macfan2023

AppleZulu said:

So maybe, if I’m following all this correctly, this program will take mid level directors from the various backgrounds described, and teach them some of the boundaries they really need to learn before they’re unleashed to torment cast and crew. 

I’ll add the caveat that there’s probably a self-selection bias here, in that overconfident, insufferable, narcissistic jerks who already have a little experience are not going to voluntarily subject themselves overtly to a “learning experience” of this nature. As a result, the selected applicants will probably be really open to collaboration and able to take constructive criticism without having fits of rage. 

So maybe this will be a good thing. 

You understand me perfectly. It’s not that film crews are hard to work with, per se, but it’s that, frankly, when working a minimum of 65 hours a week, for four to ten months at a time, we get accustomed to a certain rhythm and flow and order and routine in our work. An inexperienced director can really upset this balance that gives us a sense of structure. So, yes, I think all of us or most all of us support the idea of diversity and inclusion, and certainly the crew I’m on right now is incredibly diverse in every way imaginable, but that diversity happened gradually over time through the union system, where noobs come in and work for others and work their way up. There really isn’t anything like that, industrywide, like a union, for new directors, and, so, yes, this six-month program sounds good to me! Let’s see what kind of directors it produces! Also, this sort of program is common at other studios. See here: https://www.dga.org/The-Guild/Diversity/TV-Studio-Directors-Development-Programs.aspx

Film crew member here. I have many thoughts. (1) Yes, diversity is good. (2) Midlevel directors usually come from commercials, and, as a person who worked on commercials for a decade, but now works in television shows, I can state my opinion that commercial directors really have no business directing television shows. (3) a small number of midlevel directors come from independent movies. These directors are ordinarily a nightmare to deal with. (4) a smaller number of midlevel directors aren’t really directors, yet, but come from a writing background. Unless they’ve been on sets a lot, these directors are normally a nightmare to deal with. (5) a smaller number of directors come from an acting background. These are usually the best directors to work with. But, they’re often the least likely to be chosen. Also, all directors who are inexperienced run up tons of overtime and meal penalties. Some crews like the extra money; others don’t. I love how Apple corporate seems to think directing television shows is a primarily creative endeavor, when, when it comes to spending money, they’re super duper cheap! And, they won’t tolerate directors who blow budgets on an ongoing basis. To really “make it” as a television show director, you have to get your work done in the allotted time in order to be rehired. That’s a lot harder than it sounds. Filmmaking is oftentimes an unmanageable beast.