Directors


The Academy of Television Arts & Sciences Foundation Presents

02:26

Tabs

About

The television director, who sits atop the chain of command of the crew during the actual filming or taping of the show, is responsible for the visualization of the TV program, selecting the different camera angles and compositions that will used. Beyond this most general definition, however, the nature of the director's job, and the relative importance of the director's creative contribution to the finished product, varies greatly among different forms and genres of television.

One basic distinction in TV production exists between single-camera (film-style) and multi-camera work. In single-camera production each shot is staged individually, allowing precise camera positioning and lighting. Repeated 'takes' are shot until the director is satisfied with the results. The action is filmed or taped out-of-sequence based on a logic of set-ups for camera and lighting. Actors must break their performance into non-continuous bits that still appear coherent when assembled later in the editing room. In this type of production, then, performance is adjusted to fit the visual scheme. Virtually all prime-time television dramas, programs generally one hour or longer, are produced in this manner. Common genres include action-adventure, crime, medical, courtroom, melodrama, and 'prime-time soap opera.' The television drama is the format in which the TV director has the most control and the most creative input--operating most like a feature film director. Yet, even here the director's role is more limited than a film director's. The series nature of television necessitates an exceptionally demanding production schedule and a rigid organization of labor, giving the director certain responsibilities, removing or restricting others.

-David Tetzlaff

Highlights
Reza Badiyi on his visual style on Mannix
Ron Howard on his directorial style
Andy Ackerman on the Seinfeld episodes "The Pothole" and "The Rye" and his directorial choices on the series
Frances Buss Buch on how she directed a television program
John Singleton on directing Michael Jackson's "Remember the Time" music video
Jay Sandrich on how good writing inspires him as a director
Who talked about this profession

Andy Ackerman

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Andy Ackerman on the Seinfeld episodes "The Pothole" and "The Rye" and his directorial choices on the series
Andy Ackerman on the pacing changes on Seinfeld , trying to maintain a realistic tone from the actors
Andy Ackerman on his directing style on Wings

Debbie Allen

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Debbie Allen on the collaborative effort needed to direct and produce a strong show

John Astin

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John Astin on his directing style
John Astin on his influences as a director and actor

Reza Badiyi

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Reza Badiyi on his start as a cameraman
Reza Badiyi on his visual style on Mannix
Reza Badiyi on what a director wants from a producer

Bob Banner

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Bob Banner on directing televised boxing matches in Chicago early in his career
Bob Banner on the duties of the director in television 
Bob Banner on his advice to an aspiring television producer or director

Paris Barclay

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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

Richard Bare

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Richard L. Bare on directing the TV show Cheyenne
Richard L. Bare on directing Maverick
Richard L. Bare on narrating B-roll footage, discussing the kinds of film cameras he preferred to use when filming

Joe Behar

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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

Bruce Bilson

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Bruce Bilson on working with a crew and changes in directing over the years
Bruce Bilson on his work process as a director
Bruce Bilson on his approach to directing actors
Bruce Bilson on directing ensemble casts
Bruce Bilson on advice to an aspiring television director, skills you need to be a television director and his mentor Bob Sweeney

Steve Binder

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Steve Binder on his early directing style on the Steve Allen Westinghouse Show
Steve Binder on producing and directiing Elvis: The '68 Comeback Special
Steve Binder on his advice to aspiring directors

Paul Bogart

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Paul Bogart on his directing style
Paul Bogart on his preparations for directing and editing
Paul Bogart on his advice to aspiring directors

Peter Bonerz

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Peter Bonerz on directing actors
Peter Bonerz on creating good morale as the key to leadership as a director

Kevin Bright

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Kevin Bright on directing comedy
Kevin Bright on working with actors when he is directing

James L. Brooks

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James L. Brooks on the best advice he got about directing - bring extra socks

Alton Brown

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Alton Brown on directing himself on Good Eats

Kirk Browning

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Director Kirk Browning on his advice to aspiring directors
Kirk Browning on how technology might put directors like him out of business

