DGA Monthly

2 4 I D G A M O N T H L Y Classic and international gardens, roads, ponds, mature trees, statues, architecture. THE HUNTINGTON | f ilmhuntington.org See our updated website! THINK GLOBALLY, FILM LOCALLY DGA Podcast Series : The Director's Cut These podcasts are posted on www.dga.org, or you can search for The Director's Cut or DGA podcast on iTunes, Google Play, or wherever you get your podcast, and stay tuned for many more great conversations! The Director's Cut, the DGA's official podcast, features conversations of Directors talking to Directors about bringing their projects to life. These include some of the events listed in this issue, as well as other recently posted episodes such as: Jon Avnet discussing The Last Rodeo with moderator Jason Reitman Ryan Coogler discussing Sinners with moderator Rachel Morrison Bong Joon Ho discussing Mickey 17 with moderator Ava DuVernay Martin Scorsese & Griffin Dunne discussing After Hours with moderator Raymond De Felitta View more excerpts and interviews in the Visual History Collection via the link on the homepage of www.dga.org. Recent Visual History Additions The DGA's Visual History Program website contains hundreds of hours of videotaped interviews with Directors and Director's team members discussing their careers and reflections on all aspects of the creative process in film, television and other media. These interviews are indexed for quick retrieval of segments pertaining to specific topics of interest within a particular interview or across the entire collection. Director Bethany Rooney discusses her experience in the episodic television world, her "Director's Diagram" method, and her Guild service contributing to Director education. Rooney on her tenets for rehearsal: "Well, I have it all planned out. I have it blocked and shot listed, but I'm willing to go with the flow. So, I give the Actors their starting points. I may say, 'I'm looking for this to end up over there,' but I don't get specific with them because I want to see what they bring to it unless it goes really awry, then I'll stop them. I say, 'Let's pause here for a second.' I call it the 'nudge, nudge, nudge' school of directing. I'm going to say something to the effect of, 'That move was great. I see why you did it. Would it be possible to go this way instead of this way' so that I can keep it all on the same axis? The other thing I've learned about working with Actors in rehearsal is as long as we get the big picture in the blocking rehearsal and as long as I feel like we're going to be on track for performance, I don't give them anything else. You know, all we need right now is, 'Is this the shape of it?' We're going to put marks down here and we're going to be able to stick with that shape. And then moving forward from there, when we start shooting, it's sort of big brushstrokes to refined brushstrokes and generally one note at a time. I don't go in there, saying, 'this, this, this, and this,' because that doesn't work very well." Bethany Rooney interviewed by Todd Holland Visual History and Podcasts

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