How does a director interview for a job with a television show? I know actors typically have to act out a scene but what is the interview process like for a director?
Directors are very much like actors; we have agents who are constantly submitting us for different series/movies. We don’t audition in the same way obviously, but our work is submitted on dvds or videos; usually sample scenes from various TV shows and movies so producers get an idea of your “style”. The concept for Blood Ties sounded pretty cool so I was excited at the chance to come aboard. It’s important for a director to get involved with a series early in the first season; that’s when producers decide who they like and don’t like – and who may be coming back for season two! Most series will have maybe 15 different directors first season, then whittle the number down as the series progresses. By the end of X-Files for example, there were only two alternating directors.
Did you go into your interview seeking employment for the one episode or did you know in advance that they were going to consider you as a director for more than one episode?
I think Peter Mohan and Adam Shully, producers from season one, thank
goodness were fans and supporters of my work. Adam and I had worked
together decades ago on Paramount's Friday the 13th: The Series. Thank
goodness he has a good memory. We met about Blood Ties probably two years
before production began and he kept dragging me along, promising I'd be
involved. Am indebted to them a great deal for getting the chance to play
with the vampires and for their loyalty. The business really is about who
you know before it's about what you know.
Were you required or asked to watch the filmed episodes or read the book series before you started your job?
I have to admit I have not read the books yet – sorry Tanya – but I will. They certainly are popular. That’s me sucking up to the author.
Had you worked with any of the cast or crew prior to Blood Ties?
I had not, although Christina Cox and I had crossed paths on Andromeda. She wasn’t in my episode but I was busy prepping and visited the set. Christina is so great to work with. She has the gift when you first meet (don’t tell her this) of making you feel like you’re old friends instantly. A very fun person and a phenomenal actress. We also shared a flight from LA to Vancouver a few years ago with SNL alumnus Jay Mohr. Somehow he was way more interested in her than me. Hmmm. I’m a huge fan of Kyle’s because History of Violence was probably my favorite film of last year. Gina and Dylan are both amazing; it’s a really fun group, and of course, they always make the director look great, so yeah, I’m happy.
Who on the crew is most important for a new Director on the set?
To be honest it’s probably the director of photography. The relationship you develop with him is vital to whether you’re going to get the show done on time and reasonably close to what you wanted it to look like. Danny Nowak is capable of incredible beautiful feature film lighting in TV time; which is essentially no time at all. He also makes us all look good. He’s got a pretty bold vision for the show; lighting with lots of reds and golds. I think the series looks great. But he also has to be a realist because however the show looks and however complicated it may be – it still has to happen, day in and day out, in twelve hours. Otherwise they fire us both and bring in two more dudes.
Did you get any direction or feedback from the show in regards to them wanting a signature look or style for the episodes? Or do you have a signature that you wanted to leave on your episode?
I assume most directors work this way, but I’ve spent my entire career patterning (stealing) my “look” from shows that were important to me as a kid. Everything you do seems to be an homage to something that you loved growing up. So I’ve always tried to mimic the stuff that scared me. I think Peter Mohan and I are big fans of Kolchak: The Night Stalker so we’ve certainly thought a lot about that when different storylines come down the pike. I was always scared of shows like Night Gallery, Twilight Zone and Outer Limits (yes, I’m that old!) so I think there is certainly an influence there. I even remember having to call to my Mom to have her come in and shut off the TV on the premiere episode of Night Gallery. That was last week. Kidding. Interestingly enough, an upcoming episode of Blood Ties, called Drawn & Quartered involves creepy paintings in an art gallery. I may have lifted some stuff from my childhood…
How much direction did you leave for next director?
You know, we’re all friends, but to be honest, there isn’t much interaction between directors (other than mutual complaining about lack of time). There just isn’t much time to commiserate and we’re all busy. The other directors are great anyway, and certainly don’t need notes from me. Ha ha. Everyone has their own style too.
Did you receive any feedback from the previous director? Are directors able to do that for each other?
See above. It’s a real rare occurrence to actually sit down with another director and talk about directing. I can think of maybe only three or four times it’s happened in twenty something years. It’s fun those rare times too. So I guess we work in a vacuum, for better or for worse. Directors end up passing in the halls during prep. It’s an odd dynamic. Although BT director Andy Mikita and I have known each other for many years. Andy used to be my assistant director on a Cannell series in the 90’s with Carl Weathers called Street Justice; before he went on to his own brilliant career with Stargate.
What was your first scene filmed for your shows?
Assume you’re referring to Post Partum. Quite unusually on that show, we started with scene one! As you’re probably aware, tv and movies are shot out of sequence but for that episode, because of the way the schedule worked out, we began with Coreen asking Vicki for a raise. Nothing like pressure for the new director! Most series episodes will start either in the studio or on location; all dependent upon where the previous episode finishes to reduce transportation headaches and moving the crew around as little as possible.
How much time were you given to complete filming for this episode?
