The basis of the relationship between the DOP and the director is that they are both working on "planning the logistics and overall look of the film". [1] This suggests that the DOP and director must communicate to understand how each other plan to achieve the look of the film through the various techniques and methods that can be used - a method can then be agreed upon so that the vision of both parties is being realised.
Within the relationship of the DOP and director, there is a "strong reliance and confidence in each other's abilities. That trust not only gives you space to create, but it gives you the boldness to ask for advice when you need it as well." [1] This suggests that the DOP and director need to trust each other's ideas which will give each person the space required to achieve this idea - which will result in a better product (rather than the two members standing in each other's way as they believe they can achieve a better result using a different method). As long as all ideas are communicated and agreed with each other, there should be the trust in each other's abilities to deliver these ideas and achieve the intended result.
It is also suggested that pre-production prep should be started early, to give time to come up with ideas organically rather than rushing to brainstorm ideas which could result in a rushed product that isn't as effective as something that has had a lot of time and thought put into it. [1] This suggests that communications need to begin early so that the minds of the DOP and director can work together to come up with original and effective ideas, rather than sitting down and rushing to brainstorm ideas.
Cinematographer Robert Richardson states that;
"My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material. It’s far better to shoot a good picture than a good-looking picture."[2]
This shows me that I will need to be flexible with my ideas as my focus is solely on the visuals of the production and I may not consider how certain shots may benefit the narrative better, whereas, the director oversees the entire production and will be able to indicate where alternative shots would make the production better as a whole. The collaboration between the DOP and director requires each person to be flexible with their ideas as their focus within the production is different from each other so one person may be able to highlight something the other had not considered - this will mean one person deviating from their preference but this works to produce a better result.
Once the director and DOP have worked together through the pre-production of the project in which the DOP translates the script into the shot list and storyboard as approved by the director, the relationship continues on set of the production;
"The cinematographer translates the director’s vision into an image with a specific mood, angle, focal length and light. The cinematographer interprets the script in a visual language that speaks to the audience, and if done well, underscores the essence of the scene. The director works with the talent on the core of the scene, eliciting performances from the actors. While the director is rehearsing the blocking of the scene with the talent, the cinematographer is watching for shadows and following the movement of the scene with the camera. Since it is ultimately the director’s vision being transformed to an image on screen, s/he may have requested a specific focal length for the shot, which the cinematographer provides. Both are headed for the same completed image, with the director focused on the performance and the cinematographer focused on the image."[3]
This accurately describes how the DOP and director work together on a production to produce a vision that fulfils both of their desires. The director and DOP agree the style and tone to be used to film the production during the pre-production - meaning that on the shoot days, the director can focus on blocking and rehearsing the actors to get the best performance from them, whilst the DOP focuses on following the movement when put in action to ensure the images planned in the storyboard / shot list can be achieved in the production. As all the pre-production prep has been overseen by both people, the DOP and director can trust each other to oversee their specific elements of the shoot which will allow for the best product to come together.
"The cinematographer is the one individual on set who can make the idea in the director’s mind come to life." [3]
The director generally has the idea for the overall tone of the production - the DOP then takes this and breaks it down into the different elements required to make up this tone (i.e. the lighting needed, the shot types, framing, shooting style, colours etc.) This shows how the collaboration is important as the DOP needs to be able to understand and communicate with the director so that the elements they plan fit with the director's idea for the overall tone of the production.
In an interview with the DOP from What To Expect When You're Expecting, Xavier Grobet (DOP) discusses his collaboration with the director Kirk Jones. He stated;
"I believe in the director’s vision and I think we all work in a movie to help him or her accomplish that vision. My point of view will be my interpretation of this vision, which will be what I bring to the project. I always bring in suggestions – I like to talk about our options and come up with the best way to tell the story. At the end it doesn’t matter whose idea it is; as long as we are all in accordance we’re heading in the right direction.” [4]
This once again highlights the importance of being flexible with your vision as a better result may be found through the collaboration between the DOP and director - you are both working towards the same goal of producing the best quality production possible, therefore, allow communication to take place and take on each other's suggestions. Always have the end product in mind rather than focusing on the small details (i.e. I should not be too precious over a shot type because I like the visuals it delivers if the director feels a different shot type would aid the overall narrative).
A further piece of advice given by Adam Beckham who served as DOP on Mike Birbiglia's directional debut was to think of the role of DOP "as similar to that of a midwife. I try to get as invested in the project as I can, all the while trying to remember it’s not my baby.” [4]
This is a good analogy to remember as when you're the DOP you can become overly invested and protective over the shots you wish to use - but you need to remember the director oversees the entire production and is in control of the overall tone and style of the production so some flexibility is needed to aid the director in fulfilling his vision rather than just serving your own ideas.
The main things to consider in the collaboration between the director and DOP are [4] :
1. Can you both serve the story?
2. As a director, are you willing to take suggestions, even if you think your vision is set in stone?
3. As the DP, are you willing to put your own opinions aside for the greater good of the film?
What have I learnt?
- The DOP and director need to be flexible with each other to allow the best product to be formed. This means there needs to be constant communication so that each other knows where they need to be flexible and where changes will need to be made.
- There needs to be trust in the relationship - the DOP needs to trust the director to get the best performance from the actors on the shoot day and the director needs to trust the DOP to capture these performances using the best techniques to capture the style and tone of the production.
- The collaborative process continues throughout all stages of production - the director and DOP need to agree on the DOP's visual interpretation of the script in the form of the shot list and storyboard so that the correct vision is being delivered. The DOP and director then continue to collaborate during the production phase so that the best footage of the best performances is being captured to achieve the desired result. The director then needs to be involved in the DOP's colour choices in the edit to ensure this is still keeping with the desired tone of the production.
Sources:
[1] https://nofilmschool.com/2016/09/3-thoughts-collaborative-relationship-between-dps-and-directors
[2] https://www.premiumbeat.com/blog/8-cinematographers-behind-famous-directors/
[3] https://www.studentfilmmakers.com/creative-collaborators-the-director-and-cinematographer-what-a-director-should-know-about-cinematography-and-selecting-a-dp-by-jacqueline-b-frost/
[4] http://www.filmslatemagazine.com/the-art-of-collaboration-the-importance-of-the-directorcinematographer-relationship/
[1] https://nofilmschool.com/2016/09/3-thoughts-collaborative-relationship-between-dps-and-directors
[2] https://www.premiumbeat.com/blog/8-cinematographers-behind-famous-directors/
[3] https://www.studentfilmmakers.com/creative-collaborators-the-director-and-cinematographer-what-a-director-should-know-about-cinematography-and-selecting-a-dp-by-jacqueline-b-frost/
[4] http://www.filmslatemagazine.com/the-art-of-collaboration-the-importance-of-the-directorcinematographer-relationship/
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