will your actors be having an emotional 2. Play clip 1 (http://movieclips.com/6cSd-good-conversation in which the viewer should be able to burger-movie-dexters-a-chicken/)to :04 thensee the details of their faces? Then use a close-up. pause the clip. Ask students to record their answerRemember, the key to being a great director is to pay under Clip 1, A in their activity books. Take a fewattention to detail—and cinematography is one of answers from the students, then explain that thisthe parts of filmmaking where details work to your angle would be a long shot because it shows theadvantage! actors from the ankles up. It could also classify as an establishing shot because, as the first shot in the Vocabulary scene, it shows us that this scene takes place in a fast food restaurant.Angles: The perspective from which a shot is record- 3. C ontinue this process, pausing the clip at :05ed by a camera. (close-up), :06 (close-up), :08 (close-up). Let theClose-up: A shot that appears to be taken close to clip play until :25 (medium shot) and ask the stu-the subject. If a person appears in the shot, the view- dents to record their answers.er would be able to see just the person’s head, neck,and shoulders. 4. P lay clip 2 (http://movieclips.com/xnYE-the-so-Establishing shot: Usually the first shot in a scene, cial-network-movie-does-she-have-a-boyfriend/)this shot shows the viewer the scene’s setting. It “es- and have students record their answers, pausingtablishes” to the viewer where the scene takes place at :07 (establishing shot; medium shot) and :10and who is in it. (medium shot). Allow clip to play and pause at :29Extreme close-up: A shot that is taken extremely (extreme close-up). Allow clip to play and pause atclose to the subject. This is often a shot of an import- :45 (establishing shot; long shot).ant object—perhaps in a character’s hand or whatthe character is looking at. If a person appears in the 5. Go over the answers with the students and discussshot, this viewer would only be able to see one part what they came up with. If there are any answersof the person—such as their eyes or hand. that students disagree about, encourage them toLong shot: A shot that appears to be taken a long discuss their thinking.way from the subject. If a person appears in the shot, Activity 2: Types of Shotsthe viewer would be able to see the person from head (15 minutes)to toe in a long shot.Medium shot: A shot that appears to be taken a me- 1. Have students return to the shot lists they createddium-length distance from the subject. If a person in Lesson 4, Activity 1.appears in the shot, the viewer would be able to seethe person from approximately the waist up. 2. H ave students label each of the shots they’ve iden- tified in their shot lists as either an establishing shot, long shot, medium shot, or close-up. 3. If students are working in groups, have them take turns using the cameras.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  35

Lesson 5 Your Best Shot: Cinematic Techniques Wrap-Up (10 minutes)Have any students who are filming their movies putaway any props, costumes, or other materials andreturn the camera to you.If time allows, students can answer the followingquestions in the “Wrap Up” section of their studentbooks:In today’s lesson you learned about the differenttypes of camera angles a cinematographer uses whenshooting a scene. Of the types of shots you learnedabout in this lesson, how many do you think you’lluse in your film. Will you use some more than oth-ers? Why or why not? Clean-Up (10 minutes)1. Collect student books and pencils.2. Put away projector and computer. Other Directions, Discussions and DestinationsThe following activities and websites will enrich whathas been learned in this lesson1. Now that students know more about the types of shots directors and cinematographers use to tell a story, challenge them to try and identify the types of shots being used in their favorite movies and television shows. Encourage them to look for each of the shots they learned today in the pro- grams they watch before the next lesson and to pay careful attention to how directors put these shots together to tell a story. They might find some inspiration for their own films!2. In this lesson students learned about some of most common shots, but there are many more that directors and cinematographers use. Students can learn see examples of the shots they learned today and nearly two dozen more on Empire magazine’s Film Studies 101 website at http://www.empire- online.com/features/film-studies-101-camera- shots-styles.36  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Glossaryactor: person playing a character in a film dialogue: audio recorded when characters areaesthetic: the look or feel the films of a director talking to one another in a movie.have in common. director: person responsible for overseeing theangles: the perspective from which a shot is creative aspects of a film, including the story,recorded by a camera. the actors, the cinematography, and the artisticartistic director: person responsible for set design, direction.costumes, props, and artwork within a movie. dissolve: