From Ron Howard's MasterClass

Frost/Nixon: Steadicam Staging for Frost POV

Ron shows you an alternative approach he could have tried in the film: using a Steadicam to shoot from David Frost’s point of view.

Topics include: Frost’s POV

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Ron shows you an alternative approach he could have tried in the film: using a Steadicam to shoot from David Frost’s point of view.

Topics include: Frost’s POV

Ron Howard

Teaches Directing

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What I want to do now is something that is an experiment. It might be the kind of thing that would be really interesting and work on its own entirely. Or it might be something that you could choose to intercut with the Steadicam version. And it's basically to play the scene from David Frost's point of view. He's the guy who's feeling the heat. So we're going to begin with a close up on you coming through. And that'll also teach our Steadicam operator the staging, where you're looking, what you're reacting to. And we'll do a take or two of that. And then, we'll do the point of view, and you guys will actually look at the camera. And you'll just stand behind and feed the dialogue. OK? So we'll start on your close up. Word. Ready? So if you can't get all the way over to the wall, just fake it because we're very tight. So we don't really see your hands. OK? Should we try it? Yeah. Yes. And action. What revolution, David? You just let Richard Nixon claim the country was in a state of revolution. with protesters bombing and assaulting police officers. That's not what I remember. What I remember is people protesting peacefully and legitimately against the Vietnam War. That's what I remember. Music off, please. Music off. By the end-- Let's do it one more time. Why don't you come into here so you do see those guys in the background? Could you maybe just-- yeah, there you go. OK. Great. Yeah, you cheated a little bit over. Let's try one more. It's always interesting. But every time you change a lens-- not every time, but almost every time, there's some accommodation that the actors need to make, as you guys know. We're so used to doing it we don't even think about it. Right. It's a good example of it. Ready? Yeah, because if you can get in a position where you have them, then when we're in his point of view, we can actually be doing the insert of whatever he's doing. Which he's faking right now, but pouring something-- OK, Here we go. Is this a good general distance for you, one more time? Is that a good distance for you? Yeah-- Try to maintain this the whole time then? You could be a little closer. Is this good? Yeah, something like that to intercut with the POV. Ready, and action. What revolution, David? You just let Richard Nixon claim the country was in a state of revolution with protesters bombing and assaulting police officers. That's not how I remember it. What I remember is people protesting peacefully and legitimately against the Vietnam War. That's what I remember. Music off, please. Music off. By the end, wiretapping students and breaking into journalists homes. You made it sound like that was a rational response. Well, I'm sorry you feel this way. I simply cannot share your view. About what? Abo...

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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.

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Comments

A fellow student

As I'm new to filming I'm finding this great the angle and close up shots give the shot more power and can see how it Impacs the film

EK T.

Some of the steadicam shots in the actual film were a bit nervous for me. It was interesting comparing this to the film and comparing the film to the actual interview.

Deborah S.

Since I have literally spent years of my life in editing bays, I still have a habit of marking time for actors. EX: Frost at 2:53 was precise, believable and maintained his POV. However, at 3:40 he seemed to be bringing his energy level down and more concerned with the POV of the Steadicam. All acceptable. Ron caught it and in the next take, he brought the scene together perfectly. I believe they call that teamwork. A+

Deborah S.

When I began this section of Mr. Howards class, I had to stop what I was doing and watch Frost/Nixon-again. I actually watched it three times over the course of three weeks. The fist time was to review the films content. The second to familiarize myself with scene sequencing, including the scene we are studying. The third time, I began to feel the importance of each edit and to notice various add-ons that were included to enhance the performances of both FROST and NIXON. The dynamics of adding his brother, Clint and his Father, Rance enhanced the intensity of the unfolding story. The next phase of this class and how the Steadicam can create tension and motivate the actors to feel how their posture, captured by the Steadicam, can make the scene more interesting to the viewer. I learned to appreciate these nuances long ago. Ron Howard, you are the mentor we are all looking for.TY

Mark

Using the steadicam really does create the tension that was needed for that scene.

Liam V.

Love the Steadicam. I do realize why Ron could not have done it for the movie though. Handheld gives a much more emotional effect for this scene but it should not be used every time.

Douglas S.

I prefer the feel and look of the Steadicam staging especially the POV wish he'd shot the actual film like this. Hope Ron considers a sequel to the Masterclass would like to see him go thru the staging process with another of his films

Kevin B.

As always, another awesome lesson from Mr. Howard. I like POV's, gives the audience a good way to connect to the characters as if they possessed the body of the character, but not taking over, just to see through their eyes.

Phill W.

As an Englishman I do have to agree with Ron, that guys accent is on point!

Leslie T.

In a scene like this using a Steadicam is a great option. Particularly with the movement and the tension between the actors. I think it would be a good anchoring choice for the scene. It created a greater empathy for what the character were feeling and fortunately, the actors met the challenge!