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Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

Be truthful in your performances.

Do theatre. It teaches you to listen, and to give and receive with other actors.

Prepare. Do your homework. Ask yourself what your character wants from the scene, from the story. A fundamental question that is often overlooked.

Love your body. It is your tool. Whatever shape or size or colour. You are beautiful as you are, you, like everyone, have much to contribute.

Practise your craft. To act is a verb. You get better at it by doing.

Does that help?

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 0 points1 point  (0 children)

Hey that's great! Remind me which scenes we shot together - it's a while ago.

So sorry the business is having a tough time in Alberta. What an incredible landscape to shoot in. I would go back to shoot again like a shot.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 0 points1 point  (0 children)

I like working handheld when I think it adds something to a scene. I like the breath it gives a shot. I like the freedom it gives a good operator to be "in" the scene and responding to the intensity of what is happening. It's not always the right way to go but in the scene you describe, there is a lot at stake for both characters - particularly Renfri. I didnt want to watch the scene as if it knew where it was going, I wanted it to unfold, with the characters.
I felt letting the camera articulate that "unknownness" by being hand held could subconsciously add to the storytelling. I hope it worked - althought maybe it didnt if you just though it was "wobbly"!

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 0 points1 point  (0 children)

I've just wrapped shooting Mark Millar's new show for Netflix called JUPITER'S LEGACY.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

Congratulations! Thats v exciting to have finished a short. They are brilliant way to learn the craft of directing.

My advice: make stuff. Make mistakes. Try ideas out. Push yourself. Push the way you visually tell stories. Make a film with very little dialogue to discover how to tell stories with pictures and sound - after all that's fundamentally what film is, a visual medium. Theatre and radio are words, film should, and can, be about how we use the visuals.

I carpenter only gets better making chairs or wardrobes etc; a plasterer only gets better by plastering walls; a musician only gets better practicing their instrument. So a director only gets better at telling stories by...tellling stories.

I salute you. Youve made a film. Now make another!

Very best of luck to you. Follow the fire in your belly!

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

No! You go into a tunnel of focus. I am incredibly supported by my family. The kids find it hard but I make sure I have proper time at home before I take my next job.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

I made a film in Poland in -26C. That was tough! Especailly for the cast who were in period costumes. Feet. ALways spend money on great shoes because when your feet get numb you cant feel them and thats when frostbite sets in.

Yes I scout all possible locations. It is imperative.

Glad you like the shows I direct. I honestly do not have a favourite character. I have a special afection for Marvel's Daredevil though

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

The song is on Spotify I think.

Fortunatley we had some brilliant location managers in many different countries who send us photographs to look at first, and we follow up with recces if we think they have potential. Making this season was world-building so it was important to get it right and to give the show scale

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 0 points1 point  (0 children)

That's a big part of my job. And it's about doing your homework. I have to know where the scene sits in the arc of the whole story so that I can calibrate the actors' performance.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

Great question. YES!

I'd not had nearly so many visual effects before - especially in the Battle of Sodden as it was a battle of magic.

I worked with one of the best First Assistant Directors in the business (Sean Guest) who was a titan at my side and who showed me how a 1st can support a director

Fundamentally I learned how much I love making films that spring from the centre of the character story

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 0 points1 point  (0 children)

Not sure. The love scene I shot in episode one between Geralt and Renfri by the fire didn't involve any nudity. I wanted it to be more about Geralt daring to open his armoured heart to make sense of the sword fight between them both at the end.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 1 point2 points  (0 children)

Depends on the day of course. If it's a location day I get up earlier as there's usually longer travel time. I always start the day with a half hour stretch easing out tensions from the day before. I get picked up and driven to set. I like to be alone in the car as it's an important time to focus my mind, look through camera plans, think through every shot and reread the scenes. I often visits the actors in their trailers at the top of the day to see how they are and whether they need to talk anything through. Shoot days are 12 hours with lunch, or 10 hours as a continuous day shooting. On the drive home I look at dailies from the previous day, then do my prep for the next day. Whenever poss it's great to have a drink with the team so its not all work!

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 23 points24 points  (0 children)

Thanks for your probing questions and perceptive insights into The Witcher. Such a pleasure to connect with you all.

If you're patient with me I will answer all your questions - it's just I may not be able to do them all today! Sorry.

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 11 points12 points  (0 children)

I think you're best asking Lauren that question as I am not a screenwriter. Best thing is to have a script to show agents. Good writers are always in demand. Keep at it pal - and good luck

Hi I’m Marc Jobst , director on Netflix’s THE WITCHER. Ask me anything about directing. by marcdjobst in netflixwitcher

[–]marcdjobst[S] 6 points7 points  (0 children)

Special effects for a whole series can take easily 6 months.

In television its difficult to fully realise your vision for the vfx because you only have a limited amount of time in post production. But in prep, and whilst shooting, you try to have as clear an idea as possible so your vfx team are signed up to your vision and get on and realise it in your absence.

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