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.
In 2024 AWD Icon Member DAWN WILKINSON won an NAACP Image Award for Outstanding Directing for a Drama Series for helming the “Power Book II: Ghost” episode, “Sacrifice.” She has been nominated for her work by the Director’s Guild of Canada and works consistently in both film and television.
Dawn talked to AWD about the importance of instinct, her experience directing the death of a major TV character, and how she handles the physical demands of working in episodic television.
AWD: Your directing career has included comedies like Kim’s Convenience, dramas such as Truth Be Told, and teen mysteries like Riverdale. How do you adapt your directing style to authentically capture the essence of such varied genres?
DW: Versatility is the key to my success. You’re asking me to look at it from the outside in, and the way I look at is from the inside out. Every time, every show, my approach and what I do is always the same. Who are these characters? What are they going through? What is the best way to express this? How do I want to explore it? What tools do I have (or can I get production to cough up) that are really going to help me make this something worth experiencing for all of us, and is that what it really needs to be? So I go with my gut and start with character. I was really a writer or at least an aspiring writer before my focus became directing. So it might be a bit writerly because I get the tone from a script and then make a lot of choices intuitively. Where to put the camera, which angles are necessary, colors, all the tricks and tools of the filmmaking trade, are really in service of images I dream up and then when I’m faced with real scheduling and production challenges my left brain kicks in and gets us to the finish line.
Did you have a sense during the preparation or execution of Episode 308 (“Sacrifice”) of Power Book II: Ghost that it had the potential to garner such significant recognition, like the NAACP Image Award? How did you feel about the producers choosing to submit this episode for recognition?
I was really into the original Power series so I was excited when Brett Mahoney who had been the showrunner on Empire for the three episodes I directed, reached out to me for this. When I read my script I saw that OG Power character Cooper Saxe would die in the episode. I knew I had to do it right. Davis’s brother Theo took Saxe’s life and then killed himself and it was extremely emotional for Davis. I staged it in a way that put Michael Rainey Jr. and Method Man on the opposite side of a fence so Meth couldn’t save his brother and he gave an amazing performance right out of the gate. When I was doing the crane shot I knew I was coming in close so I asked him to hold back until we got there. It’s always a big deal to direct the death of a major character, and Shane Johnson and I dived into it on day one, talking about the beats that led up to that final moment. When a character dies, the cast and crew lose a member of their family and this is a life changing moment for everyone that I always take very seriously. From this perspective I knew it was an important episode but I had no idea it would garner the awards recognition that it received. Brett included me on all the post: to approve VFX shots, be in on sound and music spots and at the mix and I so appreciate that level of creative involvement. The great thing about the Power Universe is that the stakes are life and death and underneath it all are some very strong emotional bonds and family dynamics. I just love that stuff.
In a series like Brilliant Minds, how do you balance the demands of a fast-paced plot with the need to explore the emotional depth of the characters? What ways do you use the show’s distinct visual style to support your vision as the director?
I think the scripts themselves balance plot and character quite beautifully. Baked into the show’s DNA is an opportunity for directors to enter the perspective of famed neurologist Oliver Sacks (played with extraordinary sensitivity by Zachary Quinto) or his patients. In my episode “The Colorblind Painter” (109) I was particularly excited to craft the episode using black and white to explore the experience of colorblindness and the emotional impact that would have on a visual artist. Producing-director Demane Davis assured me that it’s not a show that needed every line of dialogue covered in a close-up so that really gives the director’s freedom to decide which emotional moments are key to get in there for, and where choreography and interesting composition can be used to cover the larger group scenes.
Dawn Wilkinson on the set of Brilliant Minds; Photo credit: Rafy Photography
Your feature film DEVOTION marked a pivotal point in your career. How did the experience of directing a feature influence your approach to storytelling in television, and vice versa?
Devotion is a feature I wrote and directed with the support of the Ontario Arts Council and the Canada Council for the Arts. It is about a young biracial girl grieving the loss of her mom. Jasmine Richards, the young actor who played Alice was eleven at the time and she was in almost every scene so it was imperative that I shoot efficiently. Rather than trying to shoot every angle I focused on Alice’s point of view. I was interested in how she felt, what she saw, and how she experienced her memories, nightmares, her school and home life. I wanted to see the world through her eyes. That was great training for television directing in the sense that as I read a script and go through the tone meeting I am always thinking about whose point of view is important and how to capture that visually. It’s not just about saving time, it’s about being invested in the characters and the emotional experience for the audience.
