Introduction

Television studios shoot a great range of programmes – dramas, music, news, children’s programmes, comedies etc. Each genre uses specialised skills, but they share a core of basic directing techniques and language.

This book focuses on the directing skills common to all programmes. I will spend very little time talking about the script and front of camera performance – this is where the genres split into their own worlds.

Whatever you’re directing you’ll need to provide the crew with the right information at the right time, and understand enough of their roles to be able to explain what you want, and help them through difficulties they may be facing.

I refer to live television on a number of occasions. At one time it was assumed that single camera shooting and post production would take over from multi-camera studios, but live television turns out to be surprisingly cost effective.

One significant group – news and current affairs – continues to do live programming for editorial reasons. You cannot do an up-to-the-moment news programme if you are not live, There is a lot of N&CA directing across the world which uses the basic techniques in this book, but uses them at high speed and in a technically complex environment.

It is difficult to get the opportunity to practise directing. Nobody wants directors learning on air, so it’s vital that you have a realistic chance of pulling off a clean (mistake-free) programme before you sit down. The better prepared you are for your early programmes the better you will perform, and the more likely you are to be invited back.

Finally, I firmly believe that television directing is not brain surgery. You don’t need a stream of degrees to be a good director. You do need to enjoy It.