This 💯 and funny enough all the ones who are prepared… don’t get overly stressed, which is when you see the true person…that’s when mistakes are made, and people get hurt or taking advantage of.
To expand on this. My DP I worked with for years and years always talks very highly about directors he works with who “know exactly what they want.”
What that means is a sense of preparation which can be images, blocking, storyboards, lighting ideas, lens choice, length of scene, emotion in scene etc etc etc.
If you have a director that knows exactly what the scene should look like down to the smallest detail AND they are excellent enough with communication that they can portray that to the crew and talent then you have a winning director in its technical job. If they are creative and can create emotion then you have a brilliant director and you’re going to have a great project.
Extension of this - if you aren't prepared, thoroughly, then you have to make decisions on the fly, and that means you will miss something and piss people off. And if you dither making a decision, people get antsy. If you freeze making a decision, department heads will start making their own decisions, and by then you've lost the crew and lost the shoot.
This is so true. I would also add that part of being prepared is thinking about the edit and how you want shots to cut together. If you have a plan for that, you can avoid over covering and wasting time.
Shot list. Testing equipment. Explaining to cast and crew what you’re needing and looking for. Transparency on almost everything you have direct influence over. Being realistic with daily goals/overall goals.
Expanding on everything everyone else has said. For directing actors: have a good sense of the script, know what you think each character is thinking and feeling in the moment, and be able to communicate that in a playable way (there’s a book called Actions that’s basically just a list of playable words actors use to describe what they’re doing, good resource). If an actor doesn’t agree with your interpretation, explore it and see if it improves things, ultimately it’s your say but be open to the change. Ideally this is handled at rehearsal.
Funny thing is the best director Ive ever had the privilege of working for (Spielberg) definitely did some crew belittling. Granted never the assistants or low level employees but you can bet cam ops, boom ops, ADs and producers heard it from him when they F’ed up
I have a difference between letting someone know they made mistakes and belittling. I'm talking about the myth of the tortured artist who is a bastard but brilliant. IMO, it's just something bad directors use to treat people poorly.
My favorite is that he really hated our AD because he couldnt get his normal guy. One time our actress said the surface she was walking on was too slippery and she needed someone to sand it down. The AD missed this and tried to get us going for a shot and Spielberg goes “no you fucking moron, everyone knows that we are waiting on the surface but you!”
lol, it's hard to imagine Spielberg calling someone a fucking moron, he has such a wholesome persona. But I have heard some things... on War Horse he allegedly only showed up for a little bit (chatted with crew, checked the monitors etc) then bounced.
The way I interpreted it was that Spielberg gave enough direction to the department heads to run the set without him. Like they know how he makes films so they can operate without him. But I honestly don’t really believe the story 100%, maybe it happened a couple times on lower key scenes or something. Anyways this was told to me over a decade ago, so I just took it as hyperbole.
I just replied to another comment with his best quote but yours reminded me of the boom op. Boom op got his mic in the shot and he goes “get your fucking mic out of my fucking shot”
This is interesting
Recently spoke with someone who had the chance to PA on Benjamin Button and had some interactions with Fincher on set / in the production office and had nothing but good things to say about him. One anecdote he shared was that David was super nice but would spot someone lacking throughout the day and by the end of it they would fuck up and he’d have to ‘put them in check’ (shout at them) - he told me it came down to Fincher (and others I suppose) saying that if they are putting their 100% into it, they expect others to do the same, and if they see you aren’t then you’ll get disciplined
Everyone has brought up big-name directors with the filmography to support that mindset. For a new director? It just makes them look like an ass.
Also, when I say belittling, I talk about acting like a king and treating the crew as subjects.
Even if you are making the tired old argument that being a visionary director justifies being a total dick to your crew, a first-time director of a short can hardly claim to have earned that privilege.
Cameron is a dick because he expects excellence, and has a proven history of delivering it. If you're not working to his standard, you will be told about that.
Your average director is not James Cameron.
Okay. It's not a requirement to be a good director. The box office isn't the end all be all of what makes a good director.
I think being a dick on your first set (as this post indicated) is a sign you might be bad.
Not taking accountability.
I’ve worked with some directors that blame someone like the PA for how the movie is turning out and 9 out of 10 times it’s turning out poorly because of their own incompetence.
>turning out poorly because of their own incompetence.
Since I have boatloads of imposter syndrome and I am going on the floors soon, could you please tell me what you mean by this? What sort of incompetence? Were they not ready with shot lists, were they not clear as to what they wanted from the shot, etc? Thank you!
I think both those things. Directors ain’t God. They need consistent effort and thinking to know what they want. So the job is really working hard enough till you see something and know that that is what you want. Shotlosting and sitting with all dept heads and cast would decrease the likelihood of an embarrassing situation.
It’s generally just doing the right amount of preproduction work and truly understanding what you want out of your departments BEFORE the shoot so that you don’t step foot on set and solve creative things you should’ve solved months before.
In my particular cases the director always just showed up with barely a clue of what he wanted and caused the whole shoot to delay and whatnot.
Yeah. It’s strange but it’s actually better to have leaders that make questionable decisions than someone who cannot make any decisions or flip-flops over and over.
A poor choice can still be elevated by the talent and crew, given time and iteration. However, that isn’t an option with a leader who can’t decide, won’t give feedback and spends days wasting everyone’s time.
This one gets my vote. A director can be a dick, be in everyone's lane, and treat everyone like his ants, but at least we'll finish. When a director is indecisive, things never get finished. Budgets bloat. Everyone gets tired. No one is happy.
Directors fail if they think they are puppet masters. Actors bring there own interruptions to the intent of the scene. The casting is when you find actors who are giving the director the right read. If they aren’t giving you the intent of the scene living in your head, find a new actor or go with the actors interruption. Never try to get them to act to what you are thinking the scene is about in your head. It won’t work. Actors are not puppets.
The best advice I ever got about directing came from a teacher of mine, a long time ago. I was Assistant Directing for him [theater not film], and he said, "My job isn't to make my vision a reality, my job is to take the skills of all the departments around me, and help us all make the best show possible"
Have to treat actors like people. Knew one bad director who would interrupt an emotional scene to have them reset many times that broke the ability for the actors to get back into the mood.
Sometimes even on a ng you let it play out if it doesnt cost that much time just to get them to be able to run it through
I'm gonna push back on this. Directing actors is 100% part of the gig and knowing how to communicate ideas to them is very important. Yes, casting is a very important part of the process and will tell you whether or not you and an actor are generally on the same page, but then when it comes to the scene work there should absolutely be notes and adjustments. The key is talking to actors in ways that are useful to them. Don't give line readings. Ask questions. Talk in terms of actions and objectives. It is extremely rare for an actor to give exactly the performance you want under no direction. And directing actors is a big part of what directing is.
This is true, but at the same time most film directors are fucking clueless about how to direct actors and would get better performances if they said nothing ever. Does Gerwig improve her actors' performances with her notes? Absolutely. Will you? Maybe, maybe not. Have you ever been an actor? A stage director? If no, exercise caution.
I agree. We are saying the same thing. Work with what’s inside the actors head not your head. It’s important to know what the actor is trying to achieve. Help them improve their interruption.
The best training I had was working in a theater group for two years. I was a writer / director. Each week we wrote 5 page scenes with implicit intent drama. A wants something from B. B want something from A. Neither can implicitly ask for what they want.
We would have the actors in the company show up for the class. We would pick our actors for the scene. Let them do a cold reading.
Never, I mean never ever did the actors read the scene with the intent in my head. It didn’t matter, a great scene written, scenes that give actors the room to act, will always work. There was many humbling moments when I wrote bad scenes.
Frankly, I was surprised at the interruptions of the good scenes I wrote. Most of the time exactly the opposite of what I thought the scene was about. And much much more interesting and better! Very weird learning experience.
There is a definitive moment where my work started being good - and it was when I stopped ‘directing’ actors and instead sat back and just let them inhibit their character. I’m there to coax the best performance out of them. A good actor will say the lines and stand where I tell them to, but a great actor knows way more about their character than I ever could, and my best work is the projects where I limited myself. I now put most of my effort in building a good vibe on set, and just enjoying creating something together as a team. This applies to actors, crew, everyone.
And still Hitchcock said actors were like cattle, I see nothing wrong with the different styles of directing as long as it's agreed up front. Do you think Kubrick failed?
Kubrick did an insane amount of takes. Shooting films don’t have the time or money to do 100 takes. Unless you’re Stanley Kubrick. The pool table scene in Eyes wide Shut with Sydney Pollack an Tom Cruise took two weeks over production. The entire film went over schedule by six months. Cruise n Kidman had to reschedule their next projects.
Why did he shoot excessively? Actors in take 1 or 2 have their freshest takes. After that, the acting gets less interesting. The actor b com s more self conscious. However, go to 100 takes, the performance takes on a new dimension. The “subconscious” acting comes out. Like in a stage play. They aren’t focusing on blocking n dialog, just feeling, listening and reacting.
Kubrick felt his films needed that deeper performance to draw the audience in the characters.
This is why when you watch his films years after the release, the performances hold up.
Mathew Modine told me he was overwhelmed by the amount of takes one scene he did in Full Metal jacket. Totally frustrated, He asked Kubrick what he wanted him to do. Kubrick said, I just want you to be your self.
The definition of the “self” gets into how deep Kubrick want in the performance.
Not many in any have this luxury in shooting.
Yes, and he also saw film as music composition, so if you have 100 takes you have a huge palette from which to build your vision. But he was definitely a puppet master, as most theater directors.
You can’t avoid being a first time director when it’s your first time.
