A Directorial Career

Building a name-and career-as a film director is not as easy as 'point and shoot.'

by Eric Sherman | Published September 24, 2002

The Talent Managers Association, a self-regulating professional group with a goal of providing ethical standards for those whose job is devoted to advising and counseling their actor, writer, and director clients, recently conducted a seminar on that most controversial of subjects: how to get a job as a film director.

Officially titled "Building the Career of the Film Director," the panel of speakers was moderated by Dade Hayes, senior editor for Variety. Included on the panel were Joe Petricca, Vice Dean of the American Film Institute Conservatory; director and author Mark Travis; Jim Valdes of Renegade Management; and Ami Vitori, VP of Development for Shutt-Jones Productions.

The consensus of the panel was that directors don't get hired... projects get bought! And most managers and agents won't even consider representing someone who doesn't have a script they've written or have exclusive access to. Hayes cited American Beauty, The Blair Witch Project and Legally Blonde as examples of the need for new voices amongst film directors, but he also allowed those as exceptions to the rule. Following are a few of the questions posed to the panel, and the answers that are relevant to every director looking for his or her first big break.

The author, Eric Sherman, (right) with his father, director Vincent Sherman, and actress Isabella Rossellini.

Is a director's best route to success via an award-winning short or feature film, or with a highly desirable script? Most of the panel agreed there's no one route. Valdes said he has an equal number of successful clients who started with a short reel, a mid-budget feature or a shoestring-budget picture. But, of course, he reminded, it's a lot easier to "break" a writer's career than a director's—and it's a lot cheaper!

Travis was blunt in saying "This town is interested in one thing: a good property." You've got to get a great script or write one, attach yourself to it and, above all, be passionate about it. "If they know you're going to find good material, you become interesting as a director." Vitori agreed that sustained passion—represented by a commitment to the material—is the make-or-break point on the road to commercial success.

Valdes advised that whatever the material, it's got to tell a story that people are interested in—what he calls "marquee value" as a director.

Unlike the mandate of most film schools—where technique is emphasized—Petricca says "It's all about story."

Regarding the film festival circuit, the entire panel agreed that it's excellent to win an award and/or strong reviews, but without a follow-up project under your arm, there's nowhere to go. Adding to that the proliferation of festivals and film schools has resulted in there being a lot more "winners of things," says Valdes. So what will differentiate you from all the other game-players? The script for your next film!

Travis noted that writing isn't just important for the director, it's crucial. In the film business, "you don't sit around and wait for your next job." If you're an artist, you've got something to say. If you don't have a script that motivates you, "you're not an artist!" Regarding the issue of how personal the material must be, Valdes says that "It doesn't have to be autobiographical, but it must resonate." Travis echoed with, "If you gave the script for American Beauty to two different directors, you'd get two different movies. Why? Two individuals—two messages."

What are the biggest problems directors face? Travis was again up-front: trusting the wrong people. You've got to recognize that in the high-stakes game of movies, everyone has his or her own agenda. The director is at the center of a huge machine. The common denominator to all directors is the huge volume of questions asked of you. And you've got to answer them, otherwise you're giving up the reins—you're no longer the director! If someone says, "You're wrong," the only appropriate response should be, "According to whom?"

As for the director-cinematographer team, Vitori and Petricca both agreed that while it's the key aesthetic relationship, the main skill for a director is to be able to recognize the right individual for the job.

Of much greater concern is the most fragile of all pairings: the director and his or her actors. Travis says the most dangerous work on the set is done by the actors. This goes so far that even the crew
(grips, gaffers, assistants, etc.) should be selected on the basis of who is most sensitive to the actors' needs.

The ability to establish and maintain your viewpoint, communicate that viewpoint and control others in the pursuit of your artistic goals are the three most vital prerequisites for any film director.

Overall, there seemed to be two paramount values promoted by all the participants: story and personal persistence. If you don't believe in your tale, why should anyone else? MM

For more information on the Talent Managers Association, visit their Website: www.talentmanagers.org. For more information about Eric Sherman's production and consulting services, check his Website at www.ericsherman.com.

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