The biggest mistake often includes thinking that giving actor's space to emote means loading up your scenes with long pauses and stares, but not realizing that has no actual dramatic rhythm and doesn't actually hint to anything deeper going on?
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It's not an accident you that you see this in a lot of student work and first films. I get that it's wanting to honor interiority, but it's a false assumption that gets beaten out of you pretty quickly because directing's first job is to shape, target, and accentuate.
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Like, that's a 55 minute script if I've ever seen one, but we're loaded with constant scenes of characters walking into places with trepid looks on their faces. Where they goin? What's happening? What's the cause and effect? We don't know, actually. But it's broody!
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I thought the Babylon 5 finale Sleeping in Light was good, although it's been a while since I watch so maybe this is a thing there too. It was definitely better than the Lost Tales that he also directed later against greenscreen sets.
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I also came here to talk about
@straczynski directing sleeping in light and how it's one of my favourite episodes
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I didn’t realize they’d directed it, but it makes total sense. The episode was just kind of there and didn’t really land for me, in part because the pacing felt so padded.
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Even with this, it wasn’t the worst ending to a series I’ve ever seen. Not even by a lot honestly.
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DB Weiss has sole director credit for one prior episode (“Two Swords”), and they’ve co-written many together, but the finale is the only ep directed by the duo
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