Filmmaking / Directing

I asked for a RODE lavalier microphone set for this Christmas, and I will receive another filmmaking-related gift by my dad’s girlfriend too (but I don’t know what haha)

The journey to becoming a director is not bound by many rules since every director's path is unique, and often shaped by personal experiences, opportunities, and individual creativity. However, regardless of the background or education of a director, here are the "five types" of directors I think we all fit into. Which type of director are you - right now?

1. Newbie (Film School) Director

a. Description: This director is usually a young film student who is just learning the filmmaking process. They have a basic (mostly theoretical) knowledge of how a film is made and they have had very little practical "on-set" time working with actors or the camera.

b. Professional Experience: Their experience is often limited to student projects and short films, where they have experimented with various techniques but haven't yet faced the complexities of a professional film set.

They are eager to apply the concepts they've learned in film school, such as script analysis, storyboarding, and basic editing, but may struggle with the realities of working within a budget, coordinating a large crew, or dealing with the pressures of tight shooting schedules.

Newbie (film school) directors are usually well-versed in film theory, having studied classic films, narrative structures and visual storytelling. They are familiar with terms like mise-en-scène, diegetic sound, and the 180-degree rule.

They may have directed a few short films or student projects, typically with limited resources and small crews. This lack of experience can make the transition to larger productions daunting. These directors are often highly passionate and enthusiastic, bringing fresh ideas and perspectives to their projects.

They are eager to innovate and experiment but may need guidance to channel their creativity effectively.

Newbie (film school) directors often face a steep learning curve when it comes to managing a professional set. They must quickly learn how to communicate their vision clearly, handle on-set problems, and make quick, effective decisions under pressure.

They may also be unprepared for the logistical challenges of filmmaking, such as securing locations, managing budgets, or dealing with unexpected setbacks like weather changes or equipment failures.

2. Newbie (Film Professional) Director

a. Description: This director is someone who has some film production experience in another crew position or as an actor and they are given a chance to direct. They may have years of experience in that position (producer, writer, 1st AD, editor, actor, DOP, stunt coordinator) but very little (or no) experience as a director.

b. Professional Experience: Unlike the film school newbie, this director has practical experience working on professional film sets. They understand the dynamics of film production and have likely developed strong relationships within the industry.

Their experience in other crew positions equips them with valuable skills and insights that can benefit their directing career. For example, a former editor may have a keen understanding of pacing and visual storytelling, while an actor may excel at script analysis and directing other actors.

Despite their industry experience, they have limited experience in the director's chair. This lack of hands-on directing can present challenges as they navigate the unique responsibilities and pressures of the role.

They face a learning curve as they transition into directing. They must adapt their existing skills to the directorial role while also learning new techniques for working with actors, shaping performances, and visualizing scenes.

Having already established themselves within the industry, they may find it easier to secure funding, attract talent, and navigate the complexities of film financing and distribution. Their existing network can be a valuable asset as they transition into directing.

3. Skilled (Technical) Director

a. Description: This is an experienced director who focuses primarily on the technical aspects of film production. This director spends very little time giving direction to the actors. They may just "let the actors do their thing" or they may not know how to effectively communicate with an actor.

b. Professional Experience: This director has honed their craft through years of experience behind the camera. They are proficient in utilizing advanced camera techniques, such as dolly shots, crane movements, and intricate framing, to achieve their desired visual aesthetic.

Known for their attention to detail, they meticulously plan every aspect of the shot, from camera angles to lighting design. They collaborate well with cinematographers, gaffers, and other technical crew members to execute complex setups effectively.

While they excel in the technical aspects of filmmaking, they may lack the same level of proficiency in directing actors. They may feel more comfortable delegating some actor direction to the actors themselves or to acting coaches, preferring to focus on the visual look and feel of the film.

4. Skilled (Performance) Director

a. Description: This is an experienced director who understands the story and can get good performances from actors, but only has a basic knowledge of the technical aspects of filmmaking such as blocking, composition, camera placement, and lens sizes.

b. Professional Experience: This director prioritizes working closely with actors to develop authentic performances. They excel in understanding character motivations, emotional arcs, and interpersonal dynamics, creating an environment where actors feel empowered to explore their roles.

