Filmmaking / Directing

One of the most important roles of any director is to tell a strong story, and one of the director’s first priorities is to communicate their vision of the story clearly to the crew and the cast. While teamwork and a sense of camaraderie are crucial, you must remember your duties as a director.

Maintaining authority and making decisive choices is essential to keep the production moving forward and ensure that your creative vision is realized. It’s also important to stay open to input from your crew, as their expertise can offer valuable insights that may enhance the final product.

Here are some tips on how a good director works with your crew

1. Accountability: Professional means taking responsibility for your actions. If mistakes happen, owning up to them and working on a solution is crucial.

2. Calm Atmosphere: Shooting should take place in as calm an atmosphere as possible. A calm set reduces stress and allows everyone to focus on their tasks, leading to a more productive and positive working environment.

3. Clear Priorities: Always clarify which shots, scenes, or elements are the most important for the day. This helps the crew allocate their energy and resources effectively, ensuring critical tasks are completed on time.

4. Collaboration: Create an environment where everyone feels comfortable sharing ideas. A director who listens and values input from the crew can often discover creative solutions that improve the overall production.

5. Communication: Be a good communicator. Clearly articulate your vision, expectations, and any changes to the plan. Open, honest communication helps prevent misunderstandings and keeps everyone on the same page.

6. Efficiency: Avoid making them do something twice. Proper planning can minimize the need for retakes, saving time and maintaining crew morale.

7. Flexibility: Be open to adapting plans when unexpected changes occur, like weather or technical difficulties. Staying calm and making quick adjustments keeps the production on track and maintains crew morale.

8. Involvement: Encourage involvement from your cast and crew. Seek their input and ideas, making them feel valued and part of the creative process. This can lead to innovative solutions and a more collaborative environment.

9. Lead by Example: Directors set the tone for the entire production. If you want professional reliability from your crew, you must be professional yourself by being punctual, prepared, and respectful of everyone's time.

10. Praise and Criticism: Praise your crew in public and criticize in private. Publicly acknowledging your crew's hard work and contributions boosts morale while addressing any issues or concerns privately.

11. Preparation: Ensure all departments are fully briefed on the plan before filming begins. Proper preparation minimizes confusion on set and helps maintain an efficient workflow during production.

12. Recognition: Regularly acknowledge your crew’s hard work through daily compliments or end-of-production shoutouts. This appreciation boosts morale and motivates everyone to give their best effort.

13. Respect Breaks: Ensure your crew gets proper breaks and adequate rest. A well-rested crew performs better, stays safer, and maintains a positive attitude throughout long production days.

14. Responsibility: Make sure everyone knows and keeps to their area of responsibility. A clear definition of roles helps avoid confusion and ensures that tasks are completed efficiently.

15. Support for Talent: Encourage the crew to act supportively towards the talent. A supportive environment helps actors perform their best, which in turn benefits the entire production.

16. Sympathy: Be sympathetic towards the crew's problems. If you show understanding and support for their challenges, they will be more willing to help solve yours. This support creates a positive working relationship.

17. Trust Their Experience: Your crew members are professionals with valuable experience and expertise. Trust their judgment and let them do their jobs. This not only empowers your crew but also enables you to focus on directing.

NEXT ARTICLE: Tips from 3 Famous Directors on Working With a Film Crew

Warner Bros. Discovery is exploring a major distribution deal with Netflix, potentially sending future Warner, New Line, and DC films to the streamer shortly after they leave theaters. This move has sent shockwaves through the industry, particularly angering theater owners who see it as a direct threat to the traditional theatrical "window."

While this model could guarantee huge paydays for the studio, it represents a seismic shift in how we watch major films. The future of the big-screen experience is suddenly up for debate.

Read more here: https://www.indiewire.com/news/business/warner-bros-discovery-netflix-th...

Paul Thomas Anderson, Leonardo DiCaprio, Chase Infiniti, Regina Hall and the filmmaking team break down the final epic car chase and what the rolling river of hills brought to the story as Willa confronts her past and seizes her destiny.

(https://www.youtube.com/watch?v=kAinlvxGvdA)

The Director of Photography, Production Designer and First Assistant Director are the director's "Top 3 Creative Production Team" because they play key roles in bringing the director's vision to life. They work closely with the director throughout pre-production and production to ensure that the film meets the director's creative goals. Each brings expertise in visual storytelling, spatial design, and logistical execution that supports the director’s artistic intent. Together, they translate concept into reality, uniting technical planning with creative ambition on set.

1. The Director of Photography is responsible for shaping the visual look of a film by overseeing elements like lighting, camera work, and shot composition. Working closely with the director, the DOP ensures that the imagery fits with the director's vision, creating a consistent visual story. They also manage the camera team and handle the technical aspects of filming, making sure that every shot is executed efficiently and to the highest standard.

