Andy Ackerman on the importance of working with a good ensemble cast as a director
Andy Ackerman on the pacing changes on Seinfeld and on trying to maintain a realistic tone from the actors
Andy Ackerman on directing non-actor Jerry Seinfeld on Seinfeld
Andy Ackerman on the process of directing a Seinfeld episode and on various shooting locations
Andy Ackerman on the rehearsal process, ad-libbing, and "happy accidents" on Seinfeld
Andy Ackerman on what makes a successful show
Paris Barclay on his involvement with the Directors Guild of America
Paris Barclay on his directing process once he receives a script
Paris Barclay on the process of directing music videos
Paris Barclay on directing a pivotal episode of ER
Paris Barclay on how directors are selected to direct individual episodes
Paris Barclay on directing comedy
Paris Barclay on directing difficult actors
Paris Barclay on his reputation as a director
Paris Barclay on his directing process
Paris Barclay on his directing style being recognizable
Paris Barclay on advice to aspiring directors
Joe Behar on becoming a director at WPTZ, the NBC station in Philadelphia, and the types of programs he directed
Joe Behar on the craft of directing for television
Joe Behar on his approach to directing actors and setting the tone on set
Joe Behar on his directing style and his hero, John Frankenheimer; on his involvement with editing
Joe Behar on advice to aspiring television directors
Earl Bellamy on things he would do when coming on board to direct a show, and on his reputation as a director
Earl Bellamy on his directing style
Earl Bellamy on the craft of directing for television
Earl Bellamy on the relationship between director and producer, and with the writers and crew
Earl Bellamy on choosing the projects he directs
Earl Bellamy on advice to aspiring directors, and on advice to actors working with directors
Tony Charmoli on directing for TV
Tony Charmoli on his directing style
Tony Charmoli on his demeanor as a director
Tony Charmoli on winning the DGA award for his work on a John Denver special with The Muppets
Tony Charmoli on winning a DGA award for directing a John Denver special with the Muppets
Tony Charmoli on what's most important when creating a successful variety special
Tony Charmoli on why there are no variety specials today
Charles S. Dubin on his style of directing and how he works with actors
Charles S. Dubin on knowing where to place the camera as a director
Charles S. Dubin on what makes a good script to direct, and on chemistry and actors
Charles S. Dubin on summing up his career including proudest achievement, advice, collaborating with writers, mentors, and how he'd like to be remembered
John Frankenheimer on knowing he was good with a camera
John Frankenheimer on the differences between associate director and assistant director
John Frankenheimer on his directing style on Climax!
John Frankenheimer on losing weight on show day while directing live television
John Frankenheimer on being able to identify directors by camera work
John Frankenheimer on the sense of accomplishment he felt from directing
John Frankenheimer on directing tips from mentor David O. Selznick
John Frankenheimer on techniques he used for directing Playhouse 90
John Frankenheimer on directing big movie stars - Ingrid Bergman
John Frankenheimer on directing movies
John Frankenheimer on advice for aspiring directors
Pamela Fryman on the style of directing soap operas
Pamela Fryman on finding work as a director
Pamela Fryman on her directing style
Pamela Fryman on what she likes about directing pilots
Pamela Fryman on how technology has impacted directing
Pamela Fryman on what she loves about directing, and on fulfilling her dreams
Pamela Fryman on advice to aspiring directors and producers
Lesli Linka Glatter on her early days in Los Angeles, and on being on sets learning how to make films
Lesli Linka Glatter on how she went about choosing work as a director, and on what she learned working on Amazing Stories
Lesli Linka Glatter on coming in as a director on an established show
Lesli Linka Glatter on what she learned about being a producing director from Thomas Schlamme on The West Wing, and on the experience of directing the show
Lesli Linka Glatter on how she prepares to direct after she gets a script
Lesli Linka Glatter on the role of an assistant director and director of photography
Lesli Linka Glatter on where she is physically during a shoot, and on working with the editor
Lesli Linka Glatter on what she likes about directing, and on her dream project
Lesli Linka Glatter on advice to aspiring directors
Dwight Hemion on his television directing style
Dwight Hemion on the basic duties of a television director
Dwight Hemion on working with technical people as a director
Dwight Hemion on advice to an aspiring director
Dwight Hemion and Gary Smith on the importance of Gary's art design background, and on their communication with each other
Dwight Hemion and Gary Smith on choosing projects to work on, and on their production company
Dwight Hemion and Gary Smith on dealing with performers like Frank Sinatra and Sammy Davis, Jr.
