101 Things I Learned in Film School

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101 TILIFS1. The Camera is the audience’s perspective on a scene.When a doubt arises regarding where to place the camera, stop yourself and ask: what is thepurpose of the shot? What do I want to reveal to the audience? What do I want to hide? Fromwhere is the best position to serve the story? If I were in the audience, from where would Iwant to see the scene unfold?

2. Movies are close ups.Although when thinking about specific films, we often remember the sweeping wide shots orthe intense action sequences, when watching a film, what moves us, what connects us - ouremotions with those of the characters portrayed on screen are the close ups. It is close upsthat reveal honest human emotion, that enable us to feel what the characters feel, to thinkwhat the characters think and to understand the inner struggles they endure. 70% of films areclose ups.

3. Motivate. Motivate. Motivate.Motivated action is believable action. It draws the audience into the film. Unmotivated actiondraws attention to the artifice of filmmaking and thus away from the authentic emotionaljourney of the characters. Begin by motivating the actors. They must act in a manner that isconsistent with what they want from moment to moment. Camera movement must be moti-vated by the intentions and the journey of the actors. Movement that is not motivated dis-tracts and detracts. Lighting should be motivated by the truth of the scene, whether realisticor not.

4. Movies are not reality.Movies need to be honest, believable, truthful and authentic; but they need not be real. “Artis the lie that makes us realize the truth,” Pablo Picasso

5. Pace and rhythm come from within.Every scene has an internal rhythm and pacing that is organic to the material and to the inter-pretation of the material by the filmmakers. Imposing artificial external pacing cannot changethe organic rhythm that is built into any scene.

6. Truth is everything.Being the most truthful, is the best way to draw an audience in and to have them connectwith your film.

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7. “Drama must at once be inevitable and unexpected.” Aristotle: The Poetics

8. Cinematography means writing with light and movement.

9. Movement equals change over time.

10. Contrast defines everything.

11. Never be afraid to “kill your darlings.”The best discoveries often come after you throw away your preconceptions and your favoriteshots, your favorite ideas.

12. It’s the musician, not the music.A great director can turn a mediocre script into a better film, a bad director can turn a greatscript into a bad film, and a smart director will always begin with the best script possible.

13. Casting is the most important part of directing.

14. Selecting key crew is the same as casting.The choices you make in selecting your cinematographer, production designer, editor,composer, mixer, indeed all the key creative collaborators, will have a significant impact onthe film you make.

15. It takes time to gain experience.Every experience provides an opportunity to learn and to grow.

16. Slow down to speed things up.When rushing around, important details are often forgotten, and time ends up being wasted.Taking time to think will in the long run move things forward faster and with greatersuccess.

17. Rehearse, Block, Light, Shoot.If you are doing anything other than this on set with your cast and crew present, you arewasting time. If you skip any of this, you are wasting time. Rehearse, block, light and shoot.Then move on.

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18. Warm colors advance, cool colors recede.Oranges and Yellows appear to be closer to the view than do blues, cyans and magentas,which appear to be farther.

19. Your eye is drawn to: movement, light, bold colors, areas in focus, and places lead to byline and depth.

20. Sequences are a series of images in a progression.A sequence can move from close to far, large to small, bright to dark, one color to another.Each shot can move, or be static.

21. A well composed static image offers movement.Movement is not limited to a change in displacement from one area of a frame to another,movement can include a change in perception, feeling, tone. It can include the change in theaudience as they watch even a single static image. It can include the movement of the eye asit is guided around the frame. It can include the emotional journey that the characters takeover the course of the unfolding story.

22. The illusion of motion pictures is created by two phenomena working in concert: Persis-tence of Vision and Displacement. On its own, persistence of vision creates the illusion of acontinuous image from a series of still images changing from one to another in rapidsuccession. Without a change from one image to the next, there is no apparent movement.Displacement is the phenomenon that occurs when an object occupies a different area withineach image in a series. (think about a flip book animation) The slight change in position fromimage to image creates the illusion that the images are moving when the series is viewed inrapid succession. Combined, these two phenomena create the illusion of a continuous mov-ing image from a series of still images.

23. Objects closer to the camera appear to move faster.Given two objects moving in the same direction at the same rate of speed, the one closer tothe camera will appear to move faster than the object farther from the camera.

24. Safety First.There has not been, nor will there ever be a film that is more important than life or limb.

25. The best films are about more than plot.They leave you with something to think about, and to talk about. A film that is simply about

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its plot, without any depth or subtext is not worth the time it takes to watch.

26. Light through the lens.One cannot light a shot without first defining it. Block the action, place the camera, select thelens, then light.

27. Perspective is a function of camera placement.Changing the focal length of a lens, from a wide angle to a telephoto is not the same as mov-ing the camera closer. If the camera position remains unchanged, then the relationship of ob-jects within the frame to each other and to the camera remain unchanged, and therefore per-spective remains unchanged. To change the perspective, change the camera position.

