Tim Turner is executive producer and general manager of Circle Productions in Toronto. For the past 13 years, Turner has recruited and worked closely with a host of Canadian, U.S. and international directors and director/cameramen.

Advertisers are always struggling to distinguish their goods and services from one another and compete for consumers’ shrinking disposable income. In times of economic downturn, there is tremendous pressure on advertising agencies, in partnership with the commercial directors, to provide creative solutions that yield favorable results for their clients. As such, it has probably never been more difficult or more exciting to be a director than today. But only a concerted, intelligent, honest and disciplined approach to the craft of directing will offer the director the best opportunity for success. This is not for the faint of heart.

The good news is that there are really no barriers to entry in the field of directing. The bad news is that because of this fact, there are many people drawn to it who are really there for the wrong reasons.

The ‘show biz’ factor has tremendous appeal. After all, what better way to make lots of money, quickly and easily, than to become a film director? Unfortunately, it doesn’t work that way. As in any profession, there is a natural process of work and growth that really makes it happen. There are no shortcuts.

Traditionally, directors came from the ranks of the agency creative department such as agency creative directors, art directors and writers, as well as from the field of stills photography. More recently, directors are emerging directly from film schools and schools of art and graphic design, as well as the fields of music videos or dance. Regardless of background, however, the commercial director must truly respect the agency/client relationship.

Currently, there is significant turnover among agencies and clients. Clients are asking for better service, more sensitivity to their marketing problems and better value from the creative product. An appreciation of these issues is crucial if the director is to be invited to join the creative team in solving the client’s marketing problems.

Learning process

Directing is a constant learning process. When a director has the good fortune to be asked to bid on a particular project, it becomes an opportunity to learn.

Directors must be curious. They need to learn about the agency and the client, ask questions about the team’s history with the brand, their successes and failures with different creative executions, and about client expectations. It is surprising how much can be learned. It provides insight into potential areas of sensitivity that the client may have towards issues such as casting talent, locations, wardrobe or execution.

This information will provide a framework within which the director can design and develop the directorial vision and refine the creative execution. That’s the challenge. Exceed the creative expectations given the marketing and advertising parameters of the client and agency.

There are expectations beyond the director’s reel, as well.

For example, a director needs to master the art of the conference call. Not everyone is born a great telephone conversationalist. For some directors, particularly those from an agency background, it is rather straightforward. The advertising buzzwords and the pitching dynamics are familiar ground. For others, it is more of a struggle.

Armed with as much background information as possible, the director must develop and practice the pitch. Express enthusiasm for the project in a genuine manner. Practice the pitch with the executive producer. Seek their advice, because their role is to assist the director in getting the job.

But it doesn’t end there. These days, directors are more than likely expected to provide a written treatment with supporting photographic reference. A great deal of emphasis is being placed on the presentation. Unlike the pressure of a conference call, this is an opportunity to shine. The importance of a well-thought-out explanation of how the director visualizes the project, including the style of shooting, the look, the feel and the color palette, cannot be underestimated. Support the treatment with tear sheets, photographic and/or video and film references. These are invaluable tools for clearly communicating the director’s ideas in a visual medium.

Throughout this process, directors should not be afraid to seek out the advice of cinematographers, other directors, stylists or location scouts. Be humble and be open to learning. Be a sponge for information. Learn from others.

Ultimately, the best directors are Renaissance people. They are not burdened by age or pigeonholed by style. They are a passionate, disciplined, persevering lot. They are students of human nature and contemporary culture. They study music, fashion, hair, makeup and architecture. They follow styles and trends and savor films, musicals and plays. They study drama from different perspectives – casting, pacing, lighting, staging. They read broadly as well as follow current events. They monitor the pulse of the marketplace.

Given the nature of the competition, it is necessary and advisable to expand one’s horizons. Directors must be inventive and proactive. Directors should pursue hobbies or start new ones, examine new media opportunities, seek new outlets for their skill sets, teach or volunteer. New areas of interest may evolve into new sources of income.

For example, a Los Angeles director recently joined forces with a creative collective, where his skills as a director are being tapped to develop creative solutions for children’s advertising in conjunction with special effects supervisors and editors. Thus, when he is not working, he is producing and writing creative concepts with the agency and clients. His skill sets lend themselves to a multidisciplined environment.

Another director, based in Toronto, has returned to his writing roots by working in a freelance capacity in a small creative agency. There, he writes and directs the projects that he creates.

Directors should strive to constantly fertilize their creative roots, because ultimately, directing involves drawing from this great pool of knowledge and life experiences that they possess.

Successful directing is a challenge. It is about being prepared to put in the time to learn and evolve and being honest about one’s strengths and weaknesses. It is also about avoiding the pitfalls of arrogance and about protecting a career from a short ‘shelf life.’

Directors should define themselves as professionals and behave accordingly. They expect nothing less of other professionals to whom they entrust their health or legal affairs. Indeed, as with a lot of things in life, directing is about timing, relationships and good breaks, but it’s mostly about you.