On April 10, the DGA celebrated the craft of directing during the 30th Annual Meet the Nominees: Theatrical Feature Film symposium. In a historic virtual event that was viewed by DGA members worldwide, the 2020 Outstanding Directorial Achievement in Theatrical Feature Film Award nominees â Lee Isaac Chung (Minari), Emerald Fennell (Promising Young Woman), David Fincher (Mank), Aaron Sorkin (The Trial of the Chicago 7) and ChloĂ© Zhao (Nomadland) â joined Special Projects Committee Chair Jeremy Kagan online for an in-depth discussion about their work.
See exclusive video of the symposium below.
âIn this unimaginable year, which has truly been like no other, itâs an extraordinary pleasure and honor to be joined, even if itâs just virtually, by all five of the outstanding nominees,â said DGA President Thomas Schlamme in his welcome to the online audience. âEach of these fine directors join an illustrious line of filmmakers throughout Guild history who have represented the best in directorial achievements. I personally want to congratulate each and every one of you.â
Following a viewing of clips from each of the nominated features, Kagan prompted the nominees to share stories of their individual journeys that brought their powerful films to life.
âFor me, itâs always about what do we think weâre doing as much as what we are doing,â said Fennell when asked her methodology for directing actors. âIf we think weâre a hero and that goes against whatâs happening in the script, play the hero. And itâs giving permission as well for the actor.â
Sorkin revealed his secrets behind the art of directing crosstalk. âMake sure that they put the burden on the other actor. Make them stop you from talking. Donât stop because the script told you to stop. And similarly, the actor who is doing the interrupting interrupt them as soon as you hear the word thatâs making you say âno!â or whatever is making you argue.â
Chung shared his process when it comes to rehearsals. âI try to make sure I talk throughout it; I donât let them fully get into the scenes so that part of it they are still working it out mentally. I donât get quiet and let them do it. âŠso I can try to preserve when the cameras are rolling that first time.â
âMy personal taste is that I want to see what the audience is seeing,â said Fincher about his work preferences. âI work through the camera. I walk-through a number of rehearsals without having monitors up, but from the time we set a master or alternate master, the rest of the day is working through the camera because thatâs the only thing that matters.â
âItâs always whatâs on the camera,â agreed Zhao. âThatâs it. Thatâs the difference between film and theater. People think because I work with a lot of nonprofessional actors, Iâm usually like right there with them. But I love it very muchâŠ. because a lot of the time we have the sun right there and we can only do one take.â
DGA Meet the Nominees: Feature Film Symposium