Films begin in the writing stage. A Screenwriter works until they’ve got a script that’s ready to hit the market. Once it’s sold and a Director is brought on-board, they’ll typically become heavily involved in preparing the script for production. Scripts often go through many changes before shooting begins and continue to evolve throughout production and even on into the editing process.

Since Actors are playing characters the audience will (or won’t) be identifying with, this is a crucial stage of the filmmaking process. Directors will sometimes sit in on casting sessions or sessions will be recorded and given to them at later dates. It’s essential that an actor not just be right for the part, but also be someone the director can work with and communicate effectively to.

The Production Designer on a film is responsible for dressing the set (whether that be on a sound stage or location) to appropriately fit with the story being told. The Film Director works closely with the Production Designer to capture the proper look of the locale. This can involve anything from the color of a wall to the years the cars in the frame were manufactured.

The Wardrobe Department, like the Production Design department, is also very much concerned with the aesthetic of the film’s world. Characters’ wardrobes need not only to match the era and emotional tone of the scene, but they also shouldn’t clash with those of the other players in the scene (unless they’re deliberately meant to).

Pay close attention to wardrobe the next time you watch a film; you’ll typically find a calculated color coordination to the actors’ clothing. The director works closely with the Wardrobe Department to ensure that the outfits are visually synchronized and meshing properly.

A film’s entire look (and feel) is majorly dictated by the camera department. Many decisions are made between the Director and Cinematographer about the look of the film. These discussions include everything from the mood they’re looking to create with the lighting to the aspect ratio in which the movie will be shot to the filmstock that would best support the effect the Director is hoping to achieve.

The film’s Editor is responsible for cobbling all of the film’s raw footage together and producing a first cut (also known as an assembly edit) of the movie. Once the Editor whittles the assembly edit down to a better paced narrative, they’ll typically bring the director in for feedback on another pass at the material. Directors often work closely with editors, fine-tuning the material, bringing it as close to they can to their intended vision.

The final phase of the film production process is Post-Production, where visual elements are color-timed to the Director’s and Cinematographer’s specifications and sounds and music are mixed accordingly.

The Director is the final word on all of these creative aspects.

Minimum salaries for directors are as follows – for movies ranging between $2.6 and $3.75 million, the director will be paid at least $75,000. Ranging between $3.75 and $8.5 million, a director is guaranteed $15,462 a week for 13 weeks. For films in $8.5 to $11 million range, the director is guaranteed $18,554 a week for 13 weeks.

Keep in mind these salaries are all minimums and directors with good track records and clout can often receive considerably more for a salary. Proven directors can often get a cut of a movie’s gross, which allots them earnings based on a film’s profits.

Noted as the creative force behind CITIZEN KANE, a film that’s been argued as the greatest movie ever made, Welles has always had a reputation as an artist who’s fought tirelessly for his vision. He developed a trendsetting visual style that included innovating use of lighting and unique camera angles. This was accompanied by an assured grasp of the sound medium, utilizing tools he’d acquired through years working in radio.

Often referred to as the “Master of Suspense” for his mastery of the thriller and suspense genre, Hitchcock’s films tend to build a very unique and inescapable tension over the audience. He’s been quoted as saying “Self-plagarism is style.”¹

A Japanese, trailblazing filmmaker with a bold imaginative style set new standards not just for action filmmaking, but moviemaking as a whole. Kurosawa’s films (both the ones featuring samurai and the ones not) tended to tell deeply emotional stories set against fast-moving narratives. George Lucas and Steven Spielberg (among many others) have recognized Kurosawa as having tremendous influence over their work².

Billy Wilder was one of the most diverse, genre-spanning filmmakers of all time. Although his movies ranged from serious drama to biting satire to side-splitting comedy, they always maintained the director’s signature, assured voice and clear storytelling sense. Although English wasn’t his first language, Wilder mastered it as though it had been.

Woody Allen is a filmmaker whose career has traversed more than six decades. Although chiefly known for a comedic style, the writer-director has seen a fair share of success with dramatic work as well. His earlier career showcased films primarily based in New York City but he’s since branched out, always maintaining his knack for witty dialogue, richly drawn characters and fast-paced stories.

Stanley Kubrick’s films weren’t so much movies as they were events. He was constantly pushing the limits not just of storytelling, but the physicality and emotionality of his cast and crew as well. His attention to every detail when it came to his movies was apparently at times maddening to achieve, but the final effect was always deeply indelible.

Filmmaking brothers Joel and Ethan Coen made a name for themselves in the mid-80s with quirky, razor-sharp wit and clever storytelling as the backbone of their films. It’s sometimes difficult to categorize their movies into one specific genre, because they’ll often hit on several tones in a single movie. Their style is distinct, compelling and always surprising.

Paul Thomas Anderson’s films tend to be psychological dramas populated with flawed and damaged characters undertaking personal journeys. Anderson employs a visual style of a constantly moving camera giving his audience long, unflinching takes into these characters’ lives.

Visionary director James Cameron is constantly pushing the envelope of both storytelling and technical cinematics. He tends to tell high-octane stories about strong characters (particularly women) and centers many themes around the notion of man vs. technology. His film THE ABYSS was the first to use CGI morphing and he would continue to create some of cinema’s most iconic, crowd-pleasing moments.

Like the Coen brothers, Quentin Tarantino’s movies don’t fit so easily into any single genre. They’re often violent, tension-filled, rich in character and very funny. You’ll also almost always get a healthy dose of pop culture and profanity when you watch one of his films. He changed the movie landscape in 1994, influencing a new wave of filmmakers for decades to come.

Christopher Nolan’s bold choices as a filmmaker have touched an enormous range of topics – from outer space exploration to our dreams to World War One to iconic superhero Batman. His films are always categorized by a sharp, cerebral eye set against a compelling narrative backdrop. His style keeps grounded, even as his stories reach beyond imagination.

To answer the question, what does a director on a movie do, one has to respond with “everything.” All creative decisions will ultimately filter through them and their creative vision is what ultimately drives the film. It’s arguably the most challenging, all-encompassing and rewarding position on any production.