Filmmaking / Directing

Great tips, Rich Terdoslavich! I always keep a director in the loop. I get their approval on the outline, keep them updated on the script, ask questions about the project if they come up while I'm writing the script, and share pages of the script so they can see how it's coming together.

Thanks, Maurice! Sounds great. I agree. It ‘s good to keep communication lines open when working on a project with a film director. I show them, by email, stages of the jobs from layouts to pencils to finished work.

Thank you, everyone.

You're welcome, Rich Terdoslavich. You're right. It's good to keep communication lines open when working on a project with a film director. One reason is something about the project might change.

Phil Savage What final decisions are you talking about? On budget? On production design, etc?

Shadow Dragu-Mihai, Esq., Ipg On any script changes.

Great question, Phil Savage, and you’re right, it’s simple on the surface but gets complicated quickly. Ultimately, it comes down to two things: ownership and contracts. If the writer owns the IP and is financing or producing the project, they technically hold the power to approve or deny changes. But once a director is brought on, especially if they’re hired with creative control negotiated in their deal, that balance can shift.

In practice, it often works best when both sides treat it as a collaboration rather than a tug-of-war. A strong writer/director relationship can make the script stronger by combining vision with execution. But to avoid misunderstandings (and hurt feelings), you’re absolutely right that contracts should clearly outline decision-making authority before production begins.

Ashley Renee Smith Thank you so much Ashley for taking the time to explain all of that to me, I really appreciate it.

projects are often either director or producer driven. when the director just works for hire, its producer driven. when director holds a majority of shares in the project and has f.e final cut, its director driven. no specific contracts are needed for that.

This is awesome! A wonderful resource, Daphne!

I love this! Congratulations to Stage 32 for partnering with BTTL.

I'm truly so excited about this, Daphne Schmon!

Hi, Razan Takash. I think global streamers and studios could do more to champion diverse voices. I would love to see more big-budget and small-budget films and shows about different cultures around the world.

I asked for an add and sent Razan some info on my Yemeni screenplay.

It seems to me that Arab countries have an incredible wealth of stunning locations and a strong historical foundation for shooting outstanding films. The only thing these countries really need is to create conditions that make it financially attractive for film producers to go there — and they will.

Take Georgia or Ukraine as examples. They are not the most obvious “cinematic” countries, yet in Ukraine, for instance, a film starring Jean-Claude Van Damme was shot in Kyiv, which was presented as Paris on screen. Why? Because it was financially advantageous for the producers to come to Kyiv and film there.

Or look at The Fate of the Furious (Fast & Furious 8), which was shot near Tbilisi in Georgia — again, because it made financial sense.

In the same way, if Arab countries create favorable conditions for filmmakers, I believe producers would be more than happy to go there.

In terms of locations for outside (American) filmmakers, some Arab countries (Morocco) have favorable conditions for filmmakers.

In terms of film originating from Arab/ME countries themselves, there will continue to only be a trickle of such successful films made so long as the majority of the region is governed by despots, monarchs and/or dictators. I don't see this changing in five years. But if you create a film that doesn't push the political boundaries of the region or preach secularism, modest success can still come from the region's film.

Razan Takash From where I sit, I think Arab cinema is in an incredibly exciting moment. We’re seeing more films from the region make their way to international festivals and streaming platforms, and audiences outside the Middle East are clearly eager for bold, authentic perspectives that they haven’t experienced before. The rise of genre storytelling from the region in particular feels like a huge opportunity, because genre often provides an accessible entry point for global viewers while still allowing deeply personal and cultural themes to shine through.

I agree with you that global streamers and studios could be doing more. While they’ve taken steps to showcase diverse voices, there’s still a tendency to champion only a handful of breakout films rather than investing in sustainable pipelines that develop and support Arab creators across multiple projects. True progress would mean creating long-term partnerships and nurturing careers, not just spotlighting one-off titles.

I always have used those two in action scripts and ghost written novels. But I never thought about it. Those two have gone together since the Sumerian legends.

Asia Almerico Jon Shallit By the way, if you look at the stock market, it is always a struggle between Fear and Greed. Also motivation.

Alex. You buy the 3.5 % lower band and sell the top 3.5 % upper band. Never the middle.

The bands mark fear and greed. Use a stop loss. Same with RSI/STO -under 20, over 80.

All of the above and non of the above; to say it boringly, often, for the protag it's going from their A to their B live, but only the fifth try they succeed. You need the build up. Then again, there isn't just one holy structure that works.

Alex Gutenberg For me, the most powerful motivation tends to be saving what matters, whether that’s a loved one, a community, or even an idea worth protecting. I think it resonates so strongly because it taps into something universal: we all have something or someone we’d fight to the ends of the earth for. That kind of motivation instantly raises the emotional stakes and keeps us invested.

That said, I also think the absence of something (like running from the past, or trying to escape a curse) can be equally gripping when it’s layered with personal stakes. Those stories hit especially hard when the protagonist realizes they can’t just run; they have to confront what they fear.

This is such a thoughtful perspective, and I really appreciate how you framed it around the message that AI pitches send rather than just the tool itself. Filmmaking has always been about collaboration; producers and directors want to see that you understand the craft and value the team effort required to bring a project to life.