The DOP collaborates with the gaffer and key grip to design lighting setups and camera movements that enhance the mood and tone of each scene. They perform lens tests, select the appropriate film stock or digital format, and supervise on-set color grading when needed. Ultimately, the DOP is a key creative force behind the film’s visual identity and emotional impact.

They participate in visual concept meetings and scout locations to plan for lighting conditions and framing opportunities. The DOP balances artistic intention with the practical realities of time, equipment, and weather. Their choices influence how the audience feels about the characters, the world, and the progression of the story.

2. The Production Designer is responsible for designing the overall look of the film, including sets, props, and costumes. They collaborate with the director to develop a visual world that complements the film's story. Overseeing the art department, the Production Designer ensures that all elements of the set are constructed and decorated in line with the director's vision. Their focus on the physical environment ensures that the film's visual style works seamlessly with its thematic elements, enhancing the overall tone and mood.

They also work closely with the cinematographer to ensure that the sets support lighting and camera movement needs. The Production Designer manages budgets and timelines for set construction, making sure all materials and builds are completed on schedule. From historical accuracy to futuristic imagination, their design choices deeply influence the audience's immersion in the story world.

They attend location scouts and concept meetings to evaluate how each space can be adapted or transformed for storytelling. Textures, colors, and architectural details are carefully chosen to reflect the inner world of the characters. The Production Designer’s vision becomes the physical foundation on which every scene is staged and performed.

3. The First Assistant Director is responsible for overseeing the production's day-to-day operations, ensuring that everything stays on schedule and runs efficiently. They coordinate between various departments, ensuring that cast and crew are where they need to be and that all logistical details are handled smoothly.

The 1st AD also plays a key role in maintaining a safe and organized set, addressing any potential issues before they become disruptions. They work closely with the director to break down the script into a workable schedule, estimating the time needed for each scene. They also run the set during production, calling the roll and managing on-set logistics in real time.

Their work is essential in keeping the production moving forward under tight schedules and demanding conditions while prioritizing set safety. They coordinate with all departments to ensure that cast, crew, equipment, and locations are prepared for each day’s shoot. Their leadership directly affects crew morale, workflow efficiency, and the overall pace of the shoot.

NEXT ARTICLE: Working with Your Crew

Hello everyone! I'm Li, a director from China. I've just completed my very first feature film, and right now I have a rough cut ready. I would be truly honored and delighted if some of you would be interested in watching it and sharing your thoughts and feedback with me. Your insights would mean the world to me as a debut filmmaker, and I'm genuinely excited to hear what you think! If you're open to it, please feel free to let me know - I'd be so grateful for your time and kindness. Thank you so much in advance!

In Television, the Director is very much like a Guest Star, coming in to execute their vision for the episode before moving on to their next project. Directors are often hired for specific episodes, requiring them to rapidly understand the show’s tone, characters, and existing visual style.

The Director works for the Producer (or Show Runner), collaborating closely to bring the producer's vision to life while injecting their own creative flair. It’s the Producer who has the final say on casting, wardrobe, locations, and other crucial elements that shape the show's overall look and feel.

TV Directors work under tight schedules, with limited time for preparation and shooting and often face pressure to deliver episodes on time and within budget, balancing creative aspirations with practical constraints. TV Directors must also collaborate closely with the show's writers to ensure that the directorial vision works with the script.

In TV, the Director of Photography can override the director if the lighting and style of the show do not match the production standards or the overall visual aesthetic established for the series. In TV, the 1st AD also has significant authority and can instruct the director to cut shots if deemed necessary for the production's efficiency and pacing.

They often rely on the experience of department heads and the crew, who know the show's rhythm and look inside and out. TV Directors bring their best to each episode, leaving a mark even within the constraints of a fast-moving production.

TV Directors get to do a "director's cut" but the final cut is done by the producers to meet the network's ongoing standards and expectations, ensuring consistency with the show's overall direction.

Despite the challenges, many TV Directors find the fast-paced, collaborative nature of television production exhilarating and rewarding. Directing TV offers the thrill of working on high-stakes projects and the satisfaction of seeing their work broadcast to a wide audience.

Quotes from 5 Top Television Directors

Vince Gilligan (Breaking Bad): "Directing for TV means you’re always thinking on your feet. You have to be prepared for anything and be able to adapt quickly. It's a fast-paced environment where creative solutions are essential. Every day brings new challenges that test your ingenuity and resilience."

Lesli Linka Glatter (Homeland): "I believe in thorough preparation. During pre-production, I conduct extensive rehearsals with the actors, scout locations meticulously, and storyboard every scene. This detailed planning allows for flexibility on set and helps address any potential issues before they arise.”

