Chapter 13 of 17 from Mira Nair

On-Set Directing

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Bravery and humility are crucial to Mira’s process as a director. Learn Mira’s advice for preparing for life on set, including how to create harmony with the crew and actors and conserve your creative energy.

Topics include: Prepare Rigorously to Create Life on Set • Create a Sense of Harmony • Preserve Silence and Sanctity • Rely on Your AD • Know What Each Department Does • Be Humble About What You Don’t Know • Have the Bravery to Change

Bravery and humility are crucial to Mira’s process as a director. Learn Mira’s advice for preparing for life on set, including how to create harmony with the crew and actors and conserve your creative energy.

Topics include: Prepare Rigorously to Create Life on Set • Create a Sense of Harmony • Preserve Silence and Sanctity • Rely on Your AD • Know What Each Department Does • Be Humble About What You Don’t Know • Have the Bravery to Change

Mira Nair

Mira Nair Teaches Independent Filmmaking

The Oscar-nominated director teaches her methods for directing powerful performances, maximizing budgets, and bringing authentic stories to life.

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Harness the power of your roots

Oscar-nominated filmmaker Mira Nair approaches directing with the “heart of a poet and the skin of an elephant”—spurred on by rejection and fighting to bring uncompromising stories to film. In the Golden Lion-winning director’s MasterClass, learn to make a big impact on a small budget, evoke the best from actors and non-actors, and protect your creative vision so you tell the story that can only come from you.

In her first-ever online class, Mira Nair teaches you to find the strength in your unique story and draw the best from your budget and creative vision.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Mira will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

I love the soul and spirit the director brings in her approach. Mira Nair obviously takes a very real way that brings out a lot of emotion in her final presentation. I saw enjoyed listening to her and her experiences. I would love to work with her.

Many roles of filmmaking, their responsibilities, actual on set directing and crew handling. How to incorporate more life into my shots and my films overall

Phenomenal narrative...Nair shares how she creates and balances her ecosystem with her team. Her presentation informs any leader about building a program.

So interesting to listen to such a strong woman, with a great passion for stories. I have learnt so much from this masterclass and I really enjoyed the practical shooting of the scene section. Would love to see more of this in future masterclasses.

Comments

Andrew Kyle B.

"If it's wrong for me now, it will be wrong for me in the editing room." That's dang good.

Saba

Listen to your instincts and be humble. That is a lesson many directors should apply. I love Mira, Thank you.

Roberto M.

oh yeah preserve energy. I usually do the opposite, die at the end of the day and resurrect the day after. Good advice , I should also do it in the rest of my life. THANKS

Jerry K.

My 3 takeaways from this lesson: Energy is not limitless;. Preserve your creative energy. Listen two your instincts. Excellent advice! Thanks, Mira!

Rita

Solid information in this lesson. I am enjoying hearing another female director share her insights!

Daniel S.

Wow. This episode was very informative! I loved the break down of those core roles on set, I really needed this!

Transcript

Cinematographers are the gorgeous right hand, and left hand, and eyes of a director. First, I am inspired a lot by what cinematographers do. So it's their work normally that propels me to find them. And I was lucky enough, again, in my earliest years of making films to, you know, find Declan Quinn, a cinematographer with whom I have collaborated for, I don't know, six, seven movies, Fred Elms, who's an extraordinary cinematographer who shot, you know, even as early as the Cassavetes movies, and David Lynch movies, and then shot "The Namesake" with me. And so on. So cinematographers, firstly, just must take my own visual ideas much further. In my world, I like to work with cinematographers who are worldly, who are aware of the world beyond just what they live in and know. I often take cinematographers into worlds that are foreign to them, Calcutta, India, Delhi, wherever. In "Reluctant Fundamentalist" we shot all over the world. So they must be at home in other places, and they must have a great humility, and actually love for other worlds. But mostly what I look for in a cinematographer is an aesthetic and a visual sort of-- to be a poet of light is how I like to put it. I also want to work with people who value really the sacredness of the frame, who really take it as seriously as I do. And normally cinematographers, of course, do, you know. I am also someone who is hands on. I am with him or her, the cinematographer, shoulder to shoulder. Once-- you know, the frame is vital, which is why I don't use, somehow, the steadicam as much. Or I don't use day players in the camera zone, you know, because they do not come from the fabric of what we are trying to make, you know. They just come and go. And so it's important for me, even in second unit cinematographers, anyone who is capturing the image for the film I am making must be part of the nucleus and the team who create the vision of the film from the get go. [MUSIC PLAYING] When I'm looking for the right cinematographer for the film I'm about to make, I'm first, of course, drawn by the quality of work that I might have seen of a cinematographer versus another. And I'm hungry for that, and greedy for that. I look at films. I look at things people do. And I'll forget-- I'll never forget, you know, what an image might evoke in me. Or just the same way I do about a performance of an actor. But I remember. And then I try to find them. And I talk with them. The first thing I do is sort of talk about the visual sensibility that I come from, that I bring to it. Of course, my films are there to speak for it. But I usually share visual materials like a lookbook or images of the time perhaps that I might be filming or so on. But then I, of course, share the script. And the conversation that I have with the cinematographer about the script is very telling, is very revealing of how they might want to see it, without necessarily knowing how I see it, you know. But that is the...