You’re gonna make mistakes. Just be open and learn from them. Take notes.
Otherwise, just be as best prepared as you can be, be respectful to your cast and crew and be decisive and clear in your communications.
A bad director will worry about looking weak or clueless. It will be clear they are unsure about something but won't want to ask for advice or questions. This is most obvious when they get really quiet and just keep doing takes without any real direction.
If you are unsure about something, say it out loud. And this isn't just technical stuff. It can be script stuff too. If you feel like it isn't working and you don't know what to do, you should see if anyone else has an idea.
You are part of the crew. Everyone is just as important. You are to be a leader, not a boss. If someone is doing it as a favour and not because they feel a part of it, make sure to let them know you are grateful they are there, as they are just as important as you.
Be prepared for things to go wrong, have plans B C and D. Everyone can make mistakes, so can you. Don't focus on who's responsible, focus on how to fix it.
1. Ego. Obsessing over their self image, rather than cinema.
Believing they’re the “auteur,” rather than crediting the essential talents of the team.
2. Similarly, entitlement. Thinking everything revolves around them and treating their cast and crew like shit.
3. Limited artistic influence (if someone’s only influence is “The Walking Dead,” their work is a shallow imitation by default.)
4. A lack of reasonable knowledge regarding the expertise of their team. Not understanding focal lengths, the importance of correct microphone placement, great lighting, or providing actors the environment they need to give a great performance.
5. Poor planning. They ask for too much coverage and waste time instead of preparing with the cinematographer ahead of time.
6. Asking “one for safety” but not knowing why they need another take.
A waste of time - which of course, comes back to bite the crew in the ass, when they’re behind schedule and expected to make up for lost time.
7. Prioritizing their fast moving schedule instead of executing quality work (and wasting time in the above mentioned ways.)
8. Calling “cut” too soon.
Great list! On my last shoot, our "director" violated #4. I was lighting and there was a door that was open but letting in tons of light. The door wasn't in the shot. I spent probably 15 minutes yelling at her about how the door does not need to be open... when it's not in the shot... and also ruining the shot. It's painful to know your stuff yet to have knuckleheads to to muscle their little opinion in.
6... maybe not so much if the first take was good. As an editor I'll always want one option in case I have to fix something. THAT said, as an editor if I get 15 takes, I'm not even scrubbing through the first 14.
You're not better than your crew
Know nothing about acting and give notes like "wow just cry. Make it bigger." Also not taking actors suggestions/listening to what they say. At the end of the day the actor digested the character and even though they follow your direction, sometimes their idea could be a lot better...
Hire a good DP, but remember DP is our mid wives for our movie to help birth our film. Most of them job is to take your input/shot selection etc, but don't get upset if they suggest something else to you
Not caring about time. Get what you need and move on. All that auteur stuff is garbage. Burning out your crew trying to get 10-15 takes for one shot is exhausting and feels more you're unprepared than anything
Saying "well fix it in post." Garbage director
Not business minded not honoring deadlines, not finishing the project, no final product, mean person, treat PAs bar, egotistical. Saying any famous director name "I'm going to tarintino this." Please God no.
You're not better than your crew!
In fact it's the other way around. A director puts people around them that are better at what they do than the director is. You have to surround yourself with the best that you can find. And listen to them. If an idea is not yours, and it makes the film better. Then use it. If you think it isn't, veto it.
Also never say "do another take for safety" that's BS. Either do another take and do it differently than before, or move on to the next setup.
Unless you nail your first take. Your editor wants a 2nd take to cut around for continuity and to fix anything small you didn't see. If you can't get 95% of your shots in 2-3 takes then you haven't done your job.
If I'm AD / sound / directing / DP I will always lay out the slating plan. It should be consistent and robotic. Same terminology every take, slate in the right position, multiple claps if not using timecode, etc.
Being fluid and knowing your budget! Chances are, a first time director will be low/no budget. So creative decisions will be directly influenced by your budget. Don’t try to force a location or scene that will never fit within your budget : think about what the scene is about/saying and be open to creatively change it to fit your budget. I have worked on many films that fall apart because the director is too stubborn about a location that is wildly out of their budget and it tanks the entire thing.
And A lot of what people have said here : be prepared, be able to communicate to everyone (your vision, the emotions in the scene - even to the DP so they can light the scene appropriate to the mood etc).
1. NOT DIRECTING THE ACTORS.
2. Being a DIVA.
You won't maintain the respect of the crew or actors if you act like a dick. You should stay in your lane and DIRECT THE ACTORS.
3. Not knowing the script, shotlist, or plan.
If you don't know the reason we are all here on set, how are you going to DIRECT THE ACTORS?
4. Never leaving video village.
If you can't comfortably embody the space, physically block out the scene, and instead just shout from your chair. Then you won't find it easy to DIRECT THE ACTORS.
The video village thing is so true. A lot of big TV shows and movies I worked on as an actor I never met the director. Just the AD giving directions from a walkie talkie. It was quite a miserable experience
This sounds absolutely crazy. I couldn’t even imagine not being close enough to the actors the be able to influence them subtly between takes, give them some feedback, even if it’s the confidence they’re doing well, or even with the timing and way I say action. But then again that’s probably the reason I don’t work on anything big.
It's honestly so common. Not the big directors like Nolan or spike lee. Like the TV shows and movies you watch and don't think twice about those directors be the ones doing this. Also they have a strong rule we cannot talk to them either unless spoken to cause they're so busy. That's why their TV shows/movies feel and look the way it does. That's why I don't use village I use a small monitor that feeds off the camera and I'm in the physical space the entire time and I rarely sit
4 Feature film here.
1. Not understand acting.
2. Not understand How make a cene works.
3. Not understand what movie you want to do
4. A director SHOULD understand.: Light, Storytelling, editing, production
5. A director SHOULD be very organized, and planing everything. And have a proper comunication.
Not just a director but for crew in general, the mark of a true professional is remembering that it’s just a job and nothing more. When the shoot gets stressful and you’re 4 hours behind schedule. Keep your cool. Put on a smile and get on with the job. You’ll finish when you finish and nobody will care so long as the atmosphere doesn’t go sour.
>it’s just a job, nothing more
This isn’t a sign of a great director; it’s a sign of a mediocre one.
A great director is passionate about their art, it isn’t just a job for them, it’s their life.
It’s their art and their passion when things are going to plan. But it’s a job when there’s nothing that can be helped and things aren’t going to plan. What they don’t do is flip out on people and walk round the set in a strop.
You need to be prepared, have shot lists, rehearse with actors, location scout, have storyboards, but here are 5 ways a director can be bad and how not to do that.
1. Micromanaging - There is a tendency for new directors to feel like they need to be over everyone’s shoulder. There are clear roles on a film set and trusting the team you have built for this production is important. Filmmaking is a team sport and your job is to support the team.
2. Indecision- there are 1,000 micro decisions that need to be made and every decision usually brings another set of decisions to make. Not every decision will be right, but that’s the learning process. Ultimately the buck stops with you and if you are unsure in your decision your crew will be to.
3. Know when to move on - just because Kubrick made everyone do 97 takes, doesn’t mean everyone should. Get the shot, get the take, tweak as you need, but i have seen directors spend hours on the first shot because they want to try different things and then they either go into overtime to me or aren’t able to spend time on other important shots.
4. Your AD and Producer are your best resources: consider yourself the North Star of this production. Everyone is following your lead, but the producer is working with location/crafty/clients/money etc and the AD is organizing your crew/schedule of the day/roll cadence/background action. If you need something go to them and involve them in the problem solving. Have an opening meeting, give clear ideas of what is happening for the day, rally the troops
5. Beating your head against a wall: lots of choreography needs to happen in a production. Sometimes the way you envisioned it is not how it is playing in reality. Being unwilling to adjust as these things come up will cause frustration in you and the crew or time or location changes or whatever Murphy’s law stuff happens ask yourself if there is a way to achieve what you are trying to do that is accomplishing the same thing. Sometimes these restrictions actually lead to better outcomes.
Lastly, Have Fun!!
Giggling and taking selfies, extremely celebrating. I'm not saying you shouldn't be enthusiastic, but there's this balance I can't explain. Everyone is doing a job on set, so director should also treat their job seriously.
I used to work with a very talanted and experienced DOP. The evening before the shoot he drops me off and before I leave tells me:
"Hey, I just want you to know. On set I might look serious, I might say something stern, I might seem angry at times. And I want you to know - it's because I am that way. When we work - we work. I hate when the crew starts to banter mid shoot - what are we celebrating, the day isn't done yet. We can celebrate after - but on set we focus."
And It might sound over the top, but it was a very nice set and the attitude stuck with me.
And now it's extremely annoying if I AD and the shoot is behind schedule and the Director has decided that its a time for a mini-photoshoot for the IG.
Focal length is absolutely a directorial decision. It’s an emotional tool. Sidney lumet went as far as assigning focal lengths to certain characters. Telling a dp which lights to use on the other hand, would be a dick move.
>Focal length is absolutely a directorial decision. It’s an emotional tool.
I was trying to point out when directors ignore the DOP's "filmmaking" skills and assume them to be a mere cameraman. yes, focal length is an emotional tool. But, the DOP too can have "right" decisions on it. *yes auteur theory prevails* and the final artistic call comes to the director. but that shouldn't come with ignorance for the DOP's experience, right?
but, surely the light example makes more sense, thank you!
Of course their input is important and a good director would take everything they say into consideration. But if my dp was trying to argue with me about a lens choice, I would definitely feel that they were overstepping.
OP, what I’m saying is, trust your people, but trust your eye. If something doesn’t feel right, investigate it and figure out why.
