Material de clases para la clase de dirección audiovisual. Versión en inglés.

1. Directing

2. Dirección
audiovisual

3. So, what does a director do?
- Create a unique vision for the film
- Share this vision with the crew
- Stage the scene
- Block the movements and actions
- Get a performance from actors
- Decide when to cut a scene

4. If you want to direct films,
then you should study films.
Watch them a thousand times.
Learn how a scene is created.
Learn how you feel with every creative
decision.

5. "You should know a little bit of everything.
Because when you're directing not everything's
your job, but everything's your problem."

7. The director’s job is to interpret the script,
get the best possible performances from
the actors, guide the camera crew,
and create a cinematographic experience,
through a unique vision.

8. Unique vision:
Stanley Kubrick

9. Unique vision:
Woody Allen

10. Unique vision:
Quentin Tarantino

11. Unique vision:
Paul Thomas Anderson

12. Unique vision:
Pedro Almodóvar

13. Unique vision:
Denis Villeneuve

14. Unique vision:
Christopher Nolan

15. The most important asset for a director is:
Imagination.
One has to be able to think and imagine.

16. https://youtu.be/qduOF_sl1IQ
Memento explained

19. Create audiovisual narratives using methods
and techniques from cinematographic direction
for the transmission of an idea, thought or
service.
Main goal

20. Crear narraciones audiovisuales través de la
aplicación de métodos y técnicas empleadas en
el campo de la dirección cinematográfica para la
transmisión de una idea, pensamiento o servicio.
Objetivo General

23. Learning outcomes
1- Understand the theoretical bases of the operation of an audiovisual
production in all its phases for the selection of a work team for film or
documentary.
2- Develop personnel management skills that allow collaboration with a
multidisciplinary team in the development of an audiovisual from the script to
its promotion in different media.
3- Analyze elements of the script that allow the selection of actors for the
effective collaboration of human talent on screen with the production team of
an audiovisual work.

24. Resultados de aprendizaje
1- Comprender las bases teóricas del funcionamiento de una producción
audiovisual en todas sus fases para la selección de un equipo de trabajo para
cine o documental.
2- Desarrollar las habilidades de dirección de personal que permitan la
colaboración con un equipo multidisciplinario en la elaboración de un
audiovisual desde el guion hasta su promoción en distintos medios de
comunicación.
3- Analizar elementos del guion que permitan la selección de actores para la
efectiva colaboración del talento humano en pantalla con el equipo de
producción de una obra audiovisual.

25. Planning the scene

26. Choreographing the scene

27. The director as author
1.1. Directing: basic concepts
1.2. Pre cinema
1.3. The role of the director in a production
1.4. The auter theory
Unit1

28. El director como figura autoral: de la narración clásica a
Hollywood
1.1. La dirección audiovisual: conceptos y generalidades
1.2. El pre cine, desde el taumatropo hasta los hermanos Lumière
1.3. El rol del director: de empleado de la mass production de Hollywood
a innovador individual
1.4. Los fundadores de la dirección autoral: de David Wark Griffith
a Serge M. Eisenstein
Unidad1

30. European film vanguards: the director as
author
2.1. Auteur cinema theory: concepts
2.2. German expressionism and French surrealism
2.3. Italian Neorealism and Japanese Cinema of the 1930s
2.4. Nouvelle Vague and the New German cinema
Unit2

31. Vanguardias cinematográficas europeas:
el director como autor
2.1. El cine de autor: conceptos y generalidades
2.2. Expresionismo alemán y surrealismo francés
2.3. Neorrealismo italiano y cine japonés de los años 30
2.4. La nouvelle vague y el nuevo cine alemán
Unidad2

32. Unique vision:
Jean-Luc Godard

33. Unique vision:
François Truffaut

34. From the indie filmmaker to the new latinamerican cinema
3.1. Independent cinema: concepts
3.2. The director according to the Sundance school
3.3. The director according to the school of San Antonio de los Baños
3.4. The Latin American director as an ideological instrument for
social uprising
Unit3

35. Del cineasta indie al director del nuevo cine latinoamericano
3.1. El cine independiente: conceptos y generalidades
3.2. El director según la escuela de Sundance
3.3. El director según la escuela de San Antonio de los Baños
3.4. El director latinoamericano como instrumento ideológico para el
levantamiento social
Unidad3