28. It is a common fallacy to talk in terms of “spatial compression” as a function of using along (telephoto) lens. In fact, the compression of depth is in reality a function of moving thecamera farther from the subject, thereby making it proportionally closer to objects fartheraway, thus creating the illusion of spatial compression. In reality, wide-angle lenses offer awider field of view and telephoto lenses offer a narrow field of view. The field of view then,informs the camera placement, and it is that placement that determines whether the spatialrelationships within the frame feel compressed or expanded.

29. Images that reveal texture and depth more closely represent the world in which we live,and are more readily accepted as authentic by the viewing audience.

30. Sound makes pictures better.

31. Score can either enhance or distract, and so must be used with great care and deliberation.

32. Any style that develops organically from within the material will serve your film betterthan any style imposed by the filmmaker, inspired from externalsources.

33. The audience responds to honesty and truthfulness.

34. White light cannot be focused to a point.When light passes from a medium of one density to that of another, it refracts. Each wave-length refracts to a different degree, causing a separation of wavelengths called dispersion.Once separated, white light cannot be focused to a point, but rather to a “circle of confusion”.The circle of least confusion is the most focused.

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35. Every day presents an opportunity to learn something.

36. The best reason to make an edit is to create an emotional impact. The least important rea-son is for continuity. It follows then that it is no surprise that cutting for continuity is the easi-est way to cut.

Ten simple rules for continuity editing are:• Cut on Motion• When cutting from a Close up to a wide shot, cut at the beginning of theaction. Cut on the pre-motion, the motion that indicates the bigger motion.• When cutting from a wide shot to a close up cut near the end of the action• Change the angle more than 30 degrees from cut to cut.• Cut when there is not movement between the action• Match Action• Overlap more aggressive action to the point of repeating action• Beware of the 180 degree line• Sound helps to disguise a bad cut - sound leads picture• When there is aggressive action, anything goes.

There are no shortcuts for creating emotional impact. Just allow the material to behonest.

37. One light creates one shadow.

38. When trying to solve a lighting problem, often the best solution is to turn off a light.

39. Clear, concise communication is essential for the efficient, effective operation of a set.

40. If the cinematographer ever meets with the director alone, make sure you fill the AD in oneverything you discussed as soon as possible. You never want to work with an AD who doesnot know everything that has been discussed.

41. Surround yourself with the best crew you can.I never want to be the most knowledgeable person on the crew. I want an intrepid crew withexperience, intelligence and good humor to help me overcome every challenge that liesahead.

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42. Loyalty is contagious.If you are loyal to those around you, they will be loyal to you.

43. Everyone deserves a second chance.If your loader makes an error and exposes a roll of film, don’t replace him or her; give him asecond chance. You can be confident that he or she will not make the same mistake twice. Ifyou do replace him/her, there are no guarantees that the new loader won’t make the samemistake.

44. Keep cool under pressure.Making films is difficult. Challenges abound. Tempers flare. Egos collide. You will never winthe war if you alienate those around you. Keep your ego in check, appreciate those who areworking with you, stay focused and calm, and others will respect you and follow your lead.

45. Your reputation precedes you.

46. Average daylight is considered to be 5500 Kelvin: but the color of daylight changes con-stantly throughout the day.

47. Daylight is comprised of sunlight, skylight and ambient bounce.Shadows tend to be cooler (bluer) illuminated by the sky alone, whereas highlights tend to-ward warmer (yellower) hues lit by the sun. Light bouncing off a building will take on thecolor cast of that building, light bouncing off a green lawn will cast a green light under thechin of a subject standing on the lawn.

48. Beauty is when form fits function.A grainy, gritty, contrasty image is beautiful when it serves the story in the same why that arich, bold and colorful image is beautiful when it serves its story. There are no absolutes.

49. No two people will interpret and execute a film in the same way.Each individual working on a film brings to it the sum of his/her life experiences andinfluences. Together all the creative contributions combine in a unique fashion to freeze time- to create a singular, and unique expression of each moment.

50. When shooting in the US (working with a 60Hz electrical system) and using gas dischargelamps such as fluorescents, HMIs, sodium vapor lamps, etc. you can shoot at any frame rate

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that is evenly divisible into 120 with a 180 degree shutter without suffering a flicker problem.For a 180 degree shutter, the flicker free frame rates are: 1, 2, 3, 4, 5, 6, 8, 10, 12, 15, 20, 24, 30,40, 60, 120

51. When working with a 50Hz electrical system and using gas discharge lamps such asfluorescents, HMIs, sodium vapor lamps, etc. you can shoot at any frame rate that is evenlydivisible into 100 with a 180 degree shutter without suffering a flicker problem. For a 180 de-gree shutter, the flicker free frame rates are: 1, 2, 4, 5, 10, 20, 25, 50, 100

52. When shooting a CRT monitor showing a 29.97 fps video image, you can shoot withoutseeing the crawl of the interlaced scan line using a shutter angle of 144 degrees combinedwith a frame rate of 23.976 fps.

53. If you aren’t willing to risk failure, you will never enjoy success.Creative endeavors require risk, exploring the unknown. If one always plays it safe, the workis not creative, is not new, is not worthy of the audience.

