How to write the director's commentary?

How to write the director's commentary?

The director's explanation generally includes: the conception of the script, the conception and the background of the times; Analysis of the main characters in the play; Understand and grasp the contradictions and conflicts in the play; The orientation and rhythm of the future film style; The requirements for performance, photography, art, makeup, props and other creative ideas and modeling design, as well as the requirements for the post-creation department, depend on which aspect you choose to write, mainly to stimulate the creative enthusiasm and positive performance of all members of the design team and complete the shooting together with you.

The director expounded some examples.

The director's explanation

-On the short play "Thieves Meet Thieves"

This is a short play with psychological color. The script comes from a short comedy story. Close shots occupy a large proportion in the whole film, which requires the actors' performances to be in place. This is a farce staged by a very ordinary and insignificant character, so the film should always focus on the relationship between characters and emotional thinking mode in the real life soil. But beyond the real story and the strong dramatic relationship between the characters.

The script involves three roles, two of which need to be grasped. The script is a thief and a thief. These two characters are well portrayed, and the short film is half successful. Then, after the movie comes out, it will be a cartoon, which can also make people clearly understand the relationship between the characters and the cause of the incident and cause thinking.

The play is not long, mainly about the intersection and occurrence of two professional thieves. Our goal is to make the audience feel interesting when watching and think at the end of the play on the premise of standardized lens use and smooth shooting.

The shots used in the play are summarized as follows:

1. Empty shot (necessary in the play)

2. Subjective shot of artistic conception (mainly music paragraphs)

3. Close-up shots (facial expressions, close-up actions, etc. )

4. Transition shots (connecting part, transition before entering the show, explaining technical details, etc. )

Pay attention to the impact of the lens during shooting and think of the consciousness of later editing. The foreground and background of the picture should be well designed, the role and non-role should be hierarchical, the role and still life, and the flowing objects should be hierarchical. For a little guy like thief AB, it's basically action-oriented, grasping the simplest and most appropriate side. Sometimes because of the relationship between people, when dealing with the relationship between environment and atmosphere, we should give priority to rendering the atmosphere, followed by the environment, and don't explain the environment for the sake of explaining the environment. When shooting, give the audience more angles that are often invisible in daily life. Head-up is a conventional angle, but in order to show the inner world of the characters wonderfully, accurately, profoundly and creatively, and to show the contradictions and conflicts between the characters, the lens should look for more fresh angles. The push and pull of the lens should strengthen the emotion of each drama scene and the emotional service of each role.

On camera, this short play should be featured more often, with a much higher proportion than other short plays. Please pay full attention to the photographer.

Reproduction is to respect the truth of life and let the audience see and touch the life scenes of people in the play, thus generating a sense of identity and intimacy. The description of the villain is simple. This is also complicated and difficult.

Clothing should match the character's identity, environment and drama situation, and pay attention to the change of character's identity and mentality, so as to design the character's clothing accordingly.

In terms of makeup, there are also requirements for props, which should be close to the script and life. The time span of this drama is not long, but the psychological span of the characters is great, and the changes of the characters are also great. We must design the hairstyle and face shape that can best reflect the identity and interest of the characters from the collocation relationship between the characters.

Music and sound. The voice in real life is by no means equal to all the artistic voices in the play. We should create some unique voices according to the needs of the plot to strengthen the plot and become a powerful means to portray the environment and characters. There is not much music in the play, and the dynamic music at the beginning of the film is the most important, so the choice should be considered in many aspects.

Grasp the performance style: The whole drama emphasizes drama and conflict, and there are few plots, so the character characteristics of the characters are mainly reflected in the actors' own grasp. On the premise of accurate performance, according to personality characteristics, the actors themselves grasp the position. Actors' performances still have a basic starting point, that is, truthfulness, naturalness and fluency. When portraying characters, actors should firmly grasp the most unique, typical and often contradictory things in the characters and give full play to them. Only in this way can we grasp the charm of the role.

The filming process is a long and interesting practical process. Everyone in our film crew should cheer up, use their brains, gather everyone's wisdom and contribute their abilities during the formation of the short play.

Jiang elaborated on the director.

Lu Chuan: I think such a woman should be a universal representative of women in such an extreme human disaster in 37 years. In the whole incident, her beliefs and behaviors have changed greatly. At the beginning of the film, Jiang is a teacher in a missionary school, which is a bit like Jane Eyre. She is pale, thin, sensitive, thin, kind and tall; Rigid and arrogant, even a little lonely. However, Jiang completely shattered the shackles in the whole Nanjing disaster she experienced. At first, she thought that in such a huge humanitarian disaster, her wisdom and strength could completely change the direction of the war. She is confident that she is the embodiment of God and the representative of justice. For example, armed men from China were not allowed to enter the school to hide, because she felt that only in this way could the civilians in the refugee camps be saved. But she was gradually shocked by the bloody facts (such as witnessing the Japanese army tear up the promise). It suddenly dawned on her that God was dead. When she began to actively arrange all kinds of people to escape from the city, she was no longer a servant of God, but became a soldier who believed in life and served life. Even sacrificed his own life. At this moment, the transformation from god to man was finally completed.

