Yinka Smart - Academia.edu (original) (raw)
Papers by Yinka Smart
The screen director is the originator of the artistic vision and a repository of requisite knowle... more The screen director is the originator of the artistic vision and a repository of requisite knowledge and craft needed to bring all the arts and technology of lmmaking together. To be effective, the screen director must master the technology of lm and learn how to manipulate the essential elements of the lm form across the different stages of production. This paper outlines the processes and personnel needed to help the director achieve his/her duties optimally during the preproduction stage of lmmaking. This study from a participant-observer point of view developed as a result of years of experience in lm production and pedagogy, describes practically, the various aspects of pre-production planning. From the shooting plan, which is a practical expression of the director's vision of the script, to the creative decisions that emanate from that vision through a deep understanding of the theme or subject matter, the director creates a shooting script from the screenplay that is used by the producer and all departmental heads. The actordirector relationship is also very important to lm production and this starts from the point of an actor auditioning for a role in a lm. The rehearsal, which is the nal stage of pre-production, is very crucial to lmmaking and every reasonable director rehearses the cast before principal photography. Working with colour, contrast, tone, pattern, etc., in choosing fabrics and materials, the costume, makeup, hairdressing and props team keys into the overall look of the lm, in consultation with the director and the producer. This guide also explains the aspects of the schedule, budget, location, crewing and how it concerns the screen director. Everything about the lm is concluded on paper well before production. From screenplay/rewrites, shooting script, oorplans,
EJOTMAS: Ekpoma Journal of Theatre and Media Arts, Nov 30, 2017
Using historical-analytic method, this article examines the dynamics of directing for the stage a... more Using historical-analytic method, this article examines the dynamics of directing for the stage and the screen. It argues that even though the process of directing is a tough one both on the stage and the screen, it can be very interesting and rewarding for the strong-willed, creative director (artist). It further posits that contemporary theatre is so sophisticated and highly technologically driven that a stage director must of necessity be artistically and technically savvy to be effective in play production in the theatre. As creative and interpretive artists, post-modern, multicultural and globalized directors constantly seek new means of creative exploration through a shared experience of experiments in multimedia, visual arts and cultural expressions of the performance theatrical traditions existing all over the world. This is the key link in the works of creative high concept directors such as LeCompte and those of text-interpreters and author-centred directors such as Max Stafford-Clark, Katie Mitchell and Declan Donnellan. Contemporary directors are seeking new ways of developing strong 'physically embodied theatre' and must continuously strive to work across the theatre/film/television divides, and feel be at home in the different media to bring their visions to bear on creative works beyond the confines of any single medium for the gratification of the ever 'hungry' audience.
The screen director is the originator of the artistic vision and a repository of requisite knowle... more The screen director is the originator of the artistic vision and a repository of requisite knowledge and craft needed to bring all the arts and technology of lmmaking together. To be effective, the screen director must master the technology of lm and learn how to manipulate the essential elements of the lm form across the different stages of production. This paper outlines the processes and personnel needed to help the director achieve his/her duties optimally during the preproduction stage of lmmaking. This study from a participant-observer point of view developed as a result of years of experience in lm production and pedagogy, describes practically, the various aspects of pre-production planning. From the shooting plan, which is a practical expression of the director's vision of the script, to the creative decisions that emanate from that vision through a deep understanding of the theme or subject matter, the director creates a shooting script from the screenplay that is used by the producer and all departmental heads. The actordirector relationship is also very important to lm production and this starts from the point of an actor auditioning for a role in a lm. The rehearsal, which is the nal stage of pre-production, is very crucial to lmmaking and every reasonable director rehearses the cast before principal photography. Working with colour, contrast, tone, pattern, etc., in choosing fabrics and materials, the costume, makeup, hairdressing and props team keys into the overall look of the lm, in consultation with the director and the producer. This guide also explains the aspects of the schedule, budget, location, crewing and how it concerns the screen director. Everything about the lm is concluded on paper well before production. From screenplay/rewrites, shooting script, oorplans,
EJOTMAS: Ekpoma Journal of Theatre and Media Arts, Nov 30, 2017
Using historical-analytic method, this article examines the dynamics of directing for the stage a... more Using historical-analytic method, this article examines the dynamics of directing for the stage and the screen. It argues that even though the process of directing is a tough one both on the stage and the screen, it can be very interesting and rewarding for the strong-willed, creative director (artist). It further posits that contemporary theatre is so sophisticated and highly technologically driven that a stage director must of necessity be artistically and technically savvy to be effective in play production in the theatre. As creative and interpretive artists, post-modern, multicultural and globalized directors constantly seek new means of creative exploration through a shared experience of experiments in multimedia, visual arts and cultural expressions of the performance theatrical traditions existing all over the world. This is the key link in the works of creative high concept directors such as LeCompte and those of text-interpreters and author-centred directors such as Max Stafford-Clark, Katie Mitchell and Declan Donnellan. Contemporary directors are seeking new ways of developing strong 'physically embodied theatre' and must continuously strive to work across the theatre/film/television divides, and feel be at home in the different media to bring their visions to bear on creative works beyond the confines of any single medium for the gratification of the ever 'hungry' audience.