How should directors communicate with photography?

When you are a photographer, you need to find the best way to convey the director's intention according to the script, the limitation of the shooting venue and the live performance of the actors. You must list plan B or even plan C! Because there are always unexpected emergencies on the scene, such as the tram being stopped suddenly (depending on the production capacity), the slow progress leading to the need to hurry up, the actors' performances being too crude and so on. All creation should be put in the early stage. Mirror splitting, atmosphere setting and lens design must be done well in the early stage, and the director must be knocked to death in the early stage. For photographers, only the early creation, only the on-site execution. As a director, you have too many things to take care of. Now it seems that switching from photographer to director is not necessarily the best choice. On the contrary, changing from an editor to a director has more room for improvement, because the director's duty is to tell stories. Directors who switch from photographers are often too obsessed with the quality of a single scene or even a single shot, and ignore the narrative effect of this scene or shot on the whole movie. Editors can often start with the whole story, which may be better handled. As a director and photographer, communication should start from the script stage. What's the style of your play? Find a photographer with the right style.