This book taught me that making a
film is an alive and organic process rather than a lab experiment in search of the perfect formula. Proferes’ concepts of “spine” and “fulcrum” for example, are essential to not get lost in the midst of any film industry development process, in which so many voices tend to give an opinion. The author insists in the need of finding both the mechanisms of the text and the director’s “whys” when tackling a story and being truthful to them until the very last decision of the process. His method of “detective work” on the screenplay is a very tough “bootcamp” with yourself in which no production excuses are possible: just director and story. If completed throughoutly, one will get to really know the story in hand, its nature and soul, like one gets to know a person only through intense sharing. That detective work will make pristine clear to the director what is his personal take of the material and will help detecting vital needs, including those painful rewrites. This intimate and utter intense work between director and story is the most direct translation of what it has been named so many times as “the director as an author”. Proferes’s approach to filmmaking is beyond trends. Timeless. His method could serve anyone that is serious about making films that talks to us directly, way beyond the actual “cool” syndrome. It just talks about drama, about what makes cry or not. And why.
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