Fall 2015
John Lee
The director of Pee-wee’s Big Holiday offers a step-by-step guide on how to win over actors and influence producers on the set. It’s easy, really.
Spring 2015
Eric Appel
What happens when you’re in the middle of directing an episode and the show gets canceled? Director Eric Appel says look on the bright side—you’ll be home in time for dinner
Summer 2014
Mitch Hurwitz
Mitch Hurwitz, the director and creator of Arrested Development offers some choice—and not so choice—words about meeting the demands of the job.
Spring 2014
Richard Shepard
For a director, getting an actor to try a radical new look is not always an easy process. Say, Jude Law in mutton chops?
Winter 2014
Seth Gordon
The director of The King of Kong: A Fistful of Quarters and Horrible Bosses explains why making documentaries is ideal training for directing comedies.
Summer 2013
Ken Kwapis
The director of the pilot and finale of The Office reflects on the unconventional beginning and wistful ending of the popular series.
Spring 2013
Jake Kasdan
Jake Kasdan, the director of the New Girl pilot, explains why pilot season is a savage, archaic, and flawed system that brings out the worst in people—but sometimes a director’s best work.
Winter 2013
Troy Miller
Troy Miller, the director of the opening short films for the Academy Awards explains what it's like asking George Clooney to kiss Billy Crystal, and other embarrasing moments.
Fall 2012
Rod Lurie
The director of The Contender and Commander in Chief has directed six presidents in all. Here’s what he’s learned on the campaign trail.
Summer 2012
Mark Waters
The director of Mean Girls and Mr. Popper’s Penguins explains how playing sports prepared him for the toughest game of all—directing comedy.
Spring 2012
David Dobkin
David Dobkin, the director of Wedding Crashers and The Change-Up shares ten tips learned through trial and error-not divine inspiration.
Fall 2011
Beth McCarthy Miller
Shooting a live episode of the comedy series sounded like a good idea on paper.
Winter 2012
David Frankel
The director of The Devil Wears Prada reflects on the valuable advice he got from cast and crew while making the film—whether he wanted it or not.
Summer 2011
James Burrows
James Burrows, the legendary director of Taxi, Cheers, Will & Grace, and numerous other hits says you never know what’s going to happen on the set—and that’s what makes it fun.
Spring 2011
Bethany Rooney
Inspired by The Beatles, a young director tries to be positive. And it works!
Winter 2011
Frank Oz
The director of Death at a Funeral considers how Bob Hope and Bing Crosby could get away with anything in their Road films.
Fall 2010
Todd Holland
Veteran television comedy director Todd Holland wonders if failure is more valuable than success. After all, that’s what his mother told him.
Summer 2010
Andy Fickman
The director of Race to Witch Mountain and Reefer Madness: The Movie Musical wonders what makes a director a director. Maybe it's the chair.
Spring 2010
Nicholas Stoller
The director of Forgetting Sarah Marshall says alternate takes are not just for the indecisive. To prove his point, he looked back and dug up some you may not have known about.
Winter 2010
Linda Mendoza
Being pigeonholed isn't for Linda Mendoza-neither as a Hispanic woman or single- vs. multi-camera TV director.
Fall 2009
Paul Feig
The director of The Office and Arrested Development offers some helpful hints that may improve your life on the set. First of all, dress ofor the occasion.
Summer 2009
Larry Charles
Directing Bob Dylan on Masked and Anonymous presented a unique wardrobe problem.
Spring 2009
Harold Ramis
In this article, Director Harold Ramis (1944 - 2014) shares his humorous perspective on what he learned about directing while acting for other directors.
Winter 2009
Dennis Dugan
Sometimes trying to make funny movies will leave you talking to yourself.
Fall 2008
Adam McKay
The director of Talladega Nights and Step Brothers wonders what's happened to the glamorous life-and if it ever existed.
Summer 2008
Garry Marshall
The director of The Princess Diaries and Pretty Woman writes about his unconventional methods for keeping things loose on the set.
Spring 2008
Andy Ackerman
Here's what happens if you pay too much attention to the trades.
Winter 2007/2008
Paul Mazursky
Sure, going to the Academy Awards is fun, but you have to dress the part, and forget about the traffic
Fall 2007
Adam Shankman
The director of Hairspray wonders why all directors don't want to make musicals.
Summer 2007
Shawn Levy
The director of Night at the Museum explains just how far he'll go to help actors find their performance.
Spring 2007
Jay Roach
The director of Meet the Fockers and Austin Powers looks for his "Inner Eastwood."
Winter 2006
Carl Reiner
Carl Reiner has been hosting the DGA Awards for 20 years. His secret? Worry, trust and unpreparedness.
Fall 2006
Peter Tolan
Rescue Me's Peter Tolan muses on the problems of working with kids and animals. He prefers animals.
Spring 2006
Bob Goldthwait
Bob Goldthwait explains why his film Stay isn't as outrageous as you might think.
Fall 2005
Bob Weide
From the very start, director/executive producer Bob Weide has helped orchestrate the madness and mayhem of Curb Your Enthusiasm. His advice: Don't try this at home.