What does the director's exposition include?

The director explained that from the content point of view, it is generally like this:

1. Explain the conception, theme and background of the script;

2. Analyze the character, quality and fate of the main characters in the play;

3. Understand and grasp the contradictions and conflicts in the play;

4. Future film style and style orientation;

5. Handling of rhythm;

6. Creativity and modeling design requirements for performance, camera (photography), beauty, culture, lighting, Taoism and clothing;

7. Tips of various creative departments such as music (composition), recording and editing;

8. Put forward requirements for the parts of the script that need special effects processing, so as to coordinate with the special effects department;

9. Ask for the part of the script that needs animation, write detailed design and production requirements, and participate in production.

What parts did the director elaborate specifically?

There is no clear principle for the director to explain. He is not a formal literary writing format, as long as the meaning is completely expressed. It is actually a blueprint for the film to be shot before shooting, the requirements for photographers, actors, art groups, sound engineers and music producers, and a general plan to let them know your intentions. The director's exposition is the written expression of the director's artistic conception (that is, the conception of the whole film). This paper should clarify the understanding of the script, the interpretation of the theme, how to grasp and shape what kind of characters, adjust the possible narrative structure and way, what is the style of the whole film, what kind of space scene to build, the way of using the lens, as well as photography, art design, makeup props, performance, sound (music). The following is the director's explanation of Chen Kaige's filming of Yellow Land: The director of Yellow Land explains Chen Kaige. This year 1 month, I went to northern Shaanxi to experience life with photographers and artists, and we saw the Yellow River in jia county. If the trickle in the upper reaches of the Yellow River and the roaring in the lower reaches of the Yellow River are compared to its childhood and old age, then the stream in northern Shaanxi is its prime. There, it is broad, open, deep and stretched. It is spread on the inner road of Asia: its free posture and peaceful connotation remind us of the image of our nation-full of strength, but quietly flowing away. However, it is surrounded by endless mountains and land that has not rained for a long time. The Yellow River flows down by itself. But it can't save the vast wilderness that dodges for its arrival. This reminds us of the desolation of thousands of years. One morning, we saw an old man pumping two buckets of water by the Yellow River, hunched over-after all, someone scooped the water from the Yellow River, and the water from the Yellow River will eventually flow into the arid land. It was in that early morning that we understood what to write and how to write. In the era of our film, it was * * * that led the people of the whole country to scoop up the water of the Yellow River. Cui Qiao is one of the people who realized that the Yellow River should be scooped up. Even if it's just a bucket of water. There is always a difficult road between people's yearning and real life, but every action in reality always exudes the warmth and brilliance of the ideal. This is not difficult for everyone who loves and praises the Yellow River. If we are soberly aware that everything that can give birth to can also destroy everything, then for Cui Qiao, who lives in the old China nation, her fate is bound to have some tragic color. The path she chose was very difficult. The difficulty lies in the fact that what she faces is not the social evil forces in a narrow sense, but the calm and even warm ignorance among the people who raised her. Compared with confronting evil forces, this challenge requires great courage. Therefore, our film is a hope from the connotation. Therefore, from the historical aesthetic value of the image, our higher expectation is that Cui Bridge is Cui Bridge and Cui Bridge is not Cui Bridge. She is concrete and noble. If I have to say the theme of the movie, that's all. Secondly, as a toddler, it is probably difficult to explain the style of the film. But the style we are talking about is the basis of accommodating the theme, so it is necessary to try to explain it. The Yellow River is a big river, not a stream. Above its current, there is no room for leaves or dead branches to stay, and the water potential is strong. Walking up to the top of the mountain in northern Shaanxi, you will find that the flowing water of the Yellow River is almost motionless, and only in its twists and turns can you see its majesty. I compare the flow direction of the Yellow River to the structure of the film, and compare the flowing water from a distance to a part of the sentence that accounts for a considerable proportion of the film. I mean, as far as the structure is concerned, our film should be plump and changeable, with a free and wild posture, with a sense of vertical and horizontal, without any restrictions, while as far as most sentences are concerned, it is gentle, painting in the picture, wearing a water hole, wrinkled and slightly awkward. So there are a lot of waist drums ringing into the sky, lamenting the sound of rain, and there are also a small number of night talks, shallow singing. Under the restriction of the overall conception, we swept away all the openly opposing factors in the original work. Do not describe the conflict with the dark forces positively, do not reveal the contradiction between father and daughter positively, do not show the changes of the characters after accepting external information positively, do not point out the direct motivation of the characters to leave, but replace them with seemingly sparse characters that conform to the characteristics of the times and national character. & gt

What is a drama director's exposition?

