Producing a Story, Step 6: Hiring a Director
In the previous entry Producing a Story, Step 5: The Pre-Production Budget, I talked about the process of establishing a project’s pre-production budget. There are many questions in the process of budgeting that only a director can answer. The director sets the creative concept, tone, angle, vision, and plan, no matter what part of the entertainment industry you’re working. In music production and recording an album, it’s the record producer who makes these artistic decisions. For the sake of making things easy, in this blog entry, I want you to think of the role of a record producer as a director.
The director’s vision determines the most essential aspects of the project regarding production time and budget. There might be one specific lighting effect they want to get just right, one scene that requires just the right amount of simplicity to convey the work’s most poignant moment, or awe-inspiring synchronicity needing perfect execution in a make-or-break moment for the project. With that, every director has a style or brilliance they bring to a project. Artistic identity among directors is most widely evident in the film industry because of the medium’s ease of access to the public. For example, J.J. Abrams or Christopher Nolan might most successfully tell a superhero story or action-packed trilogy through their direction. In contrast, a musical like Moulin Rouge benefits from Baz Luhrmann’s vision (although I would love to see what Tim Burton would do with that story, and I think Peter Jackson could do oddly incredible things with a Star Wars title). And I sure wouldn’t get any of those directors for a Nicholas Sparks movie. The point is, the same story can take on an entirely different feel based on who the EP brings on to direct.
I know a lot about television directing, and I know SOME about record producing, but I want to share expertise from two friends with experience in the theater and film industries. These talented men have worked on large projects with talented creative teams, but they also have something in common which I’m hoping will resonate: they both author, write, create, produce, and direct their own content as well. Not every project has to be a HUGE undertaking with a multi-million dollar budget and investors who need recoupment requiring years of longevity and commitment.
I asked both of them some specific questions about their experience. An interesting theme emerged: the way a director conducts themselves impacts the success of a project. When I asked their opinion on the most essential role of a director, I thought I would get answers about how important the director is in making a project a technical success or setting a vision. While that’s also accurate, their responses were about tone, character, management style, and communication.
“Outside of having a project that you love and that you believe in, I think it's important for a director to be kind and respectful to everyone on set,” said Matt Kugelman, a writer, television editor, and director of two films, Hurricane Bianca and Hurricane Bianca: From Russia with Hate. “You keep hearing stories of these toxic set environments, and I think for a long time there was a feeling that you had to show strength by being a jerk to people or something. Not the case. We had two amazing crews that worked really hard and I did my best to make everyone feel welcome and to try to keep the energy light and fun. It especially helped since we were making comedies. I think everyone ended up wanting to work harder since we really did have a lot of fun.”
Nick Cearley, co-founder of The Skivvies, is a director, actor, musician, singer, and dancer. He’s one of the most versatile and talented personalities in the Broadway world based on his success in solo and collaborative projects. His response to my question about challenges he’s encountered on projects he’s worked on falls into a similar vein as Matt’s. His challenge: “Making sure the person at the top is clear. Falling victim to ‘too many cooks in the kitchen’ can kill a creative vision. Make sure there's clear communication to what we are all trying to accomplish. Essentially, [ensure] that everyone is on the same page and there’s full transparency upfront.”
They’re both right. The director’s tone and failure to communicate clearly can cause confusion, create a toxic work environment, lead to a stalled creative vision, and cost the project money. Often these failures manifest themselves in the project and cause a terrific story to fail its audience. It’s for this reason that an EP must find the right director for the project.
I asked both Matt and Nick how their relationships with an EP have looked. Matt had an inspiring experience. He wrote the screenplay for Hurricane Bianca and was already raising money to make the film when he met his EP. “When I was in the fundraising stage of the first film we made, I was lucky enough to catch the attention of a super talented producer, Ash Christian, who had made a ton of indy films as a writer, director, actor, and producer. We had a drink meeting and quickly became best friends, so our relationship was pretty wonderful. His experience helped us raise the rest of the budget, and his guidance was thoughtful and strong, but he also allowed me the flexibility to try crazy new things.” Matt’s experience with his EP is fantastic, and the movie they produced is still one of my favorites. It’s hilarious, with great heart, and a fun message delivered creatively. Matt and Ash’s friendship allowed for the project to shine.
But not every relationship is like that. Nick reminded me that there’s always going to be difficulties in any project. “Unwillingness to compromise and collaborate is always an issue as the team grows.” And he’s right. I can attest that the friction between an EP and a director can often lead to problems with collaboration and compromise. In TV news, for example, the role of the EP is a bit different than other sections of the entertainment industry. They make the calls on the show’s editorial content and creative direction, which renders the director more of a pawn and less of a creative visionary. For the record, it didn’t use to be like that.
So, what changes could take place in the entertainment industry in the spirit of making collaboration easier?
“Making sure [directors] have the support team around them to execute what they need to get done,” Nick says. Of course, an increase in staffing affects the EP’s budget. Still, if directors don’t feel they have enough support to accomplish their goals, then perhaps there’s an argument that investment in support will lead to a better and more profitable project in the end.
“I would just say you always have to roll with anything that the universe throws at you,” Matt said. “Didn't get your dream location? Fall in love with the one that's available! There's usually not an opportunity to redo things, so always have a backup plan. Sometimes the problems make the piece stronger, so be prepared to rewrite things on the fly.”
And rewrite is precisely what your writer should be doing. Remember, the writer is the keeper of the story. In the entry Producing a Story, Step 2: Hire a Writer, former CBS Evening News Senior News Editor Jerry Cipriano told me, “The writer is the guide leading the viewer from the beginning of the story to the end. It is our job to weave the visual and audio elements together to form a coherent narrative. We choose our words carefully to make the story clear and accurate. Simplicity is the key.” The writer can make almost anything work with clear communication and leadership from the director and EP.
As the story changes, the team will continue to grow. You can’t tell the story without talented actors. For that, you might be able to put out an all-call for auditions and extras via social media, or you might need someone familiar with casting. That step, next time.