transition in which one shot gradually iscasted: hiring actors to play roles in a movie. replaced by another.character actor: people who can play many dubbing: process of recording new dialogue thatdifferent types of roles but rarely star in a movie, and will be matched with video of characters talking inoften appear in costume or heavy make-up so that the editing process.they are not easily recognizable between films. editor: person who assembles the shots of the filmcinematographer: person in charge of placing into a final movie.cameras and lighting in a scene and recording a film. establishing shot: usually the first shot in a scenecinematography: the art of carefully placing that shows the viewer the setting. It “establishes” tocameras and lighting in a scene to record a movie. the viewer where the scene takes place and who isclose-up: a shot that appears to be taken close in it.to the subject. If a person appears in the shot, the extreme close-up: shot that is taken extremely closeviewer would be able to see the person just the to the subject.person’s head, neck, and shoulders. fade: transition in which a shot gradually dissolvescontinuity: the feeling that all of the shots you’ve to a black screen or vice versa.filmed are a part of one continuous scene. foley artists: artists who make sound effects forcostumes: anything a character wears including movies.clothes, jewelry, and accessories like hats, glasses, high-key lighting: design in which there is a lot ofa cane, etc. bright light.credits: list of names that scrolls at the end of impersonator actor: type of actor who often playsthe film. their role by mimicking or doing impressions ofcritic: a writer who reviews movies. others.cut: when one shot is replaced by another in a lighting design: process of choosing the correctmovie without a transition. lighting for a scene’s mood. log sheet: list of all of the takes recorded during the filming of a movie.62  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Being A Director Glossarylong shot: shot that appears to be taken a long way screening: viewing your film.from the subject. sets: anything in a scene that helps establish wherelow-key lighting: design in which there is not a lot the scene takes place like the pictures hanging onof light and the scene is darker. walls in the background; streets filled with cars andmedium shot: shot that appears to be taken a pedestrians in an outdoor scene; or trees, birds, ormedium-length distance from the subject. animals in the woods.mise-en-scène: arrangement of objects in a scene. shoot: slang word directors use instead of “record”.movie premiere: a special, invitation only party shooting: recording a movie.where they watch the film together. shot: uninterrupted, continuous video recording;open: beginning of a scene or movie. usually many shots make up a scene.paparazzi: photographers who take pictures of shot list: written list of the shots filmmakers willcelebrities. need to record in order to make their film.personality actor: an actor or actress who seems to sound effects: sounds added to a movie torely on their own personality for many of their roles emphasize what’s playing on screenand often play the same type of character. soundtrack: all of the sound in a movie.post-production: anything done after a movie is star actor: someone who is widely known by moviefilmed including editing and adding special effects. viewers. This person may or may not be a great actor,premieres: becomes available for people see in but she or he is someone who people will be excitedtheater. to see on screen.pre-production: all of the work done on a movie take: each version of a shot that is recorded duringbefore shooting begins including storyboarding the production phase of your film.and planning mise-en- scène. three-point lighting: system for lighting scenes thatproduction: phase of the filmmaking process in includes three lights on a subject: one in the front,which the movie is filmed. one in the back, and one on the side.props: objects that characters could interact with transitions: effects used in the editing process toduring a scene like household items, dishes at a switch from one shot to the next.restaurant, or office supplies on a character’s desk. wild card actor: someone who can play a widereview: article a critic writes evaluating a film. variety of roles easily.rough cut: basic version of your film in which allof the takes are laid out in a sequence without anytransitions or special effects.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide  63

