Just finished directing another episode of INSTANT MOM that was written by that sparkling young writing team of Annie Levine & Jonathan Emerson. I’d like to thank them for writing in stunts and a dog. But it was a terrific script and INSTANT MOM has a fabulous cast headed by Tia Mowry-Hardrict, Michael Boatman, and Sheryl Lee Ralph.
Beginning on September 19th it returns to TV LAND with all new episodes from 8-9 PM every Saturday.
Every TV director has a different approach. And every director has different strengths and weaknesses depending upon their background. An actor-turned-director can communicate more easily with actors than an editor-turned-director, but the former editor is probably more way more proficient with the cameras and technical side of the job.
I bring a writing background. As director emeritus Jim Burrows says, “if the script is good you can just point one camera at the stage and the show will work.” I’ve been directing now over twenty years and my skills have improved in both the technical and creative side. I was able to tell the dog what his motivation was. All of those aspects are essential, but there’s one other that I think is both key and rarely addressed in college directing classes or how-to books.
And that is this:
A director must set the
tone of the stage.
There are a lot of people working on the production of a show. How does a director get the best work out of all of them? Here again, different approaches come into play.
Some directors are demanding, feeling that people perform best if they’re pushed. Others are very hands-on and feel they must control everything.
I think people do their best work when they’re in a comfortable supportive environment. There’s a lot of pressure on a set. You have to shoot difficult scenes with the clock always ticking. Many things are out of your control (how many takes will the dog need to hit his mark -- even if he knows his motivation?). If the director can create a calming tone I believe that’s a real plus. Relieving tension is as important a skill as knowing classic comic tropes, various acting techniques, and what lens goes with what shot.
Directing is a
management job. It requires organizational skills, motivation skills, and leadership ability. For my money, a happy cast and crew will result in a better product. I mean, you’re making a TV show. How cool is that? Shouldn’t you WANT to go to work?
That's a wrap.
Thanks to Andrea Wachner, Kevin Corcoran, and Jake O'Flaherty for the cool photos.