PART ONE: LEARNING HOW TO DRAW

# Chapter 1. Introduction To Film Language and Grammar
(inside this chapter : The Film World ; Film Language ; Shots ; Film Grammar ; The 180-Degree Rule ; The 30-Degree Rule ; Screen Direction ; Film Time ; Compression ;
Elaboration ; Familiar Images )

# Chapter 2. Introduction To The Dramatic Elements Embedded In The Screenplay
(inside this chapter : Spines ; Whose Film Is It? ; Character ; Circumstance ; Dynamic Relationships ; Wants ; Expectations ; Actions ; Activity ; Acting Beats )

# Chapter 3. Organizing Action In A Dramatic Scene
(inside this chapter : Dramatic Blocks ; Narrative Beats ; The Fulcrum ; Dramatic Elements in Notorious Patio Scene ; Notorious Patio Scene Annotated )

# Chapter 4. Staging
(inside this chapter : Main Functions ; Patterns of Dramatic Movement ; Changing the Stage Within a Scene ; Staging as Part of a Film’s Design ; Working with a Location Floor Plan ; Floor Plan and Staging for Notorious Patio Scene )

# Chapter 5. The Camera
(inside this chapter : The Camera as Narrator ; The Reveal ; Entrances ; The Objective Camera ; The Subjective Camera ; Where Do I Put It? ; Visual Design ; Style ; Coverage ;
Camera Height ; Lenses ; Composition ; Where to Begin? ; Working Toward Specificity in Visualization ; Looking for Order ; Dramatic Blocks and the Camera ; Shot Lists and Storyboards ; The Prose Storyboard )

# Chapter 6. Camera In Notorious Patio Scene
(inside this chapter : First Dramatic Block ; Second Dramatic Block ; Third Dramatic Block ;
Fourth Dramatic Block and Fulcrum ; Fifth Dramatic Block )

PART TWO: MAKING YOUR FILM

# Chapter 7. Detective Work On Scripts
(inside this chapter : Reading Your Screenplay ; A Piece of Apple Pie Screenplay ; Whose Film Is It? ; Character ; Circumstance ; Spines for A Piece of Apple Pie ; Dynamic Relationships ; Wants ; Actions ; Acting Beats ; Activity ; Tone for A Piece of Apple Pie ;
Breaking A Piece of Apple Pie into Actions ; Designing a Scene ; Visualization ;
Identifying the Fulcrum and Dramatic Blocks ; Supplying Narrative Beats to A Piece of Apple Pie ; Director’s Notebook )

# Chapter 8. Staging And Camera For A Piece Of Apple Pie
(inside this chapter : Staging ; Camera ;Conclusions )

# Chapter 9. Marking Shooting Scripts With Camera Setups

# Chapter 10. Working With Actors
(inside this chapter : Casting ; First Read-Through ; Directing During Rehearsals ;
Directing Actors on the Set )

# Chapter 11. Managerial Responsibilities Of The Director
(inside this chapter : Delegating Authority While Accepting Responsibility ; The Producer ;
The Assistant Director ; A Realistic Shooting Schedule ; Working with the Crew ; Working with the Director of Photography )

# Chapter 12. Postproduction
(inside this chapter : Editing ; Music and Sound ; Locking Picture, or How Do You Know When It’s Over? ; An Audience and a Big Screen )

PART THREE: LEARNING THE CRAFT THROUGH FILM ANALYSIS

# Chapter 13. Alfred Hitchcock’s Notorious

# Chapter 14. Peter Weir’s The Truman Show

# Chapter 15. Federico Fellini’s 8-1/2

# Chapter 16. Styles And Dramatic Structures
(inside this chapter : Tokyo Story, Yasujiro Ozu (1953, Japan) ; Some Like It Hot, Billy Wilder (1959, USA) ; The Battle of Algiers, Gillo Pontecorvo (1965, France) ;
Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland) ; Sex, Lies, and Videotape, Steven Soderbergh (1989, USA) ; Shall We Dance?, Masayuki Suo (1996, Japan) ;
The Celebration, Thomas Vinterberg (1998, Denmark) ; The Insider, Michael Mann (1999, USA) ; The Thin Red Line, Terrence Malick (1998, USA) )

# Chapter 17. What Next?
(inside this chapter : Writing for the Director ; Begin Thinking About Your Story ; Concocting Your Feature Screenplay ; “Writing” Scenes with Actors ;
Shooting Your Film Before You Finish Writing It ; The Final Script ;
Shooting Without a Screenplay? ; Questions Directors Should Ask About Their Screenplays ; Building Directorial Muscles ; Directing Exercises ; Make A Piece of Apple Pie Your Own ;

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