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If you are ever given the opportunity to be a “director-for-hire” — would you say “yes”or “no”?
I personally know quite a few talented filmmakers who stick to their guns and will only direct their own work. They are true believers in their art. I commend — and envy — them.
However, one of my favorite living directors Steven Soderbergh has seemed to perfect the balance of being an artist/filmmaker and walking the line between art (The Girlfriend Experience) and commerce (Ocean’s Eleven). He is always on the go and constantly taking risks, so that I am in turn, inspired to push forward as well. His collection of films make me believe and understand that as a filmmaker there is an on-going process of finding yourself, experimenting, exploring and maturing.
Now admittedly, there are some Soderbergh films I do not like. But at his level, he is free to take chances and experiment. Good for him. He makes the films he wants. Even when doing a studio picture he seems to still manage a level of control where both studio and artist come to a happy medium.
But how many of us can afford the luxury of making films for both studios and ourselves? Not many. To me, that would be a dream situation. Can you imagine being paid a healthy sum to direct a film for a production house — and then affording the luxury to take time off and make a smaller, more personal film on your own terms? Again, a dream situation for me — a nightmare for others (the directing for a studio part).
I am fortunate to have been hired to direct 2 feature films — Dismal (horror) and Death of the Dead (zombie action/comedy). These were huge departures from my personal work, but styles of film I love nonetheless. In fact, I wouldn’t trade the experience for anything. While being paid, I was given the opportunity to tackle other genres and stories that helped hone my craft. They also taught me tremendously about the struggle of balancing one’s filmmaking voice while delivering a product to the producer’s satisfaction. It led me to wonder: without total creative control – how responsible am I on a film’s success or failure (creatively and financially)?
There have been some interesting reactions to Death of the Dead‘s initial trailer. Many love it while others do not — which is a tribute to the nature of the film itself. Its target audience finds it funny and can’t wait to see it — while others may not even crack a smile. What I find intriguing (and perhaps scary) are for those people who weren’t expecting this type of movie from me — what happens? Do I lose them? Or do I gain a whole new awareness from zombie lovers who didn’t know about What’s Up Lovely? Perhaps a little of both?
The prospect of this situation actually makes me very excited. There could be some cross-pollination of people (from totally different target demographics) who may like a film I’ve done and discover my other work — which in turn leads to building and sustaining an audience.
I have come a long way since sitting behind a desk in a 9-5 corporate job to being hired to direct feature film projects. It’s a luxury I do not take for granted. In doing this, there’s a responsibility to deliver what producers want, while trying to maintain my identity as a filmmaker. It is not always easy. But I’ve always said “my perfect job would be to get paid doing what I love.” And that’s directing. How can I complain?
Who knows? Only time will tell on how my body of work is looked at when it’s all said and done. For now, all I can say is stick around cause you’re in for one hell of a ride.
ONE FOR THEM
DEATH OF THE DEAD – Teaser Trailer from Gary King on Vimeo.
ONE FOR ME
WHAT’S UP LOVELY – Official Trailer from Gary King on Vimeo.
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6 Comments
Cool read Gary,
I’m curious to hear what other filmmakers think but ultimately I think the grass seems always greener…. I don’t think I could ever direct something I didn’t write but I envy the experiences and the opportunities you seem to be getting from non passion projects which will only improve your skills and enhance the films you truly care about. A chance to experiment more boldly and really improve your skills as a director at a much greater speed.
I envy you Gary King!
Keep up the good work!
ben
In my opinion the only way to grow is to stretch yourself to the ultimate limits. If you only worked on your own films you would miss out on learning so much from others. You did a brilliant job of incorporating your own style and the objective of the producer’s for ‘Death of the Dead’. I was so lucky to have the opportunity to work with you and experience your brilliance in working with others. I believe the key is to take life’s challenge’s as they come to you, and enjoy each experience for what it is. Do not think/worry too much about the little things. Bring everything you have to every project you work on, and whether it be yours or someone else’s they will shine!!
You are amazing!
Wanda, Evey
I absolutely think you should go outside of your comfort zone every now and then. You learn more there. Directing (or in my case, writing) for others is a way to figure out who you are and what you can do in a much larger context. There’s no need to box yourself in or to claim a tight, little identity.
Further, I think the Soderbergh model is a good one, and quite frankly, I don’t know why more director’s don’t follow it. It’s practical to get paid to make films that the studios and audiences love in order to fund the ones that you love.
@Ben: The grass is indeed greener because I envy you! Can’t wait to see how your film turns out after hearing all about your approach with it!!
@Christina: when are you never sweet and supportive of me? Thank you so much! Look forward to some wonderful new projects in our future!
@Jessica: you’re so right in learning by not staying in your comfort zone! That is what I treasure most about my film experiences. I always love to challenge myself and glad to hear I’m not alone. Reading your @kingisafink blog entries always provide me with different insights to the whole process that actually make me reassess things that I do. Glad to have connected with you and Julie!
It’s strange that people can think that directing another person’s movie is analogous to taking a bribe. Outside of the fact that it’s how pretty much every movie on the big screen today is made (although that’s slowly becoming less and less the case), it’s kind of egoistic to feel that no one can write something that is up your alley. The auteur should, by extension, also be their own tailor, their own car manufacturer. The auteur concept is interesting, and I respect many of them quite a bit (Soderbergh especially, for many of his projects), but not everyone’s a jack of all trades — nor should they be — and filmmaking’s a collaborative process. The auteur I respect is the one who does all because he has the ability to do all, not because he thinks he’s the only one who has the ability.
Crap, I never even read it in the way that my comment could be directed at you. I meant “you” as in the proverbial “you,” as in “one.” Your are definitely the auteur that I respect because you CAN do it all. Sorry about that!