During the process for directing Marcato, I consulted the following texts. References 2017, C. (2017). DCP author. [online] Available at: [Accessed 18 Feb. 2017]. 2017, C. (2017). Runner / floor runner. [online] Available at: [Accessed 18 Feb. 2017]. Bamford, N. (2012). Directing television: A professional survival guide. London: Bloomsbury USA Academic. BBC. (2017). … More Research

The Reflection

The famous noir director Billy Wilder said “A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard” (Zolotov, 1977). I can say through the process of making Marcato I have been all of those and then some.  The process of wrestling with the words on page, making them visual while … More The Reflection


“Such a mood is also reflected in the aural landscape of Nordic Noir. Rather than swamping the soundscape with bursts of orchestral extravagance, the score also tends to be understated, offering an eerie and unsettling ‘pulse’ that gently punctuates the action. There are moments when it clearly builds in momentum, but it generally tends to … More SoundScapes

The Edit

In my director’s production log for Marcato, I spoke about the importance of partnerships in the role, and one of the most vital is that with the editor.  Robert Altman describes it as a Ping-Pong game “I hit the ball to the editor and it comes back with a different spin on it. Then I … More The Edit

The Opening Sequence

“In any television drama, a strong opening is really essential”(Orlebar, 2011, p207). Knowing how essential the opening was to hook the audience, I wrote an entirely new, cinematic opening to the film.  Orlebar (2011) goes on to say that the opening  sequence must introduce the location, set up the character and foreshadow plot and thematic … More The Opening Sequence

Shot Mortum

Rabinger ( 2012, p.425) explains that nothing upsets the cast  more”than dissent amongst the crew” and the feeling that are being” directed by a committee” however this was a more than an occasional problem across all the days’ shooting. With crew members making suggestions and criticisms in front of the cast, sometimes not even being … More Shot Mortum

The Shoot begins

Rabinger (2012), is very clear on the responsibilities of the director. “The director watches every aspect of the scene for its emotional truth and intensity. What is being expressed. Is the scene focused? Does it deliver what is supposed to deliver?” (Rabinger, 2012, p.395). Rabinger (2012) goes on to say that a common fault of … More The Shoot begins

Preparing the Cast

Knowing the key relationship between directors and actors I had arranged two rehearsals unfortunately one was cut short.  Prior to the rehearsal I read chapters 18 to 25 in Rabinger’s (2012)  Directing, Film Techniques and Aesthetics, there is too much to summarize, but my key takeaways were: Actors don’t need authority or challenge, they need … More Preparing the Cast

Femme Fatale

In the TV Genre Book( Creeber, 2015, p.23) Marieke Jenner writes ” homesexual detectives are rare.. in a genre, dominated  by white, male straight heros”  so the change of the detective’s gender during the casting process in Marcato did raise some issues. The crime and noir genres are  often reflections of contemporary sociological issues and the … More Femme Fatale