Communicating the Vision
When I was in high school, I took a course in leadership my freshman year. There was this one exercise we did where a volunteer would be given a piece of paper with an ambiguous shape on it, and would be tasked with describing it to their teammate who was charged with drawing the same shape to the best of their ability using only the verbal information given by the other person. Ultimately, the success of the team is fully reliant on the ability of the volunteer to communicate an image that only they can see in a way that the other person can draw the same thing without ever having seen it.
As a director, one of the most important aspects of making a film is communication. The director has the vision - but it’s the team that brings it to life. From pre-production to post, it's essential to have clear and consistent dialogue between departments in order to ensure that everyone is on the same page.
So what does this look like in context?
Before I start the process of bringing on department heads, I’ve already made a script breakdown that separates out all of the elements of the script - from props to characters to time of day. The script breakdown is then used to help generate a rough budget and schedule, which I make with my producers. The producers and I create estimated budgets for each department, breaking everything down into specific line items. Then, I set out to find all my references and materials - this is what I use to create different mood boards, reference images, and concept art for each department. For cinematography, I use platforms like ShotDeck to find stills from existing films that capture elements of techniques, lighting, or frames that I’m trying to achieve in my own project. For VFX, I use megascan platforms like Quixel and AI text-to-art sites such as Dall-E and Midjourney to pull asset images and generate concept art. When it comes to the art department, I use a mix of content from all of these platforms to made simple slideshows that break down my initial ideas about costume, makeup, props, and set dress.
Mirage is a very creative, design-heavy production, so there’s a ton of communication happening right now across all departments. Currently, my DP and I are fine tuning our shot list, which also involves conversations with my VFX Supervisor about the virtual sets and what the overall layout will be. With this, we have also consider equipment and lighting, which will affect the lighting of the VFX worlds. In doing this, we have to put a hold on things until we can do a full department meeting with the Art Department to flesh out the look of the physical environment - this includes everything from color palettes to costume design to make up. Then, of course, all of this filters back to the producers to ensure that everything is within budget and working with the schedule. All this to say, there’s a lot of moving pieces. Part of my job is making sure everyone is looped in when needed, and no one has to deal with or think about elements that don’t have any effect on them (ex: Makeup artists don’t need to be present for budget meetings about the lighting equipment).
Another key aspect of collaboration is being willing to compromise. As the director, I have a clear vision of what I want, but it's also important to take into account the ideas and expertise of others. By working together and allowing my team to have creative ownership of their departments, we often end up with new ideas that ultimately make the film even better. It's also important to establish trust and build relationships with the different departments. This includes getting to know the strengths and weaknesses of each team member, and finding ways to work together that makes everyone feel comfortable. “Directing” doesn’t just refer to actors - it’s everyone. On this front, every set is different.
Regardless of who I’m talking to or what the situation is, I always try my best to keep the energy high, the vibes positive, and the creativity flowing.
