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Film Directing Fundamentals : From Script to Screen
A cornerstone of this methodology is the assumption that the blueprint of a film, the
screenplay, informs everything the director does. The reader will discover how to unlock the dramatic
potential in the screenplay by careful reading and analysis. A short screenplay is provided to take you
step by step through the detective work necessary to uncover the strengths and weaknesses in the script and
the psychology of the characters, and to break down the actions they perform in pursuit of their goals.
This investigation leads to an overall design for rendering the film, as well as identifying the essence of
each moment that must be conveyed to an audience. In subsequent chapters the methodology applies the
knowledge gained in the detective work to the staging of actors for the camera and the use of the camera as
an active narrator. Using floorplans and storyboards to aid in the previsualization of a film is also
stressed. Part Two features a scene by scene analysis of three feature films by master directors, to be
used in conjunction with the viewing of the films on video. This will enable the aspiring director to see
how the conceptual investigation is rendered on the screen. In addition, nine films that are readily
available on video are analyzed for the use of a distinctive style in the rendering of a story. An appendix
is included, containing the grammatical rules for the film language, as well as a thorough explanation of
the cinematic categories of time and space and how they can be used to maximize the effect of any story on
an audience.
screenplay, informs everything the director does. The reader will discover how to unlock the dramatic
potential in the screenplay by careful reading and analysis. A short screenplay is provided to take you
step by step through the detective work necessary to uncover the strengths and weaknesses in the script and
the psychology of the characters, and to break down the actions they perform in pursuit of their goals.
This investigation leads to an overall design for rendering the film, as well as identifying the essence of
each moment that must be conveyed to an audience. In subsequent chapters the methodology applies the
knowledge gained in the detective work to the staging of actors for the camera and the use of the camera as
an active narrator. Using floorplans and storyboards to aid in the previsualization of a film is also
stressed. Part Two features a scene by scene analysis of three feature films by master directors, to be
used in conjunction with the viewing of the films on video. This will enable the aspiring director to see
how the conceptual investigation is rendered on the screen. In addition, nine films that are readily
available on video are analyzed for the use of a distinctive style in the rendering of a story. An appendix
is included, containing the grammatical rules for the film language, as well as a thorough explanation of
the cinematic categories of time and space and how they can be used to maximize the effect of any story on
an audience.
- GenresFilmNonfictionEbooks
242 pages, Paperback
First published March 14, 2001
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Displaying 1 - 12 of 12 reviews
October 21, 2020
میلوش فورمن: 《اگر استعداد داشته باشید و کمی هم شانس بقیه را در این کتاب پیدا می‌کنید》.
《اصول کارگردانی سینما》با این ایده که "فیلم خودتان را قبل از فیلمبرداری ببینید" شکل گرفته، و تلاش می‌کنه با تحلیل چند فیلم مهم از جمله "بدنام" هیچکاک، "هشت و نیم" فلینی و "ترومن شو" ویر مهم‌ترین عناصر کارگردانی سینما، یعنی دوربین و میزانسن رو آموزش بده.
پ.ن: این کتاب رو حتی به تماشاگران مصمم سینما که می‌خوان درک بهتری از روایت با دوربین داشته باشن، توصیه میکنم.
《اصول کارگردانی سینما》با این ایده که "فیلم خودتان را قبل از فیلمبرداری ببینید" شکل گرفته، و تلاش می‌کنه با تحلیل چند فیلم مهم از جمله "بدنام" هیچکاک، "هشت و نیم" فلینی و "ترومن شو" ویر مهم‌ترین عناصر کارگردانی سینما، یعنی دوربین و میزانسن رو آموزش بده.
پ.ن: این کتاب رو حتی به تماشاگران مصمم سینما که می‌خوان درک بهتری از روایت با دوربین داشته باشن، توصیه میکنم.
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April 16, 2021کتاب ارزشمندی است. تعلیماتش از ابتدایی تا پیشرفته را در بر می گیرد. ولی امان از ترجمه. مخاطب آشنا به دستور زبان سینما را مجبور می کند نسخه ی اصلی را گرفته کنار دست خود مدام چک کند بفهمد مترجم چه می گوید! و ویراستار ناشر تاکید دارد همه ی واژگان، جدا از هم نگارش شوند. "ماهیچه" را "ماهی چه" نگارش کرده اند! شاید هم واقعا قوانین نگارش تا بدین پایه تغییر کرده و ما در غار اصحاب کهف خفته بودیم و این رویداد برایمان غریب است.
November 8, 2015
Uneven, but with many strong sections. Better browsing than reading, perhaps.
November 19, 2017
It's an amazing book. a definite must for all the would-be Filmmakers. The title of the book is absolutely justified. It does give you a better understanding to see your film before shooting. loved it.
April 12, 2020
I was Nick's student when he wrote this book. I consider Nick my mentor, and I credit him with changing my life...and launching my career. He showed me the light...because he removed the mystery of the art I loved and gave me the tools I needed to make it my own.
Simply reading this book is a mistake. If you are a budding filmmaker, do the exercises! They might seem trivial or simplistic, but they will teach you valuable lessons about your self and your work. And of course, you will learn that directing, like most things in life, is all about constantly returning to the fundamentals.
