Why is that T Shirt so popular - you know, the one with the slogan in bold block letters, “What I really want to do is direct.” Because it’s true, isn’t it? Most people want to direct. Over 90% of the students in any given film school are there because they want to be directors. Actors are generally the exception. They want to be stars – and only want to direct after they’ve become famous, get tired of sitting around most of the day on set and ache to flex their power. Producers, on the other hand, embody the principle, to the chagrin of many a director. Foul, you cry! OK. Maybe I’m bantering in jaded generalizations here. There is nothing wrong with wanting to be a director. And I’d be the first to say, the world needs more better ones. But from a practical point of view in terms of choosing a career, to become a film and/or television director has got to be one of the most difficult paths because there is such a small number of films and shows being made (relatively speaking) and such a grand number of people who want the job.

It’s very rare that you graduate from film school and immediately get signed as a director on a major studio picture. But thinking about it, how likely is it to graduate from law school and be immediately made partner of a major national law firm, or to graduate with a degree in business and land your first job as the CEO of a fortune five hundred company? Upon analysis, the odds of any of those happening would have to favor the film student. And that serendipity, brought on by the inherent clash in making art a business, or making business out of art is what feeds all those T Shirt sales. Why not want to be a director – when it seems anyone can be.

First, what do you need to know? Comparing it to another high profile job that has been recently brought to public attention, does one have to know what a director does to be one? Head nodding aside, there actually is common ground between the Vice Presidency and Directing. What’s that you ask? Politics. On the set, and behind the scenes, in Studio Productions and low budget Independents, politics plays a major role. But apparently unlike the job in the White House, to direct films, it does help to know what a director does. Over simplified, the director interprets the script, telling the story on screen through a series of camera shots, overseeing all creative aspects of the production from casting through editing, preproduction through post to deliver a completed motion picture.

Let’s take a look at some practical ways to approach becoming a film director that will increase your odds and might push you a step ahead of the crowd.

WORK IN THE INDUSTRY

A truism that is worth remembering; the best way to learn how to make films is by working on films. Due to the varied nature of film making, learning to make films lends itself to an apprenticeship approach. This is certainly true for directing. One would think that the best way to learn how to direct, then, would be to work your way up through production as an assistant director. That’s not the case. Assistant directors are often thought of as traffic cops – they know the union rules, run the set, fill in the paperwork, and work closely with the director, crew and production to organize the shoot on a day-to-day basis so enabling the completion of the filming on schedule. For political reasons I’d say, but perhaps because assistant directing is seen as managerial rather than creative, the jump from AD to Director may be the hardest to make. In television, the writers hold most power, often earning producer status and consequently the chance to direct. It is probably most common and easiest for writers to become directors. Ironically, writers usually work alone and have the least experience on set. But Producers are quick to think if he or she wrote it, they know the story and must be able to direct it. Although that is not necessarily true, writing remains a great way to get to direct. If you write the script (on spec) you own it and in ownership retain control. It certainly gives you leverage.

Another job that can lead to directing is that of a dialogue coach. You work with the actors, spend time on sets, and meet producers. Any job that can get you on a set will be helpful. But jobs with companies that are involved in off-set or pre-production activities such as casting, promotion, development, etc., will offer opportunities to meet producers that can lead to jobs on the set.

The advantage of getting a job in the industry is that you are getting paid while you learn! Look for entrance level positions at talent agencies, studios, or with independent producers. Browse through Samuel French, the most complete play publisher in the world, www.samuelfrench.com, and you’ll discover a rich cinema studies section with complete directories listing all manner of film companies, agents, producers, etc.

Read job boards and classified ads in the trades, Variety and Hollywood Reporter, and scour local LA newspapers.

OR look for jobs as a production assistant (PA) on any film you can find going. Keep your eyes open, search around, and check www.mandy.com  once a day.

DIRECTING THEATER PROVIDES A GOOD FOUNDATION

Another way to learn the basics is by directing theatre. Less expensive to mount a show than produce a film, it is generally easier to direct a play and a good way to learn the fundamentals of blocking scenes, production design, lighting for dramatic effect, and working with actors. Although it doesn’t provide any of the technical know-how of working with film, or any experience in editing, it does provide a good foundation for directing movies. If you direct a play that is a hit, even in local theatre, and get good word of mouth, politics enters the equation and presto! - buzz turns to spin – gets you noticed – and momentum can take you anywhere. Aren’t movies magic!

Let’s examine the three distinct paths that might be taken to break into the film biz in terms of wanting to direct. Whatever route you choose, are a viable way to become a director.

FILM SCHOOL

The advantage of film school is that you have all the necessary equipment available - camera, lights, and editing - and instruction on how to use it! The best known in LA in terms of Universities are UCLA and USC but there are several smaller colleges which offer a complete film program. For example Chapman University in Orange has the Lawrence and Krisitina Dodge College of Film and Media, Columbia College Hollywood and Los Angeles Film Studies Center (LAFSC) at Gordon College, to name a few. There are also independent film schools like The Los Angeles Film School, www.lafilm.com and the New York Film Academy that offers classes at Universal Studios, www.nyfa.com.  A Google search of LA film schools will give you plenty to choose from.

For an interesting read on one director’s take on starting out after film school and an attention-getting first feature, read what David Lynch says about making Elephant Man.


MAKE YOUR OWN FILMS

The advantage of getting hold of a camera and just going out and making a film is… well, it’s the quickest way I suppose - you’re a director as soon as you start rolling camera.

Short films can be your ticket to directing your first feature. There is a whole new community of short filmmakers and a plethora of film festivals being held all over the world. Make a great short film, win prizes in a number of film festivals, or even one prestigious festival, and you’ll find doors opening.

To plug into this DIY new filmmaker community, consider joining Shooting People. Find out more at http://shootingpeople.org. And for a taste of the kind of unique films happening in the truly independent world of cinema, click here.

There’s a new wave of filmmakers who seem to be interested in making their own films for themselves, a movement dubbed “mumblecore.” Alicia Van Couvering writes for Filmmaker, “…we might say that generally these films are severely naturalistic portraits of the life and loves of artistic twentysomethings.” Click here to find out more.

For the other side of the coin, check out Bill Martell's (prolific Hollywood writer who makes a living writing ‘genre’ films) brilliant blog about what he calls 'Garage Films'.

Whichever route you choose, two keys to success are networking and finding a mentor. It helps to be a bit of a political animal. Make an effort at developing friends in the Industry. It’s easy to do with a crew while filming because there’s an instant bond. It’s networking between films that may be more difficult but can really pay off. And purposefully look for a mentor. If you find yourself becoming friends with an older successful filmmaker, cultivate that friendship.

There’s plenty happening out there. You just have to go out and find it … or go out and make it happen.

Tune in for the next installment.

If you have any queries or comments, please contact me - Peter Haig here.

Copyright October 2008 Peter Haig.  All rights reserved.