AWD Icon Members work extensively in feature films, television, commercials, music videos, and/or new media. They have not only shown exceptional skill and/or received substantial acclaim, but are also advocates for AWD’s mission for parity in the entertainment industry.
AWD Icon Member CHRISTINE SWANSON earned her MFA in Film from New York University’s Tisch School of the Arts and was selected by NYU faculty as the Willard T.C. Johnson Fellow, the most prestigious fellowship given to the student who has achieved high standards in his or her work. A prolific episodic director (Chicago P.D., P-Valley, FBI, Found, among others) she has also directed serval features including The Clark Sisters, Love Under New Management: The Miki Howard Story, and the upcoming Albany Road.
Christine spoke with AWD about the value of having experience in the editing room, when you shouldn’t be a people pleaser, and the riskiest creative choice she’s made!
AWD: Having directed both independent films and studio projects, how does your approach differ between the two, and how do you maintain your creative vision in each type of production?
CS: Directing both independent films and studio projects (movies and tv) requires working with teams of people. The main difference between the two approaches is that an independent film requires a singular vision that has to be articulated that comes primarily from the director/ filmmaker. When you’re working on studio projects for which you are a hired gun, you always have to keep in mind the desires and wants of the network/ studio/showrunner/writers and incorporate their vision/desires as a part of the directing process. You have to service the vision of the whole while maintaining a specific point of view as a director to get the story told well.
How do you approach collaboration with creatives during the development phase of a project to ensure the story remains aligned with your vision as a director?
You have to have a specific and strong point of view as to how you are going to realize your vision.Then you have to have the communication skills to parlay that vision to various department heads, actors, producers, cinematographer, stunt coordinators, camera-ops, grips, etc. I cannot express enough how important communication skills are because a lot of what we do requires constant communication and constant backtracking and revising to make sure that everybody is on the same page at all times.It’s a lot easier to do this when you can be conversant and when you can listen. Then you take all the information from various departments, producers, writers, actors, etc and synthesize this information and figure out how you are going to output all the information through your directing gate and get to work.
How do you determine which character’s story to prioritize in each scene and overall arc of the project, especially when balancing creative compromises? Could you share your approach to making these decisions, perhaps drawing from your experience on The Clark Sisters?
The determination of the character’s story and what to prioritize typically happens on the page. This should be in the script and clearly articulated in the written form first. Once this is determined then decisions can be made as to how to prioritize the characters’ arcs creatively and in balance with the overarching themes of the story. To me, every character is a major character once I am directing individual scenes. There are no small parts. The performances in every scene have to work strongly and cohesively. Again, the heavy lifting in terms of prioritizing the character arcs is done in the writing and then we interpret, enhance, and enlighten the storytelling through individual performances once we are in directing and production mode. In “The Clark Sisters” movie in particular, there was the matriarch played by Aunjanue Ellis, a formidable Oscar nominated actress. There were minor characters who played her daughters. While each and everyone of the characters had specific and important story arcs, the weight of the storytelling fell into the lap of Aunjanue Ellis. So, a lot of time, emphasis and energy was spent on making sure we crafted a balanced and nuanced performance from Aunjanue as well as the equally important characters who played her daughters. My job oftentimes was to keep the balance in the storytelling so that we’re properly planting certain moments so when we reach the payoff, we feel the significance of that payoff. Most times, I’m modulating performances so that we feel the urgency when necessary or we pull back when we need to be more understated. It’s really a matter of understanding the story in a way that evokes the right emotions at the right time. Really creating space for actors to do their work is paramount to directing.
How do you ensure authenticity in casting, location choices, and other key details to support storytelling? Was there a specific project where you realized the importance of standing firm on your vision?
As a director you always have to have a point of view. That point of view is the guiding force in all the decisions you make. That point of view informs your casting choices, your location choices and other key details to support the storytelling. If you do not have a specific point of view then it will be hard to make decisions and answer questions that are thrown at you 24/7. Knowing your own point of view is the insurance you need to maintain authenticity. Of course you always have to make room for collaboration but collaboration starts with making specific choices first then weighing all options and ultimately living with a decision.
How does witnessing a scene evolve in post-production inform your choices as a director on set? Was there an instance where what you saw in the edit made you reconsider your approach to shooting a particular type of scene?
I cannot understate the importance and value of having experience in the editing room or having cut a lot of projects and seeing the process from pre-production to post production. Given my experience in the editing room, I typically know how I’m going to cut scenes together and I can quickly figure out which shots I need to complete or enhance scenes. I’ve learned through the post production process to do certain things as a director that’s going to help me in the long run. For instance, I may have an actor do a scene that has lines in them the first time and the second time, I’ll have them act out moments without the lines or more intentional beats. That way, I’m able to intercut performances with words and without words depending on what the moment needs. Sometimes those performances without words can be very poignant. You are giving yourself options to be able to choose what’s going to work for a particular scene by covering yourself in a way to have options in post. Now, this is mostly on the film side. On the tv side, actors typically have to say all the lines writers write. In those instances, I may have less flexibility with the language but other tools like pauses, looks, movement and delivery help with performance choices as well.
What’s the most unconventional or risky creative choice you’ve made in your career, and how did it pay off—or not?