In projects like Kim’s Convenience, cultural authenticity is central to the storytelling. How do you approach directing episodes where culture plays such a pivotal role?
There was such a buzz around the show in Toronto right before we shot Season 1. Ins Choi had a hit play on his hands and there was a lot of enthusiasm about his adaptation. My favorite episode that I directed is about what happens when Janet’s cousin comes for a visit from Korea. They go out for Korean food and Janet is a fish out of water, not able to speak the language or enjoy the food and feeling more “Canadian” than “Korean.” I related to this comedic outsider perspective even though it’s not my own specific experience. We know the value of having filmmakers who are representing their own cultural experiences but we also know that good stories contain universal truths. I’ve always been interested in themes about cultural identity and feeling out of place or feeling alienated or “other” and Kim’s was a chance for me to explore the comedy of that within the context of a Korean Canadian family. It was the kind of story Canadian Television was hungry for at the time. That’s why representation is so important, and I couldn’t be happier for Simu Liu who figured out how to go from Kim’s to putting himself on the map with Shang-Chi.
Do you find that the dynamic changes between you and the showrunners/actors/crew when you direct multiple episodes of a show?
There’s nothing like being asked back! I’ve directed on all 6 seasons of All American and my next project is an episode for season 7. Nkechi Carrol is a powerhouse showrunner who knows how to motivate and get the best out of everyone she hires. I’ve done some really great episodes of the show like “Protect Ya Neck” the cotillion episode in Season 2 and “Draft Day” in season 6 because I was empowered to make really bold choices that paid off creatively. Gaining the trust of your showrunner is invaluable. I spent a lot of my energy “proving myself” to new showrunners and crews in my career so as much as I enjoy that challenge and surprising them with my skills it’s nice to skip that step and get right to work. Shows that crossboard or block shoot two episodes at a time are good because you can get into a groove that is sometimes harder to find on your first episode of a new show. Even though I ask the showrunner and AD’s how it’s going, there is nothing like having your own experience with a cast and crew to shape your choices. There can be familiarity in returning to a show, but every episode is different. You may have a different writer, DP, guest cast, editor, you can have two very different experiences on the same show. But I chalk that up to what I love about the job. It’s different every day. What I’m finding now is that in major production centers like Los Angeles, New York, Toronto and Vancouver, I usually know someone on the show, it’s different than when I started and everyone was new. Now I have a reputation and a larger network of contacts so even when I am new it’s no longer the same as being unproven. It’s a nice place to be, even though the flip side of that is now I’m going into a situation where expectations are high because they know what I’m capable of. When I directed multiple episodes of Step Up Season 3, as the producing-director that was next level in terms of my vibe with the cast and crew because I was there in Atlanta for five months, intimately involved in the creative aspects of the entire season. That reminded me of my filmmaking roots as I had the whole show in mind and followed it all the way through post.
Dawn Wilkinson on the set of Orphan Black Echoes; Photo credit: Sophie Giraud
What unique challenges and opportunities arise when directing large ensemble casts compared to more intimate, character-focused episodes?
You would expect a scene with more people to take longer than a scene with less people, but that’s not always how I do it! In those larger situations I work it out on paper with floorplans or storyboards depending on the location and the action, and then I basically lay it out for the actors, giving them really clear parameters which generally works in scene with that kind of scope. Sometimes with one actor alone, I want to get into their perspective and create the right tone and atmosphere visually so it can take several angles, true POV shots, and composition that itself tells a story. Some interesting visual transitions may be required. That can take much longer than just finding a cool two camera setup for dialogue coverage. When a two-hander is emotional or has several beats to it, I like the actors to have a bit of room to shape it with me. So let’s just say I can be more technical in the bigger scenes and more fluid in the smaller scenes. The trick is to let the AD’s in on it so their timelines reflect the reality of my vision and not just the number of faces we have to cover.
What strategies or philosophies have you developed to navigate and overcome industry barriers while staying true to your creative vision?
I’ve learned to listen to my own instincts. It’s easy to be distracted by all the different opinions on set and everyone has their area of expertise, but as the director you are the one who should be able to see the shot, that visual detail, in your mind, before it’s right in front of you. It could be a stunt or a visual effect or maybe you are creating a space within the location that is not really there, and in those situations when everyone starts to chime in on what they think is going to work or not, I will go with my instinct because there is nothing worse than having something fail when you knew it wouldn’t work in the first place. And then that time is lost, and you have to make it up. If I’m going to be slammed at the end of the day it’s going to be because of a call I made, a decision that I can stand by so at the very least I learn something and kill it the next time. Developing my skills so they are undeniable, that has been the best way to overcome barriers, do good work, and then go to general meetings and talk about it.
