Film director in the context of "Friz Freleng"

A film score is original music written specifically to accompany a film or a television program. The score consists of a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for media such as live theatre, television and radio programs, and video games, and that music is typically referred to as either the soundtrack or incidental music.

Film scores encompass an enormous variety of styles of music depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements, and many scores written today feature a hybrid of orchestral and electronic instruments.

André Antoine (French pronunciation: [ɑ̃dʁe ɑ̃twan]; 31 January 1858 – 23 October 1943) was a French actor, theatre manager, film director, author, and critic who is considered the father of modern mise en scène in France.

The Diary of Anne Frank is a 1959 American biographical drama film based on the Pulitzer Prize-winning 1955 play of the same name, which was in turn based on the posthumously published diary of Anne Frank, a German-born Jewish girl who lived in hiding in Amsterdam with her family during World War II. It was directed by George Stevens, a Hollywood filmmaker previously involved with capturing evidence of concentration camps during the war, from a screenplay by Frances Goodrich and Albert Hackett. It is the first film version of both the play and the original story, and features three members of the original Broadway cast.

Many of Frank's writings to her diary were addressed as "Dear Kitty". It was published after the end of the war by her father, Otto Frank (played in the film by Joseph Schildkraut, who was also Jewish). His entire family had been murdered in the Holocaust. The interiors were shot in Los Angeles on a sound stage duplicate of the Amsterdam factory, with exteriors filmed at the actual building.

Mise-en-scène (French pronunciation: [miz ɑ̃ sɛn] ; English: "placing on stage" or "what is put into the scene") is the stage design and arrangement of actors in scenes for a theatre or film production, both in the visual arts through storyboarding, visual themes, and cinematography and in narrative-storytelling through directions. The term is also commonly used to refer to single scenes that are representative of a film.

Mise-en-scène has been called film criticism's "grand undefined term". Ed Sikov has attempted to define it as "the totality of expressive content within the image". It has been criticized for its focus on the dramatic design aspects rather than the plot itself, as those who utilize mise-en-scène tend to look at what is "put before the camera" rather than the story. The use of mise-en-scène is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the scripted lines spoken and acted in the scene. Mise-en-scène allows the director to not only convey their message but also implement their aesthetic; as such, each director has their own unique mise-en-scène. Mise-en-scène refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how the scene comes together for the audience.

"Above-the-line" refers to the list of individuals who guide and influence the creative direction, process, and voice of a given narrative in a film and related expenditures. These roles include but are not limited to the screenwriter, producer, director, and principal cast.

Often, the term is used for matters related to the film's production budget. Above-the-line expenditures reflect the expected line item compensation for an official above-the-line member's role in a given film project. These expenditures are usually set, negotiated, spent and/or promised before principal photography begins. They include rights to secure the material on which the screenplay is based, production rights to the screenplay, compensation for the screenwriter, producer, director, principal actors and other cost-related line items such as assistants for the producers, director or actors.

"Below-the-line" is a term derived from the top sheet of a film budget for motion pictures, television programs, industrial films, independent films, student films and documentaries as well as commercials. The "line" in "below-the-line" refers to the separation of production costs between script and story writers, producers, directors, actors, and casting ("above the-line") and the rest of the crew, or production team.

The top sheet of any creative project's budget serves only as an at-a-glance reference to a fully detailed and attached main budget document, which features total expenses including federal, state and local taxes, as well as insurance within the entire production, and/or production incentives. This painstaking task is usually assigned to the Production Manager or UPM of a production and should be completed before principal photography begins for any project.

Sergei Mikhailovich Eisenstein (22 January [O.S. 10 January] 1898 – 11 February 1948) was a Soviet film director, screenwriter, film editor and film theorist. Considered one of the greatest filmmakers of all time, he was a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1945/1958). In its decennial poll, the magazine Sight and Sound named his Battleship Potemkin the 54th-greatest film of all time.

Giovanni Pastrone, also known by his artistic name Piero Fosco (13 September 1883 – 27 June 1959), was an Italian film pioneer, director, screenwriter, actor and technician.

Pastrone was born in Montechiaro d'Asti. He worked during the era of the silent film and influenced many important directors in the international cinema with Cabiria, such as David Wark Griffith in The Birth of a Nation (1915) and Intolerance (1916).

A film producer is a person who oversees film production, from finding and selecting promising material for development, through to post-production, marketing and distribution of the film. They plan and coordinate various aspects of film production, such as selecting the script, coordinating writing, directing, editing, and arranging financing. The producer supervises the pre-production, principal photography, and post-production stages of filmmaking. In some cases, the executive producer may hire and delegate work to associate producers, assistant producers, line producers, or unit production managers, to assist the main producer(s).

A producer hires a director for the film, as well as other key crew members. The producer must ensure the film is delivered on time and within budget. The producer typically manages logistics and business operations of filmmaking, while the director makes the creative decisions during the production, although some directors also produce their own films.