When I directed the Clark Sisters movie, I decided to cast real singers instead of actors to play the daughters.The network wasn’t used to hiring non actors in their movies but I was convinced that the only way to do a movie about gospel singers is to hire real gospel singers. So I went out and found those specific singers who played the daughters in the film. It was a very risky decision as many of those singers did not have a lot of experience acting. Then they had to play opposite a seasoned veteran like Aunjanue Ellis. Some things took longer and we had to reinforce the acting with some coaching on the side. But that’s a decision I would make over again because the outcome of the film with real singers is sublime. It’s really what makes the movie stand apart on so many levels when you’re looking at biopic movies about singers.
Looking back at your body of work, what project do you feel best encapsulates your artistic vision and values, and why?
Looking back at my body at work I think the movies that encapsulate my artistic vision and values are The Miki Howard Story, The Clark Sisters, and my new movie Albany Road. In all those films, I took great risks creatively and stylistically and I think they paid off. I made the movies I envisioned in my head and my heart and every time I see those movies I feel riveted as an audience member not just a director. I feel pulled in and totally involved in the storytelling. That’s when I feel like I did my job right. If I can look at my own movies and I don’t want them to end then I have achieved something good.
What advice would you give to a guest director joining an established series to help them feel as though they’ve been part of the team from the start?
Advice I would give a guest director on established shows is to not feel forced to act as if you’re a part of the team per se because you’re not. You’re a guest. The best behavior that a guest can display is one of graciousness and preparedness. That’s all the crew and producers ask of a guest director. Directors should be prepared and fast. They should know how to talk to actors and crew quickly and clearly. Lastly, they should be nimble on their feet because changes and problems come up all the time. Face them like a champ, have a good attitude and don’t be a people pleaser. You won’t get points for that. In fact that comes off as a weakness. If you can show the established team that you are a team player while being a leader then you will win them over every time. And if you happen to be really good at directing actors, then you will win them over too and have a better chance at a successful episode.
In a time where technology is rapidly changing the way content is created and consumed, how do you think filmmakers can maintain the human element in storytelling?
Filmmaking is an empathy driving machine per the late great, Roger Ebert. When done well, no technology no matter how rapidly things change is going to deter the need for complex stories that touch the hearts of audiences. I’m not sure the technology will be up to speed all the time on that element of storytelling but who knows?
What do you think are the most important skills and mindsets that future filmmakers should cultivate to thrive in this unpredictable and evolving industry?
The most important skills and mindsets future filmmakers should cultivate is one of being a leader. Yet at the same time you have to be a team player while maintaining an individualistic point of view. It helps to have good communication skills and good management skills. Directors should be able to work well with others and be good at problem-solving. Also, having a great attitude is non-negotiable. Your attitude will take you farther than your talent can. Lastly, live a life and have something to say.
You’ve been active in giving back to the community through speaking engagements. What legacy do you hope to leave as a filmmaker, and how do you want your work to inspire future generations?
A legacy I hope to leave behind is one of love for the craft/ art of storytelling, a love for an audience that is receptive and a love for the people I work with. But-I think the greatest legacy is one of generosity and the sharing of your knowledge of your experience and your love of the work with people who you come across on a day-to-day basis in this industry. Life is hard enough and sometimes this business is extremely hard. But you always remember the people who did the work with excellence, a great attitude and a sense of ownership of the life that they’re living. They also have an understanding that they are the change agents in their own lives. There are plenty of bad players/narcissists/predators in this biz and you will cross paths with them. Endeavor to become the change you want to see. We need talented but good people in this industry. It just makes life easier for everyone. Be that kind of person.
As an Icon Member of the Alliance of Women Directors, how do you advocate for and support women in the directing field?
Typically I’ve had many people shadow me as a director. So I’ve had opportunities to teach while working. I’ve also had numerous actresses from TV shows shadow me as well. Not only do I enjoy directing but I love teaching as well. Whenever possible, I try to pass down knowledge and my love for the craft to the people I encounter while working and beyond. I have been helped by others so I make sure to do the same.
Are there any upcoming projects or collaborations you’re excited about that you’d like to share with AWD?
Last year right before the industry strike, I made an independent feature film that I shot in Champaign, Illinois. During the strike, I was able to spend time editing the movie and I’m proud to say that my new film called “Albany Road” will be released theatrically in theaters on November 15th of this year. It was truly a labor of love and I’m blessed and grateful to have had such an opportunity to create from the ground up a project that I have been nursing for the last 20 years. It’s a project that I wrote and directed and it was produced by my producer husband, Michael Swanson. And, I am happy to say that each of my four children spent time on set and worked on the film. It was truly a family affair. The movie stars Renée Elise Goldsberry (Hamilton) and Lynn Whitfield (The Chi, Greenleaf, Josephine Baker Story). They are two inter-generational women who hate each other but are forced to share a rental car from New York to Washington DC during a snowstorm. It’s a romantic dramedy with a lot of twists and turns and it plays against the genre in a way that leaves audiences laughing out loud and shedding a few tears. It will undoubtedly become a new holiday classic. Mark my words! 🙂 In theaters November 15th, 2024!!!