Directing in Television
In television, as in film, the director is a key member of the production team. But while motion picture directors are often involved for a year or more on the projects they direct, the role of a television director is much more limited in scope and may only last a few days, a few weeks or (more rarely) a month or more, depending on the kind of series and the series format.
For scripted series, the primary formats include: 1-hour drama, half-hour single-camera comedy (and, more recently, single-camera “dramadies,” like “Atlanta” and “Dead to Me”) and multi-camera half-hour comedy — often referred to as “sit coms.” Other than run time, the primary difference between these formats is that 1-hour dramas and single-camera half-hour series are shot like short motion pictures, whereas multi-camera (sometimes called “4-camera”) series are shot like a “filmed” stage play. But, of course, there are other television formats such as live news, sports, game shows, reality (now called “unscripted”) and other kinds non-fiction programming. Rarely do television directors work in more than one format. Television directors are specialists in this regard.
Unlike working as a motion picture director, working as a television director on a scripted series usually means the director is joining a production that is already up and running. This means being responsible for continuing the look, style and tone of an existing production, as well as maintaining continuity of the existing narrative and character development, under the supervision of the series’ show-runner. In addition to knowing what is happening within their episode, the director must understand the significance of their episode, and how it fits into the series as a whole. While a TV director occasionally has some very minimal narrative input, the director’s primary responsibility is to “make their days” (staying on schedule) and elevate the script they were given, while working within the series’ existing “vernacular.” Moreover, because the director is just “passing through” — temporarily joining an existing production team — the ability to “play nice” and get along with the existing production team is highly valued.
The Timeline:
When an episode is scheduled to be shot, the show-runner, usually in consultation with the television studio and network or cable company, agree on a mutually acceptable list of directors. The directors are then contacted through their agents/managers about availabilities.
If the director is less experienced or unfamiliar with the series, they might be asked to “shadow” the director of a previous episode to get a better sense of the series, both creatively and how the cast and crew interact.
If/when a deal is made for the director’s services, the director may have already read a draft of their episode’s script. Or they may not get their script until a few weeks, or a few days, before they are scheduled to shoot. It’s not unusual for an in-demand director to be “booked” to direct an episode before they read the script they will shoot. After the director reads the script, they will consult with the showrunner and perhaps the writer of the episode (if different) as well as the various department heads, drawing attention to potential technical, logistical or creative challenges, and possible alternative arrangements. The final script is delivered to the director so that a shooting script can be prepared for cast and crew members. The director’s “marked-up” script is the blueprint from which the various department heads draw their assignments.
The director, along with writers, producers and actors, attend script read-throughs (often, the day before filming commences, if at all) in order to explain and discuss all aspects of the script and how the scenes should be played. Thereafter, some minor script and production changes might be made to accommodate any issues.
The director will then consult with crew members about all technical requirements, e.g. lighting and camera movements, sound recording requirements, set dressing, effects, and so on. There will also discussions about any specific production challenges, such as stunts, drone/helicopter work, etc.
When shooting begins, a television director is in charge of the set in much the same way as a film director would be. But remember, the director is typically involved with a series for a short time, whereas the rest of the team might be working there for years (on a successful series).
When the director finishes production, the editorial staff has usually been cutting away, doing the editor’s assembly. About six days later (on a 1-hour series) the director will have 4 days to do his/her cut, during which they have total control of editorial. If it’s a half-hour series, the director may only have one day to do their cut. Thereafter the show-runner will get involved but the director will be offered first opportunity to supervise other aspects of post, such as music, effects, ADR, narration, and reshoots, if any.
How to Become a Television Director
Breaking into directing series TV usually occurs in one of three ways:
1) Having a previous and trusted association with a series in some other capacity. This previous association might be as a writer, producer or even DP or 1st AD. This is also how many actors get a shot at directing, and it’s not usual for a lead actor on a successful series to get a shot at directing an episode in one of the later seasons of their series.
2) Having done impressive work as a motion picture director, or occasionally as a commercial director or as a theater director. In most cases, these directors have their agents or mangers pitch their services to the show-runner. It’s rare that shorter works (such as student films) are enough to get hired to direct a traditional series, as described above, but not impossible if the work is truly impressive, and perhaps award-winning. But newer formats and distribution venues are popping up all the time and these can provide entry points for emerging directors.
3) Lastly, there are several Hollywood programs that seek to develop newer, talented (sometimes diverse) filmmakers.These are programs that accept students and other emerging filmmakers. Of course, these programs are highly competitive, and are only open to applications for a short period every year, so timing to apply is crucial.
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