Talk with Farren Blackburn (notes)

"we all have the right to try and fail"

Absorb everything you can with storytelling
send people your films, foster relationships
festivals = exposure
where are new directors needed? apply there

it's good to know the disciplines, but you don't need to be a master of everything - it's a collaboration

Daredevil - Taxi fight scene - Had idea but had to rely on others for it to pull off

you'll never read a perfect script so look for potential, even if it's only one scene
You will spend ages on one project so make sure you care

recycle EVERYTHING that works eg cast and locations etc

try your best with what you get
script development is key
you'll never get anything to be perfect, make it all as good as it can be
Scripts can sometimes be given to you on the day, be prepared
relationships and communications are key to getting anywhere
leraning to talk about scripts technically can save your ass

ask questions, especially if you don't like something from a script
Have suggestions and solutions but remember that you are looking from YOUR pov, they might know better - not that you don't know what you're on about
If you don't think it'll work, it won't. be prepared!
everything comes from the script - have courage in your conviction
'what do i do here to move the story on'
kiss - keep it simple, stupid

do everything for the story, not just because it's pretty

audiences can come in to stories midway through, everything must be coherent i your vision to help them along
beats and moments

know everything you can about script and character etc
voice and style emerge from the story
your life influences the way you work - that is your style
the world and tone of the film  are important

THE FADES
wanted a sense of anytime any place
retro jackets
large settings that could be anywhere
finding the tone and the world is essential!!


DR WHO xmas speial could've been better wth a script for longer beforehand but is lesson in flexibility

on some sets you can turn up not knowing your script or location

FADES AND DR WHO HAVE SIMILARITIIES BUT THEIR TONES ARE V DIFFERENT

don't let fussy actors get away with it

rehearse on set w/ actor thenonce ready, rehearse with crew

Lut VS Int - two very similar shows but with VERY different tones
swapping tones would ruin shows
Luther is big and batman-esque Interceptors is street level crime
two different approaches
street level crime = street level vieew
buddy cop banter = buddy cop styles used occassionally

moodboards are always useful to give sense of ideas and vision etc

locations are the canvas against which you paint your story - they're important, don't waste them and don't be complacent. look for range

always push to get what you want and need - never settle unless you HAVE to - it's your name on the line
a lot of work can be done during casting - never judge until an actor's read - 'what does the role become under this actor?'
don't ask an actor to go from 1-10, give them subtle notes to see how they take it.
do you like them? you'll spend a lot of time with them
casting can be the first place you see your story taking it's life

PREP! PREP! PREP! PREP! PREP! PREP! PREP!

shotlists etc provide security but don't make them gospel law - can be limiting

don't tell an actor how to act, tell them what the story/character asks of them

The story is at the centre of everything we do. If it doesn't work for the story,, get rid of it.

Trust your instincts
be decisive

UK tv directors see everything start to finish
US tv - come in late, limited prep, shoot, 5 days to give cut, kicked out, showrunner takes over - better pay

make a decision and STICK TO IT, stick with your get

if you need an actor to be more emotive, tell them why their character WOULD be, root causes etc
give notes to everybody privately - publicly increases pressure on them

shoot to edit

shoot what you need to shoot to tell YOUR story.

Anybody can get base coverage and direct by numbers - how do YOU see it?

run your own race. Don't compare yourself to others. Where do YOU want to be?

tell audiences what's going on but not enough that they're knowing what you're gonna do