Whether you aspire to be an indie darling like Radha Blank or a blockbuster-maker like Christopher Nolan, the path to becoming a movie director can be fulfilling, yet challenging. For those of you who are new to directing or have some questions, keep reading for an overview of the job, how to get started, and how much directors get paid.
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1. Learn about the job. The first step to becoming a director is understanding what will be asked of you in the role. A director manages the creative aspects of a film; they are in charge of bringing a story to life. They work to manifest their creative vision from preproduction through postproduction—literally directing the course of action on a set and throughout the filmmaking process by controlling a project’s artistic and dramatic aspects, visualizing the script, and guiding the cast and crew. The director makes decisions on a movie’s look, script, filming locations, costumes, special effects, and more.
2. Read and write scripts. This is a great (and free!) way to immerse yourself in what moviemaking is while setting yourself up for success. “If you genuinely want to make films, then write screenplays,” said legendary filmmaker Akira Kurosawa (“Seven Samurai,” “Rashomon”). “All you need to write a script is paper and pencil. It’s only through writing scripts that you learn specifics about the structure of film and what cinema is.”
It’s advice that Oscar-winning director Christopher Nolan (“Oppenheimer,” “Interstellar”) put into practice. “I got into writing because no one’s going to give you a script to direct when you’re starting out; so I started writing, just for myself, just to be able to direct things,” he told the Hollywood Reporter.
3. Study notable directors. It’s important to start to watch films critically. Director Paul Warner (“Hamlet/Horatio,” “Portraits in Dramatic Time”) says studying films develops “a strong viewing sense of cinematic history.” This would include, he says, “studying the directorial spine or intent and how that is illuminated by shot design; the visual arc, including color palette, editorial, and sound design choices; and, of course, the precision of how that director has directed the acting beats.”
4. Consider a formal education. Attending film school is a great way to gain technical know-how and get your foot in the door. College is not required to become a movie director, but there are benefits to structured courses on film history and theory, and you’ll learn about filmmaking technology and meet like-minded creators who may go on to become your collaborators. Those who opt to not attend film school need to be self-taught in a number of areas. Try signing up for some classes in filmmaking and go from there.
5. Start with small films and work your way up. “Not everything has to be a finished film; not everything has to be good. But that’s the way you train your eye and advance your craft,” notes filmmaker Vladan Nikolic (“Allure,” “Bourek”).
6. Network. Attend film festivals and industry events, join relevant groups and organizations, and engage with other filmmakers whenever possible, both in person and on social media.
7. Gain experience on set. While watching the works of directors you admire is important, it’s also passive—you’ll need hands-on experience. Working on film sets of all sizes and in a variety of roles will give you a full understanding of how every department works and collaborates, and what it takes to make something. Director David Leitch (“The Fall Guy,” “Deadpool 2”) started his career as a stunt performer. He told us that this experience was a “great feather in the cap” when it came to convincing studios and producers he could properly direct action films. If you’re having difficulty landing a paid gig, try volunteering on film sets to gain invaluable experience.
8. Get an agent. Screenwriter Richard Walter says landing an agent is necessary. “Create the kind of engaging material that would convince an agent that here is an artist worth representing,” he says. “An agent is most likely going to feel more inclined to collaborate with someone who has already made a lot of inroads, and demonstrates ambition and drive, as well as an understanding that films need some kind of attachments—be it money or stars—to make it of interest to the agent.”
9. Keep going. You can rest assured knowing that “every experienced, famous, wealthy, adored director once had little experience, so [you] are in great company and should feel encouraged,” says Walter. Keep directing, networking, and submitting your projects to festivals and screenings, and one day you may just find yourself amongst the director elite.
There are also some fundamental skills that all directors should have, including:
- An eye for detail: Film is a combination of moving images and sound, so the authority on the movie should know what elements of both aspects they want—and what doesn’t belong. Studying the greats is a way to hone your eye: Watch the work of directors you admire, and even those you don’t. “I do a lot of looking back [to understand] what makes a good story the way Hollywood used to tell good stories, starting with silent movies,” said Steven Spielberg. “My whole love for this medium comes from paying attention to the past and respecting all the movies that have been made over the years.”