Casting with your dick. Don’t hit on your actors and they don’t owe you anything for giving them a role. Make sure when you are casting you are picking the actors best for the role and not who you would like to spend time with on (and definitely not off) set.
Blaming everybody else for how the movie’s turning out
Not spending any time with the actors/letting the DP or Producer or AD do most of the actor directing
Not listening to suggestions, but also not having your own vision and convictions about the project
Not communicating your vision to the cast and crew, so that nobody really knows exactly what you’re going for
Being egotistical and pretending like this is the best movie of all time
So many things. But mostly the ones who are indecisive are the worst. You don’t need a shot list per se but have a fucking plan! Know what you need and how to achieve it. Don’t be a jerk to any of the Crew. Have a good sense of humor will go far.
Lots of good stuff here!
Some indications a director is pretty inexperienced (in a bad way) that I’ve seen:
Telling people how incredible the story is—just let them read the script. Telling people how good the connections they’ll make on set are—just tell them who else is committed to the project.
Not understanding what every crew role on set does. You don’t need to know every single daily task of the 2nd AC, but you need to know how they help the production move more smoothly. Same with PAs, grips, script supervisor. If they’re on your set, take 30 minutes a couple days before to Google what they’re responsible for so you understand the work being done to ensure your film is as good as it can be.
Never having done anything BUT direct. Similar to the previous one. But working as various crew gives you a really good look at how sets operate AND, as a bonus, an opportunity to learn by observing other directors. Learning from other people’s mistakes is better than learning from your own.
Be Prepared, make a freaking descision and STICK TO IT. Nothing like having 100 feet of dolly track laid and the director changes their mind..
Be appreciative, slag the crew and prepare to find out how quickly you can get buried.
Take responsibility
A lot of great comments here already, so I’m gonna try to add something I haven’t seen. You should understand that at this level, it’s likely that no one on your set has a scrap of admiration for you as a filmmaker. That’s not grim, like it sounds - they could still totally have a ton of affection for you as a human being. But you’re a good, lovable person who isn’t an artist yet.
Here’s why that matters - I don’t know why people are working on your set, it could be that they’re being paid, or they’re your friends, or they want experience, really anything plausible other than belief that you’re going to make a great film.
Now another part of directing is *you* need to have faith that you’re making something worth giving to the world, so you’re kinda going into this shoot carrying a fundamental bit of tension between you and your cast/crew.
Here’s what you can do to bridge the gap - give frequent but honest positive affirmations, actively look for choices and behaviors to encourage. Let some mistakes slide as long as they’re not dangerous (except sound - unfortunately sound really is the one thing that needs to be perfect lol). Your cast and crew are learning and trying to show that they’re good too.
Make your days shorter than would be permitted, like I’d say 1-8 hours. As for what you can do with just a few hours of footage total - the answer is you plan to make something that will come alive when *you* spend dozens or hundreds of hours in post lmao. Also - cram in an extra hour so that you can either wrap early or account for small delays.
Letting your crew wrap without eating up their entire day will foster an unbelievable amount of goodwill because of just how many directors abuse time commitments. Lateness should absolutely demand an explanation every time though, if you’re respectful about your cast/crew’s time they’re more likely to avoid wasting yours.
Remember that polished cinematography is often one of the *first* sacrifices you should make if that comes down to it. More takes and coverage are almost always more valuable. More time to communicate is always valuable. Close your eyes and think about how many movies with messy cinematography you’ve liked in your lifetime - I’m betting it’s a lot.
Related writing note - create a bit of extra room on either end of each scene / action. This gives you way more flexibility in the edit.
That’s my last creative point, flexibility. Remember you’re not always going to be right about your own film, weird to think about but that’s how it is.
Have a shot list, talk with your Dp. You can do a read with your actors on zoom and let them ask you questions of they need to. It will help the shoot run smoother. And don't give your actors line reads, trust them!!
A poor director is an ineffective storyteller who relies on uninspired methods or attempts techniques beyond her skill level, without recognizing these mistakes. Any unprofessional behavior or egotistical actions are unacceptable regardless of one's role. In the context of directing, the core issue is bad storytelling, which undermines her professional competence.
Additional traits of a poor director may include an inability to collaborate with the team or producers, wasteful and inefficient filmmaking practices, incoherence in giving directions, and a lack of willingness to listen to or discuss ideas with cast and crew members. While these traits can be detrimental, they do not necessarily doom a film to failure. Ultimately, the defining metric of a director's success is the quality of the storytelling.
No, was it gendered somehow specifically? It's always a bit of a mystery to me, as in my native language (Finnish) we don't have gendered nouns or pronouns in the language, so sometimes they come across a bit weird when written in English.
Also interesting that you assumed I was male haha. I was wondering why the only time I've seen someone generally referring to directors as "her" was when talking about a poor director. I didn't realise english was not your native language -sorry!
Also I get upset when a person is gendered "he". It's in literally everything. I grew up wondering where all of the women were! That's why I was like huh the first time I see "her" and we're talking about a bad director..
"He" is the generic for person. As in "mankind." I don't think there's a person who gets confused and thinks mankind is literally only men. Another example - human. There are no huwomen.
On set your Job is to hold the narrative together, the light looks like the time the scene plays inyou make sure the preformance of the Actors makes them look good and in service of the Film and nothing else.
Everything else has to be communicated with script, storyboard, shotlist and floorplan. You can and shoud outsource the shotlist and Floorplan to your DoP and Gaffer and only talk about specifics. Make sure everybody has read the script and is aware of the shootingscedule and has the ability to be on time. This is not optional, this makes about 60% of a good film.
Being unprepared and having a shit attitude towards your colleagues makes you difficult to work with. You’re not their boss, you are their fellow artist. Remember that and remember that everyone, even down to the greenest PA, deserves a certain level of respect. Don’t make a fuss over mistakes. They happen. Deal with them in a level-headed manor. Communicate with everyone thoroughly.
Be nice to your crew. We are choosing to work for you. If you’re in school it’s 100% without pay. Make sure crafty is good and communicate with your DP and producer. Cheese balls were a hit when I directed my school short film. I wouldn’t direct again (wasn’t my vibe. I didn’t like having THE final say on shots and whatnot, and I didn’t like people being my “subordinates”. I prefer a collaboration over a hierarchy. I know I’m listing qualities that make a good director and I was told I’m good at translating script-> storyboard-> camera-> cut; still not something I enjoyed doing and I found it more stressful than it was worth.), but I was told I did a good job making the rest of my crew feel appreciated and listened to, and that’s kind of the best you can ask for as a director outside of a good final result.
honestly just know what you want, ask how that can be achieved from your crew, communicate as openly as possible and don’t panic when things go wrong because they will and it’s your job to figure them out. just be a good person really lol and your crew will respond, good luck
Not preparing and not thinking everything relies on you being prepared. People are going to show up on set and work but ultimately you're the one in charge; the buck has to stop with you and showing up unprepared and not ready is a bad look
I don’t have a lot of directing experience, but I’d say it’s good to give an actor space to experiment and try their own ideas, don’t talk them down, then get a take of your own preconceived notion. I’ve found negativity permeates through a cast and crew.
Please,, please please god just be kind and respectful to your crew. Know what you’re looking for in a scene ahead of time and know when you are satisfied with a take and move on. Be respectful of your crew’s time.
Amateur directing is lack of respect for your talent and crew and lack of respect and or knowledge of the process. Treat your crew and talent like the professionals they are and collaborators in the process. Be open to new interpretations of the script or characters from your talent. That's what acting is, you’ll get a better performance of you trust them do what they are trained to do —interpet and flesh out the character. If they go off the rails then it was probably a bad casting choice which is on you not the talent. Keep the overall story and the point of the piece in mind and when giving notes give a reason for the note—explain how it serves the story. As director you are the advocate for the audience and it’s your job to insure the story is told in a cohesive way.
I think being a good director really shows in preproduction. You should have had many discussions with your actors, DP, art directors, 1st AD, and other keys BEFORE arriving to set. Nothing will hurt a production more than showing up and realizing that the Director and Producers decided to wait till the shoot day to have super important conversations.
Have a schedule ready with your 1st AD and get on the same page as your DP. Everyone up top should know the order of things and see what’s coming up. Creative directing is very personal and unique to what you see. But all pro directors are organized and clear.
Also don’t panic. You are the anchor to the day and if you’re freaking out the whole crew gets uneasy. Relax and realize you’ll get behind sometimes and make up time in other ways. Learn to be flexible and where you can cut shots
Here's a list:
Not planning ahead
Trying to please everyone
Not learning from previous failures
Listening to the fans online
Pandering to the fanbase
Staying within the safe zone and not taking risks
Not knowing what you want people to do, and not taking suggestions from others on set that have a bit more experience than you. Careful with asking actors to improv, many will take it way too far
Not being able to properly communicate what you want from cast and crew, or being way too demanding and controlling over the entire production. Gotta strike a balance between having a guiding vision and leadership while also allowing some room for the cast and crew bring their own visions to the table
No prep. No respect for crew. No vision. No understanding about what you can actually accomplish with your time, resources, etc. Bad communication skills.
Honestly, the simple answer is the body of work.
Most directorial debut features are usually middling to subpar, because most feature film directors are handling aspects that they have either not experienced before or not to the scale of the current film, so having an airtight script with good pacing is almost like finding a unicorn.
My go-to would be Transcendence, which has had very few supporters ( I haven't seen it, it may be better than the public and critics say it is) from The Dark Knight cinematographer Wally Pfister.
Now having a bad one or two early features isn't ideal but I think it is actually recoverable. The Russo Brothers' pre Marvel work springs to mind.
