Very few directors actually start their careers by directing.

It’s much faster and easier to get a foot in the door through cinematography, editing, producing, and other aspects of the industry.

There are just more opportunities in those fields and less competition. Everyone wants to be a director, at least at first.

But to pay the bills, many will take freelance editing jobs, or find a niche for themselves in screenwriting. Maybe they run a small commercial production company or get really into sound design.

Each of these paths is equally valid. Being a director is being a jack of all trades, while still mastering certain storytelling skills that are specific and unique to you.

In the end, you have to learn everything. Where you start is less important than how much you’re willing to absorb, and how long you’ll stick with it.

One of the keys to success though, especially when moving from one role to another in film, is knowing what you’re up against – Specifically for your situation.

With that in mind, below are some practical observations I’ve made after conversations with hundreds of filmmakers over decades.

There are exceptions to everything I am going to share below, so this is not meant to be an exact guide or blueprint for everyone.

Still, for many filmmakers transitioning from editing, camera, writing, producing, or other specialties to directing, these tips are likely to apply in a fairly direct way.

So without further ado, here’s what I recommend looking out for when you’re moving into directing from another field.

WRITING

Writing and directing can go hand in hand, so it’s no wonder why the most writers seem to want to work as directors. And in many ways, writers have a big advantage out of the gate – they think in terms of story and character – which sadly gets lost with many from more technical backgrounds.

This helps them on a tactical level, as filmmakers who generate their own material have more leverage to control their own destiny and make opportunities for themselves.

That said, screenwriters who have been at it for a long time can get used to the feeling of ultimate control. They live with an idea for months or years and know every little detail.

It’s in their mind and on the page, and real life hasn’t forced it to be anything but perfect. Many writers who transition into directing struggle immensely with this, and need to become less perfectionistic.

As filmmaker Joseph Kahn says, if he can get 70% – 80% of what’s in his head on screen, that’s a win. The rest is up to fate.

So if you’re a writer looking to get into directing, try to give yourself some breathing room. Stay true to your vision, but don’t suffocate your project. Part of the fun is in the happy accidents, and problem solving is literally your job as a director – may as well get used to it.

CINEMATOGRAPHY

DPs make for some of the best visual storytellers. Not only do they have natural abilities and strong visual taste, but they’ve worked with dozens or even hundreds of directors.

That gives them insight into many styles and methods, which they can synthesize into their own powerful workflows. This results in efficiently run sets that deliver stunning imagery – even on a budget – and a deep understanding of how visuals connect with text to create an immersive and cinematic experience.

The big challenge cinematographers are up against when directing is being able to lean into character and performance.

After years of evaluating things strictly visually, it’s possible to think you have the shot when you actually don’t. You may give too much weight to camera results when making critical decisions, which takes away from quality of performance.

If you are a DP on this path, consider taking an acting class. And if you’re not already writing, explore that too – particularly from a character development standpoint. Doing so will not take away from your visual prowess, it will only make it more meaningful.

EDITING

I’ve often said that editors often make the best directors. One of the most critical skills for a director is flexibility and adaptability, and editors have both in spades.

The director’s job is to realize a specific vision while constantly putting out fires and problem solving along the way. Editors are natural at this – having to re-work footage, steal lines of audio, change chronology of events, manipulate emotion with sound, and more – all to make something work in post that was inevitably flawed.

Editors will likely have the least resistance when becoming directors, in part because they are exposed to so much material. They are constantly processing and refining every facet of the craft – cinematography, directing, writing – and learning about each in the process.

Still, some editors struggle with working on larger and more collaborative teams, at least when they are first starting to direct. A lot of the skills transfer in theory, but there is still a learning curve and a bigger social component than most are used to.

For editors looking to direct, it’s a good idea to start small. Make a few DIY projects and develop your muscle for leading a team and problem solving in a group setting. Everything else will be second nature.

ACTING

Many of my favorite directors are also actors. And as someone who acted all through high school, auditioned hundreds of times, and booked some fun projects – to this day, my favorite part of the process is working with actors.

They understand character on the deepest level, and make new discoveries in the script that everyone else misses. Actors are naturally great at finding meaning and truth in scenes, and creating an authentic emotional core – which is often lacking with more technically oriented filmmakers.

The biggest challenge for many actors moving into directing though, is becoming less myopic about character – especially if they are also performing in their own piece.

Directing is more like conducting a symphony, whereas acting is playing a lead instrument.

To shift from instrument to conductor, you want to lean on your strengths – by all means – but also broaden your scope. Visuals may not matter as much to you, and that’s okay, but don’t ignore them entirely. The same goes for editing, sound design, and many other facets. You may be less inclined toward these areas, but when combined with your strengths they will take you to new heights.

For actors looking to direct, try making something that you aren’t also starring in.

That will force you to reframe the process entirely, take yourself out of it, and become more objective and well rounded. Once you’ve had that experience, you’ll know exactly how to balance things if you do choose to also direct yourself.

PRODUCING

Many producers at some point try their hand at directing, as they have many strengths to work from.

For one, they read a ton of material, know what gets made, and can find the overlap between a good piece of art and something with commercial potential. Producers are more likely than anyone on this list to actually get something made, which is why they often transition smoothly into directing.

Like directors, producers are also generalists and are able to see the big picture. Not to mention, they are often great with people and natural leaders, which is essential.

A common problem producer turned directors though, is not pushing far enough into the art of it. They are prone to directing their film like a producer – “shooting the schedule,” as they say.

They can be less concerned about it being a great piece of art, and more driven by its financial outcome. But it’s not enough to be satisfied with the bare minimum you need to sell your movie. Directing is about squeezing everything out of the idea, and doing something truly unique.

As an exercise for producers who want to direct, try making a short art film. Something experimental with no commercial potential.

No one has to see it, but let yourself get hyper creative with visuals, sound, or performance, and do something weird. Maybe you’ll watch some avant garde films along the way. Wake up your creativity so when you do something more commercial, it still has a soul.

Hopefully this was helpful for those of you out there moving into directing work from other fields!

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