Movies about Theatre director
At Veles Productions, we are creating new worlds and redefining the boundaries of the digital landscape. We are looking for open-minded, revolutionary thinkers who share our passion for the Metaverse and its potential.
Popis práce
As the Director of Movie Previsualization and Theatre Plays, you will be responsible for overseeing and leading the previsualization process for our film projects and theatre plays. Your role will involve working closely with the creative and production teams to develop and visualize the artistic vision, storyboards, and visual concepts for our productions.
Odpovědnost
- Collaborate with the creative team, including writers, directors, and designers, to understand the artistic vision and objectives of each project.
- Develop and create detailed storyboards and animatics to visualize the scenes, camera angles, and overall composition.
- Lead previsualization of film scenes, including motion capture sessions, to ensure accurate representation of the final product.
- Create compelling scenarios for metaverse game projects, aligning with the unique requirements of virtual environments and interactive storytelling.
- Coordinate with the production team to ensure seamless integration of previsualization into the overall production pipeline.
- Oversee the selection and implementation of previsualization tools and technologies to enhance the production process.
- Provide guidance and direction to the team of previsualization artists, ensuring the quality and consistency of the visual representation.
- Collaborate with other departments, such as art direction, cinematography, and visual effects, to align the previsualization with the final production.
- Stay up to date with industry trends and advancements in previsualization techniques and tools, and incorporate them into our workflows.
Kvalifikace
- Doctoral degree in film, theater, visual effects, or a related field.
- Proven experience in previsualization for movies, preferably within the film or theater industry.
- Strong artistic and storytelling skills, with a keen eye for composition, camera movement, and visual aesthetics.
- Proficiency in previsualization software and tools, such as Autodesk Maya, Adobe Creative Suite, or equivalent.
- Experience leading previsualization of film scenes and motion capture sessions.
- Ability to create scenarios for metaverse game projects, understanding the interactive nature of virtual environments.
- Excellent communication and leadership abilities to effectively collaborate with various teams and stakeholders.
- Ability to work under tight deadlines and manage multiple projects simultaneously.
- Knowledge of theater production processes and techniques is a plus.
dodatečné informace
- Competitive salary with project-based bonuses
- Health benefits with an HSA account
- Responsible work-life balance with flexible hours and paid overtime
- 26 days of paid vacation per year
- A modern indie-style studio that fosters a relaxed atmosphere while working on revolutionary Metaverse projects
- Opportunity to collaborate with international teams and contribute to the booming Metaverse industry
- Office conveniently located near transit and bike routes, in the heart of Warsaw Praga
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Přestože bylo vynaloženo veškeré úsilí na dodržování pravidel citačního stylu, mohou se vyskytnout určité nesrovnalosti. Máte-li jakékoli dotazy, nahlédněte do příslušné příručky stylu nebo z jiných zdrojů.
Vyberte styl citace
Kopírovat citaci
Sdílejte na sociálních sítích
Externí webové stránky
Děkujeme vám za vaši reakci
Naši redaktoři zkontrolují, co jste odeslali, a rozhodnou, zda článek upravit.
Externí webové stránky
- Turner Classic Movies — Biography of Stephen Daldry
- AllMovie.com — Biography of Stephen Daldry
Also known as: Stephen David Daldry
Napsáno
Richard Pallardy
Richard Pallardy received a B.A. in English from Illinois State University in 2005. He was a research editor with Encyclopaedia Britannica, Inc. from 2008 to 2016 and worked on Britannica Blog from 2010.
Richard Pallardy
Fakta ověřená
Editoři Encyclopaedia Britannica
Editoři Encyclopaedia Britannica dohlížejí na obory, ve kterých mají rozsáhlé znalosti, ať už z let zkušeností získaných prací na tomto obsahu nebo studiem na vyšší stupeň. Píší nový obsah a ověřují a upravují obsah přijatý od přispěvatelů.