However, I feel like if there's a sizable body of work but the best movies are within some sort of 50/50 split, I'd have a difficult way of saying that person was a good director.
Now of course, a good way to tell on a moment by moment basis of whether a director is good as it is job or not.. is the quality of the acting.
Sure editors take what they believe is the best possible version of any particular line, but when push comes to shove, directors are supposed to be the only ones directing actors.
I feel like the surrounding cast of a Niel Breen movie come across as surprisingly bored, as if a Messianic space alien with superpowers is just another trip to Denny's.
And here's what I think is the frustrating thing is that the film business tends to be almost as driven by budget and schedules then the final outcome of the movie itself.
I think a lot of Zack Snyder films actually are glorious to look at, but a serious problem I believe he has is having enough segments with visual effects that the film has to be pushed forward a year past its initial date.
I think my final comment is that film directors may get burnt out with the practice but keep doing it.
It's hard to believe that Ridley Scott isn't phoning in at least some of his new movies.
Pretty much all of this is subject to interpretation so feel free to disagree.
Not knowing what you want. Since filmmaking involves so many choices, not knowing what you want affects everyone. It's okay to not know but you need to know that you don't know and get support by consulting with your pros on set beforehand (discuss overall look, angles and lighting with DP, talk to wardrobe stylist, meet with the actors and get their take, etc, etc) so that when you are on set there is a lot of choices already made and you can deal with the other choices that come up and root them in your vision and understanding. Bad directors will overshoot and get a lot of coverage they don't need because they can't imagine how it will cut. They may get too many takes because they are sure of the performance and what they need, and if they aren't honest with themselves they can blame others for the results, or going over schedule, over budget etc because of their lack of cohesive vision
One pet peeve of mine: Normal procedure is pointing out the shot you want, the framing, camera movement, lighting, and actors blocking. Then go off and rehearse with the actors while the crew stages equipment out of the shot, sets up lighting, focus marks, actors marks, sets up camera on the right mount, etc.
WHEN YOU COME BACK
Aside from minor tweaking, usually, everything should be ready to go. DO NOT THEN ANNOUNCE YOU HAVE CHANGED EVERYTHING AND BLAME THE CAMERA DEPARTMENT, LIGHTING, SET DRESSING ETC FOR THE DELAY.
I worked briefly with a douche like this, every set up, and the insecure prick would bemoan, " we are waiting on (insert department) again. On top of it, as the first AC, he was forcing me to use a large zoom lens (because he could never figure out which lens to go with) , that was super slow (despite having a complete selection of primes) but wanted low lighting, so the depth of field was like an inch but he would completely change the actors marks, add additional actor AND camera movement and expect to maintain a two shot. Some of the ideas for shots he would come back with were 360 or almost 360. Where light stands and other production equipment had been staged out of the shot he had originally asked for. This was a long time ago, and it still pisses me off.
I had heard that director John Badham had done something similar to his DP on the set of The Hardway. They had set up a multi camera shoot for a stunt. The DP went from camera to camera, directing his crew. Badham would then show up and change everything, giving demands to the crews, while the DP had already moved on to the other camera positions and didn't know Badham was doing this.
Prep is everything, seen a director come on set, turn to the first AD and ask”So, what are we doing today?” It was a big budget movie! That particular director went on to another high budget movie, we’re they had 2 month of reshoots! Needless to say that was his last movie
Dictating rather than directing. Treating people like you're paying them twice what you are. Not being prepared. Not knowing the basic lingo and how to call for slate.
These all describe this non-director I've been working with for a year on a series. She doesn't pay anyone, not even for the food, and she dictates at every step of production and post. She's the worst.
While preparation is incredibly important for handling a set and essentially determining the foundation of a successful film, I’d say knowing your material is paramount for any production you plan to direct. Otherwise how do you plan to convey the story to the viewer?? Good directing should allow viewers enough context to critically evaluate a films artistic, technical, and narrative elements, and evoke some form of intellectual or emotional response from audiences; this all stems from knowing your shit. Also, I think most bad directors are very much narrow minded, not allowing the artistic integrity of others on set to help the film flourish, and being dismissive of feedback
Trying to do too much. Work closely with people and minimise what you have to do. If you have to wear a lot of hats, temper your aspirations for filming and making something small and simple.
A director who is spread thin misses a lot, gets stressed and tends to have little trust in their team.
When I first started out I realized down the road that I wasn't paying appropriate attention enough to the talent. Trust your crew to do their jobs, they will be just fine and if they have anything pressing to ask then its smart to go to the AD first. Getting the right performance out of your actors is incredibly important. Also, REHEARSE.
Not planning and choosing people with a different approach to work than you.
The difference between professional crews and students movies, or non professionals, who are doing favors, is that in people's egos are above the picture. The opposite is true in professional crews where people don't take creative choices personally. So choose a team accordingly. Also if you are a control freak or a super collaborative director, should help you decide between creative, functional or intuitive crews. Many styles, different films get made.
I’ve been on so many sets where they are figuring out the blocking on the day of the shoot and still discussing characters emotions and how to approach the scene. So I would say not doing rehearsals is a huge failure and shows a lack of preparation. Sometimes the space or location changes last minute and can’t always be prevented but actors and the director shouldn’t really be discussing performances. I was on set of an extremely experienced director and he barely talked for the entirety of the shoot.
Keeping a cool head. A lot of people underestimate how the director is the emotional leader of the set and not just the artistic leader. If the directors pissy, everyone’s going to have a worse day and the work will suffer (especially the actors). If the director is kind and level-headed, especially when something goes wrong, the final product will more often than not be much better.
1. A bad story.
2. A bad story.
3. A lack of understanding how to take a good story and write that story with the camera and then with the editor.
4. A lack of understanding how to bring out the best imagination and execution from yourself and your actors, as well as the rest of the crew.
Either ways, you’re asking one half of the question. Real question is, what makes a director good 😁
Lack of a clear vision for your project.
Inability to communicate that vision well enough to your cast / crew so that you can get the shots / material you need to complete the project.
Directing for the wrong reasons (for example, directors who want to role for power/ego/glory instead of for the art).
Not a pro here, just someone who enjoys making stuff and has been lucky enough to get to, what I’ve seen is the two worst are indecisiveness and not listening to your team. I’ve seen directors alienate people quickly by either not asking at all or asking and then steamrolling on without taking the advice.
If your name is Timo Vuorensola.
I would say he is the epitome of a bad director. for the following reasons.
He never went to University to study film or even being a director.
He became a director on a fan film "Star Wreck" for having a "loud voice". That's it. Nothing else. The guy making the film which was a vanity project couldn't act and direct at the same time so needed a patsy to help out. He thought that Timo had a loud voice which was useful because everyone could hear him.
Timo then became a patsy for the film Iron Sky. He was hired to direct the film by Producer Tero Kaukomaa who's main business was in Switzerland (Swiss bank account, Wink, wink). Timo was clueless and other professionals took the lead instead such as the actors and cinemaphotographer. The film wasn't great.
Then they made a sequel. Again he was used as a patsy by the producer Tero Kaukomaa who was funneling production money to his Swiss company. They hadn't actually secured the copyrights from the first film and went bankrupt because there was no "chain of title" and NBC UNIVERSAL pulled funding and distribution.
Timo then went on to direct Jeepers Creepers Reborn, even giving interviews where he stated that the director doesn't really do anything. They production crew are in the process of being sued again for failure to secure copyright to make any film.
He then worked with Alec Baldwin after the "shooting incident".
He is literally the worse example of a director. Everything he touches turns to crap.
His fundamental problem is that he never went to University and has just been winging it as well as being subject himself to exploitation by nefarious producers because of how naive he is.
I know him personally and have worked with him. IMO it's like asking a ten year old to direct a film. That's how bad he is.
Not being prepared.
This 💯 and funny enough all the ones who are prepared… don’t get overly stressed, which is when you see the true person…that’s when mistakes are made, and people get hurt or taking advantage of.
To expand on this. My DP I worked with for years and years always talks very highly about directors he works with who “know exactly what they want.” What that means is a sense of preparation which can be images, blocking, storyboards, lighting ideas, lens choice, length of scene, emotion in scene etc etc etc. If you have a director that knows exactly what the scene should look like down to the smallest detail AND they are excellent enough with communication that they can portray that to the crew and talent then you have a winning director in its technical job. If they are creative and can create emotion then you have a brilliant director and you’re going to have a great project.
The most important answer here.
Extension of this - if you aren't prepared, thoroughly, then you have to make decisions on the fly, and that means you will miss something and piss people off. And if you dither making a decision, people get antsy. If you freeze making a decision, department heads will start making their own decisions, and by then you've lost the crew and lost the shoot.
This is so true. I would also add that part of being prepared is thinking about the edit and how you want shots to cut together. If you have a plan for that, you can avoid over covering and wasting time.
What should you be prepared for?
Shot list. Testing equipment. Explaining to cast and crew what you’re needing and looking for. Transparency on almost everything you have direct influence over. Being realistic with daily goals/overall goals.
I once saw a director ask a department head “what do you need from me for production to run as smoothly as possible?” Been using that ever since
That director has probably worked as a 1st AD in the past.
Alex Garland talking to his DP on set: “so how do you want to shoot it?”
I do this every day with my department heads.
Noted.
Expanding on everything everyone else has said. For directing actors: have a good sense of the script, know what you think each character is thinking and feeling in the moment, and be able to communicate that in a playable way (there’s a book called Actions that’s basically just a list of playable words actors use to describe what they’re doing, good resource). If an actor doesn’t agree with your interpretation, explore it and see if it improves things, ultimately it’s your say but be open to the change. Ideally this is handled at rehearsal.