Frances Buss Buch

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Frances Buss Buch on how she directed a television program

James Burrows

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James Burrows on attending the Yale School of Drama and wanting to become a director
James Burrows on learning from Jay Sandrich on The Mary Tyler Moore Show
James Burrows on directing every episode of Will & Grace

LeVar Burton

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LeVar Burton on directing the more recent series of Star Trek

Robert Butler

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Robert Butler on wanting to be a director
Robert Butler on differences between directing live television and filmed single camera television
Robert Butler on his directing style
Robert Butler on directing actors
Robert Butler on his work with the Directors Guild of America and why it's important to directors
Robert Butler on advice to aspiring directors

Dann Cahn

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Dann Cahn on wanting to direct television and observing directors

Kevin Carlisle

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Kevin Carlisle on becoming a director, and on how being a choreographer helped him

Thomas Carter

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Thomas Carter on being known as "The Prince of Pilots"
Thomas Carter on his directing style
Thomas Carter on how being an actor helped him as a director
Thomas Carter on advice to aspiring television directors

Gilbert Cates

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Gilbert Cates on directing the game show Haggis Baggis
Gilbert Cates on what made him a good director

Tony Charmoli

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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

David Chase

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David Chase on overcoming his fear of directing on Alfred Hitchcock Presents when he had no idea what to do
David Chase on confronting his fear of directing on Alfred Hitchcock Presents when he had no idea what to do
David Chase on how directing affected the way he writes "a camera can only do one thing at a time"

Tom Cherones

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Tom Cherones on directing multi-camera verses single camera
Tom Cherones on advice to aspiring television directors

Michael Chiklis

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Michael Chiklis on his love of directing

Bob Claver

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Bob Claver on the craft of directing television 
Bob Claver on advice to an aspiring television director
Bob Claver on choosing what projects he wanted to direct
Bob Claver on his directing style

Robert Conrad

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Robert Conrad on directing for television and movies

Hal Cooper

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Hal Cooper on a typical production week on Search For Tomorrow
Hal Cooper on working as a director in the DuMont studio
Hal Cooper on directing the Maude episode "Maude Bares Her Soul"
Hal Cooper on directing Bob
Hal Cooper on the importance of rehearsing 
Hal Cooper on advice for aspiring television directors

Fred de Cordova

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Fred de Cordova on the differences between directing features and directing television

Richard Crenna

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Richard Crenna on directing pilots for series
Richard Crenna on the craft of directing for television

Bill Davis

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Bill Davis on directing shows from the booth
Bill Davis on his directing style
Bill Davis on the challenges of being a freelance director
Bill Davis on working with the crew and writers when directing a variety show
Bill Davis on the evolution of his directing style
Bill Davis on advice to aspiring television directors

Richard Donner

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Richard Donner on the short shooting schedule and technical challenges of directing The Twilight Zone 's "Nightmare at 20,000 Feet"
Richard Donner on making the transition from directing television to directing features
Richard Donner on how directing for television helped him shoot "Superman" and "Superman II" simultaneously
Richard Donner on advice to aspiring directors

Bob Doyle

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Bob Doyle on directing the 1948 political conventions

Charles Dubin

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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

Harlan Ellison

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Harlan Ellison on walking off his first directing job

Norman Felton

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Norman Felton on transitioning from playwriting to directing

Bob Finkel

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Bob Finkel on directing commercial films in Pittsburgh
Bob Finkel on filling in as a director in an emergency - his big break in directing

John Frankenheimer

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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

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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

Greg Garrison

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Greg Garrison on his approach to directing performers like Gene Kelly and Sid Caesar, and on working with Sid Caesar
Greg Garrison on the challenges of directing a variety show

Larry Gelbart

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Larry Gelbart on directing the episode "Abyssinia, Henry" of where one of the main characters dies which he kept a secret from cast and crew

Vince Gilligan

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Vince Gilligan on the first episode of The X-Files he directed - "Je Souhaite" (I Wish) in Season 7, and how scared he was to try his hand at directing

Lesli Linka Glatter

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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

