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Thanking TV critics for, "focusing on the resurgence of high quality scripted programming," Todd Holland welcomed fellow directors and critics to the DGA's annual Episodic Television Directors reception, held this year at the Universal Hilton, during the Television Critics Association's recent winter press tour. Directors in attendance included Guild President Michael Apted and ranged from veterans to relative newcomers. Subjects broached by critics were equally wide and varied, mirroring many of the popular themes covered during their two weeks of sessions with network and cable representatives.
Holland reminded the gathering that while directors play an important role in innovative TV, "we've all experienced the fact that our contributions are often overlooked. For pilot directors the issues are more complex, they're often equally involved in script development; selection of original cast; designs of permanent sets and the creation, look and feel of a series but unless you're also writers you're forbidden from sharing in the 'created by' credits."
Four-time DGA Comedy Series Award winner James Burrows found himself pressed for inside indicators on what makes a hit show. Burrows revealed that the answer lay on the receiving end of the picture. "I don't know what makes a hit — you just feel it. Critics can write all they like about a show but if the audience doesn't get it, they don't want it. Whatever it is — comedy or drama — you have to be able to watch it and eat dinner. Sometimes audiences don't want to be with these people, they don't want them in their living room."
Jamie Babbit, who has been directing episodes of the risqué Nip/Tuck, delved into the hot topic of the current battles over indecency in broadcasting. "I'm worried about the clamping down of censors," she said. While one would think Nip/Tuck's material would make Babbit one of the directors most under pressure in the TV decency battle, that is not the case. "The censors are not all over you even though you're pushing the boundaries," Babbit continued. "Everyone on the production knows the rules, though they are really weird rules, like you can't show nipples but you can show breasts. We push the boundaries as far as we can go. It's more exciting to work on. I think cable will continue the tradition of pushing the boundaries, network television is really scared because of the FCC's fines. It's a scary time for traditional television."
The issue of pilot or episode preference was also a popular subject. Three-time DGA Movie for Television Award winner Mick Jackson admits he prefers doing pilots. While there's pressure in any medium, Jackson doesn't feel there's additional pressures on setting up the series blueprint, in fact he relishes the situation and finds the pace of shooting energizing. "I think you have to have the right sensibility for episodic and just be prepared to come in and shoot an episode, not have an emotional attachment to it and go off and do another thing. I could do pilots end to end. Not that it's better or worse but I find the challenges of setting up something like that more rewarding."
Mickey and Gibby Cevallos (The Brothers Garcia), arrived at episodic television by a circuitous route. "It was through an opportunity that we had with a short film and had every intention and aspiration to make it into a feature," relays Mickey. "We went through the process of shopping it around to anyone who would listen. One producer we met said, 'why don't you consider this as an episodic TV show?' We asked if he thought he could sell it and he said he could. About a year later Nickelodeon said yes. They really liked our little film and sooner, rather than later, they funded a pilot that my brother and I shot and then they picked us up. We had a short (six episodes and the pilot) run the first season and four more seasons after that."
Jamie Babbit also made the move from independent film and found it, "a lot more friendly to women filmmakers." Babbit is among a growing number of female directors regularly working episodic, she acknowledges, "It's a fight to get started. I think, once you're working, it's pretty consistent. It's not that difficult to keep working, just difficult to get that first job. We're making some inroads, so hopefully it will continue."
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