From Ron Howard's MasterClass

Frost/Nixon: Staging Review

Reviewing the staging exercises, Ron talks you through what he was considering while blocking the actors and planning for each shot.

Topics include: Find the Fluidity • Give Actors Some Business • Remain Flexible • Marry Acting to Staging • Make Compromise Work • Discover Your Personal Preferences


Reviewing the staging exercises, Ron talks you through what he was considering while blocking the actors and planning for each shot.

Topics include: Find the Fluidity • Give Actors Some Business • Remain Flexible • Marry Acting to Staging • Make Compromise Work • Discover Your Personal Preferences

Ron Howard

Teaches Directing

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The first approach that I took was similar to what I'd done with the movie. I mean, I thought about it. I didn't go back and look at my notes or review that scene, but I remember how we staged it more or less, and what the energy was, and the sort of the stylistic and tension of that scene. And so I thought we'd just approach it that way. And I'd take a moment here or there to explain sort of what the coverage might be, the way in which a handheld scene can come together, what can be sort of discovered by the camera operators versus what needs to be staged for and more designed by the director. But you know, that's meant to have a kind of a fluidity, as much movement as possible. During the-- whatever it is-- 2 and 1/2 page scene or so, the actors are in three or four different places. And so I wanted to show that kind of staging fall into place, utilizing the instincts of the actors, the preparation of the director, the point of view of the director. And then, what could be done with the camera? As I was going through all of that, I was just reminded that in each and every scene there are so many undeniably valid ways to approach it photographically and in terms of the staging. I mean, today I thought of four or five other approaches that might well have worked. And again, this is the challenge for a director-- is to make some sort of overarching, holistic, decisions about the story and the way they'd like it to unfold so that it begins to narrow some of those options. But when you see movies that you love, television shows that you connect with, it's good to understand not only the writing, not only the characters, not only the themes, but also, what is there about the presentation that is working for you? And the more you understand it just on that basic level of a relationship-- again, the director is the first audience member. So if you make yourself an audience member and start to understand what it is that you like about it, you can carry that sort of focus into your work when you begin to make a film. You begin to see frames and falling into place, acting moments. You're watching the monitor, or looking through the camera, or however you're shooting it, and you can begin to relate it to your experience as a viewer. And it keeps it immediate, and it also keeps it very exciting. Salvatore Totino, a cinematographer I've worked with a half a dozen times, also operates. He was one of the key operators on Frost Nixon. And there are times when we'll finish a take, and he'll lower the camera, and he's got tears in his eyes because he's not just worried about the frame lines. He's an artist. He cares about the story, and the actor has created something in that moment, and Sal's been able to capture it with the light, with the lens choice that we've discussed, in a way that reaches him in a very spontaneous way. Business is often an actor's best friend. ...

Direct your story

Ron Howard made his first film in 15 days with $300,000. Today, his movies have grossed over $1.8 billion. In his first-ever online directing class, the Oscar-winning director of Apollo 13 and A Beautiful Mind decodes his craft like never before. In lessons and on-set workshops, you’ll learn how to evaluate ideas, work with actors, block scenes, and bring your vision to the screen whether it’s a laptop or an IMAX theater.


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

I am super stoked! I plan to use a lot of his technique the next time I direct a project. He shared a lot of wisdom and jewels and answered questions I've always thought about. Stellar class!

I´ve learned so much! I am very happy with the introductory into directing. I do feel more confident next time I shoot something I will take more things into consideration about how I want to tell the story.

Ron Howard is a terrific teacher and so gracious to share his knowledge. I am struck by his sincerity and his love for film. He is a Gentlemen. Thank you for the opportunity to take this class from one of the GREATS! Gino D'Cafango, Aerodynamic Films

The practical sections were some of the best yet. It's amazing how the learning can be so much more effective when you're witnessing the process as it happens.


Elizabeth B.

I had exactly the opposite experience from Lee Smith...I felt Ron gave so very many choices for everyone from studio to indie beginner.

Lee S.

These staging episodes were very disappointing. They are geared to a studio production, not a more modest production that most student directors experience. Specifically, most student directors do not have the luxury of shooting everything with A and B cameras. And what about sound? Was that a single system with a wireless feed to the cameras? Is Ron depending on ADR? Again, not a production situation for most students. He kept whispering to the camera operators. I rarely saw a clean take from start to finish. There were also many points where focus was lost, soft, or seemed to be on the wrong character. Then in the steady cam sequence there where several points where the framing was horrible; there would be a medium shot that cut the actor's head almost into his eyes. There actors here were also very good. What about communicating with inexperienced actors? Several times Ron used result oriented directions which are ineffective and confusing to new actors. He should have taken Lucas' advice at the end and staged everything with one camera and dual system. The earlier episodes on script and preproduction were good but these on staging missed an opportunity to address what most students need.

Arek Z.

One of the most useful and insightful classes. Thank you Ron! It’s great to see your perspective and learn from your experience. Staging & POV. One of the best classes to watch over and over again.

R.G. R.

Great lesson and the final point he makes about the scene and what it really entails to make a good scene is excellent insight

Jody G.

This lesson was incredible. Chalk full of great advice and a good summary of the strategies used in the previous lessons. I think I will have to watch it again.

Mercile M.

I Love Your Direction Ron! Building the Character and knowing how to move into what is important and what isn't. Leaving Exits points is a great. Wonderful Camera Direction Thanks!

Anthony Lee M.

Love the insight into actors experiences throughout the process. Amazing understanding of a scene and all it entails! great lesson!!

Jonah A.

Hi guys, I want to be a director after I go to college, it there any advice that anyone can give me, if so it will be greatly appreciated! Thanks!


I have thought about the idea of doing a scene multiple ways in order to get the right shots for the editor to put together in a seamless way. We've actually shot stuff like that with a couple of short films we did. They turned out amateurish, but we made them work (especially since we were making silly movies anyway). I think it's always important to plan out multiple ideas for certain scenes that may take a lot of work in order to make them work. That way you can work around the problems that come up with the right solutions to make the scene work. And the best part is (just like Ron said) there are multiple ways to make the scene work. You just either got to work hard or come up with a simple solution depending on the scene.

Daniel C.

"Nothing can give the impression of a screenplay writer's p.o.v. if the writer doesn't know how to correctly envelop the scene's objective. A reader can read the script over and over again, but, they'll never get the point if the writer can't objectively utilize their abilities. A Director has momentum, but the Director's objective is to emulate the emotional connection with the viewers. Somehow, if the Director can feel what's written on paper, then the screenplay writer has fulfilled their obligations."