Known for their ability to tap into the emotional core of a story, they inject scenes with depth, authenticity, and vulnerability. They have a keen eye for capturing subtle nuances and gestures that convey rich layers of meaning to create genuine audience reactions.

They possess a strong instinct for story structure, pacing, and dramatic tension, guiding the storytelling process with clarity and purpose. They adeptly navigate complex storylines and thematic elements, ensuring that each scene serves the overarching story arc.

While they excel in performance direction, their technical proficiency may be more rudimentary. They may rely on cinematographers, 1st AD's and other technical crew members to achieve the desired visual concepts.

Despite their focus on performance, they recognize the importance of collaboration across all aspects of filmmaking. They encourage a collaborative environment and creative input from all departments.

5. Skilled (Art & Craft) Director

a. Description: This is a director who is the perfect combination of the "Performance" director and the "Technical" director. They understand story structure and how to do proper scene analysis; they understand the acting process and how to communicate creatively with actors; they understand the editing process; and they know the technical aspects of film production well enough to communicate effectively with the crew.

b. Professional Experience: This director approaches filmmaking with a broad overview, integrating performance, visual aesthetics, and technical crafts to realize their artistic vision. They possess a keen eye for detail and a deep appreciation for the collaborative nature of the filmmaking process.

Like the "Performance" director, they excel in working with actors to draw out authentic and compelling performances. They cultivate a supportive and collaborative environment on set, creating trust and rapport with performers to explore the emotional depth of their characters.

In addition to their experience with directing actors, they possess a strong command of technical aspects such as cinematography, editing and sound design as well as a "creative and logistical" understanding of the shooting schedule. Their comprehensive knowledge allows them to communicate effectively with the crew and execute complex visual concepts.

They demonstrate exceptional problem-solving skills, effortlessly navigating challenges and obstacles that arise during the filmmaking process. Their ability to adapt to changing circumstances and find innovative solutions ensures a smooth and efficient production workflow.

They oversee every aspect of the production with precision and care. From script analysis to post-production, they maintain a steadfast commitment to excellence, ensuring that every element serves the vision of the film.

Despite their advanced skill set, they remain committed to lifelong learning and professional development. They actively seek out opportunities to expand their knowledge, experiment with new techniques, and push the boundaries of their creativity, inspiring others to do the same.

FACT: Did you know that the director is the only department head on a movie who doesn’t need any experience - and the film will still get made? I’m not joking. As a 1st AD, I’ve seen this too many times to be funny! :(

Teton Ridge Entertainment just locked down the exclusive rights to the life story of Hollywood legend John Wayne. The studio, which is already deep in Western content, will have full access to his family's personal archives for both film and TV projects.

His son Ethan Wayne is on board as an exec producer, saying he wants to show the "masculinity personified" man behind the iconic cowboy characters. Basically, get ready for the definitive take on The Duke.

Read more here: https://deadline.com/2025/12/john-wayne-life-rights-1236642660/

Today, I’m excited to share the official teaser for our crime-thriller series MOUSE, a project born out of a simple mantra at Short Snacks Entertainment:

"Don't wait for permission to create your art."

Short Snacks was built to prove a point: high-quality narrative storytelling doesn’t require massive budgets, endless waiting, or an army of crew. It requires discipline, intention, and a refusal to let the industry’s gatekeeping define what you can make.

MOUSE is our proof of concept — and now, it’s becoming so much more.

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What Is MOUSE?

MOUSE is a serialized crime thriller shot in a grounded, cinematic style while embracing the constraints of micro-budget filmmaking. Everything you see is created by a crew of just 2–3 people, using what we have “in the box,” leveraging practical problem-solving, fast shooting days, and a streamlined post-production pipeline.

Despite the constraints, our goal has always been to reach the tonal and visual level of a premium-cable series (something you might expect from HBO or AMC)  delivered in a compact, bingeable format.

