A Day in the Life of a Film Director
“What I really want to do is direct.” If this applies to you, read on. Directors turn a scriptinto a movie; they are responsible for the quality of the final product and its success. In mostcases, directors work on films far longer than any actor, technician, or editor, from the firstday of brainstorming to the final release; it is no wonder that directing is physically,mentally,and emotionally draining. Directors work with actors; makeup artists; cinematographers;writers; and film, sound, and lighting technicians. They determine all the particulars of howscenes are to be shot, from visual requirements to the placement of the actors and the appropriatenessof the script.Directors cast actors who can bring theirvision to the screen. Sound judgment and anopen mind are important during these initial phases. A director guides actors to a greaterunderstanding of their characters’ motivations and encourages them to perform at a highlevel—sometimes by gently cajoling and sometimes by yelling—anything to get the job done.A director’s unique vision of the final product and ability to communicate that vision effectivelyand immediately are critical. After the film has been shot, editorial skills are important.Directors must have a good feel for pacing and structure and must know how to integrate andcut scenes so they work effectively.Issues of finance are important in this industry—making films is expensive. First-timedirectors find it difficult to get work with any large-budget house, so many of them start withsmall-budget directing, using existing sites and sets creatively, convincing technical assistantsto work for little (or more often, convincing friends to work free), and using editing and cuttingrooms during off hours to save money. One director surveyed funded his first filmentirely on his credit cards.
Paying Your Dues
Nearly all film directors are film school graduates. Film school students must completetheir own short films by graduation; you should be prepared to work under difficult conditions,share space, and convince actors to work for little or no money. Aspiring film directorsprove themselves by directing stage productions, doing film lighting design, or establishinga history of assistant or associate directorships. This last route is the most common, as professionalexperience and networking contacts can be combined in a brief but intense periodof time. There is no specific ladder to climb. Many aspiring directors develop clips of theirwork as a display of their talent when applying for industrial, television, or commercialdirecting jobs, which pay well and serve as working credentials. Individuals entering thiscareer should be warned that 20-hour days are not unusual.
Online Master's in Public Health programs can have advantages over on-campus. Click here to find the best.
Present and Future
Film directors sprang into being with the birth of the industry in the early 1900s. Someimportant directors who have brought their visions to light include D. W. Griffith ( Birth of aNation), Orson Welles ( Citizen Kane), Alfred Hitchco*ck ( Rope), and Martin Scorsese ( RagingBull).Directing will either become larger and more megalithic as a profession, as suggested bythe consolidation of major film companies. Alternatively, it may lean toward small and independentprojects, as the popularity of such independent film festivals as Sundance heralds.In the first event, directing possibilities will be limited and difficult—extremely difficult—toobtain. In the second event, directing positions will be more available but much less remunerative.In either case, the road to becoming a director is long, and the odds are slim, but therewards for individuals who succeed are great.
Quality of Life
PRESENT AND FUTURE
Hopeful directors start out doing production work and learning how to piece a filmtogether. Academic lessons from film school are supplemented with practical experiencein the different facets of making a movie, from choosing locations and gettingproper permits to budgeting, scheduling, and arranging transportation. These earlyyears are marked by low responsibility, long hours, little pay, and an enormous amount oflearning.
FIVE YEARS OUT
Five years into the profession, young directors have had a chance to produce at leasta short film to enter in competitions or to use as an audition reel. Areas of strengthsand weaknesses have been identified; individuals willing to pay the hard wages ofgrowing as filmmakers will work on their weaknesses. They may become subdirectors withdiscrete areas of authority. Opportunities exist for directors who have made strong networkingconnections and have distinguished themselves through good work and aggressive selfpromotion.People who are less vocal about their accomplishments either remain in assistantpositions or leave the profession altogether. As a matter of fact, even directors who have goodreputations begin to leave the profession due to the long hours and competing offers in specialtyindustries for much more certain pay.
TEN YEARS OUT
A mere 35 percent who began with the intention of becoming a director are stillaround, and many of them leave the field over the next five years. Directors whor*main have significant opportunities available to them, if they have managed torefine their craft, communicate their vision clearly,match up a script with a production company,and land the job of directing it. If it seems like the success stories at the 10-year markare qualified by a number of ifs, that’s because they are. The success rate in this field isabysmal. But individuals who manage to fight their way to the top reap financial and emotionalrewards.