Lewis Gomavitz

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Lewis Gomavitz on advice to aspiring television directors

Walter E. Grauman

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Director Walter Grauman on the importance of camera movement to his directorial style

Jon Hamm

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Jon Hamm on directing two episodes of Mad Men and what it was like to be on both sides of the camera; on turning down the opportunity to direct in season seven; on what he as an actor brings to directing
Jon Hamm on learning from the other directors of Mad Men and learning from all sets he's been on 

Dwight Hemion

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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

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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

Martin Hoade

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Martin Hoade on his directing style
Martin Hoade on the process of directing and producing documentaries for television

Louis J. Horvitz

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Louis J. Horvitz on his path from still photographer, to camera operator, to director
Louis J. Horvitz on his directing style
Louis J. Horvitz on advice to aspiring television directors

Ron Howard

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Ron Howard on his directorial style

Felicity Huffman

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Felicity Huffman and William H. Macy on the film "Rudderless," directed by Macy and starring Huffman, and Macy's directing style

Lamont Johnson

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Lamont Johnson on casting for NBC Matinee Theater, on working with Zsa Zsa Gabor on the show, and on working with actors as a director
Lamont Johnson on working with editors
Lamont Johnson on advice to an aspiring director
Lamont Johnson on his directing style

Robert Justman

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Robert Justman on becoming a first assistant director

Elodie Keene

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Elodie Keene on what she likes about directing
Elodie Keene on her directing style
Elodie Keene on the differences between directing comedies like Scrubs and dramas
Elodie Keene on advice that has helped her as a director

Asaad Kelada

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Asaad Kelada on apprenticing on the show Rhoda
Asaad Kelada on directing his first episode "Rhoda Goes to Paris" on the show Rhoda
Asaad Kelada on how he prepares to direct an episode
Asaad Kelada on directing an episode of The Office

H. Wesley Kenney

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H. Wesley Kenney on his duties as director on the early DuMont Shows
H. Wesley Kenney on the importance of the placement of actors when directing for television
H. Wesley Kenney on directing All in the Family and working with the cast

Lynwood King

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Lynwood King on directing NBC News' Sunday afternoon newscast

Don Roy King

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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

Michael Patrick King

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Michael Patrick King on directing on Sex and the City

Ken Levine

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Ken Levine on the advantage of being a writer who directs
Ken Levine on his directing style

Barry Levinson

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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

Jerry Lewis

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Jerry Lewis on directing for film and television

Sidney Lumet

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Sidney Lumet on how he was assigned or chose which live anthology shows to direct in the 1950s
Sidney Lumet on the preparation and process of directing live anthology series in the 1950s
Sidney Lumet on working with actors
Sidney Lumet on advice to an aspiring television director

Will Mackenzie

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Will Mackenzie on how he went about finding directing jobs early in his directing career
Will Mackenzie on dealing with budgets as a television director, and on where he sits on a three-camera shoot
Will Mackenzie on setting the tone on his sets
Will Mackenzie on participating in the creation of title sequences
Will Mackenzie on advice to aspiring television directors

Nancy Malone

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Nancy Malone on directing the 100th anniversary of Dynasty  with the help of DP Michel Hugo
Nancy Malone on directing Beverly Hills 90210  and the issues with one of the actors who was late
Nancy Malone on her directing process: "find what the story is about"; on her "mentor" Michel Hugo

Delbert Mann

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Delbert Mann on how he decided he wanted to be a director
Delbert Mann on how he decided to go into theater
Delbert Mann on differences between directing for television and for film - TV as mainly a producer's medium and film as a director's medium
Delbert Mann on advice to aspiring directors

Martin Manulis

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Martin Manulis on making the transition from directing theater to directing television

Garry Marshall

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Garry Marshall on trying to learn to direct one-camera on Love, American Style

Dick Martin

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Dick Martin on his directing style
Dick Martin on his advice to aspiring performers and directors

Leslie H. Martinson

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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

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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

S. Epatha Merkerson

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S. Epatha Merkerson on her directorial debut in the documentary film "The Contradictions of Fair Hope"

