Hello and welcome back to the Directors Cut, brought to you by the Directors Guild of America.

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This episode is the concluding portion of the DGA Special Projects Committee's recent event,

the Craft the Director, Ron Howard. The event was the fifth in this series of conversations

with master filmmakers that feature an in-depth discussion about the directing process, from

pre-production through post. If you haven't listened to the first portion of this event,

please check your podcast feed

for the previous episode. Now please enjoy part two of Mr. Howard's discussion with fellow

director Jeremy Kagan in front of a virtual audience. In this episode, they discuss how

blocking can improve a scene that lacks vigor, technical and craft-oriented concerns of

A Beautiful Mind and Apollo 13, and why Mr. Howard hates shooting endings.

In dealing with a staging situation where you're in rehearsal, this is before, because

there are two times of rehearsal, there's the rehearsal, if you're lucky enough to have that, before you're in rehearsal. This is before, because there are two times of rehearsal.

There's the rehearsal, if you're lucky enough to have that,

before you're actually shooting the picture.

And there's the rehearsal, the first thing in the morning,

of what you're doing with them.

And I know you have the blocking that I often see

in the lots of your news is very, very fluid.

I was just looking at a scene from the paper where everybody comes to a microchia's office.

And it's a, it's a, it's a, it's a delicious scene with lots of people.

And the question that I'm asking is, when you're first rehearsing, if that got to be rehearsed before you were on set,

...