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The Cast Bringing It to Life

We’re incredibly fortunate to have actors who jumped into this experiment with full commitment:

LANNY JOON (Baby Driver, Lost, Call of Duty)

SHÉLAH LARSON (December to Remember)

LINC HAND (42, Imperium, NCIS: Hawai'i)

SYRA MCCARTHY (Grey's Anatomy, The Dropout)

DANNY PARKER-LOPES (Minority Report, Legend of the White Dragon)

...and many more outstanding cast and crew that have anchored the realism and elevated the scale.

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Production at the Speed of Thought

One of the pillars of Short Snacks is working fast without sacrificing quality. On MOUSE, that has meant:

• Principal photography for 5 new episodes completed in just weeks

• Post-production timelines measured in days, not months

• A continuous script–shoot–edit loop, where episodes evolve in real time

• A scalable pipeline where everything from color to VFX to sound is built for efficiency

We film lean, edit lean, and innovate constantly proving that premium storytelling doesn’t have to rely on traditional scale.

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Why This Matters for Filmmakers

Stage 32 is filled with creators who are tired of waiting for permission. With MOUSE, we want to show that:

• You don’t need a studio to tell a studio-level story.

• You don’t need a full crew to shoot something beautiful and narratively rich.

• You don’t need a giant budget to build tension, atmosphere, or character.

• The barriers filmmakers think they have… are often illusions.

Every episode of MOUSE becomes a case study in resourceful filmmaking, something we hope inspires other artists to stop hesitating and start creating.

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Where We’re Headed

With Episodes 1–5 already out and Episodes 6-9 deep in edit, the world of MOUSE is growing quickly. We’ve recently partnered with Tilta as our first sponsor, marking an exciting step toward scaling the show and deepening the tools available to our crew.

More importantly, audiences have been responding proving that story and craft will always connect, regardless of scale.

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Watch the Teaser Below

If you’re a filmmaker, director, cinematographer, or storyteller on Stage 32, I hope MOUSE encourages you to find what’s in your own “box” and make something today, not someday.

Because at Short Snacks, we don’t wait for greenlights.

We create without permission.

There are very few rules when it comes to declaring yourself a director because everyone’s background and circumstances are unique. What may work for one person may not (and probably won’t) work for another. Whether through formal education, industry experience, or self-directed learning, the path to becoming a director usually matches the individual's mindset, strengths and opportunities.

1. What Kind of Person Becomes a Director?

a. Passionate Storytellers: Directors are often individuals with a deep passion for storytelling and a desire to create compelling stories through the visual medium of film. They are creative thinkers who are driven by a love for cinema and can envision the entirety of a film from script to screen.

b. Leadership Skills: A director needs to be a strong leader, capable of guiding a diverse team of actors and crew members toward a unified vision. They must possess excellent communication skills to articulate their ideas and ensure everyone understands the project's goals.

c. Detail-Oriented: Directors must have an eye for detail, ensuring that every aspect of the production matches their creative vision. This includes everything from the actors' performances to set design and camera angles.

d. Problem-Solvers: The ability to think on one's feet and solve problems efficiently is crucial for directors. Film productions often encounter unexpected challenges, and a director must be able to adapt and find solutions quickly to keep the project on track.

2. What Kind of Experience Do They Need to Have?

a. Educational Background: Formal education is not a requirement but many directors benefit from studying film, theater or related fields. Film schools provide a place to learn about the technical and artistic aspects of filmmaking, including directing, cinematography, editing, and writing.

b. Industry Experience: Many directors start their careers in other crew positions, such as assistant directors, editors, cinematographers, or screenwriters. Working in these roles helps aspiring directors understand the intricacies of film production and build a network within the industry.

c. Personal Projects: Many successful directors began by creating their own short films, documentaries, or independent projects. These personal projects allow them to develop their style, gain practical experience, and showcase their work to potential producers and studios.

3. Do They Have to Go to Film School?

a. Not Necessarily: Film school can provide a solid foundation and valuable networking opportunities, but it is not the only path to becoming a director. Many successful directors are self-taught, through hands-on experience, online resources, and studying the works of established filmmakers.

b. Benefits of Film School: Attending film school can offer structured learning, access to professional equipment, and opportunities to collaborate with peers. It also provides a platform to receive feedback from experienced mentors and build a portfolio.

c. Alternative Paths: There are numerous alternative ways to learn filmmaking, such as online courses, workshops, film festivals, and industry events. These avenues can provide practical knowledge and networking opportunities similar to those found in film schools.

