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Arts & Entertainment

Frost/Nixon: Alternate Staging Possibilities

Ron Howard

Lesson time 22:01 min

Now that Ron knows he has all his master shots and additional coverage, he explores other possibilities—often following an actor’s natural instincts.

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OK, so we're going to go through that version of the blocking again. And every once in a while we're going to stop, I'll walk in and explain the reasoning for that staging, and talk through some of the other possibilities that we might have been able to consider. And then we'll carry on from there. 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 was people protesting peacefully and legitimately about the Vietnam War. That's what I remember. Music off, please. Music off. By the end? OK, great. So this is a position that the actor's first and foremost and very importantly fell into very, very naturally. It also lent itself to a good wide shot, an establishing shot that we could do to establish the room, particularly the moment when chases out the imaginary actor who would one day be there playing the radio. It also creates some space. And it gives an opportunity for a shot here that we did where you have David in the foreground and you see that he's trying to ignore the pressure that's being put on him by everybody. And it also gives a kind of a space as though he's surrounded by three individuals who have a strong point of view or are upset with him. So spatially I felt it created different lines that we could also work with. Over the shoulder here I remember we did. And an over the shoulder here that we did. So again, it's this idea of David being ganged up on by everyone. So this first stop, again, is where they organically landed when we did the first rehearsal. And maybe I tweaked it a little bit just in order to position for the camera, but this is where you guys naturally felt inclined to go, which is always a good sign. It's a good idea by the way, to let actors begin to stage it on their own. You might have one or two principles that you need. For example, it needs to play near a window, or a light source, or you wanted the sun at their backs, or just some basic idea like that. But having been an actor, I've always found that anytime the actors can establish the staging on their own it's very helpful, because it's organic to them. And sometimes they'll have an instinct about something that is different from the one that you had as the director while you were making out the shot list that works very, very well and might give you an idea. Like I remember at one point you sort of moved. Yeah. Or I could tell you wanted to begin to move. Yeah, that instinct. And then you didn't. And then that gave me the idea that, well, that would be a good spot for a very organic walk away from David. So those are the kind of things. Anyway, this is where this staging landed. And that's sort of our first stop in the scene. OK, carry on. And actio...


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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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it was fun. Ron Howard is one of good director. There are many things that I had learned from him . I know you already have met me with some preconceptions but anyway thanks you for your supports and teaching I hope to tell my stories to the world what ı see ,feel and think and people do the some thing on my movies

I learned a lot about the movie making process from beginning to end and picked up a lot of helpful tidbits that I know will come in handy while I'm directing in the future.

Ron Howard closed with it, my confidence is now a little stronger.

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Comments

ZhaoYue S.

Love seeing Ron Howard being so detailed in every sence,and he clear every details to the "students",and this is the best mastercalss i took until now.

Matthew A.

Recalling how efficiently Ron took over the Solo movie makes a lot more sense now. Seems like no time wasted in getting all the coverage needed to make the scene pop in the edits.

A fellow student

This has been the best part of the class so far. Being able to see the dynamics BTS has helped improved my visions for a shot and talking the scenes out with the crew. I think an added bonus for those looking to learn film/video editing would be to have whomever edited this all together to film their process and break it all down.

Ella D.

I love seeing Ron Howard in action! It must have been a ton of work to put these lessons together. Thank you to everyone involved. Editing the multiple angles was undoubtedly a tour du force. Icing on the cake would have been to see the camera lens labeled on the inset. What a cool way to teach directing - to show it and explain why you choose shots like Over the Shoulder and which angles convey what message.

dave@pixelstogo.com

As a camera op and editor who works with mostly new directors, I would LOVE to see more lessons like this. Mr. Howard's choice of the camera shots are very efficient and intuitive. Obviously, he has been at this quite a while. It would be great to see how other directors and DPs craft their camera shots.

Jason K.

In this era of #MeToo - are directors like Mr. Howard getting releases/consents from all cast/crew to touch them throughout the scenes like this? I am sure something like this might be built into initial sign-on contracts, but how specific would that be?

A fellow student

Writer, director, original cast, replacement (academic) cast, both cameras, sound, entire crew: all men. MasterClass, you’re perpetuating a lazy and outdated stereotype.

Gene H.

I love it. The epiphany I'm having is that I am much too one-sided with my concerns about crossing an axis. But I'm still unsure about the way to do that in order to get more interesting angles and still safeguard my choices for when things get to the edit suite.

Matthijs D.

In the last few lessons about staging we've seen a lot of decisions being made in very quick succession, only some of them being explained on the spot. In this episode we finally get a closer look at why we ended up with the staging the way it is now, but it still left me with a lot of confusion about the decisions made before we got here. Things changed many times over, so some decisions were overwritten by others. But I still want to know what the thinking was behind the decisions that didn't make it into the final version of the staging/blocking. A wrong choice can often be more educational than a right one. But more so, I'm wishing that the structure of the episodes about staging was different. I'd have liked it if the footage was paused at every choice being made in the episodes leading up to this one so that Ron could voice-over why he was choosing that way, right as it comes up. That way you don't end up with a lot of questions hanging around in your head leaving half your brain pre-occupied with remembering them while the lessons continue. There were so many things happening all at once in these episodes that you have more than enough things to keep track of as it is. Unanswered questions just diminish you're ability to process what's happening while you ponder them.

Matthew B.

I saw this Film at theatre on release and remember this scene vividly seen on HBO few times since