CS Weekly Archive > Weekend Read > 04/06/07

The Path to a Hyphen

By nancy hendrickson

As a writer, it would be hard not to like Directing Feature Films—if all directors in Hollywood would read Mark Travis' book, all writers in Hollywood would benefit. And perhaps audiences would, too.

Directing Feature Films: The Creative Collaboration Between Directors, Writers, and Actors

Mark Travis

While Directing Feature Films was never intended for writers, Mark Travis' evident respect for the profession and understanding of the writer's craft makes his book an obvious choice for those who would like to transition from writer to writer-director. At the opening of his chapter on "Working With Writers," Travis says, "If it is your intention (and I certainly hope that it is) to take your writer on the entire journey with you, then you need to establish a collaborative relationship from the outset." Having spent many years in the theater, Travis brings to film directing the mentality of a stage director. A refreshing anomaly in a profession full of "auteurs," he sees the director's role as interpreter, rather than creator.

Even if you never get around to directing, Travis' impeccable sense of storytelling could very well make you a better writer. Read the chapters on script analysis and rewrites and you'll pick up many a useful tip; for instance, "If you want to create a character that is highly conflicted, or you want to add more conflict to a character, just make sure that the external objective and internal objective are in conflict."

Another benefit of Travis' theatrical background is his intimate and extensive knowledge of the craft of acting. Travis goes into the greatest detail when it comes to the subjects of casting, communicating with actors, and rehearsal techniques. His emphasis on working with writers and actors goes right to the heart of what Travis believes directing is all about. He says: "One way of looking at the filmmaking process…is this: we create an event, we record the event, then (in postproduction) we recreate the event. But no matter how you look at it there does have to be that initial event…Without an event there is nothing to record."

Unless you're planning an animated film or one that relies heavily on special effects, the script and the actors are probably the only "raw materials" you'll need to create a film-worthy event. The cameras, stock, lights, lenses, filters, etc. are all part of the recording process. Yet these technical aspects of filmmaking are often the main focus of a film school education while, perversely, the creation of the event itself takes a backseat. Happily, Travis' book helps put things back in perspective.

To help make Directing Feature Films accessible, Travis uses only two movies—The Fugitive and Forrest Gump—to illustrate his points. He treats each as though it were a new, unproduced script and takes the reader through the step-by-step thought process of a director as he goes from the first reading through to postproduction. He talks briefly about assembling a team of collaborating storytellers—cinematographher, production designer, editor, casting director, editor, composer—and matching the artist to the project. While Travis touches on dailies, ADR work, spotting sessions with the sound editor, scoring and mixing, the main thrust of the book is the director's collaboration with the writer and actors. It is a subject too often overlooked, and too often overshadowed, by technical filmmaking books. It is also where Travis' words really shine.

Mark Travis' Directing Feature Films is a clearly written book that will help you analyze your own script with the eye of a director, teach you how to put together and work with a creative team, and get fresh and believable performances from actors.

Directing Feature Films: The Creative Collaboration Between Directors, Writers, and Actors
Michael Wiese Productions
350 pages
$26.95

Buy it now

Nancy Hendrickson has won two screenwriting awards and currently teaches at LA Film School. Her first short film, The Healing, premiered at the Reel Women International Film Festival in March of 2007.

Directing Feature Films: The Creative Collaboration Between Directors, Writers, and Actors courtesy Michael Wiese Productions

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