The tricks and exercises in this book are justifiable and perceptive enough to succeed any literal knowledge, in the field of directing, gained from three years at film school or university. They are irrefutably researched and practiced insights from the top, the best; they are known to be the most effective. In most cases, the tricks are kept brief in hands-on example, but they come with enough resource to guide the beginner or advanced practitioner (or “wizard”) to furthering their magic skills quite considerably. In fact, this metaphor of the director as magician, or wizard, is instinctively argued and becomes a remarkably valuable way of understanding the craft. These tricks that Mark proposes do indeed involve the slight-of-hand of what are fundamentally psychological sidesteps and manipulations, or illusions, if you like.
And what do these illusions hope to achieve? Essentially, it is to excel in the creative collaboration with actors and directors. While, the book does focus on working with writers and actors, the tricks are, in fact, applicable to the entire filmmaking process as a director and all the obstacles you will come to face. It is clear, that the most important consideration for a film director is to get the best performance from his/her actor. And Mark gives some great answers to this largely inexplicable phenomenon. I will mention, what I believe to be, an underlying theme across making all Mark’s tricks work, a strong focus on the subtext of the text/character/scene/or any situation (in filmmaking and, dare I say, life).
I won’t recite the tricks in this post; you will have to buy the book. However, I wouldn’t be able to offer a patch of the intuitive and mature outlook of Marks writing, which surrounds each technique with an extra flavour of humour and reflection. There is the odd bit of cynical wit surrounding the director and Mark fulfills the good old joke of the director doing, at the end of the day, whatever he can to get what he wants. In fact, the interviews that Mark conducts with wise, noble and expert wizards are occasionally diverting and even mocking of what we, as directors, do. Of course, this is no criticism, it is the insight of entertaining personalities, and they offer ample bouts of sharp knowledge and evidence of everything that Mark has talked about during the book. The book is a package that folds together to form a neat little parcel full of treasures and surprises.
If you have read Mark’s other books (The Directors Journey and Directing Feature Films) you will be familiar with his style and friendly approach. But, don’t be fooled into thinking that this book will be a rework of his past writings, it is essentially distinct and whilst a few intuitions are understandably repeated (Mark even acknowledges these areas), the bulk are remarkably fresh and even rewarding to read. Thanks Mark (and Michael Wiese)!
Find the book on Amazon here.