by Mike Reynolds
photos by Joe Coomber

		Robert Markowitz, Harry Winer and DGA Fifth Vice President John Frankenheimer at the TCA meeting. Click picture for larger view.

Nearly 40 critics from the United States and Canada, and an equal number of TV movie directors, were welcomed to the event, initially by DGA First Vice President Martha Coolidge, hoping that "everyone would get to know each other" and then by Committee Chair Robert Markowitz, who offered that TV movie directors were "a different breed from episodic, but similar to theatrical film directors." He acknowledged that "it's a difficult time for made-for-TV movies — partly, because of the recession, partly, because of the emerging success of series at (such outlets as) HBO."

Noting an all-round reduction in the number of movies being made for television, he also saw a decrease in their running time, attributing it to increased length and amount of advertising/promotion blocks within movies (on channels carrying advertising). Markowitz suggested it might be affecting audience retention and appetite for movies on network television, "quite possibly driving away their audience."

Commercial-free channels, such as HBO, which emphasizes, "what imagination and quality can do," have "brought audiences to TV movies." With the pay-cable giant now garnering more critical and award kudos' from elsewhere, "series is king across the board. All it needs is for one massive hit (movie) and all of a sudden everyone will want to do it (TV movies) again," he believes. In seeking greater recognition for directors of television movies, Markowitz revealed, "The Golden Globes and AFI don't have a TV movie directors category; that needs to be corrected," and promised every effort would be made to ensure inclusion and recognition.

HBO's pioneering TV movies were the most popular topic of conversation and a point of mutual agreement among critics and DGA attendees, however, the fact that the company has pulled back from its double-digit "event" movies each year has not gone unnoticed. Sadly, no one else appears to have taken up the reins, even if smaller and seemingly unlikely cable channels, such as Court TV, Comedy Central and even ESPN, have announced an upcoming movie slate. Of course, it wasn't that long ago other unlikely contenders, such as MTV, were revealing upcoming projects. But even these recent additions to the TV movie fold are not offering that many added opportunities to directors. Budgets for such projects vary between $2 million and $4 million and shoot days hover at, or just above, 20.

		Director Robert Dornhelm (left) chats with TV critics Barry Garron and Robin Roberts. Click picture for larger view.

Werner, a past DGA and Emmy nominee, as well as a 1977 Oscar winner for best short, In the Region of the Ice (ironically a Joyce Carol Oates story, like his latest, We Were the Mulvaneys), appeared on a panel during the critics' TCA sessions. He echoed the feelings of others at the DGA reception, that television gives directors the opportunity to make movies of merit for television, movies that would otherwise not get made, or, if they ended up on the big screen, would "get Miramaxed. There's definitely a place for them," Werner contends, "even if some think they're dying."

The reduced budget and total days spent on every aspect of the production means, "you have some of the hardest-working directors in the business and our problem really is the prestige of television movies," according to Martha Coolidge. "When you aspire to make a movie for the networks, it's harder to make with a lower budget. There are fewer movies made, at least for network television and it raises the stakes." Coolidge believes the worst may well be over — 2001 was a year of upheaval with production disrupted by strike threats and subsequent cutbacks throughout the industry, especially in television and on movies for television. Her thoughts were echoed by other directors and critics in attendance.

"There's a (network) trend away from the weekly movie franchise," said Barry Garron, TV critic for The Hollywood Reporter. "CBS is the only one now; everyone's cut back. They don't bring in the ratings; they're hard to promote ... there are lots of reasons and the movie franchise has been ceded to cable — even Animal Planet is doing them. (The channel announced its movie slate during the critics tour.) Cable has more challenging topics and roles and they can be vehicles to other projects for directors." While Garron agreed that "budgets are sometimes a problem, budgets are opening up and the potential of selling rights to the international market, plus VHS and/or DVD sales, can afford bigger budgets, because the rights income will be larger than before."

DGA member Katt Shea, also attended the reception, fielding many critics questions within the informal setting. Shea believes the field is "opening up to being more creative and daring. The last couple of movies I've done for television (her Sharing a Secret for CBS was a Peabody winner and her most recent, also for CBS, was Sanctuary), I expected notes; it has become much more edgier than in the past. I couldn't even use shadows before ... I come from edgier independents. Now television movies have changed, because they've hired someone like me. Sanctuary was really dark stuff, I left all the edgy stuff in — the kid [character in it] is like a Peeping Tom — CBS left it in. Even in editing I expected notes."

	DGA First Vice President Martha Coolidge (center) explains the facts to TCA member Jacqueline Cutler as director Nancy Malone looks on. Click picture for larger view.

Acknowledging cable's leadership in the field, everyone, directors and critics alike, mentioned the recent NBC movie Uprising as an indication of network ability to come up with something of quality. Many felt it was much bolder and braver in showing content traditionally deemed more likely to appear in cable movies or on the big screen. Anne Frank was another recent example of different and unexpected network fare.

"There have always been bold movies throughout TV history," said Garron, citing Something About Amelia and An Early Frost, from the mid-'80s, as but two examples. Sadly though, Garron said, "the networks aren't PBS and they have to concentrate on the lowest common denominator audience. The movie business is alive and well, but now that HBO has turned to series, other channels need to distinguish themselves and be more selective about what to do."

Rob Salem, has also covered the feature beat and is now a TV critic for The Toronto Star, remembered when a film director going over to television was tantamount to professional suicide. "The creative guys, some good feature guys, went in and removed that stigma and HBO, in particular, had the type of material to attract them right from the beginning," says Salem. Attendees Martha Coolidge and DGA Fifth Vice President John Frankenheimer were cited as perfect examples of directors who effect a regular and smooth transition between the two. "John Frankenheimer fluidly goes from one to another and his style doesn't change ... and Martha too, she's the same," offered critic Rick Bentley. The pathway might have opened up for directors, "but networks were still giving us those horrible disease-of-the-week movies and the network mindset has constrained them," said Salem. "Now the [networks] realize they have to beat [cable] at their own game; there's a revival in thinking."

John Frankenheimer, who's next movie for television will be HBO's Path to War, said he takes no different approach to a project whether it's for television or the big screen. He has directed other TV movies, including HBO's The Burning Season, TNT's George Wallace and (over decades, before they were called TV movies) many for the networks. He does it "for the material!"

Frankenheimer said, "HBO is great; you don't have lots of the constraints (there) that networks do, though I think that's going to loosen up. HBO has raised the bar on television movies." Surveying the TV universe he acknowledged, "NBC has done some great stuff, look at the recent Uprising."

	DGA member Jerry London (center) talks with syndicated critics Frank and Marge Baron. Click picture for larger view.

While networks seem to be raising their standards of subject material covered and introducing different levels of profanity and nudity into series, they appear "too locked in to what they think television movies should be," Miller said. "If they let series take the risks, why not movies. Can't they learn from HBO?"

Pleased with the attendance and interaction during the reception, Robert Markowitz commented, "We are starting seminars where we will have one or two journalists follow directors on a movie from start to finish."

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