38. Director´s plan
4.1. Directing Plan
4.2. Mise en scene & Mise en abyme
4.3. Production and Post-production
4.4. Show Reel and distribution
Unit4

39. Plan de trabajo del director
4.1. Plan de trabajo en dirección audiovisual
4.2. Mise en scene y mise en abyme
4.3. Producción y postproducción
4.4. El Show Reel y la distribución
Unidad4

40. Unique vision:
David Lynch

41. Practical Project *
ü Idea & Research
ü Script
ü Moodboard
ü Casting
ü Scouting
ü Shooting plan
ü Storyboard
ü Animatic
10
10
10
10
10
15
15
20
* Componente práctico
X2
X2
=100
=100

42. The role of the director
1.1. Directing: basic concepts

43. Director´s role
1. CREATIVE VISION
2. MANAGERIAL RESPONSIBILITIES

44. Director´s role
1.- Directing actors:
• Bring the character to life.
• Create a safe space for the actor to explore.
• Real thoughts. Real feelings.
• Improvise and take risks.
• The more we believe in the characters in the film, the
more relatable it will be.

46. Director´s role
1.- Directing actors:
• Give the actors actionable directions.
• Never force the actors.
• Build trust among actors.
• Create conditions for the film development on it´s own.
• Never do : “Result orienting directing” it´s a common
mistake among first time directors.

47. Sidney Lumet
“All great work is preparing yourself for the accident to happen.”

50. Director´s role
1.- Directing actors:
• Let the actors explore ideas before they have a final
script.
• Create a script from both actors and director.
• This creates a “real” world for the actors and nothing is
really scripted. It´s closer to real life when the camera is
rolling.

51. “You will find hardly any improvising on camera anywhere in my
films. It's very structured, but it's all worked out from elaborate
improvisations over a long period, as you know.”
Mike Leigh

52. The Director during rehearsals
It is important that the director takes the pressure off the actor by
creating a space open to exploration, that makes the actor feel
secure and willing to take chances.
The more psychological the scene, the more interior it is, the more
the director has to work to change psychology into behavior that
can be photographed.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008

54. Director´s role
2.- Directing everyone else
The director must have a deep understanding of everyone
involved in the film, in all the stages.
• Preproduction
• Filming
• Postproduction
• Distributing
• Promoting

55. Denis Villenueve
“As a director, you’re a bit of a dictator. But I feel that you’re a better
director if you’re open to other people’s ideas. It means that it’s tougher:
you have to be in a choosing process; you have to put the ego aside. As
long as everybody’s aiming in the same direction… I’m open to my main
partners in the film crew.”

56. Director´s role
2.- Directing / working with
Location department. Scouting film locations.
Location manager. Basecamp. Storage. Trailers.
Location assistants. Moving from one location to other.
Follow the location manager plan and schedule.

57. Unique vision:
David Fincher

68. Director´s role
3.- Directing / working with
Art department.
Production designer. Create the world of the film. Before
shooting.
Art director. Organizes the art that will be visible on set.
Also the graphic design in the world of the film, such as
brands, products, services.

73. Stanley Kubrick.

76. 76 Unique vision:
Sebastian Cordero

77. 77

79. 79

80. 80

81. Director´s role
Why a dialogue can capture the audience's attention?
Because if it is intriguing and we want to know what is next.
Written words in a script is nothing without the actual visual hook
to make it memorable.
A character can perform only one action at a time. This can be a
visual reference in a storyboard later.
Only by fully understanding the circumstances and contex, we get
to know the true intent of the action.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008

83. Director´s role
4.- “Directing” dialogue
Drama is understood through the actions of your characters.
These actions must be conveyed to an audience for them to fully
appreciate, as well as understand, the story.
Dialogue is action! Therefore, it must be directed.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008

84. Unique vision:
Alfred hitchcock

85. A surprise can take seconds.
Anticipation can take
an hour.

92. Director´s role
Explain to your actors the difference between action and activity.
Suppose you are sitting in a hospital, in the emergency area, waiting
for exam results and reading a newspaper about a deadly virus. Are
you waiting or reading?
As soon as the doctor comes out to talk to you, you will drop the
newspaper.
So what is the reading, in dramatic terms?
It is an activity that accompanies the action of waiting.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008