Personally, I think so.

The outline is as follows:

General content of the script: introduce the content of the play, without too many words, just give a brief introduction, a short paragraph is enough.

Background introduction, author introduction or other introduction: explain the background of the work. If the author is well-known, you can introduce the background of the time when the author wrote this work and the original intention of the author.

Director's intention: why choose this work, arrange the purpose of this work, hope to achieve the effect, what kind of presentation the audience wants to see and so on.

Special note: If you have any specific parts to explain, you can explain them here.

Thank you: Some drama directors will thank the writers, investors, actors and creators here.

After introducing the outline, I attach an explanation from the drama director that I think is ok. You can have a look:

The director's exposition of the play is: First of all, it is a high-level comedy. Clean and tidy. Albee's first novel, The Story of the Zoo, premiered in the United States in 1960 and 65438+ 10 in off broadway, new york, at the same time as Beckett's The Last Tape of klapp. Once performed, it was well received. Later, after Martin Esslin listed Albee as a rare absurd playwright in the United States in a modern drama theory book with the works of Beckett, Yunesco and Jean Genet as the main research purpose, this easily misunderstood title of the play emerged in indie pop's music, thus creating a prejudice in society. Albee is not satisfied with his reputation as a playwright of the Absurd, but he does not deny the dramatic style of the Absurd, even in his works. He said, "The drama of the absentee, in a sense, is a real contemporary drama. Facing the present situation of human beings, it is a realistic drama of our time." The so-called "absurdity" refers to disharmony, and all the burdens in cross talk come from the disharmony between "skin" and "son" Edward ablee appreciates the real human nature of the absurd drama, but his views on the absurd drama are totally different from others. In Albee's works, he pays more attention to the irrationality (= absurdity) brought by human existence, but because the social, political or religious illusion (= illusion) created by human beings covers up the reality (= truth) of human beings, and he can't face up to the real human absurdity (= absurdity). The story about why we rehearse the zoo: it is a consistent principle to choose young actors and senior staff of Beijing People's Art for light performances, and will continue to adhere to it in the future. It is very important for actors to be recognized by the audience, but the opportunity to stand in the center of the stage is the prerequisite for their emergence. How to stand convincingly in the center of the stage? I think classic drama is an inevitable choice. Because there are few opportunities for classic plays to be staged. Most investors worry that classic dramas are "box office poison". On the one hand, this is by no means the case, but many directors are too scared when they come into contact with classics, just like the performance of China football in the game. Often confuse the audience. Even choose to use the so-called "formal exploration" to escape the sincere answer of this play. Such a result will inevitably put the classic repertoire on the shelf. On the other hand, Mr. Lu Zhen, an art investor who invests in classic works for the second time, has different views on investing in classics: you don't have to make money, but you must not fool the audience. All the conditions prompted the choice of studio. In addition, thanks to those professional actors and staff who can stick to it, or at least seriously return to the stage of drama. A professional actor can participate in very limited drama works in his life. Such as > >;

The director expounded the lies of the city.

This is a theme about friendship and betrayal, and this is a movie about misplaced life! Qiao Qian went to college in the name of Yu Ling, which is equivalent to switching Yu Ling's life fate: enjoying college education, integrating into city life and having social status. From then on, there will be a terrible fact: the misplaced life of the princess and Cinderella! Yu Ling lost a precious opportunity, but she didn't lose her dream. Yuling is not "negative". She entered the city in another way: she went to work in the city and married a city man. Obviously, they live a completely different city life! Ten years later, they met unexpectedly in the city, calling the same name "Yuling", but they have completely different identities: one is a doctor with excellent business and the other is a mobile vendor! More importantly, their children, Mao Mao and Qingqing, also created a car theft incident because of a lie. The cruelty of the years is reflected in giving them different degrees of reputation, status and dignity without mercy ... In alleys, streets and stalls, they always pass by, but they never realize that it will be each other! Familiar figure, familiar voice, wrapped by years, makes people sad and helpless! They work hard, but they will never stand on a platform because they are not a starting point. Those who went to college have made continuous progress in their business and won the praise of more patients and superiors; And those who fail to make the list, sell vegetables during the day, study at night, and make a living! For personal benefit, I was moved and betrayed my friendship. In order to protect himself, Mao Mao "betrayed" Qingqing! And Qingqing regards the stolen remote control car as a sacred object, against her mother's wishes, and becomes a "thief" that people only love and don't hate ... In order to enter the city with dignity or stay in the city with dignity, she (he) intentionally or unintentionally fabricated lies! When the enemy of fate appeared in front of her, Qiao Qian also had a conscience discovery. But the reality is not as simple as apologizing! In order to save her reputation, Qiao Qian had to make a difficult decision: give Yu Ling a one-time economic compensation, but only if the other party leaves the city from now on! Yuling refused to accept such conditions, so she refused to give up. And lies will lead to lifelong regret! In the film, fake Yuling is the strong one, because she has obtained a college degree and has professional capital for survival or development. But Zhen Yuling is a weak person. She lost not only the opportunity to go to college, but also all the following things that she shouldn't have: the identity of migrant workers, the distress of small traders, the bitterness of the bottom people ... Even if the truth comes out one day, the times have changed, and life is so ruthless! Yu Ling won the judicial justice, but it came too late! Because time and opportunity are gone forever! She had to go back to her hometown in the countryside and the starting point of her fantasy, because there was no place for her in the city! Qiao Qian, who lost her public office, is no longer called "Yuling", but many patients still agree with her medical skills and even medical ethics. She can continue to practice medicine, even if the market is crowded, her status will rise instead of falling! Lies are helpless. Therefore, regardless of urban and rural areas, movies are mainly cold colors. Lies are also a wish or dream, therefore, warm clothing props and other local color design. That red remote control car is not only a symbol of the identity of Qingqing city, but also a symbol of helplessness and anxiety that can't be driven by remote control normally! This film doesn't want to explore the whole process of the incident, so it tries to avoid the judicial level; The film can't avoid serious life and social themes, but it sympathizes with and pays attention to the fate of the protagonist Yuling, so it designs an open ending: not necessarily sad, not necessarily sad, only deep thinking and meditation! Friendship has been betrayed and true feelings have been cheated. This film will tell the audience a life story that is close at hand but out of reach! Director: Wang.