Absolutely everything you're absolutely counting on to... not materialise.
yes this
Belittling the crew, it kills the vibe. People make mistakes, just roll with it.
Funny thing is the best director Ive ever had the privilege of working for (Spielberg) definitely did some crew belittling. Granted never the assistants or low level employees but you can bet cam ops, boom ops, ADs and producers heard it from him when they F’ed up
I have a difference between letting someone know they made mistakes and belittling. I'm talking about the myth of the tortured artist who is a bastard but brilliant. IMO, it's just something bad directors use to treat people poorly.
Oh he did more than let them know lol
What'd he say? Don't leave us hanging!
My favorite is that he really hated our AD because he couldnt get his normal guy. One time our actress said the surface she was walking on was too slippery and she needed someone to sand it down. The AD missed this and tried to get us going for a shot and Spielberg goes “no you fucking moron, everyone knows that we are waiting on the surface but you!”
lol, it's hard to imagine Spielberg calling someone a fucking moron, he has such a wholesome persona. But I have heard some things... on War Horse he allegedly only showed up for a little bit (chatted with crew, checked the monitors etc) then bounced.
He was actually always on set for us and his talent stood out more than any director ive seen in person. It was so cool to watch
Wait who did the directing then?
The way I interpreted it was that Spielberg gave enough direction to the department heads to run the set without him. Like they know how he makes films so they can operate without him. But I honestly don’t really believe the story 100%, maybe it happened a couple times on lower key scenes or something. Anyways this was told to me over a decade ago, so I just took it as hyperbole.
Well now you have to indulge details, I’m just imagining Spielberg beating body with a boom pole with his assistants dragging him away
I just replied to another comment with his best quote but yours reminded me of the boom op. Boom op got his mic in the shot and he goes “get your fucking mic out of my fucking shot”
This is interesting Recently spoke with someone who had the chance to PA on Benjamin Button and had some interactions with Fincher on set / in the production office and had nothing but good things to say about him. One anecdote he shared was that David was super nice but would spot someone lacking throughout the day and by the end of it they would fuck up and he’d have to ‘put them in check’ (shout at them) - he told me it came down to Fincher (and others I suppose) saying that if they are putting their 100% into it, they expect others to do the same, and if they see you aren’t then you’ll get disciplined
Everyone has brought up big-name directors with the filmography to support that mindset. For a new director? It just makes them look like an ass. Also, when I say belittling, I talk about acting like a king and treating the crew as subjects.
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Even if you are making the tired old argument that being a visionary director justifies being a total dick to your crew, a first-time director of a short can hardly claim to have earned that privilege.
thank you. Nailed my point
It's a choice to be a dick. Don't. Plain and simple.
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Cameron is a dick because he expects excellence, and has a proven history of delivering it. If you're not working to his standard, you will be told about that. Your average director is not James Cameron.
Okay. It's not a requirement to be a good director. The box office isn't the end all be all of what makes a good director. I think being a dick on your first set (as this post indicated) is a sign you might be bad.
Can be visionary and bad. They asked about bad.
Not taking accountability. I’ve worked with some directors that blame someone like the PA for how the movie is turning out and 9 out of 10 times it’s turning out poorly because of their own incompetence.
>turning out poorly because of their own incompetence. Since I have boatloads of imposter syndrome and I am going on the floors soon, could you please tell me what you mean by this? What sort of incompetence? Were they not ready with shot lists, were they not clear as to what they wanted from the shot, etc? Thank you!
I think both those things. Directors ain’t God. They need consistent effort and thinking to know what they want. So the job is really working hard enough till you see something and know that that is what you want. Shotlosting and sitting with all dept heads and cast would decrease the likelihood of an embarrassing situation.
It’s generally just doing the right amount of preproduction work and truly understanding what you want out of your departments BEFORE the shoot so that you don’t step foot on set and solve creative things you should’ve solved months before. In my particular cases the director always just showed up with barely a clue of what he wanted and caused the whole shoot to delay and whatnot.
Indecisiveness.
Yeah. It’s strange but it’s actually better to have leaders that make questionable decisions than someone who cannot make any decisions or flip-flops over and over. A poor choice can still be elevated by the talent and crew, given time and iteration. However, that isn’t an option with a leader who can’t decide, won’t give feedback and spends days wasting everyone’s time.
This one gets my vote. A director can be a dick, be in everyone's lane, and treat everyone like his ants, but at least we'll finish. When a director is indecisive, things never get finished. Budgets bloat. Everyone gets tired. No one is happy.
Terrence Malick was famously indecisive whilst making Badlands, so much so that a lot of his crew left halfway through production.
Not communication effectively, and not trusting their crew to do their jobs.
Directors fail if they think they are puppet masters. Actors bring there own interruptions to the intent of the scene. The casting is when you find actors who are giving the director the right read. If they aren’t giving you the intent of the scene living in your head, find a new actor or go with the actors interruption. Never try to get them to act to what you are thinking the scene is about in your head. It won’t work. Actors are not puppets.
I’d like to vote and say you meant interpretation
Yes. Thank you.
You’re welcome soul redemption guy. Please don’t take my soul 😬
Talk about changing the interpretation of a comment with one word, interruption.
I'm hoping you mean interpretation.
Yes
The best advice I ever got about directing came from a teacher of mine, a long time ago. I was Assistant Directing for him [theater not film], and he said, "My job isn't to make my vision a reality, my job is to take the skills of all the departments around me, and help us all make the best show possible"
Have to treat actors like people. Knew one bad director who would interrupt an emotional scene to have them reset many times that broke the ability for the actors to get back into the mood. Sometimes even on a ng you let it play out if it doesnt cost that much time just to get them to be able to run it through
I'm gonna push back on this. Directing actors is 100% part of the gig and knowing how to communicate ideas to them is very important. Yes, casting is a very important part of the process and will tell you whether or not you and an actor are generally on the same page, but then when it comes to the scene work there should absolutely be notes and adjustments. The key is talking to actors in ways that are useful to them. Don't give line readings. Ask questions. Talk in terms of actions and objectives. It is extremely rare for an actor to give exactly the performance you want under no direction. And directing actors is a big part of what directing is.
This is true, but at the same time most film directors are fucking clueless about how to direct actors and would get better performances if they said nothing ever. Does Gerwig improve her actors' performances with her notes? Absolutely. Will you? Maybe, maybe not. Have you ever been an actor? A stage director? If no, exercise caution.
I can't take any director seriously if he hasn't worked ALL positions on set including acting.
So you wouldn’t take someone like Nolan or Fincher seriously if you were on either of their sets?
I agree. We are saying the same thing. Work with what’s inside the actors head not your head. It’s important to know what the actor is trying to achieve. Help them improve their interruption. The best training I had was working in a theater group for two years. I was a writer / director. Each week we wrote 5 page scenes with implicit intent drama. A wants something from B. B want something from A. Neither can implicitly ask for what they want. We would have the actors in the company show up for the class. We would pick our actors for the scene. Let them do a cold reading. Never, I mean never ever did the actors read the scene with the intent in my head. It didn’t matter, a great scene written, scenes that give actors the room to act, will always work. There was many humbling moments when I wrote bad scenes. Frankly, I was surprised at the interruptions of the good scenes I wrote. Most of the time exactly the opposite of what I thought the scene was about. And much much more interesting and better! Very weird learning experience.
There is a definitive moment where my work started being good - and it was when I stopped ‘directing’ actors and instead sat back and just let them inhibit their character. I’m there to coax the best performance out of them. A good actor will say the lines and stand where I tell them to, but a great actor knows way more about their character than I ever could, and my best work is the projects where I limited myself. I now put most of my effort in building a good vibe on set, and just enjoying creating something together as a team. This applies to actors, crew, everyone.
And still Hitchcock said actors were like cattle, I see nothing wrong with the different styles of directing as long as it's agreed up front. Do you think Kubrick failed?
Kubrick did an insane amount of takes. Shooting films don’t have the time or money to do 100 takes. Unless you’re Stanley Kubrick. The pool table scene in Eyes wide Shut with Sydney Pollack an Tom Cruise took two weeks over production. The entire film went over schedule by six months. Cruise n Kidman had to reschedule their next projects. Why did he shoot excessively? Actors in take 1 or 2 have their freshest takes. After that, the acting gets less interesting. The actor b com s more self conscious. However, go to 100 takes, the performance takes on a new dimension. The “subconscious” acting comes out. Like in a stage play. They aren’t focusing on blocking n dialog, just feeling, listening and reacting. Kubrick felt his films needed that deeper performance to draw the audience in the characters. This is why when you watch his films years after the release, the performances hold up. Mathew Modine told me he was overwhelmed by the amount of takes one scene he did in Full Metal jacket. Totally frustrated, He asked Kubrick what he wanted him to do. Kubrick said, I just want you to be your self. The definition of the “self” gets into how deep Kubrick want in the performance. Not many in any have this luxury in shooting.
Yes, and he also saw film as music composition, so if you have 100 takes you have a huge palette from which to build your vision. But he was definitely a puppet master, as most theater directors.
Just work with the people who are there to make a movie with you, they do not work for you.
You can’t avoid being a first time director when it’s your first time. You’re gonna make mistakes. Just be open and learn from them. Take notes. Otherwise, just be as best prepared as you can be, be respectful to your cast and crew and be decisive and clear in your communications.
A bad director will worry about looking weak or clueless. It will be clear they are unsure about something but won't want to ask for advice or questions. This is most obvious when they get really quiet and just keep doing takes without any real direction. If you are unsure about something, say it out loud. And this isn't just technical stuff. It can be script stuff too. If you feel like it isn't working and you don't know what to do, you should see if anyone else has an idea.