Appendix Being A Director meets the National Standards in English Language ArtsBeing A Director comprises a series of fun, interdisciplinary classroom activities that engage learnerseffectively, cognitively and behaviorally. As they participate in the process of making a film, students exerciseskill sets in language arts (new vocabulary, research skills), and occasionally engage in discussions andprocedures that help them understand concepts in other disciplines. Primarily, however, Being A Director is focused on driving achievement toward meeting the NationalEnglish Language Arts Standards (developed by the National Council of Teachers of English). In the table below, we illustrate how many of the activities and discussions in the Director coursesupports learner progress, understanding, and ongoing development of ELA literacy skills and creativity. All of the ELA standards are interrelated. This table simplifies the correlation between and amongactivities in the Director course and provides some examples, but many activities satisfy more than one standard.Selected National ELA Standards Activities in Being A Director In Being a Director, learners review scripts andStandard 1 screenplays, storyboards and film clips, in order toStudents read a wide range of print and non- recognize and define the roles of directors and actorsprint texts to build an understanding of texts, of working in contemporary America.themselves, and of the cultures of the United Statesand the world; to acquire new information; to Critical thinking—asking questions, exploringrespond to the needs and demands of society and the theories, hypothesizing, and testing ideas, allworkplace; and for personal fulfillment. cornerstones of building ELA competency—are partStandard 3 of every Being a Director lesson.Students apply a wide range of strategies tocomprehend, interpret, evaluate, and appreciate At the heart of every Being a Director lesson is thetexts. They draw on their prior experience, their task of communicating with clarity, appropriateness,interactions with other readers and writers, their and creativity in order to work cooperatively withknowledge of word meaning and of other texts, others to complete a visual project.their word identification strategies, and their A unique feature of the Being a Director course isunderstanding of textual features. the emphasis on brainstorming, review, feedback andStandard 4 sharing a final product with peers.Students adjust their use of spoken, written, andvisual language (e.g., conventions, style, vocabulary)to communicate effectively with a variety ofaudiences and for different purposesStandard 5Students employ a wide range of strategies as theywrite and use different writing process elementsappropriately to communicate with differentaudiences for a variety of purposes.64  Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Being A Director AppendixStandard 6 Being a Director places particular demands onStudents apply knowledge of language structure, creative thinkers to master dialogue, create consistentlanguage conventions (e.g., spelling and scenes, frame shots and give directions. Formattingpunctuation), media techniques, figurative conventions—as well as preparing and editing thelanguage, and genre to create, critique, and discuss final film—are covered in these lessons. Students oftenprint and nonprint texts. critique and discuss nonprint media.Standard 7 Learners in the Being a Director course areStudents conduct research on issues and interests encouraged to consult a wide range of sources, stories,by generating ideas and questions, and by posing memories, interviews, other films, and other sourcesproblems. They gather, evaluate, and synthesize to plan their films. Through exercises, they becomedata from a variety of sources (e.g., print and acquainted with casting, lighting, transitions, andnonprint texts, artifacts, people) to communicate other cinematic techniques. Their own works aretheir discoveries in ways that suit their purpose subjected to a gentle peer review that helps themand audience. identify problems, generate new ideas, and exploreStandard 9 questions of logic and filmmaking basics. Audience isStudents develop an understanding of and respect an ever-present element of film production.for diversity in language use, patterns, and dialects Through role playing in one another’s film projects,across cultures, ethnic groups, geographic regions, learners “act” in the guise of fictional characters,and social roles. enabling them to try on new ways of speaking. TheStandard 11 development of colorful characters—critical in theStudents participate as knowledgeable, reflective, Being a Director course—encourages learners tocreative, and critical members of a variety of explore new selves, new languages and dialects, andliteracy communities. new roles, including ethnic, gender and age roles,Standard 12 among others.Students use spoken, written, and visual language Through the casting and film editing activities, as wellto accomplish their own purposes (e.g., for as the many informal discussion activities in Beinglearning, enjoyment, persuasion, and the exchange a Director, learners share their expertise with theirof information). peers as it develops. They offer one another advice, constructive criticism, and promote the dialogues necessary for community-building. Throughout the Being a Director program, learners use their language skills, creativity, imagination, and ambition to explore how dialogue, narration, direction and visual imagery can combine to communicate and entertain.To learn more about the National English Language Arts Standards, visit the web page at http://www.ncte.org/standardsCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide  65