Zachary Quinto starred as Dr. Oliver Wolf on NBC’s “Brilliant Minds” for two seasons. In the June 3 episode, he also appeared behind the camera, receiving his first directing credit.
It’s very common for a show’s actors, writers, and cinematographers to temporarily step into the director’s chair. But the situation doesn’t sit well with the Directors Guild of America, especially since fewer shows are being produced and directors are getting fewer jobs.
The DGA argues that working two jobs at once means taking on a job that could lead to a career director, but not changing the role of director.
So under a tentative agreement reached last week, “affiliated hires” can only direct two episodes per TV season. For shows with fewer than 8 episodes, only one “affiliated hire” may act as director.
The agreement is the product of a compromise with the Alliance of Motion Picture and Television Producers and is riddled with exceptions and loopholes. It’s difficult to say how effective it is. But as effective as it is, it can limit career opportunities for people who want to transition into acting or directing.
Many veteran television directors began their careers in front of the camera. Grey’s Anatomy, for example, has long offered episodes to actors who want to direct. Kevin McKidd, who played Owen Hunt, directed 48 episodes, the most of any director on the show. Shondaland celebrates the actor-director’s work and features the best 13 episodes of “Grey’s” directed by cast members.
The DGA emphasized that this restriction does not apply only to actors. Although most people other than directors are eligible, show creators (such as showrunners and those who wrote first-season episodes) are allowed to direct without counting against the cap.
“The Pit” star Noah Wyle directed the season 2 episode. If the deal had gone through, his episode would not have counted toward the two-episode limit, since he had written two episodes in the first season.
Executive producers and co-executive producers also don’t count toward the cap unless they write or star in the show. Similarly, “producer-directors” who have no other role on the show do not count toward the limit.
DGA said in its contract summary that the restrictions are intended to preserve directorship, but are not intended to limit the opportunities of those with a bona fide interest in serving as directors.
“This will support both veteran and up-and-coming managers, while also enabling those who are serious about managing as a career to continue building their career as a manager, even if they are working in another capacity,” the summary states.
The contract language also includes carve-outs for shows where all “affiliated hires” are experienced directors or are hired to direct entire seasons. An experienced director should have directed two movies, eight TV episodes (or at least four if directing is your only job), or three shows and 10 TV episodes.
SAG-AFTRA, which represents the performers, declined to comment on the DGA deal.
The DGA is also seeking to protect the jobs of its members by expanding its jurisdiction overseas. In the current situation, producers are willing to apply DGA terms approximately 85% of the time when US-based shows are filmed overseas. DGA wants more than that. However, AMPTP did not approve of the expansion of jurisdiction.
AMPTP agreed to issue a bulletin warning producers not to discriminate against DGA members when hiring for overseas roles. Additionally, an existing industry-wide body, the Geographic Scope Committee, will meet by the end of the year to continue discussions on international coverage.
