1. Research for Directors
Begin with the screenplay.
Expand on character outlines
Make thorough notes about how you can characterise each one cinematically, using.
Mise en scène, Performance/movement style, Casting, Wardrobe, Locations/Settings, Palette, Shot selections & framing.
Use precedents
How have other, films with similar character sets generic cues and themes addressed this?
Some analysis will be required, evidence of what you learned and how this has influenced your decisions
Location scouting –
make a full photographic record of all possible locations/settings c/w notes for
How the locations may inflect interpretation of story event/incident and character,
How locations relate to one another thematically.

2. Planning for directors
Locations identified? Get Permissions!
Make up floor plans for each location (have several copies of each) so that you can identify how characters are to move within the set and where cameras and lights and microphones will be situated
Obviously you’ll need to consult with the cinematographer and sound-recordist over some of this.
You may also need to consult the screen writer, who may need to make revisions in the screenplay to accommodate this –
EG. In ‘The usual suspects’, securing a ship (rather than a yacht as originally planned) resulted in a major rewrite of the screenplay
Make a scene by scene, then a shot by shot breakdown of the screenplay
Present this as a storyboard (copies to cinematographer, editor and cast)
Make a shot list, synchronised to your storyboard and your floor plans
ie. identify each by Scene N° and Shot N° for the shots to be called during production.
Annotate this, to indicate which shot matches which lines of dialogue) . Consult with the screenwriter,

3. Planning for directors
Commit your cast to the project? Get releases signed!
If possible use cast members from grades 10 or 11. You might be able to offer grade 11 cast members CAS hours.
Need them during class time? (schools are quieter but with enough natural light, after school this might be a problem) – You MUST SECURE PERMISSION from their teachers – DO NOT LEAVE IT UP TO CAST MEMBERS.
Screen test each of your principle cast, to camera with a key line of dialogue (cinematographers be present to prepare notes for lighting)
Plan wardrobe for each character – usual clothes don’t cut-it, you have to show that you’re deliberate in your work.
Rehearse your cast AND CREW – far more important than you think, will save precious time during the shoot.
Cinematographers and sound-recordists to make notes for success of their roles.

4. Planning for directors
Schedule your shoot
Double check permissions and availability of - Cast – Crew - locations - Wardrobe, Props and equipment.
Have a time management plan for the shoot as a whole.
Who and what are required, on which dates, times and locations (secure transport if necessary).
Include contingencies – if something goes wrong, someone isn’t available or equipment fails.
From your time management plan make call sheets (list each scene and shot N°)
synchronise to your storyboard and floor-plan.
include space for evaluation notes on each take
copies for cinematographer, sound-recordist and director, cinematographers and sound-recordists to make critical notes for success of their roles.

5. Directors – before you shoot
Ready to shoot?
Ensure someone calls the shots - to sync sound, with clapperboard or clapped hands in front of the camera ( running) - calling “Scene N°, Shot N°, Take N°
I’d suggest editor or sound recordist, as their role benefit most from this.
The Director calls action when satisfied everyone is ready.
THIS IS A COMPLEX ROLE REQUIRING
Communication/Diplomacy, Planning and Management skills all are crucial for success.
Have check lists
Schedule carefully
Ensure everyone know what they must do, when and where