The average in episodic TV is about 6 days per episode. The clock is your enemy more in television than feature films. Television is a producer's medium and as an episodic director you can begin to feel like a hired gun or substitute teacher to an existing and familiar family. Feature films are more the realm of the director. You have more control and certainly, my feature experience has been far more personal. On normal big budget features with a "normal" schedule, you shoot in the area of 2-3 pages per day. On episodic television, because of the nature of the beast, you're tackling anywhere from 8 to 12 pages a day. Makes the day go very quickly. You start the day with a simple actor rehearsal so everyone can figure out what needs to happen to get the scene completed. Ideas are usually tossed back and forth; becomes a bit like molding clay. Then the actors are released and stand-ins take their spots so the lighting crew and director of photography can light the set once the action has been blocked out. It's a bit like watching grass grow.
How do you prepare yourself for a episode? Do you meet the producers and directors and discuss everything?
Production meetings are held in the boardroom all week during the prep period. The director and producers usually meet with the different department heads; wardrobe, special effects, props, etc in individual meetings to discuss the particulars of the episode. This is in effect where the show is created - because all "limitations" are presented to you and you have to make critical decisions that become set in stone. Obviously this is where a skill for pre-visualization is paramount; keep in mind, the prep period is only a few days and suddenly you're on set. Then just before the first day of filming on the episode, the main production meeting occurs where all department heads gather. The assistant director reads through the script from page one, while simultaneously reviewing the shooting schedule - triple checking that all materials are ready for each day's work. This is the last chance we all have formally to make sure our heads are all on the same show and things are ready to go. Can’t say enough about our leader Peter Mohan. He runs a great show, his ideas are endlessly creative, and he’s one of the best bosses I’ve ever had.
How much time does it take to finish one episode on average; does it vary?
Typically a television episode is produced in a checkerboard fashion; one show is prepping while the other is shooting. Essentially the main cast and crew never get a break. Prep is usually six or seven days and shooting follows with the same number of days. Bigger budget shows sometimes will shoot for eight or ten days or occasionally follow with a few days of second unit shots, etc.
You have directed 4 episodes, which one is your favorite and why?
Thanks for the same question also from MmsmcMillen. They all were very special but I think the upcoming time loop episode 5:55 was extremely intense and turned out so well, if I do say so myself. Sure, I’ll take credit for the work of 150 crew and cast! Everything came together so cosmically on this show, am very anxious for the fans to see it. Trivia: this was one of the episodes that was shot in only five days due to schedule restrictions. So ultimately the shooting crew was stuck in a bit of time loop ourselves. Starting with an amazing script by BT script coordinator Travis MacDonald and some pretty incredible performances from our cast. A close second if I have to pick faves would be We’ll Meet Again. A very sad and heartfelt love story across time.
If the show is renewed for a second season, would you want to direct another episode?
Yes I’d love to return to this family. It’s become a fun place to work. Just waiting for the phone to ring :)
From victory&henry4ever: First off, thank you for doing the interview and supporting Blood Ties and the fans in this way!! Now, my question. You’ve said that the director is the ringleader whose job is to get the creative forces working together to get the best result. In light of that, how much creative freedom do you give the actors in their performances? Also, is there a difference in how you would coax that performance out of the main actors, who perhaps know their characters a bit more, and a guest star who has no past with their character? Thank you.
Actors always have input. The secret is to steal all their good ideas. In order to actually make an episode in a very limited amount of time, obviously you have to plan and replan everything. But when the actors are physically there and saying actual words, things change rapidly. They bring a vital third dimension to the planning on paper and the ideas and input is always welcome and interesting. As in most series, the regulars (certainly the stars) always have input into the scripts from week to week. After all, they get to know the characters intimately because they play them every day. Improvisation and finding something on set minutes before you commit them to film (or tape) forever creates happy "accidents". I’ve also been fortunate on Blood Ties to be involved in the guest stars casting; and have brought in a lot of actors I’ve worked with over the years on other series. If you’re lucky it can become like a rep theatre company. Working with the same folks is a great bonus for me because I’m aware of what they can do and what they’ll bring to the characters.
From Jules: WOW!! Thank you for taking the time out to answer our questions! When shooting, what kind of look do you go for with Blood Ties versus some of the other projects you have done? Did you have fun directing your episodes? It seems that with the cast and crew on this show, it would be a lot of fun. Also, what made you want to go into directing?
I guess generally I'm known for using as many wide lenses as I can sneak past the director of photography. Wide lenses tend to make everyone's job a tad harder in terms of lighting and how much set you actually see. But, blended with great close-ups, it also gives the show a grand cinematic feel. I'm also for some reason partial to low angles. Must be a comic book appreciation. Yes, I had tons of fun directing my episodes and yes it’s an incredibly good group to work with. I think the fun we have translates to the screen; it’s a very relaxed environment and it’s our job to keep it that way. What made me go into directing? Because ‘ceramics’ was full?! No, but I’ve really never done anything else. I was ten-years-old making movies in the back yard, desperately trying to think of a way to avoid working and make my hobby into a career. So far nobody’s figured out that maybe I really don’t know what I’m doing so please keep the secret. But I’ve had an amazing time.
