Blocking a scene

This is just how I do it, so it not definitive.

Firstly, when I'm location scouting I measure all the spaces and create floorplans. Usually I'll walk through the action myself at this point, look at potential camera positions and take digital stills from those positions, marking them on my rough floor plan.

I always book a hall for a three or four days rehearsal before going onto location. In this hall I mark up my locations on the floor (think of Dogville, you'll get it) and use these spaces to rehearse the actors. Part of that reheasal process will involve a rough blocking of the scene. That is, having the actors decide where and when they are going to stand/sit/move/leap onto tables etc. I then check my rough camera positions around the scene as it plays in reheasal and make alterations and notes. Reworking those notes into a floorplan in my production file.

This means when I arrive on location we just adapt the existing blocking and play of the scene to the actual conditions and because I've worked from a tape measure and photos we're normally spot on.

This means on location I follow this formula

1) Go over the floorplans and storyboard for the scene with the DP and sound, talking them though the action (This is done whilst the actors are being brought onto the set.)
2)Get the actors to run the scene, adapting their reheasal blocking to the space whilst the DP and sound watch the action, make minor adjustments to the blocking, discuss if we need to make any adjustments to the shooting scheme as a result.
3) If everyone is happy with how the scene plays, the camera team sets up in the first position and I use that time to rehearse the actors. This is where the days we spent working the script pays off, because lots of actors don't even start to understand lines until they're in the context of the action. By the time my actors hit the set they have not only done that work, but also had a few days to process that and think about the scene. When it comes to the "on set" rehearsals we're actually doing detail work rather than basic character development work.
4) When the first camera position is set we run a camera rehearsal, make any last minute adjustments and give the boom operator a chance to find the best position and rehease their movements.
5) Go for a take.

I hope this has helped. But, like I said, it's just how I do it. I just know that I get better work form my actors and a faster turnaround on my set ups by doing most of the blocking and rehearsal of the scene before I get anywhere near the set. Preparation and planning is everything. The other strenght of working from floorplans is that you can see your coverage easily and make rapid adjustments to your game plan, if circumstances force you to.

Blocking actors and cameras are so intertwined it's hard to separate the two. I first look at the location and think where the actors would look best, then think about the best camera angles.

Clive is in a good position to be able to spent time on preperation, I'd love that but we are usually limited, shooing on locatioins at the mercy of a proprietor of some sorts. So I'll scout, and taking digital picutres is a great reference, let's you work out some stuff before hand with dp or camera crew. You can even rough out some storyboards this way, it's a great cheat.

If you are low/no budget indie like me, you really need to plan well to maximize the time you have so scouting and thinking about locations BEFORE you hit the set is vital. The last thing is the run-thru with actors, gives you time to adjust if you have to and gets them comfortable.

If you are low/no budget indie like me, you really need to plan well to maximize the time you have so scouting and thinking about locations BEFORE you hit the set is vital. The last thing is the run-thru with actors, gives you time to adjust if you have to and gets them comfortable.

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This is true. In fact the greater the time pressure the more important the preparation. That's the reason I rehearse away from the location in a hall where I don't have time pressures and I'm not inccuring production costs.

The truth is that on an average shooting day I put down on tape between 12 to 18 minutes. This is in comparision to the industry average of 2-3 minutes a day on film and 8-10 minutes a day on broadcast TV. Almost all of my time savings are down to preparation and I learnt all of them by being a lo-no budget filmmaker.

As you rightly say, when you are on a time sensitive location, and it's at the goodwill of the owner, then you have to use your time effciently. The other point about keeping your production slick is that it keeps the cast and crew on side, which when you've no budget is half the battle.

The bottom line is that the less money you have, the more professional you have to be. Where many indie productions run into problems is that they don't do enough planning and they don't use their time on set efficiently.

clive said:

The bottom line is that the less money you have, the more professional you have to be. Where many indie productions run into problems is that they don't do enough planning and they don't use their time on set efficiently.

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I will second that through EVERY SINGLE STEP of the way. If you don't have money or a proven track record AND you are disorganized, you'll lose the respect of everyone around you very quickly. Indie does NOT mean amature and people can smell poor preperation a mile away. You have to maximize every second in a way that big budget films don't.

If you aren't paying actors, they will surely appreciate a well-run production that doesn't waste their time and they will give you more effort and respect. Same thing with crew.

I think there are two things which money will not effect - script and preparation. They only require time so put in sweat equity on the script, get it as tight as you can get it, and get ready for every shot. That's more important than talent or desire or anything, just logging the hours to get it right. That holds true in post as well, time and energy are the great levelers.

Talent without effort is like sex without the orgasm.