54. Dynamic compositions draw your audience into the world you are creating.

55. The moon is illuminated by the sun.When photographing the moon on a clear night, the exposure must take into account that thelight source is the bright sun. Take care not to be tricked by the absence of light in the sur-rounding sky. If you overexpose the moon, you will lose all the detail in the subtle shading ofher surface craters.

56. The color you elect to define as your moon light is solely dependent on your interpreta-tion of the script and subtext of the material, and informed by your experiences.

57. The words used to describe day are often the same words that are used to describe night.And yet they look very different.

Day: High contrast, warm, cool, bright highlights, dark shadows, blue, saturated colors, mut-ed colors.Night: High contrast, warm, cool, bright highlights, dark shadows, blue, saturated colors,muted colors.

58. The emulsion side of film will stick to your lips

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59. Shooting HD is not faster, cheaper nor better than film.To do it well, takes time. Someday when HD has surpassed the image characteristics of film,it will still require adequate time to use it as an effective story telling tool. There is no substi-tute for excellent craftsmanship in the service of creative expression.

60. No matter the subject of your film, there is no excuse to relax your most exacting profes-sional standards.

61. Each scene in each script is set in a specific place for a reason.There are only two choices for the filmmakers. Either honor the location and realize it fully asa character in the narrative, or change it, redefine it, and honor that new location fully as acharacter in the narrative. There is no excuse for poor craftsmanship nor a lack of attention todetail.

62. Treat everyone you meet with respect.The Production Assistant you meet on set today, will likely be the producer who interviewsyou for a job tomorrow.

63. There is only one person on any crew who is entitled to direct the actors.The director.

64. Be deliberate in your choices.Every aspect of every frame has a meaning. You are better served to have it be intentionalrather than to have unwanted meaning assigned to your choices.

65. When as a cinematographer you are asked to shoot something you don’t believe is rightfor the film, speak clearly and articulately to the issue, in private with the director, then oncehe/she has made his/her decision, do your best to make it as good as possible.

66. No one has a monopoly on good ideas.

67. Every moment, every shot, every aspect of each film does not share equal importance.

68. A filmmaker who is collaborating with a creative cast and crew is not an artist, but acraftsperson. The film you are making is only art when and if the audience decides it ís art;and even then, collectively those who made it are the artists. Individually, they are craftspeo-ple working to do the best they can under the conditions of the production.

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69. Wear comfortable shoes

70. Get plenty of rest

71. Appreciate your good fortune at being able to work at something as wonderful as makingfilms.

72. As you climb the ladder of success, reach out to help those who follow to find an easierpath.

73. When an object is completely within the frame, we see all of it, when the frame bisects anobject, we know it continues to exist beyond the frame, and the world is expanded past theboundaries of the frame.

74. Every shot serves a specific purpose. If it does not, it is not necessary.

75. The only way to tell a universally appealing story with believable characters, is to bespecific. If you rely on generalities, you will appeal to no one. If you are specific in yourdetails, everyone will draw parallels to their own experiences.

76. When designing a shot, first be sure to include everything that is important to the image.Before rolling camera, be sure to look for anything extraneous and unnecessary or distractingand remove it from the frame.

77. It is essential for film makers to completely immerse themselves both in their specificcrafts as well as in the story being told, so when the heat is on, their problem solving instinctssupport the story.

78. When creating believable lighting, most capable craftspeople can set the directionproperly, most can adjust the brightness level adequately, most can get the color closeenough, but most either cannot, or don’t think to match the quality of the light. This over-sight is a dead giveaway for artificial lighting and can remove the audience from an authenticexperience of the narrative.

79. A good film offers the opportunity for discussion, where different viewers will discerndifferent things from the same screening.

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80. There should be an intended significance to every choice you make. If you don’t knowwhat it is, right or wrong - someone else (the audience) will assign it.

81. Limitations foster creative solutions.

82. A film is never as good as the dailies, nor as bad as the first cut.

83. There are no problems, only challenges

84. Over time, only the good memories linger.

85. Do your homework, and rest easy knowing you did your best given the time, resourcesand your own abilities at every moment.

86. When things don’t go as you had hoped, accept the responsibility; but when things gowell, share the credit.

87. Find another creative outlet to explore between films.

88. Revel in your good fortune to be a filmmaker.

89. The self - satisfaction of knowing you did your best work possible should be rewardenough – but cash doesn’t hurt.

90. Never ask anyone to work for free.

91. “Every great inspiration is but an experiment.” Charles Ives

92. Bigger sources create softer light, smaller sources cast harder light.

93. “Why?” is a more important question than “How?”.

94. A heavy lunch slows the work

95. Expressions of sincere appreciation and gratitude are priceless

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96. Find personal satisfaction in every task done well

97. Eye contact is essential to clear quiet communication

98. Sometimes what you don’t show is more important than what you do show.

99. If you don’t feel that you can improve, why are you still doing it?

100. Make the most of every day. Time is finite, life’s too short, the work is too hard.

101. There will be four stages in my career.

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101 Things I Learned in Film School