INTERMEDIATE DIRECTING: TECHNIQUES

CTPR-533 -- Spring 2019

Section #18632D Tue 7:00 - 10:30 RZC Stg D Units: 2 Lab Fee: $300
MICHAEL TOSHIYUKI UNO phone: (213) 821-5674 e-mail: ​[email protected]
Office: SCA 412 Office Hours: ​by appointment only
SA: Mozhu Yan phone: (___)___-____ email: [email protected] 
Prerequisite: CTPR-532 Intermediate Directing (CTPR-475, grade A or A-).
RECOMMENDED TEXTS:
THE VISUAL STORY​ by Bruce Block
MASTER SHOTS (volumes 1,2 & 3)​ by Christopher Kenworthy
MAKING MOVIES ​ by Sidney Lumet
FILM DIRECTING FUNDAMENTALS​ by Nicholas T. Proferes
FINE ON ACTING: A VISION OF THE CRAFT​ by Howard Fine
THE POWER OF THE ACTOR​ by Ivana Chubbuck
THE INTENT TO LIVE​ by Larry Moss

COURSE OBJECTIVES
This is a second semester of Intermediate Directing, intended to prepare the
student for advanced projects. Objectives are: (1) to consolidate key principles
from earlier classes re: actor performance; (2) to layer upon them considerations
of staging and camera blocking & technique as concrete tools for “visualization“
of scenes, whether “pre-” or “on-set”; (3) to solidify a grasp of practical &
procedural considerations in applying the foregoing to dialogue scenes; and (4)
to utilize technique to create tension-escalating “Sequences”, which I consider
the organizing component of complete films. Short films are actually one to three
(or so) sequences; as are the “First Acts” of feature films.
The “Scene” is the fundamental building block. That said, the “Sequence” -- a
series of scenes and/or shots “driving“ to a single Story point or Character turn,
revelation, or resolution – is the structural “beam” of filmic storytelling.
At the root of both lies the concept of “Moment”. A Director must have an acute
awareness of each & every significant Moment -- be it internal to a Character,
between Characters, or across Scenes; be it purely for Spectacle (“Wow” factor),
be it Narrative (plot) or be it Thematic -- and the task is to decide how best to
delineate​ & ​articulate​ Moments ​“in correct proportion”​ to create ​“progressions”
supporting the storytelling.​ These choices in articulation -- conscious or
intuitive -- in performance & staging, timing, camera position & movement, shot
size, lens choice, lighting, etc. manifest as the style of the Director. Thus, the
consideration of a Moment’s significance lies at the root of the craft of Directing.
The goal for this course should be to demonstrate mastery of effective film
sequences, such that one can then advance to building entire films.
 CTPR-533/Spring 2019 -- page two
COURSE DESCRIPTION
I have a strong preference for original material (over previously published and/or
produced). Since many are in preparation of Advanced Projects, it is
encouraged to utilize this class to “workshop“ material that students are
considering for that purpose. Students may also want to shoot material they
have chosen for later pursuit (like a “proof-of-concept” short). Selected scenes --
like the opening sequence -- from a feature script you have written (or have
access to) may serve you well. MAINLY, choose material in which you have
some long-range interest. NOTE: you MUST have the rights to whatever
material you pursue.
THESE PROJECTS MAY BE “FESTIVAL ELIGIBLE”, BUT CHECK W/
STUDENT-INDUSTRY RELATIONS.​ THEY ARE INTENDED AS CLASS
EXERCISES -- YOU SHOULD BUDGET/LIMIT THE SCOPE, AS ​ADDITIONAL
FINANCIAL AID WILL NOT BE GRANTED – DON’T EVEN ASK​.
(1) Each student makes ​one video project​: Finished projects will be
SEQUENCES OF SCENES, 3 to 5 preferably consecutive scenes (6-10 script
pages). Edited sequences will be screened & critiqued in Final Screening
sessions. Re-edits may be screened, as time permits.
In preparation, students may “workshop” one or two scenes from the Sequence,
in class & with props & wardrobe, preferably with the actors cast in the roles.
Each workshopping Director should prepare a detailed shooting plan utilizing
OVERHEAD DIAGRAMS, indicating anticipated actor movements & camera
positions, as well as a Shot List. Copies ​must​ be emailed to all members of the
class in advance. During workshops, we will block the actor & camera positions;
then, utilizing multiple cameras and a line-switcher, we will examine pre-vized
version. As time allows, we will explore alternative stagings, with class input.
(2) Each student will also be responsible for a ​“Scene Breakdown“ (SBD)​.
SBDs are “deconstructions” of the camerawork involved in scenes from produced
films that you find particularly notable & effective. You must bring in the film clip,
and some form of storyboard, which you have “worked backward” to a shot list,
and then to OVERHEAD DIAGRAMS of the set-ups. All prep work should be
emailed to the class in advance. You will screen & analyze these clip in class.
(2A) Alternatively to the SBD – or in addition if you choose, for extra credit – any
student may produce & shoot a “One-er” (a la “Birdman”) project from either
existing or original material, to be screened in-class, utilizing your class
production number. Details will be discussed in the first class session.
 CTPR-533/Spring 2019 -- page three
SCHEDULE
Exact scheduling will depend on the final enrollment number of the class. In
general, the first three sessions will consist of lectures, discussions, screening of
clips & analysis, and demos. STUDENT-DELIVERED WORK STARTS in Wk 4,
when in-class “Scene Breakdowns” (SBDs) commence. SBDs are a visual
analysis (via “frame-grab” storyboards) and shot/set-up/actor blocking analysis
(via “overhead diagrams”).
The first ​(2)​ in-class workshops will begin the sixth week (​2/12​), with the shot-
& edited-sequence due as much as 11 calendar weeks later (​5/2​ or ​5/3​).
In succeeding weeks, we will schedule two workshops per night, with the shot
and edited material due ​NO LESS THAN​ FOUR WEEKS AFTER​ the workshop.
The following schedule will serve as a starting point, to be modified according to
enrollment. Assuming 16 students, and assuming one project & one SBD each:
Wk 1​ - 1/8 Intro, Sched/Prod #s, clips/discussion.

