Q: . This is a great opportunity to ask questions about your in-law's family history, traditions, or specific values. Not only will you seem considerate for caring, but you'll gain some interesting insight into the person you're marrying and be able to incorporate your fiancé's family legacy into the wedding.  Ask about how your in-laws met and where they grew up. Ask about what your fiancé was like as a child. Try saying something like, “I'd really enjoy hearing about how the two of you met. Would you mind telling me the story?” Or you could ask, “What kinds of things did Julie enjoy doing as a child?” In your first meeting with your new family, don't ramble on about your deep connection to some ancient and eccentric spiritual belief. By avoiding hot topics like religion and politics, the conversation will keep the mood light. That's not to say you should hide who you are, but reserve those more comprehensive conversation topics for a more appropriate time later on down the road.  If possible, avoid talking about religious beliefs, political stances, or any other possibly controversial subject. Try bringing up a safe topic of conversation by saying something like, “I really enjoyed this movie I saw last weekend. Have you guys seen it yet?” Or you could try talking about shared interests by saying something like, “We went camping at in the mountains last week. Do you have any favorite places to go camping nearby?” Fill your family in on some interesting facts about your future family. Things such as occupation, favorite hobbies, and general likes and dislikes are a good place to start. If you provide your family with some specific insights, they will be more equipped with conversation clues.  Try talking about favorite sports teams or television shows. Make sure to introduce everyone as well so there are no awkward moments.
A: Ask questions Stay on neutral topics. Give clear indications on possible conversation topics.

Q: When you're directing you're going to need to know the different kinds of shots and camera angles and camera movements so that you know how to shoot each scene and what you're trying to get from each scene. Different angles and types of shots change the feel of a scene.  Framing (or shot length): extreme long shot (usually an establishing shot, from as much as a quarter mile away), long shot (this is a "life size" shot that corresponds with the distance between audience and screen in a cinema; it focuses on the characters and the background images), medium shot (this is usually used for dialogue scenes or a close-up on a certain action and usually contains 2 to 3 characters from the waist up), close up (this shot concentrates on a face or object with the background as a blur, usually used to get into the mind of a character), extreme close up (usually focuses on one specific detail like a mouth or eyes, usually used for some sort of dramatic effect). Camera angle designates the relationship between the camera and whatever is being shot and gives emotional information to the audience about the object or character in the shot. Bird's eye view (shows a scene from directly overhead, putting the audience in a god-like position, as well as making normal things unrecognizable), high angle (this has the camera above the action using a crane and gives a sort of overview of what's going on), eye level (this is a more neutral angle with the camera acting as another human observing the scene), low angle (tends to make the audience feel a sense of powerlessness, or confusion and as it is looking up at an object it can inspire fear or disorientation), oblique/canted angle (used in lots of horror films, this shot inspires a sense of imbalance, transition, and instability). Camera movements make the action seem slower rather than the quick cuts, but it can also have a more "realistic" effect. Pans (scans a scene horizontally), tilts (scans a scene vertically), dolly shots (also known as tracking/trucking shots, where the camera follows the action on a moving vehicle of some sort), hand-held shots (the Steadicam camera makes it so the handheld shots are less jerky, while still instilling a sense of immediacy and realism), crane shots (this is more or less a dolly shot in the air), zoom lenses (this changes the magnification of the image, changing the position of the audience either slowly or quickly), aerial shot (a shot similar to the crane shot, but taken from a helicopter and usually used as an establishing shot at the beginning of the movie). This is basically when the crew comes in to set up everything. If you have an assistant director, it isn't really necessary that you be there, but it's a good idea to show anyway. You can start thinking about the shots for the day and considering how best to do them and whether you need to change anything. Before you start shooting the shot and while your tech team is setting up the equipment, run the actors through the shot and figure out what they're going to be doing in relation to the camera (where they'll be standing, what type of shots you'll be using, how they're going to say their lines). Experiment with the viewfinder to test how the different shots are going to look. At this point you might want to change and redefine some of your scenes and shots to get the best possible scene. For each shot you'll need to know the focal length, the camera placement, the actors' marks (where they need to stand, etc), which lenses to use and the movement of the camera. You'll set up the shot, using all these different considerations, with your cinematographer. Now depending on the type of director you are and the type of cinematographer you have (maybe you're the one making the deciding on the shots) you'll need to give more or less direction. Discuss with them the lighting and the camerawork until the shot is ready to be taken. The filming doesn't take that long and it's usually a short scene that's being shot. You run through the scene, using the camera movement, and placement, etc. that you'd already covered with your cinematographer. When you call cut you're ready to move on to looking over the take to see how it went. Reviewing the take on the video monitor right away lets you consider how to make the scene better, how close the scene comes to your original idea. Then you'll repeat the scene until it holds up to your scrutiny. This is very different from reviewing takes in the editing room later on. There you have the time, clarity, and perspective to see every single thing you could have done to make that scene better.
A:
Know the different types of shots and camera angles. Come in at call time. Rehearse the shot. Set up the shot. Film the shot. Review the take.