- Organization: Because there is so much going on at once on a film set, directors must be adept at handling stress, juggling a dozen things simultaneously, and planning. Most established directors have experience supervising teams of people, and they have a system in place to avoid, or at least minimize, the disorganization that can plague the filmmaking process.
- Technical knowledge: While directors can lean on their department heads for specifics on lighting or hair and makeup requirements, they should still have as much working knowledge as possible around what these departments do in order to best work with them. A deep knowledge of lenses, for example, will help simplify communication with your director of photography, or cinematographer.
- Decisiveness and leadership skills: A film director is responsible for all logistical and creative decisions. Great directors are usually assertive, if not outright authoritative—and they’re rarely indecisive.
- Communication skills: Can you coordinate a large number of people and explain what’s needed as efficiently as possible? Being able to convey meaning and relay decisions to appropriate team members (and those who sign your production checks) is crucial. Directors also need “an ability to work supportively and nurturingly with actors,” Walter says. “Instead of eschewing creativity from actors, they should encourage, solicit, and celebrate it.”
- Editing: Many directors start out on micro- or no-budget productions, which means they often end up editing the film themselves out of necessity. While there is a learning curve to editing, these early experiences only serve to enhance their creative skills and understanding of how film comes together in post.
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The director is involved in every aspect of the movie from beginning to end, starting in preproduction, through production, and in postproduction. What exactly a director does differs in each part of the filmmaking process.
What does a director do in preproduction?
Plan: Preproduction is when the director, along with other creative types, formulates a plan for the film. There are artistic choices to make, as well as practical ones. During preproduction, the director will be looking at shot selection, styles, and color schemes. They may also be responsible for rehearsal and filming schedules, as well as scouting locations, depending on the size and budget of the production.
Obtain funding: Preproduction is also when a director will work to get funding for a film. Unless the director is independently wealthy, this piece can take some time and could very well bleed over into production and postproduction periods. In fact, funding is one of the most frustrating parts of the filmmaking process, according to Nikolic. “You spend 90% of your time hustling for money and explaining to people who have no creativity—but think they do—why the film should be made,” he says. In other words, he adds, “Only 10% of your time [is spent] making the actual film.”
Cast: Another important element of preproduction that shouldn’t be underestimated is casting. Proper casting is critical, Nikolic says. “I don’t mean that you have to stick to the image you have in mind for a character—sometimes a different actor can completely surprise you and bring something to a part that you have never thought about,” he explains. “But it is true that if the performances in a film are weak, it’s usually the director’s fault, not the actors’, as the director is in control.”
What does a director do during production?
Set and block scenes: Production is probably the part most envision when they imagine being a film director: working on set with the cast and crew calling “action” or “cut.” The director plans each scene, determining staging, camera angles, shots, and blocking (the movement of actors within the frame). They must also know how to communicate all of this to the collaborators who make it happen, most notably the cinematographer.
Direct actors: Directors help guide actors in interpreting their characters, conveying emotions, and delivering dialogue in a way that fits the film’s narrative purpose.
Make creative decisions: From camera angles and shot types to script and performance adjustments, directors apply their creative vision to filming. But remember that not every scene needs to be treated equally. “Give yourself time and space to do the most important scenes right,” Nikolic suggests. “These are the ones that the audience will remember and that your film will be judged on. Less important introductory or informational scenes can be cut, changed, or rushed through, if need be.”
Lead the crew: During production, keep in mind that “you are the leader of a collective moving towards a supreme creative goal,” says Warner. “So the director must keep the producers, key collaborators, crew, and actors engaged in the artistic mission.”
What does a director do in postproduction?
Supervise: Postproduction is when the director takes on more of a supervisory role. They’ll help overlook editing, color correction, and sound and visual effects to help give the film its final shape. Although supervising might sound less stressful than the previous stages of production, the director isn’t completely out of the loop. You need experience “observing,” says Warner, “so you can understand the vocabulary to better communicate with the editor, sound house, colorist, etc.”