How is shooting inside different from shooting outside? What is more challenging / harder?
Shooting inside on sets is preferable just because you have control over all elements of the environment. But shooting outside gets you the prettiest pictures. So, as with all things, its' a toss-up. Shooting inside in real locations can be a challenge just because real spaces can be so cramped and not allow for lighting and physical equipment.
From charmacke: Obviously, we all LOVE "Blood Ties"and we appreciate your time and attention to our questions !! My question is this" What are the differences in directing a supernatural series such as "Blood Ties" versus "Andromeda" that had very different characters and action sequences??
Hi Charmacke, there is really no difference. Drama is drama, and suspense is the same in any genre. What makes it different is the characters are always going to be strange and new and challenging. I think that’s what keeps people tuning it. Also, the interaction of the characters. And some pretty incredible storylines coming down from the bossman Mr. Mohan. Blood Ties works so well because it’s such a specific blend of elements: The love triangle, the danger and mystery element, the humor, and of course, the Vampire!
From Grave_Tidings: What episode of "Blood Ties" has been your most difficult shoot, and why?
Thanks Grave T. The ending climax sequence in We’ll Meet Again was challenging because it takes place in a thick wooded forest at night, and of course, it was absolutely pouring rain. Not talking showers here, more like biblical monsoon. So this great crew worked all through the night, in the constant rain for many hours to get what ends up being a six minute scene in the can. And it’s a great scene! Sometimes you capture some amazing stuff despite the hardship of shooting. And the rain and the wet hair and the amazing visuals only enhanced the drama of the moment. That was difficult but the results were memorable. I think actors love it too because it just feels real, because it is.
From gia741: How was it working with all the Blood Ties crew??
Working on any good show becomes a family very quickly and this show is no exception. A lot of really great skilled people who never get enough credit create this show for you every week and it’s usually us directors that get all the credit. I’m actually having separation anxiety and hope we get back to work soon.
From MarieWP: Loved Post Partum. The scene in the hall with the fog was a great sequence. Was that a difficult scene to plan? Was the fog a real effect or CGI? Thanks for answering our questions!
Thanks Marie. Boy is this embarrassing. Would you believe I haven’t yet seen a final version of this episode?! I can tell you the fog was certainly a mix of sped-up real location dry ice and some brilliant colored CGI smoke from our resident wizard Richard Mintak in Vancouver. The Swartalfen is one of my favorite monsters.
From freg: Hi David! Thanks so much for letting us pick your brain. My first instinct is to nudge for something, anything, on 5:55 to tide my withdrawal and DTs over until October so *nudge* *nudge* ..did it work? Is there a bribe that might? My daughters both want to go to Toronto Film School so they can make me zombie and vampire movies Did you study film in school or was it a hands-on, real world type of lesson? What is the best advice you could give to a future film maker?
Thanks Freg. If I mention anymore details about 5:55, Peter Mohan will have me killed, so… sorry, no… Real advice to filmmakers: I think everyone has to find their own path. I had money saved in my 20’s to go to UCLA and at the last minute, suddenly plunged all the cash into making my first feature. Parents disowned me, briefly. So I created my own film course, although school may have been faster -- STORM took a few more years to finish. I think the secret is getting your hand on equipment, any equipment, and just make movies! It seems so much easier now with HD and digital equipment. Feature films will soon be coming out of people’s basements and laptops.
Where did you start out and what are your upcoming projects?
Started with independent features in Canada. Shot my first feature when I was 22. Took most of my twenties to finish it. It’s called Storm; please go rent it :) Moved onto Friday the 13th: The Series and Afraid of the Dark? and my introduction to horror shows for Nickelodeon. Since the days of Dark I’ve directed another 15 different TV series (20 in total now) including Twice in A Lifetime (US version of Touched by an Angel), Earth: Final Conflict, Goosebumps, Breaker High, Dead Man’s Gun, 4 seasons on Gene Roddenberry’s Andromeda and an episode of Stargate: Atlantis in the first season. I filmed Dinotopia in Budapest, Hungary for four months in 2002; that was a lot of fun. Lots of movies along the way too, notably I guess, the Power Rangers sequel in 1997 for 20th Century Fox! Currently I just finished a Kevin Sorbo monster movie that’s airing on Sci Fi Channel this month called SOMETHING BENEATH. I just want to thank the fans of Blood Ties for being so passionate about YOUR new show! If it weren’t for fans, I would be unemployed! Hope you will visit me on my two websites www.DavidWinning.com and my MySpace too. Apparently I’m also now on Facebook and YouTube! Thanks for the opportunity to answer some questions and please send more if I’ve missed something!
all the best, and fangs for having me…
David Winning
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