I may or may not have posted this – or a version of it – before. Housecleaning and moving forward.
Why are Directors Hired and what are the qualifications? When asked what a director does, I say if there is only one person on the crew doing everything, that is the director. What does the director direct? Most importantly, the audience. But in the current climate, who the hell knows how people get hired to direct.
Jennifer Kent the director of Babbadook is therefore qualified to direct anything.
Ari Aster directed Heredity, therefore he is qualified to direct anything
Jodie Foster is a solid director, whether or not the content of The Beaver appeals to you. She has said she believes in ideally the best shot for each moment and having it be motivated, which a TV schedule rarely allows time for, making some shows about generic coverage or mere recording and documenting of the content.
Ava DuVernay was benighted by Oprah and others in the film industry to be the next big Diversity hire as a director after 20 years of imdb credits in promotions and marketing exclusively. Maybe she made a lot of positive connections promoting the work of other filmmakers. Her documentary about the Prison industrial comlex and disproportionate black inmates made her even more friends because of the importance of the subject matter. But even though the casting of Selma is good what the audience might notice is her distracting habit of crossing the camera axis in otherwise straightforward dialogue scenes. That she then got a potentially complex project like A Wrinkle in Time is almost inexplicable if shot progression is a factor at all. With her pending project New Gods for DC, there might be even more need for fans and film pundits to explore in more detail just how certain directors work.
Ana Lily Amirpour wrote and directed two dark-themed films, her skateboarding vampire movie A Girl Walks Home Alone At Night and her sort of Escape from New York or Walking Dead without Zombies movie The Bad Batch and is supposed to do a new version of Cliffhanger. She talks about having a “boner” for a shot. She is a hands-on director, and whether someone likes the content or story being presented, the directing itself is thoughtful and full of personality. The way she reveals or conceals an element of a scene is deliberate and authentic.
Lord and Miller like the simple coverage approch and no storyboarding and are improvisational, therefore they were the wrong choice for a Star Wars movie.
The Russo Brothers came from the point and shoot, talking heads world and the hand held improv world of The Office where every episode looks the same no matter who directs, so it is inexplicable that they got to direct MCU movies. What were the other factors?
Jon Favreau was acting in a young man’s youtube short, an imrovised western, and behind the scenes he confided, “You at least have a lot og freedom here. Marvel will give me storyboards they’ve come up with and say Just shoot this.” As important as story and character are, those can be SET by a writer or writing team before the director is brought in. I think if someone else, a storyboard artist or cinematographer is the de facto co-director it is bad in the long term for our perception of direction as a craft and the director as the primary creative on a movie. I think it is safe to give Favreau full credit for Chef which is a personal allegory from his other interest, cooking.
Frank Darabont did his best directing on Shawshank Redemption and The Green Mile. After doing an episode of The Shield, handheld, where you can’t tell who directed without reading the credits, he applied that slapdash approach to The Mist — but even within that he found places where expert directing does shine through. There was still some stillness and steadiness allowed. His Walking Dead episodes are solidly directed, as is his Cob City series that was short lived. People may consider him too specific and too perfectionist and willing to send overly honest (rude) e-mails. Still, he is qualified and should be directing more.
Jane Campion has made well storyboarded movies on topics that don’t excite me but I appreciate her confident use of the frame.
Steven Spielberg has compromised his brand as a director by being a producer credited on Michael bay Transformers movies and other films. The general public might make less distinction between producer and director, even if Spielberg lately as a rule will not even look at the cut until it is done. But Spielberg is the master of using screen grammar and applying it in the interpretation of a script. He also has the intuition to see what might be improved by new writers on a script, as with bringing in Josh Singer the Spotlight writer to improve the Liz Hannah script that came through Amy Pascal.
James Wan is getting into a similar boat, with many projects announced as being produced by him and nothing said about he director(s). It is like if someone is a talented dancer (the director) and there is an expectation that he or she must also be able to secure a stage and auditorium in which the dance can occur (the producer). Frankly a phone call from a Spielberg or Wan may be all the producing they have to do and then they can deligate the phone calls and hiring and make notes on the scripts.
As an exercise, if you can make it through the Fifth and Sixth Fast and Furious movies directed by Justin Lin, and you take some smelling salts to wake up and you can watch Furious 7 directed by James Wan you might feel in your unconscious at least a strong shift in how the frame is used. For me watching 6 and then 7 it was like night and day. I pushed myself to make it through 6 which felt very delegated and arbitrary. Furious 7 remained engaging and had a more strict adherence to film grammar. You might think Lin did a good job on Star Trek Beyond, but I think that movie was helped by a pretty solid script by Simon Pegg and we don’t know how much was delegated. Maybe the rear shot of the impulse drives before they took off was the equivalent of a smoking tail pipe shot in his car chase movies. But in terms of overall body of work Wan is the one whose name as director will instill confidence.
Tim Burton has admitted he would not know a good script if it hot him in the head. His movies are admired for the art direction and his direction. Ed Wood is a great script, as is Big Eyes, and maybe Beetlejuice. The main criticism of his movies will have to do with plotting and script.
Kevin Smith has said that you don’t need talent to be a director. He has said of his jobs on The Flash and Supergirl that those crews will make the show with or without a director and so he just brings doughnuts for them and people like having him around as a reassuring presence but the nuts and bolts of covering a talking heads dialogue scene are basic and action scenes are mostly predetermined by a team who already have a name for any “new” shot ideas he might come up with.
David Benioff and D.B. Weiss are set to be all-powerful overlords of Star Wars (maybe Knights of the Old Republic) while under the thumb of a woman who thinks of anything white or male-targeted as problematic. Are these two writers going to join the Director’s Guild? Or will they be looking at someone with proven visual punctuation skills to direct? In the current trend, it seems like writers can just be “team leaders” who delegate a lot of what we consider directing. If a Rian Johnson comes in to direct, it is possible that we would have to be less worried about his input than Kennedy’s input and that of her chosen Lucasfilm Story Group that may analyze plot the way Salon or theMarySue analyzes it, with identity politics as the primary concern. A Luke that responds to Rey aiming a lightsaber down at him with a force push he had demonstrated moments before would be logical and dramatically correct but not part of the old-man-wrong, young-woman-right nonsense that was being sold.
Even after typing up or pasting the above, I can take it or leave it. What comes to mind is the admonition to a juror to judge, “without passion or prejudice.” One can be true to one’s own voice, which includes a prejudice. One can be motivated enough by our tastes and concerns over trends, but then relax and walk away from an issue in a sense of resignation. The point is for someone else to read it or hear it and then see if anything is stirred in their own perspective.