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1、DIRECTOR, TELEVISIONDavid TetzlaffThe television director, who sits atop the chain of command of the crew during the actual filming or taping of the show, is responsible for the visualization of the TV program, selecting the different camera angles and compositions that will used. In the production
2、of films for theatrical exhibition directors frequently devise and initiate their own projects. Many film directors, such as Oliver Stone and Quentin Tarrantino, write their own screenplays. Even in cases where the director is hired after a producer has initiated a project, and a script has already
3、been commissioned, the director has great leeway to interpret the material in her or his own way. In addition to controlling visual style, the director may also develop the themes, work with actors on characterizations, even participate in the rewriting of the script. Television directors, however,
4、work on a per-episode basis. Because of the highly compressed production schedule, any series will employ several different directors during a season. When the director arrives on the scene, the characterizations, themes and basic style of the show have already been established by previous episodes.
5、 In fact, such creative decisions were often made by the shows producer in the development of the series, and they remain the province of the producer during the run of the show. The director, then, takes an existing, basic aesthetic set-up and works out the details for the episode at hand. When fil
6、m directors-Steven Speilberg, Michael Mann, David Lynch-work in television, they generally act as producers because that from that position the more important creative choices are made. Nevertheless, the direction of TV drama episodes still offers excellent opportunities for creative expression. A n
7、umber of TV drama directors, including Spielberg, have gone on to become film directors. This was even more the case in the 1950s and 1960s when television served as a training ground for some of the most prominent directors to work in the American film industry. Arthur Penn, Sidney Lumet, Sam Pecki
8、npah, Delbert Mann, Robert Altman and other directors moved from television to the big screen. More recently, some television directors, such as Thomas Carter, noted for directing outstanding pilots for Miami Vice and other shows, have become producers of their own television series. And in some cas
9、es prominent film directors-Lynch, Barry Levinson-have chosen to direct episodes in the series they produce. In the spring of 1995 Quentin Tarrantino elected to direct the concluding episode of the first year of the NBC series E.R. because he found the show compelling. In contrast to single-camera s
10、tyle, multi-camera television production requires that the visual scheme be adjusted around the performance. The on-camera talent deliver their performances in real-time, and the visualization is created by switching among a series of cameras trained on the unfolding event (and, in many cases, among
11、 several channels of electronically stored graphics). All “live“ programs, including news and sports broadcasts, are produced this way. So, too, are talk, discussion and game shows which are shot “live-to-tape,“ then later broadcast with minimal editing. Directing in these genres offers less opportu
12、nity for creativity. Multi-camera style in itself introduces great technical limitations, but these are often less restricting than the constraints defined by the forms themselves-how much visual flair is desirable in a shot of Peter Jennings reading a report of the latest Mid-East conflict? Usually
13、, then, the visual elements in presentational “event“ programs such as news, talk and sports generally follow a rigid pre-set pattern. This is a necessity given that the production needs to be created almost instantaneously, with little or no time to prepare for the specifics of the particular episo
14、de. (Indeed, much of the visual excitement in “live“ events such as sports derives from technical features such as instant replay.) Directing this type of production is more a craft than an art. Though it requires great skill, the demands are mostly technical. Directors of multi-camera television pr
15、oductions generally sit in a control room, viewing a bank of monitors on which the images from each camera and graphics source are displayed. They do not operate any studio controls-they must keep their eyes glued to the monitors. They should not even look away to check notes or a script, but must s
16、imply know how the program should unfold and be able to keep their mind ahead of the developing action. The director of an American football game must be ready for the cut to the downfield camera before the quarterback throws the pass, for example, or the talk show director should anticipate an outburst of audience response. And this intensity must be maintained for long periods, with commercials serving as brief breaks from the action. In some ways multi-camera direction is a verbal art