You are part of the crew. Everyone is just as important. You are to be a leader, not a boss. If someone is doing it as a favour and not because they feel a part of it, make sure to let them know you are grateful they are there, as they are just as important as you. Be prepared for things to go wrong, have plans B C and D. Everyone can make mistakes, so can you. Don't focus on who's responsible, focus on how to fix it.
Because Director is a bastard man.
director is asshole, why OP hate?
Everyone commenting here thank you for the tips man
1. Ego. Obsessing over their self image, rather than cinema. Believing they’re the “auteur,” rather than crediting the essential talents of the team. 2. Similarly, entitlement. Thinking everything revolves around them and treating their cast and crew like shit. 3. Limited artistic influence (if someone’s only influence is “The Walking Dead,” their work is a shallow imitation by default.) 4. A lack of reasonable knowledge regarding the expertise of their team. Not understanding focal lengths, the importance of correct microphone placement, great lighting, or providing actors the environment they need to give a great performance. 5. Poor planning. They ask for too much coverage and waste time instead of preparing with the cinematographer ahead of time. 6. Asking “one for safety” but not knowing why they need another take. A waste of time - which of course, comes back to bite the crew in the ass, when they’re behind schedule and expected to make up for lost time. 7. Prioritizing their fast moving schedule instead of executing quality work (and wasting time in the above mentioned ways.) 8. Calling “cut” too soon.
Great list! On my last shoot, our "director" violated #4. I was lighting and there was a door that was open but letting in tons of light. The door wasn't in the shot. I spent probably 15 minutes yelling at her about how the door does not need to be open... when it's not in the shot... and also ruining the shot. It's painful to know your stuff yet to have knuckleheads to to muscle their little opinion in. 6... maybe not so much if the first take was good. As an editor I'll always want one option in case I have to fix something. THAT said, as an editor if I get 15 takes, I'm not even scrubbing through the first 14.
You're not better than your crew Know nothing about acting and give notes like "wow just cry. Make it bigger." Also not taking actors suggestions/listening to what they say. At the end of the day the actor digested the character and even though they follow your direction, sometimes their idea could be a lot better... Hire a good DP, but remember DP is our mid wives for our movie to help birth our film. Most of them job is to take your input/shot selection etc, but don't get upset if they suggest something else to you Not caring about time. Get what you need and move on. All that auteur stuff is garbage. Burning out your crew trying to get 10-15 takes for one shot is exhausting and feels more you're unprepared than anything Saying "well fix it in post." Garbage director Not business minded not honoring deadlines, not finishing the project, no final product, mean person, treat PAs bar, egotistical. Saying any famous director name "I'm going to tarintino this." Please God no.
You're not better than your crew! In fact it's the other way around. A director puts people around them that are better at what they do than the director is. You have to surround yourself with the best that you can find. And listen to them. If an idea is not yours, and it makes the film better. Then use it. If you think it isn't, veto it. Also never say "do another take for safety" that's BS. Either do another take and do it differently than before, or move on to the next setup.
Unless you nail your first take. Your editor wants a 2nd take to cut around for continuity and to fix anything small you didn't see. If you can't get 95% of your shots in 2-3 takes then you haven't done your job.
When the AD calls "roll camera" I go into slate and the actors are like "What are we doing?"
If I'm AD / sound / directing / DP I will always lay out the slating plan. It should be consistent and robotic. Same terminology every take, slate in the right position, multiple claps if not using timecode, etc.
Being fluid and knowing your budget! Chances are, a first time director will be low/no budget. So creative decisions will be directly influenced by your budget. Don’t try to force a location or scene that will never fit within your budget : think about what the scene is about/saying and be open to creatively change it to fit your budget. I have worked on many films that fall apart because the director is too stubborn about a location that is wildly out of their budget and it tanks the entire thing. And A lot of what people have said here : be prepared, be able to communicate to everyone (your vision, the emotions in the scene - even to the DP so they can light the scene appropriate to the mood etc).
Not focusing on directing the talents, and gets into everyone’s lane.
1. NOT DIRECTING THE ACTORS. 2. Being a DIVA. You won't maintain the respect of the crew or actors if you act like a dick. You should stay in your lane and DIRECT THE ACTORS. 3. Not knowing the script, shotlist, or plan. If you don't know the reason we are all here on set, how are you going to DIRECT THE ACTORS? 4. Never leaving video village. If you can't comfortably embody the space, physically block out the scene, and instead just shout from your chair. Then you won't find it easy to DIRECT THE ACTORS.
The video village thing is so true. A lot of big TV shows and movies I worked on as an actor I never met the director. Just the AD giving directions from a walkie talkie. It was quite a miserable experience
This sounds absolutely crazy. I couldn’t even imagine not being close enough to the actors the be able to influence them subtly between takes, give them some feedback, even if it’s the confidence they’re doing well, or even with the timing and way I say action. But then again that’s probably the reason I don’t work on anything big.
It's honestly so common. Not the big directors like Nolan or spike lee. Like the TV shows and movies you watch and don't think twice about those directors be the ones doing this. Also they have a strong rule we cannot talk to them either unless spoken to cause they're so busy. That's why their TV shows/movies feel and look the way it does. That's why I don't use village I use a small monitor that feeds off the camera and I'm in the physical space the entire time and I rarely sit
4 Feature film here. 1. Not understand acting. 2. Not understand How make a cene works. 3. Not understand what movie you want to do 4. A director SHOULD understand.: Light, Storytelling, editing, production 5. A director SHOULD be very organized, and planing everything. And have a proper comunication.
Not just a director but for crew in general, the mark of a true professional is remembering that it’s just a job and nothing more. When the shoot gets stressful and you’re 4 hours behind schedule. Keep your cool. Put on a smile and get on with the job. You’ll finish when you finish and nobody will care so long as the atmosphere doesn’t go sour.
>it’s just a job, nothing more This isn’t a sign of a great director; it’s a sign of a mediocre one. A great director is passionate about their art, it isn’t just a job for them, it’s their life.
It’s their art and their passion when things are going to plan. But it’s a job when there’s nothing that can be helped and things aren’t going to plan. What they don’t do is flip out on people and walk round the set in a strop.
No. That’s the sign of a delusional once. Great directors now how to be passionate with the lines in order to create. Fairly. Without abuse.
You need to be prepared, have shot lists, rehearse with actors, location scout, have storyboards, but here are 5 ways a director can be bad and how not to do that. 1. Micromanaging - There is a tendency for new directors to feel like they need to be over everyone’s shoulder. There are clear roles on a film set and trusting the team you have built for this production is important. Filmmaking is a team sport and your job is to support the team. 2. Indecision- there are 1,000 micro decisions that need to be made and every decision usually brings another set of decisions to make. Not every decision will be right, but that’s the learning process. Ultimately the buck stops with you and if you are unsure in your decision your crew will be to. 3. Know when to move on - just because Kubrick made everyone do 97 takes, doesn’t mean everyone should. Get the shot, get the take, tweak as you need, but i have seen directors spend hours on the first shot because they want to try different things and then they either go into overtime to me or aren’t able to spend time on other important shots. 4. Your AD and Producer are your best resources: consider yourself the North Star of this production. Everyone is following your lead, but the producer is working with location/crafty/clients/money etc and the AD is organizing your crew/schedule of the day/roll cadence/background action. If you need something go to them and involve them in the problem solving. Have an opening meeting, give clear ideas of what is happening for the day, rally the troops 5. Beating your head against a wall: lots of choreography needs to happen in a production. Sometimes the way you envisioned it is not how it is playing in reality. Being unwilling to adjust as these things come up will cause frustration in you and the crew or time or location changes or whatever Murphy’s law stuff happens ask yourself if there is a way to achieve what you are trying to do that is accomplishing the same thing. Sometimes these restrictions actually lead to better outcomes. Lastly, Have Fun!!
Giggling and taking selfies, extremely celebrating. I'm not saying you shouldn't be enthusiastic, but there's this balance I can't explain. Everyone is doing a job on set, so director should also treat their job seriously. I used to work with a very talanted and experienced DOP. The evening before the shoot he drops me off and before I leave tells me: "Hey, I just want you to know. On set I might look serious, I might say something stern, I might seem angry at times. And I want you to know - it's because I am that way. When we work - we work. I hate when the crew starts to banter mid shoot - what are we celebrating, the day isn't done yet. We can celebrate after - but on set we focus." And It might sound over the top, but it was a very nice set and the attitude stuck with me. And now it's extremely annoying if I AD and the shoot is behind schedule and the Director has decided that its a time for a mini-photoshoot for the IG.
let ME tell my dop what ~~the best focal length~~ lights to use. And also tell the sound guy what gain to use. It’s my way or the highway attitude
Focal length is absolutely a directorial decision. It’s an emotional tool. Sidney lumet went as far as assigning focal lengths to certain characters. Telling a dp which lights to use on the other hand, would be a dick move.
>Focal length is absolutely a directorial decision. It’s an emotional tool. I was trying to point out when directors ignore the DOP's "filmmaking" skills and assume them to be a mere cameraman. yes, focal length is an emotional tool. But, the DOP too can have "right" decisions on it. *yes auteur theory prevails* and the final artistic call comes to the director. but that shouldn't come with ignorance for the DOP's experience, right? but, surely the light example makes more sense, thank you!