4. Should They Have Industry Experience in Another Crew Position?

a. Highly Beneficial: Working in other positions offers valuable insights into the filmmaking process. It helps aspiring directors understand the roles of different departments, creating better collaboration on set.

b. Assistant Director Role: Many directors start as assistant directors where they learn about scheduling, managing sets, and coordinating between departments. This role provides a comprehensive view of the production process and helps build leadership skills.

c. Editing and Cinematography: Experience in editing or cinematography is also beneficial. Editors develop a keen sense of pacing and storytelling, while cinematographers gain a deep understanding of visual composition and lighting. These skills are directly applicable to directing.

d. Experienced Actors: Many experienced actors have transitioned to directing and they often bring a unique perspective and deep understanding of performance to their new role.

I have been closely following the developments in the streaming and studio landscape over the past few weeks—particularly regarding Netflix and Warner Bros. (Warner Bros. Discovery). Over the past year, these two industry giants have played a pivotal role in shaping the future of visual storytelling and distribution—each with its own strategies, strengths, and limitations. Here, I aim to provide a clear, professional, and impartial analysis that can serve filmmakers, media professionals, and industry observers.

Current Situation — What Happened and Why It Matters

Recently, major news shook the media landscape: a high-profile negotiation and potential acquisition involving Warner Bros., which drew intense interest from multiple players, including Netflix and Paramount/Skydance. This is more than a simple transaction; it raises critical questions about market competition, content diversity, and consumer pricing. For example, lawsuits have emerged against Netflix attempting to prevent a possible merger with Warner’s studio and distribution assets, citing potential risks of reduced market competition. This signals that the stakes extend beyond mere acquisitions—they touch the very ecosystem of creative freedom and audience access.

Additionally, a highly competitive bidding war has unfolded among potential buyers of Warner assets. Paramount/Skydance, for instance, has reportedly made a higher bid, illustrating both the financial and political complexity of these negotiations.

Meanwhile, Warner has made strategic adjustments in recent months, including reinstating the HBO Max brand after a brief rebranding to “Max,” and restructuring its business to reduce debt and focus on strong brand identities. This tactical retreat from an ambitious rebrand underscores the enduring value of a recognized brand like HBO in retaining audience loyalty.

On the other hand, Netflix has pursued several strategies to revitalize subscriber growth, such as cracking down on password sharing and introducing ad-supported subscription tiers, alongside investments in live sports content. While these initiatives have yielded short-term gains, questions remain about their long-term sustainability and impact on Netflix’s business model.

Strategic Advantages — A Positive Perspective

Netflix

Global Content Investment and Brand Reach: Netflix is a truly international platform, producing local and global content, attracting diverse audiences worldwide.

Agility in Decision-Making: Netflix’s rapid response to pricing, content strategy, and product changes has allowed it to adapt quickly in emerging markets.

Data-Driven Content Decisions: Analytics-driven strategies enable Netflix to take calculated risks and optimize content investments.

Warner Bros. / HBO (WBD)

Rich IP Library: From blockbuster franchises to acclaimed television series, Warner possesses intellectual properties coveted by any distributor or streamer.

Strong HBO Brand Identity: Restoring HBO Max highlights that established brands can maintain and regain audience trust.

Diverse Business Model: Warner’s activities span studio production, TV, streaming, and ancillary products, contributing to long-term financial stability.

Limitations and Risks — Practical and Ethical Challenges

Netflix

Regulatory Pressure: Any attempt to acquire a major studio asset brings scrutiny from antitrust authorities and potential consumer lawsuits, as seen with recent legal challenges.

Revenue Model Vulnerability: While cracking down on password sharing temporarily boosted revenue, the sustainability of such measures remains uncertain. Ad-supported models may also change the user experience.

Content Churn: Frequent removal of titles due to licensing agreements can affect subscriber trust in content permanence.

Warner / WBD

Debt and Financial Pressure: High levels of debt are a primary factor behind potential sales or restructuring, which could lead to cost-cutting, staff reductions, or shifts in production strategy.

