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TABLE OF CONTENTS

Acknowledgments

Foreword, by Robert Zemeckis

Preface

PART ONE – BEFORE THE BATTLE

Chapter 1. Preproduction

Soaking Up the Atmosphere

Decisions! Decisions!

Work, Work, Work!

Producer and Director – ‘Til Death Do Them Part

Crewing Up

Summary Points

Chapter 2. Content Is Everything

Casting and Scripting

A Few Examples from the World According to Bob

Perfecting Your Script – Getting the Audience into the Movie

The Hero

The Heroic Quest

Attaining Perfection in Casting

How Do You Define Perfection? Casting Your Leads

Casting Your Supporting Roles

Content and the Producer – Sometimes They Come from Different Planets

How to Be Almost Producer-Proof: Write the Script

How to Be Producer-Proof: Write the Script and Raise the Money

Summary Points

PART TWO – VISUAL DESIGN

Chapter 3. Camera Blocking

Why Move Your Camera?

When Do You Move Your Camera?

Externally and Internally Generated Camera Moves

Moving Establishing Shots

Those Who Break Bob's Rule and Why They Do It

Now That You Know the Rules, It Gets Really Complicated

Summary Points

Chapter 4. The Good Moving Master

The Four Tasks of a Good Moving Master

Task 1 – Shows the Audience Everything It Needs to See in a Scene

Task 4 – Picks Up Some Coverage

Task 3 – Generates Eye Candy

Task 2 – Concentrates the Audience's Attention on the Center of the Drama

How Zemeckis Shoots a Moving Master Following the Dictates of the Four Tasks

Summary Points

Chapter 5. Lenses – Why Force Perspective?

Lens Selection As a Joint Responsibility between Director and Cinematographer

The Basics of Perspective

Extreme Telephoto and Extreme Wide-Angle versus Normal Perspective

Lenses – Field of Vision and Depth of Field

General Applications of Different Lenses

Forced Perspective Made Easy

How Lenses Affect Movement

Summary Points

PART THREE – PERFORMANCE

Chapter 6. Directing Actors – It Takes Erudition and Intuition

Breaking Down the Script

The Spine of the Film – The Spine of the Characters

The Actor's Objective – An Overview

How Objectives Work – Get-from or Do-to Objectives + Conflict = Reality

Physicalization of the Objective

Identifying the Most-Playable Objective

Ultraplayable Objectives

Adjustments

“The More Adjustments, the Better” – How Come?

All Adjustments Are Gerunds or Adverbs

Improvisation

Script Breakdown – Layout

Summary Points

Chapter 7. Rehearsal

Preparation

Credibility versus Interpretation

Objectives and Adjustments in Rehearsal

Physicalization As a Rehearsal Tool

Improvisation As a Rehearsal Tool

Making Weak Actors Believable and Good Actors Great – Improv As a Versatile Tool for Rehearsal

Preparation Is Everything

Summary Points

PART FOUR – SET POLITICS

Chapter 8. On the Set

Getting Ahead by Getting Along

Successful Collaboration

Collaborating with the 1st AD

The First Walk-Through for Camera

Collaborating with the Cinematographer

Making Your Stars Shine during Production – Off the Set

During Production – On the Set

On the Set in Front of the Camera and Crew

Collaborating with Your Lead Actors During the First Walk-Through for Camera

Taming the Actors Who Chew the Scenery

Collaborating with Yourself

Summary Points

PART FIVE – POSTPRODUCTION

Chapter 9. To the Answer Print and Beyond

Collaborating with Your Editor

Reshoots

Inserts

Post Sound – An Overview

Spotting the Picture for Sound Effects and ADR

On the ADR Stage

Hiring a Composer

Working with the Composer

Sound Mixing or Rerecording

Promotion

To the Answer Print and the Sweet Hereafter

Signing with a Manager/Agent

Signing with a Publicist

Coping with Success or the Lack Thereof

Summary Points

About the Author