More than ever before, TV dominates water cooler talk. A substantial chunk of the most innovative storytelling is now on cable and digital platforms, and indie film directors are making the transition to be at the forefront of this change. The extended storylines and character development opportunities in episodic are exciting; networks take even more chances now and it’s paying off in high ratings and increased awards haul. TV is lucrative for the filmmakers, too, providing more ongoing directing gigs than the pre-pro heavy indie film world.

So how is directing TV different? In indie film, the director is the chief storyteller. In TV, it’s the writer. And the politics of a film set are usually contained in something of an insolated bubble, while TV sets are much bigger and porous, with more of a committee-governed setup.

Breaking Bad

Another difference for indie directors for hire is the opportunity to join a TV production to direct an episode when the show is already fully formed. The director is a hired gun, who must gently and usually very temporarily, establish themselves as a confident leader to cast and crew to avoid a power vacuum. The director must know the show inside and out, understanding both the writers’ vision and the actors’ relationship with their characters. It’s a lot of homework for a director accustomed to directing their own scripts.

If the show is a universe, the hired director must be Stephen Hawking. Shot selection and blocking may be where the hired director has the most freedom but if they don’t conform to the vernacular of the show, they will not be asked back.

 

Balancing auteurism and conformity is a welcome challenge for some indie directors who are okay with having others captaining the storytelling ship. They must have crystal-clear understanding of what they bring directorially and how they can champion the writers’ vision. TV production schedules are lightning fast, so this also helps them hone their skills.

Three notable examples: 

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Director Alison Maclean transitioned from her acclaimed feature Jesus’ Son to helming episodes for The Tudors, Gossip Girl, The L Word and more. Alison directs commercials through Park Pictures.

The director behind the short Hooked, Richie Keen, has gone on to helm episodes for several shows including It’s Always Sunny in Philadelphia, New Girl and Shameless. He also directs commercials through GO FILM.

Director Ryan Fleck went from Half Nelson to directing episodes for The Affair, In Treatment, Looking and more. And the list goes on… We look forward to seeing our favorite indie film helmers showing up on the small screen, and making its creative quality grow.

 

Influencers to follow from this story:

@GOFILMLA
@parkpictures
@fleckryan1
@tvguide