Walter C. Miller

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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

Don Mischer

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Don Mischer on directing The Great American Dream Machine
Don Mischer on directing/producing a music/variety special

John Moffitt

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John Moffitt on writing and directing training films for the army
John Moffitt on becoming assistant director on The Ed Sullivan Show after working on a European mobile unit during the summer; on Sullivan director Tim Kiley; on becoming director of the Sullivan Show 
John Moffitt on his philosophy of directing stage comedy shows for television
John Moffitt on his directing style
John Moffitt on advice to an aspiring director

Howard Morris

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Howard Morris on his directing style
Howard Morris on advice to aspiring actors and directors

Hal Needham

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Hal Needham on advice to aspiring stuntmen and directors
Hal Needham on creating an atmosphere on film sets

Alan Neuman

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Alan Neuman on how he would direct television in the then-present
Alan Neuman on advice to an aspiring television director

Leonard Nimoy

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Actor Leonard Nimoy on how he and co-star William Shatner expressed interest in directing for Star Trek, but the opportunity wasn't offered

Don Ohlmeyer

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Don Ohlmeyer on becoming an associate director on The 1968 Olympics

Marty Pasetta

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Marty Pasetta on his directing style
Marty Pasetta on advice for aspiring producer/directors

Timothy Van Patten

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Timothy Van Patten on advice to aspiring directors 

Arthur Penn

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Arthur Penn on how directing live television prepared him to direct plays and feature films

Bill Persky

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Bill Persky on how he came to be a director

David Pressman

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David Pressman on acting and staging for live television
David Pressman on the change of Actors Studio to The Play's the Thing on CBS and comparing the rules for directors on ABC vs. NBC vs. CBS
David Pressman on a director's relationship with producers
David Pressman on advice to an aspiring director
David Pressman on communicating with his camera crew

Carl Reiner

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Carl Reiner on his work as a director

Gene Reynolds

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Gene Reynolds on his style of directing
Gene Reynolds on planning out scenes
Gene Reynolds on the duties of a director
Gene Reynolds on his philosophy of directing

John Rich

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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, and his disappointment with television today (1999), and how directors are being phased out by networks. "You don't hire a legend."

Jay Sandrich

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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

Joseph Sargent

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Joseph Sargent on doing location shoots
Joseph Sargent on his attraction to long -form television and his directing process
Joseph Sargent on East Coast crews vs. West Coast crews
Joseph Sargent on advice to aspiring directors

Max Schindler

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Max Schindler on the craft of directing for news broadcasts
Max Schindler on his duties as director of Meet the Press
Max Schindler on his directing style and how he works with his crew and keeps his cool
Max Schindler on advice to an aspiring news director

Thomas Schlamme

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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

Ralph Senensky

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Ralph Senensky on being the director's assistant in a high school play in Iowa and falling in love with directing
Ralph Senensky on how he got his first directing assignment - for Dr. Kildare
Ralph Senensky on advice to aspiring directors

Jack Shea

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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

Sidney Sheldon

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Sidney Sheldon on why he loves writing more than directing

James Sheldon

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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

Garry Simpson

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Garry Simpson on directing the NBC television demonstrations at the 1940 New York World's Fair and directing in the studio and for mobile units
Garry Simpson on directing mobile units for NBC
Garry Simpson on directing actors on Chevrolet Tele-Theater
Garry Simpson on his demeanor as a director on set, working with writers, and

John Singleton

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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

Sid Smith

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Sid Smith on directing early television commercials while working for an advertising agency
Sid Smith on differences between sitcom and variety show directing
Sid Smith on his directorial style
Sid Smith on advice to aspiring directors

Howard Storm

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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

Tony Verna

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Tony Verna on his directing style and challenges in the control room
Tony Verna on advice to aspiring television directors
Tony Verna on choosing shots while directing

Henry Winkler

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Henry Winkler on the value of listening to everyone on a set

Bud Yorkin

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Bud Yorkin on working with talent and what distinguished him as a television director