Each time I set out on a new project, I'm working to refine my style of production. On my very first legit short film, Wall, I storyboarded every shot and broke down each storyboard mathematically so that I knew exactly what lens and exactly where to put the camera for each shot. Over the years, especially working as a cinematographer for other directors, I learned that storyboarding isn't always the answer. Unless you have a very complicated action or special effects sequence that needs to be communicated with dozens of departments, I don't like storyboards. My style has evolved to primarily working with the actors on the set to find the best shots and blocking. Even with that approach in mind, I prepare as much as possible in advance. I make dubious shot breakdowns and conceptual notes in pre-production to keep myself on track during the chaos of shooting. The general idea is to do as much homework in pre-production as possible and then basically let it all go and work from instinct on the set. If I've done my homework properly, then my instincts and reactions to what is happening at any given moment on the set will come organically from the original plan and structure. You don't always get the chance to execute every idea you have. In the reality of production, especially that on a very tight schedule, often the more 'wishlist' kind of ideas go out the window. My responsibility as a director is to get my 'vision' of the film on the screen, but it is also do that in a realistic fashion; on schedule and on budget. Having been a cinematographer and producer for other directors has made me a rather pragmatic, but efficient, director myself.

To get an idea into how I work with the script and my shots on set, you can look at these sample script pages.

Descent is a very classic cinematic piece for me. There is very little dialogue and very little interaction between more than two characters. It's almost purely visual, building relationships and emotions from the juxtaposition of one shot to the next. When I made out my shot list, I incorporated several conceptual notes detailing what I was going for. Even with the tight schedule, we were able to integrate most of these into the final film.

This film was a very difficult shoot for me on many levels. Logistically it was a very rough pre-production that came at a very busy time for me. Some of this fatigue showed in my post-production journal, excerpts from which I have included here. It is a very candid look at the process of editing the film and seeing it all come together.

As always, I learned a great many lessons on this project. It was further proof that I don't like directing my own writing: I'm really a much more competent writer than a truly talented one and I'm much happier finding a really great writer to direct their work. Also, because of the tight schedule and extremely limited budget, this was a great example of 'shooting-from-the-hip' in terms of telling the story visually and acting primarily on instinct. No matter how much planning and homework you do in prep - you've got to be prepared to throw it all away for what works for the moment - and hopefully for something better. In the case of Descent - I'd have to say we found that something better.