I subscribe to Creativity, which most of you might know is AdAge’s great monthly magazine covering all things related to art direction, design, production and interactive in the advertising business.

Recently, Creativity had an article on how producers build great directors.

The producers, directors and production co’s they asked are a who’s who of the business, from Radical Media to Anonymous to Hungry Man.  The whole thing is a great read but here are some choice quotes that I think are especially applicable to photographers and agents…especially in these times.  Where applicable, please feel free to substitute the word “reel” for “portfolio”, the word “director” for “photographer” the word “producer” for “agent” and the word “script” to “story”.

What types of directors have you found to be most successful in building? Is there a particular demeanor or way of thinking that you see in the types of directors that make it in this business? 

Kerstin Emhoff: I always look for strength of vision/creative point of view and ego. I have met brilliant creative people that come off as unsure or undecided that I never could see making it as directors. Everyone around them senses that, from the crew to other creatives, and every decision is second-guessed and watered down. It’s that same ego that can get them in so much trouble as well.

Frank Scherma: I look for people who are passionate about what they do, for directors who are conceptual and are forward thinkers—they know a good idea and they know how to make any idea better. [They have] strong opinions about how they want to do it and enough common sense to understand how to collaborate. The day of the asshole is gone.

Jules Daly: Flexibility is a necessity. Also, be prepared, do your homework.

Steve Orent: Knowing I will be working very closely with a director, it is important to genuinely like him/her and feel comfortable with him/her.

Ralph Laucella: More than ever, new directors have to bring something special to every script.

Dan Duffy: Decisiveness, confidence and a collaborative attitude. New directors need to have a clear vision of themselves and be able to define that vision to agencies considering them. They need to be able to pitch their ideas and sell them to the creatives and producers across the table.

What are the most important skills you, as an executive producer, bring to the table in developing a director? 

Emhoff: Patience, honesty and the ability to shamelessly pitch like William Shatner.

Scherma: Deciding which projects to do is incredibly important. It’s about the creative choices we make, which projects a director chooses.

Daly: Honesty. You have to tell them the truth, even though it may hurt…Staying aware of what the competition is up to doesn’t hurt with the preparation either.

Carlton: …But, more importantly, an ability to be a creative partner for the director—to help set goals, and clarify his or her creative vision and help them develop their own personal style, sometimes just by asking good questions.

What are some specific examples of something you’ve done that has decidedly advanced a director’s career? 

Scherma: I remember when we had a big money job and a small brilliant job. I convinced the director not to do the money job but do the little job. He won many awards and it launched his career.

What doesn’t work? 

Daly: Never force them to do something they don’t have a “hook on” or passion for. In my experience it will not be advantageous, for anyone involved, to force something upon a director.

Orent: Trying to build someone you don’t believe in and trying to convince yourself they have what it takes.

What’s the most important thing to think about when putting together a director’s reel?

Emhoff: Only put the best work on. Don’t put pieces just to have more or have diversity.  It backfires. I am constantly reminding myself of that.

Orent: The reel is extremely important, but not everything. I have launched many careers without a single spot on the reel. You’re selling the total package. What’s the director’s strength? What’s their added value? You’re also selling the production company and the reputation and executives behind it. This creates the package. More often than not, your early opportunities come from strong relationships because of that trust. Still, when putting a reel together I’m a firm believer in less is more. I would rather sell a director on one killer spot vs. one great and two mediocre ones. You need to instill confidence that the director is capable of greatness, not mediocrity.

And from the directors…

What’s the best decision you’ve made when it comes to your directing career? 

Meyers: Listening. Listening to people has helped me grow, learn, and push my own abilities outside of the box I would otherwise be in.

Kosinski: Shooting spots on spec before anyone was willing to give me a shot, rather than waiting to be asked. I had to learn all aspects of production from the ground up.

Baron: Have thick skin. Oh, and don’t buy that shiny new Porsche immediately after the first job awards.

DiGirolamo: Have a strong point of view—stay close to who you are as a filmmaker and resist the temptation to say yes to everything. You only get one shot to be introduced.

Laucella: Keep your standards high and your overhead low.

Carlton: Be flexible and be patient.

And last, but not least - Scherma: Always, always listen to your executive producer.