Editoři Encyclopaedia Britannica
Poslední aktualizace: Historie článku
Obsah
Stephen Daldry
In full: Stephen David Daldry (Zobrazit více)
Born: May 2, 1961, Dorset, England (age 62) (Zobrazit více)
Awards And Honors: Tony Awards (2009) (Zobrazit více)
Stephen Daldry, (born May 2, 1961, Dorset, England), English film and theatre director known for his sensitive and nuanced treatments of stories featuring conflicted characters.
Daldry’s father—a bank manager who died when Daldry was 15—discouraged his early interest in theatre. Abetted by his cabaret singer mother, however, Daldry joined a theatre troupe in Taunton and by age 15 had resolved to direct. He attended the University of Sheffield on a Royal Air Force scholarship, earning a bachelor’s degree (1982) in English literature. At Sheffield he directed the university theatre company and cultivated his radical bona fides with forays into socialism and a penchant for wearing pillbox hats.
Daldry then further flouted convention as an apprentice clown in Italy. Upon returning to England, he settled in Sheffield, where he became the artistic director of the Metro Theatre Company (1984–86) and apprenticed at the Crucible Theatre (1986–88). While presiding over London’s Gate Theatre (1989–92), he championed obscure works by international writers, an ethos equally apparent during his subsequent tenure as artistic director of the Royal Court Theatre (1992–98). Daldry’s direction of J.B. Priestley’s An žádá inspektora for the National Theatre in 1992 earned him a Laurence Olivier Award and, when the production traveled to Broadway (1994), a Tony Award. He returned to Broadway in 1999 as the director of British playwright David Hare’s one-man show Přes Dolorosa.
Daldry—at the time credited with one short film—was then unexpectedly tapped to direct Billy Elliot. The film—about a boy who finds refuge in ballet—was nominated for several Academy Awards, including best director. Daldry then helmed Hodiny (2002), Hare’s adaptation of Michael Cunningham’s Pulitzer Prize-winning novel. A series of three meditations on Virginia Woolf’s Paní. Dalloway, the film starred Julianne Moore, Meryl Streep, and—as Woolf—Nicole Kidman. Daldry again received an Oscar nomination for best director, and Kidman claimed best actress honours.
In 2005 Daldry premiered Billy Elliot, the Musical, a stage adaptation of his earlier film, in London. The production, which featured music by Elton John, won four Olivier Awards. The Broadway production (2008) garnered 10 Tony Awards, including best musical and best director honours for Daldry. He returned to the big screen with Čtenář (2008), which was adapted by Hare from German author Bernhard Schlink’s novel. The film peers at the spectre of the Holocaust in post-World War II Germany through the lens of an affair between an illiterate woman (played by Kate Winslet) and a teenage boy who, as an adult, agonizes over the revelation that his lover was previously a concentration camp guard. The film earned Academy Award nominations for best picture and for Daldry’s direction as well as an Oscar for Winslet. In his next film, Extrémně hlasitý a neuvěřitelně blízko (2011), based on a novel by American writer Jonathan Safran Foer, a precocious nine-year-old boy wanders around New York City in search of the lock to a key left behind by his father, who died in the September 11 attacks.
In 2013 Daldry directed Helen Mirren in Peter Morgan’s play Publikum, which imagined the private weekly conversations between Queen Elizabeth II and the succession of British prime ministers over six decades. He then oversaw a 2014 revival of David Hare’s Vikýř. The critically acclaimed production, which starred Carey Mulligan and Bill Nighy as former lovers, earned Daldry a Tony nomination for best director. Daldry returned to cinema with Koš (2014), a drama about three boys who stumble upon a political scandal while picking through refuse in the favela they call home. He then reteamed with Morgan on Crown (2016– ), a Netflix TV series about the life of Elizabeth II; Daldry served as executive producer and directed several episodes. In 2018 he won an Emmy Award for his direction.
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In 2017 Daldry codirected Džungle, a stage play set in the migrant encampment in Calais, France, just before it was razed in 2016. Written by two Englishmen who traveled to the camp and set up a theatre, the play not only explored the predicament of the refugees but also the guilt and helplessness of the camp’s volunteers. Daldry then directed Dědictví, which premiered in London in 2018. Inspired by E.M. Forster’s classic novel Howards End (1910), the play considers the lives of young gay men a generation after the height of the AIDS crisis. It won four Olivier Awards, and Daldry was named best director. The production opened on Broadway in 2019, and it went on to receive a number of Tony Awards. Notably, Dědictví was named best play, and Daldry won for his direction. In 2021 he returned to the big screen with Spolu, which centres on a couple examining their relationship while under lockdown during the COVID-19 pandemic.