Wk 2​ - 1/15 Lecture/demo -- Actors, blocking & staging

Wk 3​ - 1/22 Lecture/demo

Wk 4​ - 1/29 Lecture/demo SBD 1, 2

Wk 5​ - 2/5 Lecture/demo SBD 3, 4

Wk 6​ - 2/12 Workshop 1, 2 (Valentine’s Day) SBD 5, 6, 13

Wk 7​ - 2/19 Workshop 3, 4 SBD 7, 8, 14

Wk 8​ - 2/26 Workshop 5, 6 SBD 9, 10, 15

Wk 9 ​- 3/5 Workshop 7, 8 SBD 11, 12, 16

******SPRING BREAK – 3/10 to 3/17******
Wk 10​ - 3/19 Workshop 9, 10 tbd

Wk 11​ - 3/26 Workshop 11, 12, 13 tbd

Wk 12​ - 4/2 Workshop 14, 15, 16 tbd

Wk 13​ - 4/9 spillover day tbd

Wk 14​ - 4/16 tbd

Wk​ ​15​ - 4/23 Early Screenings???

Wk 16​ - 4/30​ Tue STUDY DAY​ ​Wed/Thu 5/1&5/2 tbd​ ​Final Screenings 1-8 & 9-16
 CTPR-533/Spring 2019 -- page four
CASTING
Please forewarn actors that in-class work includes considerable camera & staging, so they will be
“standing in”. They usually find this instructive.

GRADING
Workshop: 15% Video: 65% Breakdown: 10% Participation: 10%
Missing “delivery dates” will not be excused except for documented medical and/or
personal emergencies. THIS MEANS YOU MUST HAVE “PLAN Bs” FOR CASTING.
Instructor reserves the right to not accept late assignments. IF YOU ENCOUNTER
PROBLEMS, NOTIFY INSTRUCTOR AND S.A. IMMEDIATELY.

ATTENDANCE POLICY
You are expected to be on time & prepared for class. Two unexcused absences will
result in a reduction of one full grade. A third unexcused absence will result in an
additional full grade. Each subsequent unexcused absence will result in an additional
full grade. Two late class arrivals equate to one full absence.

SAFETY & RESTRICTIONS

All students are expected to abide by SCA Safety Guidelines. Violations may
result in disciplinary action ranging to expulsion from the University.
MAKE SPECIAL NOTE of policy regarding the use of minors, cars, or weapons
which require studio teachers or an off-duty police officer(s).

STUDENTS WITH DISABILITIES: Any student requesting academic accommodations

based on a disability is required to register with Disability Services and Programs (DSP)
each semester. A letter of verification for approved accommodations can be obtained
from DSP. Please be sure the letter is delivered to Instructor (or S.A.) as early in the
semester as possible. DSP is located in STU 301, and is open 8:30am-5:00pm Monday
through Friday. The phone number for DSP is (213) 740-0776.

STATEMENT ON ACADEMIC INTERGRITY: USC seeks to maintain an optimal

learning environment. General principles of academic honesty include the concept of
respect for the intellectual property of others, the expectation that individual work will be
submitted unless otherwise allowed by an instructor, and the obligations both to protect
one’s own academic work from misuse by others as well as to avoid using another’s
work as one’s own. All students are expected to understand and abide by these
principles. Scampus, the Student Guidebook, contains the Student Conduct Code in
Section 11.00, while the recommended sanctions are located in Appendix A:
HYPERLINK
"http://www.usc.edu/dept/publications/SCAMPUS/gov/"​http://www.usc.edu/dept/publicati
ons/SCAMPUS/gov/​. S ​ tudents will be referred to the Office of Student Judicial Affairs
and Community Standards for further review, should there be any suspicion of academic
dishonesty. The Review process can be found at: HYPERLINK
"http://www.usc.edu/student-affairs/SJACS/"​http://www.usc.edu/student-affairs/SJACS/.​
Instructor reserves the right to change this syllabus at his sole discretion.