Cut: Warner says that the director and editor spend weeks cutting a picture. “You are supervising—although many directors, especially those starting out in the micro-budget arena, have ended up needing to edit, just out of economic necessity,” he says. “So I see many directors now who really have those creative skills in terms of picture cut.”
How many directors can a movie have?
Films usually have one director, but there are often assistant directors to help with specific tasks.
- The first assistant director (AD) supervises cast and crew, keeps track of time for the director, makes sure filming is on schedule, and is responsible for eliminating and minimizing hazards on set.
- The key second assistant director (2AD) is in charge of tasks like moving the cast through hair, makeup, and wardrobe. Scheduling is this person’s primary role, and they are in charge of call sheets and assisting the first AD as needed.
- The third assistant director (3AD), also known as a second-second AD, may be needed for directing extras and vehicles for background action for large crowd scenes.
A film director makes between just over $30,000 and just under $200,000 a year on average, according to ZipRecruiter. The U.S. Bureau of Labor Statistics tracks salaries for both film directors and producers; in 2023, it estimated a median pay of $82,510 per year.
As with any production job, a director’s annual earnings are directly correlated to their experience, the number of projects they work on, and the size and budget of those productions. There are a handful of high-profile directors who make millions of dollars a year—James Cameron took home $350 million thanks to the release of 2009’s “Avatar,” and around $95 million for 2022’s “Avatar: The Way of Water.” Nolan raked in around $100 million for “Oppenheimer,” and Spielberg is recognized as one of the highest paid director-producers of all time. Still, this kind of monetary success is rare, especially for directors who are just starting out.
Directors are represented by the Directors Guild of America, which means members are entitled to minimum wage requirements on any union production. For a high-budget production, the DGA guarantees directors a weekly salary of $22,853 for at least 13 weeks of work (two weeks of prep, 10 weeks of shooting, and one week of postproduction) and an additional $4,571 per day over that. For a network television series, directors are guaranteed $31,387 per episode for half-hour shows and $53,302 per episode for one-hour shows. (For more information, see the DGA’s current rate cards.)
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Everyone starts somewhere, and it’s not typically as the director of a successful film. Consider the following:
- Wes Anderson grew up making silent films on his father’s Super 8 camera.
- Ingmar Bergman and Michelangelo Antonioni both got their start writing screenplays.
- Kathryn Bigelow earned a master’s degree in film.
- Mel Brooks didn’t direct his first film until he was 42.
- Tim Burton graduated from California Institute of the Arts, creating a pathway for him to become an apprentice animator upon graduation. He directed a blockbuster—“Pee-wee’s Big Adventure”—a few short years later.
- Ava DuVernay started her career in journalism. She made her feature directorial debut in 2008 with a documentary, a project that required a much smaller budget than a feature film and let her learn the craft.
- Federico Fellini used a job writing for a humor magazine to make film industry contacts.
- Alfred Hitchcock’s first job in film was as a title card designer.
- Barry Jenkins connected with a college classmate who invested $15,000 in his first film, “Medicine for Melancholy,” which Deadline described as a film “loved by critics and seen by almost no one else.”
- Patty Jenkins’ first official job on a film set was as second assistant camera for 1995’s “A Modern Affair.” After finalizing the deal to follow up “Wonder Woman” with the sequel “Wonder Woman: 1984,” she became one of the highest-paid female directors of all time.
- Elia Kazan was a successful stage actor for years before picking up a camera.
- Akira Kurosawa worked for years as an AD and writer.
- Spike Lee made his first feature film, “She’s Gotta Have It,” with a budget of $175,000 and shot it in two weeks.
- Steven Spielberg was an unpaid intern at Universal Studios in the editing department.
- Quentin Tarantino had his big break when “Reservoir Dogs”—which he wrote, directed, and acted in—was accepted at the Sundance Film Festival.