Directing
The programme Directing offers two specialisations, fiction and documentary. Within this programme there are two goals: offering students the opportunity to discover and develop their own identity in the making of films and enabling students to acquire insight and expertise. Both goals are realised by means of lessons, workshops and film projects.
Cooperation with other disciplines is a precondition for the success of the productions. This is true in the daily practice of this profession and therefore all the more important during the course. Within this partnership, the directing student is always the artistic leader of a film project. The directing student is therefore the one who inspires and motivates the people in front of and behind the camera. Insight into the making process, a passion for narration, a high degree of wilfulness and respect for other people?s input in the process are of crucial importance.
Fiction projects start with the 'triangle', the joint venture between the screenwriting, production and directing students. In the case of documentaries, the directing and production students form the foundation of the project.
Admission test
- Good, clear motivation, both written and verbal;
- Originality and creativity both in text and image (scripts and films submitted);
- Flexibility;
- Analytical and reflective abilities (in response to questions about the submitted work);
- A sense of reality;
- Ability to cooperate, communication skills, social attitude;
- Stress resistance;
- Charisma.
Key attributes of a good director
- Excellent insight into what he wants to tell or show which is expressed in his authority and natural powers of persuasion towards all disciplines involved;
- Inspiring;
- Unambiguous, decisive during each stage of the process;
- Creative in each stage of the process.
The NFTA teaches this by offering subjects and practical exercises in which the students are called upon to exercise the aforementioned attributes and abilities. Filmmaking is the most obvious example of this. The students also study subjects such as research, decoupage, writing skills, acting direction, recording management, ideas development and design.
A large proportion of the lessons are placed into the context of the film exercises that are made. Theoretical considerations are linked to practical examples. Or the other way round: theoretical lessons are followed by practical exercises. It has been proven in practice that brief exercises are very effective.
The students also direct each other in classes in the 1st, 2nd and 3rd years. Professional actors and acting students are invited so that the students can work with them. Lessons are given in acting direction and there are acting direction projects with actors and acting students. During the 2nd and 3rd year, leading acting schools in the Netherlands are invited to work with the students.
During the first year the course takes a more general approach and offers an introduction to all the disciplines in theory and practice. The practical side focuses on subjects such as camera, sound and editing and includes various exercises and assignments that the students must complete during the course of the year. Furthermore, general subjects such as film and art history, literature and television history are included. Part of the programme during the first year is devoted to the chosen specialisation.
All the classes that serve as preparation for a film exercise are exercises in cooperation. From developing an idea in RPS context, via screenwriting discussions, briefing other students, editing together with camera, to cooperation on the set and post-production. The students have to cooperate at all levels and at all times. Film is cooperation. The only time this is not put into practice is in the purely theoretical subjects.
Study material
First year - compulsory
- André Bazin, Wat is film
- Lajos Egri, The art of Dramatic Writing
- Eisenstein, Lessen in Regie
- Hitchcock Truffaut, Francois Truffaut
Depending on the programme other books such as those listed below are recommended.
- Aristotle, Poëtica
- Robert Mc Kee, Story: substance, structure, style and principles of screenwriting
- Judith Weston, Directing Actors
- David Cook, A History of Narrative Film
- Michael Rabiger, Directing the documentary
- David Mamet, On directing film
- Steven Katz, Shot by shot
Other comments
The academy's chosen structure in which all the specialised courses must offer an equally valid programme, occasionally hampers individual, groundbreaking creativity. However useful it may be, a large cooperation & consultation structure can lead to the rule of the lowest common denominator. Nevertheless we do try and stimulate the role of artist by encouraging like-minded people to seek each other out and work together, by doing exercises in which the (directing) student can make something personal, which is separate from all other disciplines, by looking at and discussing films, by promoting visits to festivals and by assessing the students individually and giving positive criticism.
The directing programme at the film academy is split into two disciplines halfway through the second year: directing fiction and directing documentaries. The choice for one of the two is made on admission.