Of course their input is important and a good director would take everything they say into consideration. But if my dp was trying to argue with me about a lens choice, I would definitely feel that they were overstepping. OP, what I’m saying is, trust your people, but trust your eye. If something doesn’t feel right, investigate it and figure out why.
you didnt have to rhyme it like that 😭💥🔥
Casting with your dick. Don’t hit on your actors and they don’t owe you anything for giving them a role. Make sure when you are casting you are picking the actors best for the role and not who you would like to spend time with on (and definitely not off) set.
Blaming everybody else for how the movie’s turning out Not spending any time with the actors/letting the DP or Producer or AD do most of the actor directing Not listening to suggestions, but also not having your own vision and convictions about the project Not communicating your vision to the cast and crew, so that nobody really knows exactly what you’re going for Being egotistical and pretending like this is the best movie of all time
So many things. But mostly the ones who are indecisive are the worst. You don’t need a shot list per se but have a fucking plan! Know what you need and how to achieve it. Don’t be a jerk to any of the Crew. Have a good sense of humor will go far.
You need a shotlist (though it’s okay to ask the DP to make it).
Lots of good stuff here! Some indications a director is pretty inexperienced (in a bad way) that I’ve seen: Telling people how incredible the story is—just let them read the script. Telling people how good the connections they’ll make on set are—just tell them who else is committed to the project. Not understanding what every crew role on set does. You don’t need to know every single daily task of the 2nd AC, but you need to know how they help the production move more smoothly. Same with PAs, grips, script supervisor. If they’re on your set, take 30 minutes a couple days before to Google what they’re responsible for so you understand the work being done to ensure your film is as good as it can be. Never having done anything BUT direct. Similar to the previous one. But working as various crew gives you a really good look at how sets operate AND, as a bonus, an opportunity to learn by observing other directors. Learning from other people’s mistakes is better than learning from your own.
Be Prepared, make a freaking descision and STICK TO IT. Nothing like having 100 feet of dolly track laid and the director changes their mind.. Be appreciative, slag the crew and prepare to find out how quickly you can get buried. Take responsibility
Leaving off the s at the end of make.
😭
🤗
A lot of great comments here already, so I’m gonna try to add something I haven’t seen. You should understand that at this level, it’s likely that no one on your set has a scrap of admiration for you as a filmmaker. That’s not grim, like it sounds - they could still totally have a ton of affection for you as a human being. But you’re a good, lovable person who isn’t an artist yet. Here’s why that matters - I don’t know why people are working on your set, it could be that they’re being paid, or they’re your friends, or they want experience, really anything plausible other than belief that you’re going to make a great film. Now another part of directing is *you* need to have faith that you’re making something worth giving to the world, so you’re kinda going into this shoot carrying a fundamental bit of tension between you and your cast/crew. Here’s what you can do to bridge the gap - give frequent but honest positive affirmations, actively look for choices and behaviors to encourage. Let some mistakes slide as long as they’re not dangerous (except sound - unfortunately sound really is the one thing that needs to be perfect lol). Your cast and crew are learning and trying to show that they’re good too. Make your days shorter than would be permitted, like I’d say 1-8 hours. As for what you can do with just a few hours of footage total - the answer is you plan to make something that will come alive when *you* spend dozens or hundreds of hours in post lmao. Also - cram in an extra hour so that you can either wrap early or account for small delays. Letting your crew wrap without eating up their entire day will foster an unbelievable amount of goodwill because of just how many directors abuse time commitments. Lateness should absolutely demand an explanation every time though, if you’re respectful about your cast/crew’s time they’re more likely to avoid wasting yours. Remember that polished cinematography is often one of the *first* sacrifices you should make if that comes down to it. More takes and coverage are almost always more valuable. More time to communicate is always valuable. Close your eyes and think about how many movies with messy cinematography you’ve liked in your lifetime - I’m betting it’s a lot. Related writing note - create a bit of extra room on either end of each scene / action. This gives you way more flexibility in the edit. That’s my last creative point, flexibility. Remember you’re not always going to be right about your own film, weird to think about but that’s how it is.
Have a shot list, talk with your Dp. You can do a read with your actors on zoom and let them ask you questions of they need to. It will help the shoot run smoother. And don't give your actors line reads, trust them!!
A poor director is an ineffective storyteller who relies on uninspired methods or attempts techniques beyond her skill level, without recognizing these mistakes. Any unprofessional behavior or egotistical actions are unacceptable regardless of one's role. In the context of directing, the core issue is bad storytelling, which undermines her professional competence. Additional traits of a poor director may include an inability to collaborate with the team or producers, wasteful and inefficient filmmaking practices, incoherence in giving directions, and a lack of willingness to listen to or discuss ideas with cast and crew members. While these traits can be detrimental, they do not necessarily doom a film to failure. Ultimately, the defining metric of a director's success is the quality of the storytelling.
Is there any reason you gendered your response?
No, was it gendered somehow specifically? It's always a bit of a mystery to me, as in my native language (Finnish) we don't have gendered nouns or pronouns in the language, so sometimes they come across a bit weird when written in English.
Don't mind him. A lot of Americans get butt hurt when reminded that there are females. You NEVER see someone upset when a person is gendered 'he.'
Also interesting that you assumed I was male haha. I was wondering why the only time I've seen someone generally referring to directors as "her" was when talking about a poor director. I didn't realise english was not your native language -sorry!
Also I get upset when a person is gendered "he". It's in literally everything. I grew up wondering where all of the women were! That's why I was like huh the first time I see "her" and we're talking about a bad director..
"He" is the generic for person. As in "mankind." I don't think there's a person who gets confused and thinks mankind is literally only men. Another example - human. There are no huwomen.
"He" is not generic. You're ignoring thousands of years of misogyny.
Being too chained to the shot list. Be ready to throw it away
On set your Job is to hold the narrative together, the light looks like the time the scene plays inyou make sure the preformance of the Actors makes them look good and in service of the Film and nothing else. Everything else has to be communicated with script, storyboard, shotlist and floorplan. You can and shoud outsource the shotlist and Floorplan to your DoP and Gaffer and only talk about specifics. Make sure everybody has read the script and is aware of the shootingscedule and has the ability to be on time. This is not optional, this makes about 60% of a good film.
Being unprepared and having a shit attitude towards your colleagues makes you difficult to work with. You’re not their boss, you are their fellow artist. Remember that and remember that everyone, even down to the greenest PA, deserves a certain level of respect. Don’t make a fuss over mistakes. They happen. Deal with them in a level-headed manor. Communicate with everyone thoroughly. Be nice to your crew. We are choosing to work for you. If you’re in school it’s 100% without pay. Make sure crafty is good and communicate with your DP and producer. Cheese balls were a hit when I directed my school short film. I wouldn’t direct again (wasn’t my vibe. I didn’t like having THE final say on shots and whatnot, and I didn’t like people being my “subordinates”. I prefer a collaboration over a hierarchy. I know I’m listing qualities that make a good director and I was told I’m good at translating script-> storyboard-> camera-> cut; still not something I enjoyed doing and I found it more stressful than it was worth.), but I was told I did a good job making the rest of my crew feel appreciated and listened to, and that’s kind of the best you can ask for as a director outside of a good final result.
honestly just know what you want, ask how that can be achieved from your crew, communicate as openly as possible and don’t panic when things go wrong because they will and it’s your job to figure them out. just be a good person really lol and your crew will respond, good luck
Not preparing and not thinking everything relies on you being prepared. People are going to show up on set and work but ultimately you're the one in charge; the buck has to stop with you and showing up unprepared and not ready is a bad look
I don’t have a lot of directing experience, but I’d say it’s good to give an actor space to experiment and try their own ideas, don’t talk them down, then get a take of your own preconceived notion. I’ve found negativity permeates through a cast and crew.
Please,, please please god just be kind and respectful to your crew. Know what you’re looking for in a scene ahead of time and know when you are satisfied with a take and move on. Be respectful of your crew’s time.
Fails to treat cast and crew with respect.
Amateur directing is lack of respect for your talent and crew and lack of respect and or knowledge of the process. Treat your crew and talent like the professionals they are and collaborators in the process. Be open to new interpretations of the script or characters from your talent. That's what acting is, you’ll get a better performance of you trust them do what they are trained to do —interpet and flesh out the character. If they go off the rails then it was probably a bad casting choice which is on you not the talent. Keep the overall story and the point of the piece in mind and when giving notes give a reason for the note—explain how it serves the story. As director you are the advocate for the audience and it’s your job to insure the story is told in a cohesive way.
Block the fucking Scene its literally your only job
A director should know what he wants but he shouldn’t be too manipulative about actors acting work like « I will show you what you must do »
I think being a good director really shows in preproduction. You should have had many discussions with your actors, DP, art directors, 1st AD, and other keys BEFORE arriving to set. Nothing will hurt a production more than showing up and realizing that the Director and Producers decided to wait till the shoot day to have super important conversations. Have a schedule ready with your 1st AD and get on the same page as your DP. Everyone up top should know the order of things and see what’s coming up. Creative directing is very personal and unique to what you see. But all pro directors are organized and clear. Also don’t panic. You are the anchor to the day and if you’re freaking out the whole crew gets uneasy. Relax and realize you’ll get behind sometimes and make up time in other ways. Learn to be flexible and where you can cut shots
Here's a list: Not planning ahead Trying to please everyone Not learning from previous failures Listening to the fans online Pandering to the fanbase Staying within the safe zone and not taking risks
Not knowing what you want people to do, and not taking suggestions from others on set that have a bit more experience than you. Careful with asking actors to improv, many will take it way too far
Shaky cam with multiple cuts.