Daldry was made a Commander of the Order of the British Empire (CBE) in 2004.
Director (Theater and Opera)
As the primary visionary and unifying force behind a theatrical production, the director is responsible for shaping every aspect of the final performance—from the actors’ performances to the setting and design choices.
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What does a Director (Theater and Opera) do?
At the heart of almost any theatrical performance is the guiding hand of a director, a unique professional who takes charge of the production process and shapes almost every aspect of the show. Directors audition and cast actors; assemble and oversee the production team; provide design directives; lead rehearsals; and manage the production schedule of the project, ensuring that all the moving parts connect. Perhaps most importantly, they also supply a unifying understanding of the text and a particular vision for the production, which might mean a unique setting, a visual style or mood, or an interesting design concept that plays off themes in the text.
It’s the director’s job to answer the difficult question of «why»: why stage this show here, now, with these actors and for this audience? In essence, why does this performance matter?
Directors typically begin their work on a production with careful reading and analysis of the script and its characters, sometimes aided by a dramaturg. Following this, the director assembles a creative team that might include a set designer, costume designer, sound designer, lighting designer, prop artist, choreographer, music director, and even the playwright or librettist. This creative team works closely with the director, altering and polishing the production’s artistic vision and providing insight on design implentation. The work continues in rehearsals, where the director—assisted by stage managers—guides actors through the process of understanding their roles and lines, controls and refines the pacing of scenes, and implements blocking and choreography. Once the show opens, the director’s job is complete and responsibility for future performances passes to the stage manager, although the director might still provide small performance notes.
Na první pohled
This senior position is, for many, the culmination of a long career in theater—working one’s way up from stage and technical crews to become first a lead designer, stage manager, or production manager, then an assistant director, and then, finally, the director. Still, not everyone takes the same path; some break into directing early in their careers by producing their own work or founding a small theater company, while others find success as performers before trying their hand at direction. For directors, success means being hired by prestigious companies to direct high-budget productions, finding long-term positions or residencies at theater companies or universities, or rising to the top of a theater company as the artistic director.
Most directors are independent contractors who are hired by theater producers and companies on a per-project basis, although some have full-time positions or residencies with theater companies, or with university theater departments as professors or teaching artists. This is considered a tough field to break into, because aspiring directors can’t learn the craft without doing it, and they can’t get hired to do it until they’ve proven themselves capable. Aspiring directors should learn everything they can about theatrical direction, production, design, acting, and more—and if initial opportunities aren’t forthcoming, should create their own by producing and directing shows independently. Additionally, building a network of connections and a solid industry reputation is vital to landing jobs, which are often found via word of mouth.
- Hiring and leading a production team
- Casting and running auditions
- Basic theatrical design
- A unique vision
- Kritické a analytické myšlení
- Komunikace
- Spolupráce
- Vedení
- multitasking
- networking
- Time management
Successful directors possess a large suite of interpersonal skill, including personal and artistic sensitivity, aesthetic acuity, excellent communication and organization, and the confidence to lead and inspire others through a difficult and unpredictable process. They are superb multitaskers and steady as a rock in the face of adversity. While not all directors are great collaborators, all must understand how to facilitate the collaborative process and synthesize the efforts of large creative teams. Finally, it’s vital that directors possess the ability to think critically and analytically about a text, and the passion and conviction to pursue their interpretations. It’s the director’s job to answer the difficult question of «why»: why stage this show here, now, with these actors and for this audience? In essence, why does this performance matter?
Like most theater artists, directors tend to work in bursts. Several months of intensive labor on a show culminate in the arduous final dash to the performance, followed by an abrupt transition to downtime, during which directors have the opportunity to relax, regroup, network, and acquire new skills before setting out on the next creative journey. Again like others in the theater industry, directors primarily work during the evenings and weekends.
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