I think AI can have its place as a behind-the-scenes tool for brainstorming, organizing, or even testing out visual ideas for yourself, but when it comes to pitching, I agree that storyboards, concept art, or a proof-of-concept short carry so much more weight. They show initiative, resourcefulness, and an ability to work with others.

Filmography Binge Journey is a great idea, Ashley Renee Smith! Jordan Peele. He's a master of storytelling, character, and symbolism (I have to pay attention when I'm watching his films so I don't miss anything), and his work is really unique! I've seen his main three movies (Get Out, Us, and Nope), but I haven't watched them back to back, and I still need to see some of the other projects he's worked on.

Oh wow Ashley Renee Smith I would say Leonardo DiCaprio. I had a huge crush on him in high school when he first appeared on Growing Pains. Then What's Eating Gilbert Grape, with another of my faves Johnny Depp. Of course in my twenties it was Titanic. I saw that movie 5 times just in the theater. (the theatrical window to videotape was 6 months then and VHS was expensive too.) He had this thing for awhile that he never played a totally normal person until Titanic. After that, he skyrocked. Watching him grow as an actor, has been so much fun. I have seen just about every movie he's done except Killers of the Flower Moon, and Django Unchained and his latest. He doesn't do action and every character is completely different. Right now I would say my favorite movie of his is The Great Gatsby.

Maurice Vaughan That’s such a great choice! Peele is one of those filmmakers whose work almost demands a binge because the more you watch in sequence, the more you catch those connective threads, not just stylistically, but thematically. His symbolism is so layered that revisiting films back-to-back can reveal patterns you might miss otherwise.

Suzanne Bronson, I love this pick! DiCaprio’s career is such a fascinating one to binge because, like you said, he rarely takes on “normal” roles. Each character feels like its own study, and you can really see his evolution as an actor with every project. I agree Titanic was such a turning point, but then he leaned into those layered, complex roles that showed just how versatile he could be. That's why we made sure that his name is in our cup!

Helpful info, James Woodland! Thanks. Should the director have a backup plan going into the shoot?

James Woodland I actually completely agree with you on the importance of pre-production and planning shots. But just recently on my first feature I learned that things never go the way you planned. Thankfully my DP and gaffer are great problem solvers and together we were able to find a solution to every problem we had. Most of the time the shot list was what we worked with, but one production day we had to throw everything out of the window and figure out a complete new shotlist and plan for most of that day on the fly. I think that's why it's also important to work with capable people with whom you get along with.

James Woodland Well yes, and I try to hire DPs whose vision I trust so that the relationship can be collaborative and they can express their vision as well, specifically so that I don't have to micro-manage them. On the other hand, when something is not done right by the DP or camera, the one to get the blame will be the director because that person is responsible to make sure it is done right. So you must watch or you are not doing your job. Then there's the situation which arises A LOT on sets where the DP/Op is not doing what you directed them to do, sometimes because they don't understand, sometimes because they want to do it their way, and sometimes because they are not as qualified as you would hope. In none of those cases can you let it go. You have little time to deal with those moments. I have had to physically move the DP from one spot to another to get the shot - which we only had a minute left to do - because they were having some kind of blindness. I have had to tell them what lens to use to get the shot I want, when they should have told me. At times I have had to require them to bring their kit nearer to the set so that we don't need to wait 5-10 minutes while there is a battery swap or lens change (who would think they don't know that?). I have set up a shot, gone for 3 minute call, come back and seen the DP had changed the scene and blocking entirely without the director knowing - because they liked the shot and didn't care or were not thinking of crossing the line or the director's vision. I worked on Ali (in camera dept no less) when Michael Mann literally grabbed the camera away from the DP and did the shot himself because the guy just couldn't seem to get the right angle on an action shot- while Will Smith and other talent stood there under 180,000 watts of light - and all shots had been directed long in advance with photo references. So... I wish I didn't have to micro-manage as a director or as a producer... but sometimes not doing it is going to be costly.

One should always go into production knowing what you want and getting it, at the very least. There should also be room to explore and play. You want the absolute best from everyone at every moment and sometimes what you wanted originally isn't working on the day and needs reworking. That, for me, is the most fun: to find the best of a scene, a shot, a take organically with everyone involved in getting the best possible take out of it. I find that most times, those days are the best and you get the best thing you couldn't have possibly imagined prior.

You make such an important distinction between film and television, James Woodland. On features, pre-production is everything, and the more time a director and DP spend aligning their vision beforehand, the smoother things go on set. Micromanaging in the moment usually signals that prep wasn’t thorough enough, and like you said, that costs time and money.

Television, though, often operates under such tight schedules and existing visual styles that directors may have less room to dictate and more need to adapt. In that context, the DP (and even the producing team) can carry a lot of the visual continuity, while the director focuses on performance and pacing.

Maurice - always impressed by your creative weeks! You know I have heard when the new season starts but I start filming on Episode 6 of 13 on Tuesday so there's almost half the season in the can. :)

Sounds like a full week, and congrats on prepping the new All American episode — that must be such a rewarding challenge! I love how you describe scheduling as a “puzzle,” it really is part of the creative process too. Wishing you a smooth shoot and a restful weekend to recharge for the next round of creating.

Xochi Blymyer Even gloomy weather has its own charm. Good luck with the new episode. I’d definitely love to be in your shoes! :)

Thanks, Xochi Blymyer. I hope we get like five more seasons of All American!

She is succeeding in this industry. Amazing and rare!