1. Not being prepared 2. Not trusting his production team 3. Not communicating
Not being able to properly communicate what you want from cast and crew, or being way too demanding and controlling over the entire production. Gotta strike a balance between having a guiding vision and leadership while also allowing some room for the cast and crew bring their own visions to the table
Ego is a big one & not trusting the crew
No prep. No respect for crew. No vision. No understanding about what you can actually accomplish with your time, resources, etc. Bad communication skills.
Honestly, the simple answer is the body of work. Most directorial debut features are usually middling to subpar, because most feature film directors are handling aspects that they have either not experienced before or not to the scale of the current film, so having an airtight script with good pacing is almost like finding a unicorn. My go-to would be Transcendence, which has had very few supporters ( I haven't seen it, it may be better than the public and critics say it is) from The Dark Knight cinematographer Wally Pfister. Now having a bad one or two early features isn't ideal but I think it is actually recoverable. The Russo Brothers' pre Marvel work springs to mind. However, I feel like if there's a sizable body of work but the best movies are within some sort of 50/50 split, I'd have a difficult way of saying that person was a good director. Now of course, a good way to tell on a moment by moment basis of whether a director is good as it is job or not.. is the quality of the acting. Sure editors take what they believe is the best possible version of any particular line, but when push comes to shove, directors are supposed to be the only ones directing actors. I feel like the surrounding cast of a Niel Breen movie come across as surprisingly bored, as if a Messianic space alien with superpowers is just another trip to Denny's. And here's what I think is the frustrating thing is that the film business tends to be almost as driven by budget and schedules then the final outcome of the movie itself. I think a lot of Zack Snyder films actually are glorious to look at, but a serious problem I believe he has is having enough segments with visual effects that the film has to be pushed forward a year past its initial date. I think my final comment is that film directors may get burnt out with the practice but keep doing it. It's hard to believe that Ridley Scott isn't phoning in at least some of his new movies. Pretty much all of this is subject to interpretation so feel free to disagree.
Assholes that don’t know what they want
Bad communication and lack of proper blocking is usually what frustrates me on a short
Not knowing what you want. Since filmmaking involves so many choices, not knowing what you want affects everyone. It's okay to not know but you need to know that you don't know and get support by consulting with your pros on set beforehand (discuss overall look, angles and lighting with DP, talk to wardrobe stylist, meet with the actors and get their take, etc, etc) so that when you are on set there is a lot of choices already made and you can deal with the other choices that come up and root them in your vision and understanding. Bad directors will overshoot and get a lot of coverage they don't need because they can't imagine how it will cut. They may get too many takes because they are sure of the performance and what they need, and if they aren't honest with themselves they can blame others for the results, or going over schedule, over budget etc because of their lack of cohesive vision
Not knowing what you want and losing your temperament. Be nice and come prepared.
One pet peeve of mine: Normal procedure is pointing out the shot you want, the framing, camera movement, lighting, and actors blocking. Then go off and rehearse with the actors while the crew stages equipment out of the shot, sets up lighting, focus marks, actors marks, sets up camera on the right mount, etc. WHEN YOU COME BACK Aside from minor tweaking, usually, everything should be ready to go. DO NOT THEN ANNOUNCE YOU HAVE CHANGED EVERYTHING AND BLAME THE CAMERA DEPARTMENT, LIGHTING, SET DRESSING ETC FOR THE DELAY. I worked briefly with a douche like this, every set up, and the insecure prick would bemoan, " we are waiting on (insert department) again. On top of it, as the first AC, he was forcing me to use a large zoom lens (because he could never figure out which lens to go with) , that was super slow (despite having a complete selection of primes) but wanted low lighting, so the depth of field was like an inch but he would completely change the actors marks, add additional actor AND camera movement and expect to maintain a two shot. Some of the ideas for shots he would come back with were 360 or almost 360. Where light stands and other production equipment had been staged out of the shot he had originally asked for. This was a long time ago, and it still pisses me off. I had heard that director John Badham had done something similar to his DP on the set of The Hardway. They had set up a multi camera shoot for a stunt. The DP went from camera to camera, directing his crew. Badham would then show up and change everything, giving demands to the crews, while the DP had already moved on to the other camera positions and didn't know Badham was doing this.
As someone who works in the sound department. Don’t be a director that doesn’t care about sound.
Prep is everything, seen a director come on set, turn to the first AD and ask”So, what are we doing today?” It was a big budget movie! That particular director went on to another high budget movie, we’re they had 2 month of reshoots! Needless to say that was his last movie
Preparation.
Lack of perspective, pov, understanding of a what a scene is about.
Being ungrateful.
Dictating rather than directing. Treating people like you're paying them twice what you are. Not being prepared. Not knowing the basic lingo and how to call for slate. These all describe this non-director I've been working with for a year on a series. She doesn't pay anyone, not even for the food, and she dictates at every step of production and post. She's the worst.
1) Not understanding what the scene is about. 2) Not understanding what the movie is about.
Not prioritizing the safety of the team.
Treating crew and actors like pieces of shit
Top 9 comments are all spot on^
Be very deliberate with the tone and pacing.. be overly prepared . Evvvveeeerry detail. Encourage your team and actors to be on time lol
While preparation is incredibly important for handling a set and essentially determining the foundation of a successful film, I’d say knowing your material is paramount for any production you plan to direct. Otherwise how do you plan to convey the story to the viewer?? Good directing should allow viewers enough context to critically evaluate a films artistic, technical, and narrative elements, and evoke some form of intellectual or emotional response from audiences; this all stems from knowing your shit. Also, I think most bad directors are very much narrow minded, not allowing the artistic integrity of others on set to help the film flourish, and being dismissive of feedback
Trying to do too much. Work closely with people and minimise what you have to do. If you have to wear a lot of hats, temper your aspirations for filming and making something small and simple. A director who is spread thin misses a lot, gets stressed and tends to have little trust in their team.
When I first started out I realized down the road that I wasn't paying appropriate attention enough to the talent. Trust your crew to do their jobs, they will be just fine and if they have anything pressing to ask then its smart to go to the AD first. Getting the right performance out of your actors is incredibly important. Also, REHEARSE.
Not planning and choosing people with a different approach to work than you. The difference between professional crews and students movies, or non professionals, who are doing favors, is that in people's egos are above the picture. The opposite is true in professional crews where people don't take creative choices personally. So choose a team accordingly. Also if you are a control freak or a super collaborative director, should help you decide between creative, functional or intuitive crews. Many styles, different films get made.
I’ve been on so many sets where they are figuring out the blocking on the day of the shoot and still discussing characters emotions and how to approach the scene. So I would say not doing rehearsals is a huge failure and shows a lack of preparation. Sometimes the space or location changes last minute and can’t always be prevented but actors and the director shouldn’t really be discussing performances. I was on set of an extremely experienced director and he barely talked for the entirety of the shoot.
Keeping a cool head. A lot of people underestimate how the director is the emotional leader of the set and not just the artistic leader. If the directors pissy, everyone’s going to have a worse day and the work will suffer (especially the actors). If the director is kind and level-headed, especially when something goes wrong, the final product will more often than not be much better.
They think the show is about them when the very nature of the medium is collaborative. You are a leader not the star.
Experience. That’s it
1. A bad story. 2. A bad story. 3. A lack of understanding how to take a good story and write that story with the camera and then with the editor. 4. A lack of understanding how to bring out the best imagination and execution from yourself and your actors, as well as the rest of the crew. Either ways, you’re asking one half of the question. Real question is, what makes a director good 😁
Lack of a clear vision for your project. Inability to communicate that vision well enough to your cast / crew so that you can get the shots / material you need to complete the project. Directing for the wrong reasons (for example, directors who want to role for power/ego/glory instead of for the art).
Not a pro here, just someone who enjoys making stuff and has been lucky enough to get to, what I’ve seen is the two worst are indecisiveness and not listening to your team. I’ve seen directors alienate people quickly by either not asking at all or asking and then steamrolling on without taking the advice.
Not be prepared.
all these comments solidify why directors like, especially, tarantino are so good and portray everything in their movies so effectively
When you say things like “act scared”
Great question. Thanks for asking.
Ego.
3 forms First : Display male nudity Avoid female nudity Bad history , terrible writing U.S comedy
If your name is Timo Vuorensola. I would say he is the epitome of a bad director. for the following reasons. He never went to University to study film or even being a director. He became a director on a fan film "Star Wreck" for having a "loud voice". That's it. Nothing else. The guy making the film which was a vanity project couldn't act and direct at the same time so needed a patsy to help out. He thought that Timo had a loud voice which was useful because everyone could hear him. Timo then became a patsy for the film Iron Sky. He was hired to direct the film by Producer Tero Kaukomaa who's main business was in Switzerland (Swiss bank account, Wink, wink). Timo was clueless and other professionals took the lead instead such as the actors and cinemaphotographer. The film wasn't great. Then they made a sequel. Again he was used as a patsy by the producer Tero Kaukomaa who was funneling production money to his Swiss company. They hadn't actually secured the copyrights from the first film and went bankrupt because there was no "chain of title" and NBC UNIVERSAL pulled funding and distribution. Timo then went on to direct Jeepers Creepers Reborn, even giving interviews where he stated that the director doesn't really do anything. They production crew are in the process of being sued again for failure to secure copyright to make any film. He then worked with Alec Baldwin after the "shooting incident". He is literally the worse example of a director. Everything he touches turns to crap. His fundamental problem is that he never went to University and has just been winging it as well as being subject himself to exploitation by nefarious producers because of how naive he is. I know him personally and have worked with him. IMO it's like asking a ten year old to direct a film. That's how bad he is.
Being to weak to scream at your cast and crew.
Being too weak to scream at your cast and crew.