Dawn Wilkinson on the set of Know Her Name Documentary; Photo credit: Deja Collins, Know Her Name Productions
Is there a project you were once attached to or collaborated on that hasn’t come to fruition yet but still holds a special place in your heart?
I’m developing a feature that I wrote titled Revealing Rachel. It’s set in Barbados, which is where my father was born. It’s a coming of age drama about a young woman finding her identity as black and Jewish. I put aside my own writing for a long time to pursue my TV career but this script keeps calling me back to it. I finally realized that I need to make this film so I can stop thinking about it! But seriously, it will be a very different film now than it would have been when I wrote the first draft because I have gained so much more knowledge about directing and confidence in my process. I’ve really found my voice as director and now it’s time to tell my personal story.
Reflecting on your journey, what piece of advice do you wish someone had given you when you first started directing?
I don’t think anyone talked to me about the physical demands of being a TV director who works back to back in different cities. I’ve been doing yoga on and off for years and if you’ve been on set with me you know I live by my green smoothies. I truly enjoy the wellness stuff that keeps my energy level up but it took awhile for me to figure out how to keep my healthy habits at work. There’s no doubt that episodic directing is a high pressure pursuit. I thrive in that environment because I have learned how to take care of myself. Early on I remember realizing, after spending one weekend doing rigorous prep, that come Monday I was already tired! I had a lightbulb moment because I need my energy on the floor and in the moment. That’s when I can change my shot list or be inspired to go in a different direction by a question from an actor or prop master or camera operator. It’s essential to do solid prep but that has to be balanced by a calm focus to make the right decisions. So eating right, exercising, all that stuff that can easily fall away while you are in production if you don’t make a point of taking care of yourself, is what I’ve learned to make a priority.
As an Icon Member of the Alliance of Women Directors, how do you advocate for and support women in the directing field?
I have mentored emerging directors in official programs, like with the DGA WSC Squad and Ryan Murphy’s Half Initiative, as well as informally on shows like All American, The Irrational, and Kim’s Convenience. I was the director observer to Norman Jewison on The Hurricane and Ernest Dickerson’s on set assistant for Our America so I had two very influential mentors early in my career and that access made directing on a larger scale feel very tangible to me.
Before I worked regularly I shadowed often, sometimes a short set visit, other times following a director from prep right through the edit, and I encourage those who shadow me now to take part in as much of the process that the show will allow. I’m really committed to making the time to mentor whether it is one on one meetings to offer career advice, give feedback on demo reels, or to just offer much needed encouragement.
When did you know it was the right time for you to start mentoring others? For someone who feels they might be ready to become a mentor, what advice would you offer about what to consider and how to approach mentoring effectively?
I think if you are inspired to mentor you should go for it. Often it is just sharing the story of how you got to where you are at the moment that can inspire someone. There are some directing books I like to recommend like Directing: Film Techniques and Aesthetics by Michael Rabiger or Film Directing Cinematic Motion: A Workshop for Staging Scenes by Steven D. Katz and I think sharing books, websites, apps that you use can be very helpful especially when you point out what is useful and why. I’m not a Scriptation expert by any means and it took me a minute to let go of my binder and paper but now I rely on it completely and I encourage those I mentor to try it out because it’s such a useful tool. Also, listen to your mentees and ask yourself what strategies they can use to make it to the next level. Sometimes a great mentor is really a sounding board who understands the lay of the land. It’s also fun and inspiring when my mentees get that meeting or that job because others did that for me and I know what a difference it can make.
Are there any upcoming projects or collaborations you’re excited about that you’d like to share with AWD?
I am interviewed in Know Her Name, a feature documentary that uncovers the mysteries behind why women, especially women from underrepresented communities, have been forgotten in discussions of film, erased through historical amnesia – and how to make sure this doesn’t continue to happen. It is co-produced by Heidi Lasi of Pelee Entertainment, and co-produced and directed by Zainab Muse of Creatorland Inc., in association with Super Channel, Hollywood Suite, and the Canadian Media Fund and will be released in 2025.
I also recently directed episodes 105 and 106 of The Better Sister starring Jessica Biel and Elizabeth Banks. It’s beautifully adapted from Alafair Burke’s novel by Olivia Milch and Regina Corrado for Tomorrow Studios and MGM Studios and it will premiere next spring on Amazon.
Dawn Wilkinson on the set of Know Her Name Documentary; Photo credit: Deja Collins, Know Her Name Productions