Simply reading this book is a mistake. If you are a budding filmmaker, do the exercises! They might seem trivial or simplistic, but they will teach you valuable lessons about your self and your work. And of course, you will learn that directing, like most things in life, is all about constantly returning to the fundamentals.
January 1, 2021
Best practical book on directing, I have ever read
July 6, 2026
Quite a comprehensive overview of the craft of directing. The info in here is essential for any aspiring director. I plan to revisit some of the film analysis chapters later as well, perhaps after I’m more acquainted with 8 1/2 as a viewer (I’ve only seen it twice as of now).
One thing that, while somewhat trivial, was pretty annoying to me was the insistence on using female pronouns throughout the text when referring to the hypothetical director this book is being read by. I obviously have no problem with female inclusion, and we as a society have certainly prioritized male ideation for most of recorded history, but is the counteractment for that wrong yet another wrong? Would it not be just as easy to write “they” instead of “she”? It honestly comes off as very grandstandy and incredibly insistent, in a bad way; it made me roll my eyes every time it occurs, which is often. It reminded me of that bit on that show The Last Man on Earth where Phil says “gals” instead of “guys” when addressing the mixed-gendered group—which is played for laughs, by the way. Idk, maybe they address it in one of the four (four!) introductory “foreword” chapters to the book, but I’m not trying to read thirty pages detailing the additions to each new publication the text has had. Hilariously, the only time I remember seeing the author actually use “her or his” is when talking about how the director should “be sure to keep their emotions under wraps.” The one time where purely using “her” would have had the opposite intended effect! It’s almost as if gendered language should be avoided entirely!
One thing that, while somewhat trivial, was pretty annoying to me was the insistence on using female pronouns throughout the text when referring to the hypothetical director this book is being read by. I obviously have no problem with female inclusion, and we as a society have certainly prioritized male ideation for most of recorded history, but is the counteractment for that wrong yet another wrong? Would it not be just as easy to write “they” instead of “she”? It honestly comes off as very grandstandy and incredibly insistent, in a bad way; it made me roll my eyes every time it occurs, which is often. It reminded me of that bit on that show The Last Man on Earth where Phil says “gals” instead of “guys” when addressing the mixed-gendered group—which is played for laughs, by the way. Idk, maybe they address it in one of the four (four!) introductory “foreword” chapters to the book, but I’m not trying to read thirty pages detailing the additions to each new publication the text has had. Hilariously, the only time I remember seeing the author actually use “her or his” is when talking about how the director should “be sure to keep their emotions under wraps.” The one time where purely using “her” would have had the opposite intended effect! It’s almost as if gendered language should be avoided entirely!
February 22, 2025
این کتاب رو با ترجمه رضا نبوی خوندم. شما نخونید. جدا از ترجمه سنگین که سرعت خوندن رو عین تراکتور پایین میاره نوع چیدمان و نگارش هم فاجعس. وقتی شما مشغول خوندن متنی هستید که پر از اصطلاحه و مترجم کل کتاب رو مشغول کشتی گرفتن با این کلمات بوده، میبینید پی نویس ها به جای اینکه زیر هر صفحه باشه آخر هر فصله. این یعنی شما برای اینکه ببینید این کلمه در اصل چی بوده که الان به این کلمه ترجمه شده باید بکوبی بری آخر فصل دوباره برگردی. این مشکل در توضیحات تصویری هم کم و بیش هست. ده تا شکل هست که به جای اینکه توضیح هر عکس زیرش باشه، توضیحات یکجا کنار هم و عکس ها یکجا کنار هم هستن و اینم باید بعد خوندن یک بند بری صفحه جلو و عکسش رو ببینی. نام های فیلم ها هم بعضا بدون هیچ اشاره ای یهو بین متن ترجمه شدن و اگه ندونید اصلا شاید نفهمید این اسم فیلم بوده که گفته شده یا چی. این کتاب رو ظاهرا آقای شاپور عظیمی که متاسفانه مدتی پیش فوت کردن هم ترجمه کردن که با اینکه نخوندم همون نسخه رو پیشنهاد میدم چون لااقل اگه ترجمه و چینش و ویراستاری بهتر نباشه، حداقل میدونیم همسر رو هم سر یا بلکه رو بل که یا خشمگین رو خشم گین ننوشتن. حوصله و علاقه ای هم برای حرف درباره خود کتاب ندارم جز اینکه حسرت میخورم چون حس میکنم کتاب خیلی خوبی بود و نشد که ازش استفاده بشه فقط سرسری خوندیم که این کابوس تموم شه.
ممنون از مترجم برای خراب کردن تجربه خواندن.
مراقب هم باشیم.
ممنون از مترجم برای خراب کردن تجربه خواندن.
مراقب هم باشیم.
August 18, 2026
The first half is especially useful, in the way it breaks down sequences from Notorious and Wanda with frames from the movies for ease of understanding. I found the second half with the long blocks of text, analyzing 8½, Tokyo Story, and Truman Show, much less useful.
Yes, I can watch the film side by side, but having frames makes it way easier to follow what he means.
Yes, I can watch the film side by side, but having frames makes it way easier to follow what he means.
September 10, 2019
Things are moving in the air as your motion life and I am filming your features in that sun light of California Hollywood.
April 15, 2020
Best book on the filmmaking process.
Displaying 1 - 12 of 12 reviews