David Nutter (Game of Thrones): "Being a television director is about balancing the creative and technical aspects while keeping the cast and crew motivated and focused. Preparation is key, and I spend a significant amount of time working with the writers and actors to ensure we are all on the same page before shooting begins.”

Michelle MacLaren (Breaking Bad, Game of Thrones): "Pre-production is where the foundation of the project is laid. I delve into the script, break down each scene, and work closely with the production team to design the shots and blocking. It's all about creating a clear vision that everyone can follow.”

Reed Morano (The Handmaid's Tale): "For me, pre-production is an intense period of collaboration. I work with the cinematographer, production designer, and costume designer to develop the visual language of the show. It's essential to establish a cohesive style and tone that will carry through the series."

NEXT ARTICLE: The Director's "Top Three” Creative Team

After decades, MTV is now silent outside the US, victim of the Paramount Skydance merger. How long MTV music only channels remain active in the US, they're not saying yet. Thoughts?

https://www.pastemagazine.com/music/mtv/paramount-skydance-merger-kills-...

Writers, there is just one week left to submit to our latest batch of Open Writing Assignments (OWAs) for 2026. These targeted opportunities come directly from producers and executives actively shaping their upcoming slates with standout projects across music, comedy, drama, and action.

Make sure your work is part of the conversation before the submission window closes in seven days.

Here are the opportunities seeking your work:

1. For Music Variety Series & Shows

A Producer and Showrunner is seeking music variety series and shows in the classic vein of The Midnight Special, Don Kirshner's Rock Concert, and Iconoclast.

2. For Character-Driven Comedies

An Acquisitions Executive seeks character-driven comedies with budgets under $10M, comparable to films like English Teacher, Sorry, Baby, and Wake Up Dead Man.

3. For Dark Comedies with a Twist

A Manager of Development at a TV production company seeks dark comedies with unique twists and strong points of view, in the spirit of The White Lotus, The Bear, and It's Always Sunny in Philadelphia.

4. For Medical Thrillers

A Manager/Producer is looking for medical thrillers for both TV and features, with the gripping tension of The Pitt, Dead Ringers, and Contagion.

5. For Uplifting Female-Driven YA Dramas

A Producer and Showrunner seeks uplifting soaps, docu-series, and micro-dramas, specifically a female-driven YA cheer or dance drama. Ideal projects balance comedy and emotion while exploring friendships, rivalry, and love—think Dance Academy, Bunheads, or Tiny Pretty Things.

6. For Character-Driven Action

An Acquisitions Executive seeks character-driven action projects with budgets under $10M, capturing the intensity of John Wick, Rebel Ridge, and Hell or High Water.

Submit Today: https://www.stage32.com/writers-room

If you love digging into the how and why behind memorable filmmaking choices, this is a fantastic watch.

In this breakdown, Stranger Things creators Matt and Ross Duffer walk through a terrifying Season 5 sequence involving Karen and Holly Wheeler during a home invasion by the Demogorgon. They unpack everything from visual geography and line crossing to needle-drop decisions, stunt logistics, practical effects vs. CG, and how performance, sound, and editing work together to build sustained tension.

What really stands out to me is how intentional every choice is:

Establishing clear spatial geography before chaos hits. Choosing music based on character psychology, not just “cool” vibes. Blending old-school in-camera tricks with modern VFX. Letting sound design, or the absence of it, carry emotional weight. Even designing shots around actor safety while preserving realism. It’s also a great reminder of how collaborative directing truly is, from music supervisors and stunt teams to VFX artists and young performers rising to the moment.

Highly recommended for directors, writers, editors, cinematographers, and anyone interested in suspense storytelling that’s both technically precise and emotionally grounded.

You can watch the full breakdown here: https://www.youtube.com/watch?v=IdZWP3FPCeY

What filmmaking choice in this breakdown stood out to you most?

https://variety.com/lists/2026-oscars-predictions/

https://deadline.com/2026/01/peacock-dolby-picture-sound-technology-ces-streaming-1236660576/

Hey everyone!

I'm looking for your perspective.

As many of us are in the Indie world, I am an Actor, Writer, Director, and Producer. I am currently in preproduction on a short passion project that has been in my head for 40 years. I wrote it, am Producing it, and will be Directing as well.

As many of us are ADHD, like I am, I am wondering if you ever feel that something BIG is slipping through the cracks. It's only happened once in my Community College days and hasn't happened since but the feeling is there. I dropped something. But I don't know what.

Have any of you felt this way during preproduction? If so, what did you do about it? Details would be wonderful! Thanks!