Dwight Hemion and Gary Smith on dealing with pressure when working on a project
Dwight Hemion and Gary Smith on working together as producing partners and on coming up with ideas
Gary Smith and Dwight Hemion on the atmosphere on the set of their productions and how they collaborate on set
Gary Smith and Dwight Hemion on the elements of a successful producing and directing partnership and on why theirs worked
Gary Smith and Dwight Hemion on staffing their projects
Gary Smith and Dwight Hemion on keeping their collaborations fresh
Dwight Hemion and Gary Smith on the importance of Gary's art design background, and on their communication with each other
Dwight Hemion and Gary Smith on choosing projects to work on, and on their production company
Dwight Hemion and Gary Smith on dealing with performers like Frank Sinatra and Sammy Davis, Jr.
Dwight Hemion and Gary Smith on dealing with pressure when working on a project
Dwight Hemion and Gary Smith on working together as producing partners and on coming up with ideas
Gary Smith and Dwight Hemion on the atmosphere on the set of their productions and how they collaborate on set
Gary Smith and Dwight Hemion on the elements of a successful producing and directing partnership and on why theirs worked
Gary Smith and Dwight Hemion on staffing their projects
Gary Smith and Dwight Hemion on keeping their collaborations fresh
Arthur Hiller on the decisions he made while directing his first television drama, which took place on a ship
Arthur Hiller on the rehearsal process for NBC Matinee Theater
Arthur Hiller on how he approached directing different styles of television shows
Arthur Hiller on making the transition from directing television to directing feature films
Arthur Hiller on preparing to direct a television show or a feature
Arthur Hiller on dealing with the casting process as a director
Arthur Hiller on how he chooses projects to direct
Arthur Hiller on what he loves about the directing process
Arthur Hiller on his style of directing and working with actors
Arthur Hiller on working with difficult actors and dealing with various personalities as a director
Arthur Hiller on collaborating with directors of photography and lighting designers as a director
Arthur Hiller on advice to aspiring directors
Don Roy King on being one of the three directors working at WNEW and their different directing styles
Don Roy King on his style of directing
Don Roy King on what makes a good live television director, and on how technology has impacted directing for television
Don Roy King on a live broadcast becoming the director's show once it starts, and on his creative freedom as a live television director
Don Roy King on never having an agent or manager, and on how directing for television has changed since he started
Don Roy King on advice to aspiring directors
Don Roy King on what he loves about directing, and on how he'd like to be remembered
Barry Levinson on directing his movie "Diner"
Barry Levinson on the audio in his movie "Diner," and how his desire to have the conversations sound real and messy led to him miking the actors who were off-camera
Barry Levinson on what he learned about scouting locations from his experience directing his movie "Diner"
Barry Levinson on how he directs actors and the atmosphere he hopes to create on a movie: "controlled freedom"
Barry Levinson on moments that were improvised in his movie "Diner"
Barry Levinson on the critical, studio, and audience response to "Diner," and how the movie ended up never being released nationally
Barry Levinson on directing "Rain Man"
Barry Levinson on using improvisation in his films: "you have to know what you want to get to"
Barry Levinson on directing Robin Williams in "Good Morning, Vietnam"
Barry Levinson in directing the pilot of Homicide: Life on the Street
Barry Levinson on films he directed in the 1990s and how they predicted certain cultural and political movements that happened after
Barry Levinson on how he approaches directing for television
Barry Levinson on directing actors
Barry Levinson on what he enjoys about directing and the importance of ordinary moments in movies and television shows that reveal character
Leslie H. Martinson on his directing style
Leslie H. Martinson on the differences between directing in film and working in television
Leslie H. Martinson on the craft of directing
Leslie H. Martinson on the technical preparations he makes to direct and work with actors
Leslie H. Martinson on working with producers as a director
Leslie H. Martinson on what draws him to direct a script and his directing style
Leslie H. Martinson on how directing comedy and drama are different
Leslie H. Martinson on directing comedy and drama
Leslie H. Martinson on directing a sitcom with a live studio audience
Leslie H. Martinson on the most important role a director fills on a sitcom
Leslie H. Martinson on collaborating with other professionals on set as director
Leslie H. Martinson on dealing with post-production and the editing process as a director
Leslie H. Martinson on the challenges of directing an action show
Leslie H. Martinson on advice to aspiring television directors
Beth McCarthy-Miller on the changes she brought to Saturday Night Live as director and the "rules" of directing live comedy
Beth McCarthy-Miller on the differences between directing live comedy and pre-recorded comedy
Beth McCarthy-Miller on her involvement in post-production
Beth McCarthy-Miller on her directing style
Beth McCarthy-Miller on making her actors feel comfortable when directing
Beth McCarthy-Miller on advice to aspiring television directors
Walter C. Miller on how he goes about directing variety specials
Walter C. Miller on the biggest technical challenges of directing an awards show
Walter C. Miller on the experience of directing a live telecast, and on working with the performers
Walter C. Miller on liking directing more than producing, and on the challenge of doing both
Walter C. Miller on the atmosphere he likes to maintain on his sets
Walter C. Miller on advice he gave his children, who are both in the business, about directing
Walter C. Miller on how directing celebrities has changed over the years
Walter C. Miller on the secret to his success as a director
Daniel Petrie, Sr. on learning on the job to be a director in early television, and on the craft of directing television
Daniel Petrie, Sr. on his process for directing live programming in the 1950s
Daniel Petrie, Sr. on using his previous experience on stage when directing television, and on keeping his temper in check
Daniel Petrie, Sr. on the experience of directing a live television production in the 1950s
Daniel Petrie, Sr. on not having "final cut" as a director
Daniel Petrie, Sr. on how he feels about his projects when he has finished directing them
Daniel Petrie, Sr. on his involvement in the casting process of the shows and features he directs
Daniel Petrie, Sr. on advice to aspiring television directors
John Rich on his early directing responsibilities
John Rich on protecting actors
John Rich on moving from comedy to directing drama - he wanted to direct Playhouse 90 but got Gunsmoke from CBS
John Rich on negotiating his deal on The Dick Van Dyke Show with Sheldon Leonard; on his directing style on The Dick Van Dyke Show
Director John Rich on the casting process
John Rich on the type of directing that isn't done anymore
John Rich on his view of directing today, his disappointment with television today (1999), and how directors are being phased out by networks. "You don't hire a legend."