Gui Bao, the director of the big movie, explained how to write it.

Hello; In January,

Matters needing attention in the format of animation short film director's explanation

It is the director's analysis of the intention, setting and skills of the film.

On the Establishment of Style

On the Expression of Theme

Narration of a story

Of course, if you are animated, you don't exist.

The requirements for the styling department are useless.

The director explained how to write.

Director's detailed explanation of "Waiting for you to come back"

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The actors of Waiting for Your Return are discussing the script.

Original title:

In people's minds, there is nothing worse than waiting. A long wait is enough to make people fantasize about various endings. Over time, can everything you expect in your heart be realized? In my opinion, the feeling of waiting is the most horrible and beautiful. This is also the original intention of filming Waiting for You, and it is also the message that this film wants to express.

Story background:

Nanyang is the place where China people come across the sea to seek gold, and Chinatown is the settlement of China guest workers. They left their hometown and came to a strange place with only one purpose, to improve the lives of their families. Unfortunately, it backfired. For various reasons, they passed away in a foreign land, and their distant relatives had to wait for their return for a long time. The guest workers who died in a foreign land had to stay in Chinatown silently.

The film explains:

This film is dominated by human nature. Just like a dialogue in this film, what is invisible is terrible, but isn't people more afraid? In the first half of the film, all the plots express something invisible. In one scene, Liang Guang heard a woman singing, and he walked into a dark corridor with the singing. Every space he walked through in the corridor was accompanied by singing, and his singing stopped at this moment. During the exchange, a woman in high heels stepped on the ground, and a woman in cheongsam loomed in the dim environment, which suddenly added a chill to the long corridor. What are you thinking when you can't see or touch in the dark? The second half of the film depicts people's hearts, and there are also some unforgettable plots. When Liang Guang and Xiao Furong got along in a small room, it was both gratifying and sad to see them approaching slowly. Fortunately, no matter who she is in front of, Xiao Furong only needs the lost love. Sadly, what does her tears represent? Who are her tears for? Very delicious scene.

Shooting tidbits:

In the whole process of filming Waiting for You to Come Back, there were also some unforgettable moments. Whenever there is a scene depicting little hibiscus, I don't know why I always hear some staff humming some nostalgic songs far or near. I don't know if they really felt the appearance of Little Hibiscus or if these are the team spirit they want to express. After filming the Singapore scene, the rest of the scenes were mainly filmed in Kaiping City, Guangdong Province, China. Kaiping has a cherished atmosphere, a carved castle with world-class culture, and full of romantic and sad feelings. We started the story of "waiting for you to come back" here. Romantic and beautiful feelings always match the drizzle. Sometimes it rains heavily when the weather is bad, which affects the shooting progress, which is also the hard work of our staff. Every day, they have to change props and costumes from the set, but everyone's efforts have not been rewarded, and the weather seems to fluctuate with the stories we shoot. The night of carving is the scene where Liang Guang meets Xiao Furong, and the scene where Liang Guang meets Xiu Zhen was shot on the roof of Guangchang Hall. But the weather in the two nights is very different. The night of carving was stormy, and the night on the rooftop was drizzling until dawn. Until Liang Guang and Xiuzhen met again, God also gave us the dawn. What does this give us?