Director response was impressive – more than 100 Questionnaires were returned, and many directors took the time to write in-depth and thoughtful comments alongside their answers. As Committee Co-Chairs Rod Holcomb and Michael Zinberg expressed in a letter accompanying the Questionnaire, “Participation in surveys like this one is vital to the success of our efforts; it helps shape the future of the DGA’s creative rights campaigns and assists us in gauging the success of our existing ones.”
The goal of the survey was to gather as much information as possible about the current state of affairs on the job – from those who are on the job most. As was hoped, it brought to the surface the most pressing concerns for directors working in the genre. Below is a brief summary of the Questionnaire findings.
Late Script Delivery
“Scripts are being delivered earlier. So the work is better; the hours are shorter; the editing is smoother and less time consuming; there are fewer re-shoots and less additional photography — the product has improved.”
-From SCTC survey, March 2005
The majority of those polled believe that script delivery is getting timelier, but there is work yet to be done. Many directors stated that the DGA’s late scripts campaign has increased prep time, thereby decreasing stress and increasing creative fulfillment. Late scripts are still a major problem, however, especially on shows with “auteur executive producers.” And though the DGA script monitoring system seems to have helped overall, many directors claim that producers reporting to the DGA often “lie about” or “falsify” the date a script is delivered.
Many directors also say they are receiving first drafts on the first day of prep -- but these drafts are a far cry from shooting scripts and require extensive revisions over a number of pursuant days. Some directors mentioned that those who report violations to the DGA can be “met with reprisals.”
Unfinished Principal Photography
“We now get early scripts that bear no resemblance to final script so you wind up prepping/scouting/casting things that won’t be shot. So sometimes it’s double the work! Go figure.”
-From SCTC survey, March 2005
According to the directors polled, it is rare for companies to have two units shooting simultaneously, but it does happen. As scripts get more ambitious, the location principal photography seems to be conflicting with the stage principal photography and “must be shot by another director.” (Generally, this will violate the DGA Basic Agreement.) On a show that does not finish principal photography during the original schedule, directors are sometimes unable to complete it because they (a) go directly to another assignment, or (b) the shoot was scheduled at a later time when they were unavailable.
Many see a trend developing where the on-staff producer/director automatically completes principal photography, re-shoots and pick-ups.
Added Scenes and Re-Takes
For the most part directors say they are contacted to shoot added scenes and re-takes, but many decline to do so because they “know they will not be paid or it’s too awkward to ask to be paid.” Some say they don’t insist on shooting additional photography if they are comfortable with the director who’s going to do so.
Many directors say that re-writes are a big reason for additional photography, i.e. “the writer changes the idea behind a scene necessitating a re-shoot.” Some claim that they were never contacted because the producer did not want to pay for extra days and/or travel.
On-Set Interference
-From SCTC survey, March 2005
Episodic directors say they sometimes experience on-set interference. The nature of this interference includes: writers and producers giving their notes directly to the cast and/or crew; different people giving conflicting notes to the director; producers micromanaging or second-guessing the director’s decisions; and producers pressuring to shoot faster.
Those responsible for the interference include (from most interfering to least): the executive producer; the writer/producer; the co-executive producer; the writer; the director/producer; the UPM/line producer; the studio and network executives; and the actors. Many feel this interference has reached “epidemic proportions” and has led to a diminishing respect for the role of the director.
Producting Directors
“I find the director/producer to be enormously helpful. He/she can tell me where the land mines are and help define the style of the show.”
-From SCTC survey, March 2005
The attitude toward producing directors is generally but not universally positive. Some directors find them helpful, collaborative and supportive. Others find them to be intrusive, micromanaging and even untrustworthy. The range of experience is diverse and depends upon the individual producing director.
Post Production
"The range is extreme. I have had producer/directors who have been collaborative and supportive. Others have literally descended onto my set and re-staged scenes to no apparent advantage."
-From SCTC survey, March 2005
When an episodic director does When an episodic director does not have the full time to complete his/her cut, it is usually because of (a) an imminent delivery date; (b) schedule conflicts with other assignments; or (c) the show isn’t interested. Many directors believe that an accelerated post schedule is increasingly used as an excuse to undermine the director’s cut, especially as the season progresses.
After their cut is complete, very few directors participate in post production duties such as looping, scoring, dubbing or mixing. According to those polled, this is not due to a lack of interest on the part of the directors, but instead due to a lack of interest on the part of the show. Most directors said that companies are usually willing to provide the post-production schedule ahead of time when asked for it.
The Next Step
The Single Camera Television Creative Rights Subcommittee will now focus on prioritizing the issues and developing creative rights campaigns to help remedy the problems. Over the next few years, we hope to see successes not just in the script delivery department, but in many other areas that impact the director's ability to do his or her best creative work — because, in the end, it is the show that benefits from maximizing the creative participation of the director.
"How can the Guild help you?"
Here's what TV Directors said ....
- Continue helping to curtail late scripts.
- Stop the proliferation of casting without the director.
- Help put an end to on-set interference, micromanagement and second-guessing of the director’s choices.
- Help ensure directors have proper time to complete their cut — and that the “imminent delivery (air) date” is the real reason for shortening their time.
- Help enforce payment for additional shooting days.
- Help directors become a more integral part of the post production process after their cut is complete.
- Make sure that directors are being asked to do the additional scenes and re-shoots on their episodes.
- Stop writer/producers from viewing the editor's assembly before the director.
- Provide clear lines of authority on a show, so that directors are not caught in the middle of producer conflicts or blamed for decisions they didn’t make.
For more information about the Questionnaire and/or the Single Camera Television Creative Rights Committee,
please contact DGA’s Jon Larson at (310) 289-5325.