Jay Sandrich on working as a second assistant director at Desilu Studios in the 1950s, and what that job entailed
Jay Sandrich on working as a first assistant director on the set of I Love Lucy during the tumultous period when Lucille Bal and Desi Arnaz were fighting off-screen, and how he survived this and learned from the experience
Jay Sandrich on learning first-hand how the three-camera set up for shooting on film worked on the set of I Love Lucy
Jay Sandrich on getting the experience of running cameras on the set of The Danny Thomas Show and getting the technical practice he needed to be a director
Jay Sandrich on learning about directing for comedy from Sheldon Leonard on the set of The Danny Thomas Show
Jay Sandrich describes his fear over his first stint as director on The Danny Thomas Show
Jay Sandrich on being turned down by Sheldon Leonard when he asked to direct The Dick Van Dyke Show
Jay Sandrich on working with and learning from Sheldon Leonard and a series of great directors on The Danny Thomas Show (Make Room for Daddy)
Jay Sandrich on directing comedy, where he'd "rather laughs came out of the humanity of the character" inspired by the comic talents of Don Knotts and Andy Griffith on The Andy Griffith Show
Jay Sandrich on learning the importance of collaborative efforts between a director and a writer, as with Leonard Stern on He & She
Jay Sandrich on his directing style for The Mary Tyler Moore Show and clashes with producer/writer James L. Brooks
Jay Sandrich on how a disastrous runthrough of the first episode of The Mary Tyler Moore Show transformed into a very successful first taping
Jay Sandrich on the differences in working with the actors Mary Tyler Moore, Valerie Harper, and Cloris Leachman on The Mary Tyler Moore Show
Jay Sandrich on finding different ways to do a scene on The Mary Tyler Moore Show
Jay Sandrich on managing all the writers on the The Mary Tyler Moore show
Jay Sandrich on a favorite episode of The Mary Tyler Moore Show that presented a difficult writing challenge
Jay Sandrich on a director's job: to know when it's working and when it's not, and his demeanor on-set of The Mary Tyler Moore Show
Jay Sandrich on the importance of a studio audience on The Mary Tyler Moore Show
Jay Sandrich on directing the final episode of The Mary Tyler Moore Show
Jay Sandrich on the challenges faced by the writers and cast for the final episode of The Mary Tyler Moore Show
Jay Sandrich on "the biggest part of the job" - casting, and why it's important for a director and what he looks for in actors
Jay Sandrich on the first show, We'll Get By, to tape all four cameras and the difference between film and tape
Jay Sandrich on the challenges of casting the controversial show Soap
Jay Sandrich on the challenges of directing Soap: keeping all the cast happy as well as dealing with groups protesting the show's religious and gay issues
Jay Sandrich on having fun directing within time constraints, and finding ways to depict sex in a subtle way on Soap
Jay Sandrich on how good writing is what inspires him as a director
Jay Sandrich on casting The Cosby Show
Jay Sandrich on some of the technical challenges of The Cosby Show, and on working with Bill Cosby
Jay Sandrich on the problems with cameras they had on The Cosby Show and why they had to replace them
Jay Sandrich on The Cosby Show episode "Denise's Friend"; directing an episode that didn't start out as being funny and finding the humor
Jay Sandrich on the final episode of The Cosby Show: on knowing when a series has gone on too long
Jay Sandrich on how the role of a television director has changed
Jay Sandrich on how he changed his own directorial style and how editing helped him as a director
Jay Sandrich on his advice to young directors: always take stands
Jay Sandrich on learning a valuable lesson about directing from actor Richard Benjamin
Thomas Schlamme on directing comedy
Thomas Schlamme on directing It's Garry Shandling's Show
Thomas Schlamme on directing large ensemble casts
Thomas Schlamme on directing Ally McBeal
Thomas Schlamme on the process of directing Sports Night
Thomas Schlamme on directing "Ambush", a live episode of ER
Thomas Schlamme on directing "walk and talk" shots
Thomas Schlamme on how visiting the White House informed his directing of The West Wing
Thomas Schlamme on advice to aspiring directors
Thomas Schlamme on directing the pilot for Studio 60 on the Sunset Strip
Jack Shea on the beginning of his interest in directing
Jack Shea on how stage managers and assistant directors assist the director
Jack Shea on being promoted to director at NBC