Costly and Confusing Rebranding: The transition from Max back to HBO Max demonstrated that brand decisions can confuse audiences and incur high costs beyond marketing.

Impact on Staff and Ecosystem: Large acquisitions often disrupt existing teams and local production ecosystems, potentially affecting morale and productivity.

Implications for Creators, Festivals, and Audiences

Independent Creators: In the short term, larger buyers may offer wider distribution and funding opportunities. In the long term, consolidation can reduce negotiation power and limit diversity.

Festivals and Smaller Platforms: Competition among platforms has historically helped festivals discover and nurture new voices. Consolidation could restrict these opportunities.

Audiences: Viewers may benefit from access to larger franchises and premium productions, but risks include higher subscription costs, reduced local content diversity, and content availability fluctuations.

Strategic Analysis

From a neutral standpoint, both Netflix and Warner have legitimate reasons for their actions: Netflix seeks subscriber growth and funding for ambitious content, while Warner focuses on brand management, debt reduction, and protecting valuable IP. The key question is whether these moves will balance financial growth with a healthy, diverse cultural ecosystem. Increased market concentration may yield short-term financial efficiency, but it risks long-term cultural and creative diversity.

Likely Scenarios

Legal and Regulatory Scrutiny: Any large merger will face antitrust reviews, as we already see in pending lawsuits.

Competitive Bidding Alternatives: As Paramount/Skydance has shown, alternative bids may result in partial acquisitions or divisions, maintaining competition.

Focused Brand Strategy: Warner’s HBO Max reinstatement demonstrates the enduring value of specialized, high-quality brands.

Personal Conclusion

I believe a healthy industry requires both strong players and a diverse ecosystem of independent producers, labs, festivals, and smaller platforms. Large acquisitions can be beneficial if they protect creator independence and broaden audience access, but if the objective is purely revenue control and market dominance, the result could undermine content diversity and creative opportunity.

Closing Question

After reviewing these developments, I can’t help but ask:

Is Netflix truly aiming to monopolize studio networks and assets to control the market, or is it simply striving to become the unrivaled leader in production and distribution? In other words, are these moves about creating structural market dominance, or about strategic competition and scaling in a world where content production and delivery costs are rapidly rising?

Our latest batch of targeted 2025 Open Writing Assignments (OWAs) closes for submissions in just one week, next Wednesday, December 18th.

This is your final call to get your work in front of top producers, showrunners, and executives seeking the next Palm Springs, Parasite, or Beyond the Lights. Just this past week, three writers received script requests directly from OWAs, and last month, two writers landed general meetings with major companies, this program works!

Don't let your script miss this deadline. Here’s what the industry is actively seeking:

1. For Your Sharp, Theatrical Comedies

A Producer & Showrunner is seeking comedy scripts in the vein of Palm Springs, Someone Great, and Punch-Drunk Love.

2. For Grounded Genre with a Major Twist

A Manager of Development is looking for grounded genre projects with unique twists and a strong POV. Think the bold originality of Parasite, Everything Everywhere All at Once, and Eternal Sunshine of the Spotless Mind.

3. For Character-Driven Thrillers & Horror

An Acquisitions Executive seeks character-driven thrillers and horror with budgets under $10M, comparable to the intensity of The Girl with the Dragon Tattoo, Revenge, or Drive.

4. For Faith-Based & True Stories

A Manager/Producer is looking for faith-based features, preferably under $5M and based on or inspired by true events, in the spirit of I Can Only Imagine and Miracles from Heaven.

5. For Gripping Political Dramas

A Producer and Director is actively seeking political stories with the high-stakes drama of The Post, The Ides of March, or Political Animals.

6. For Music-Centered Projects (Scripted & Unscripted)

A Producer & Showrunner seeks both scripted and unscripted projects centered on music, inspired by hits like Beyond the Lights, The Idol, and Rhythm + Flow.

Your opportunity could be next. This is your proven, direct pathway to script requests and industry meetings.

Submit Now: https://www.stage32.com/writers-room

The deadline is Wednesday, December 18th. Don't wait—submit before time runs out!