Jack Shea on his first impressions of being on a television set and the craft of directing
Jack Shea on the craft of directing and inventing techniques, and how stage managers, assistant directors, and directors work together on set
Jack Shea on the differences between assistant directors and directors
Jack Shea on preparations for a day of filming and working with actors
Jack Shea on how involved he is with editing
Jack Shea on the relationship between producers and directors
Jack Shea on his approach to directing actors
Jack Shea on setting the tone and on set
Jack Shea on the most important role a director fulfills on the set of sitcoms
Jack Shea on his directing style
Jack Shea on how he directs kids
Jack Shea on his involvement with the Directors Guild of America (DGA)
Jack Shea on The Radio, Television Directors Guild (RTDG) and network response to the guilds
Jack Shea on the merger of the RTDG and the Screen Directors Guild into the Directors Guild of America (DGA)
Jack Shea on who can be a member of the DGA and the role of the organization in the industry; on the international profile of the DGA
Jack Shea on diversity within the DGA
Director Jack Shea on the credits issues between the WGA and the DGA
Jack Shea on the DGA and runaway production
Jack Shea on the DGA and low budget agreements
Jack Shea on the status of film versus TV directors and directors-for-hire
Jack Shea on his tenure as President of the DGA and the importance of the guild and on why he's stayed involved for 50 years
James Sheldon on changes in the television business in the 1950s that led to directors becoming freelancers rather than employees of advertising agencies or networks
James Sheldon on the challenges of being a director in the early years of television
James Sheldon on working with cameramen as a television director who had "live" television experience
James Sheldon on how he approached directing an episode or two of a preexisting show
James Sheldon on his approach to rehearsals
James Sheldon on advice to an aspiring director
James Sheldon on the fact that scripts for shows were often not ready with enough time to allow him to prepare to direct
James Sheldon on how he prepared to direct a show
John Singleton on preparing to direct "Boyz N the Hood" by watching lots of other movies
John Singleton on directing being like "putting a puzzle together" and the difference between directing for film and television
John Singleton on wanting to have an all-black crew on "Boyz N the Hood" (with one exception) and his desire to have spontaneity in his filmmaking
John Singleton on the experience of filming "Boyz N the Hood" in a neighborhood that was not accustomed to having a film produced there, and shooting in his old neighborhood
John Singleton on how "Boyz N the Hood" added images and stories to the culture's ideas about Los Angeles and African Americans
John Singleton on directing Michael Jackson's "Remember the Time" music video
John Singleton on what he learned from watching Steven Spielberg and Francis Ford Coppola direct
John Singleton on directing "Rosewood"
John Singleton on directing child actors
John Singleton on his directing style and how it's changed over time
John Singleton on directing cast and crew
John Singleton on directing for television (and directing Empire, specifically)
John Singleton on his involvement in post-production of TV shows he's directed: "it's shot exactly the way I want it to be edited"
John Singleton on the idea of the "auteur" director
John Singleton on what he learned from directing American Crime Story: The People v. O.J. Simpson
John Singleton on his legacy as a director and whether or not he is a "socially conscious" filmmaker
Howard Storm on standing in as a director for Woody Allen on his films
Howard Storm on how he came to be the director on Rhoda; and invaluable advice he received
Howard Storm on the difference between shooting on film or tape
Howard Storm on learning directing techniques from Woody Allen
Howard Storm on the invaluable advice he received about directing television ("red jacket" story)
Howard Storm on how Robin Williams came to be cast on Mork and Mindy and how he directed him
Howard Storm on his directing style
Howard Storm on directing comedy - "it's all about the funny bone"
Howard Storm on directing Bea Arthur in Amanda by the Sea; gaining her trust
Howard Storm on the disadvantages of stepping into a show that's been in the hands of multiple directors
Howard Storm on advice to aspiring directors
Howard Storm on being sure to thank everyone you work with as a director
