I recently interviewed John Badham about his book John Badham on Directing, recently published by Michael Wiese Productions. John struck me as the consummate professional and craftsman, who has directed many A-list stars in feature films such as John Travolta, Mel Gibson, Goldie Hawn, and Richard Dreyfuss, and many television episodes of “The Shield,” “Criminal Minds,” and “Nikita.” He is also a heck of a nice guy. We spoke via phone and here is the transcript of a gentleman.
Dave Watson: First of all, congratulations on the book. I learned a lot, even after seeing and growing up with your movies in the 1970s and ‘80s.
John Badham: Good, thank you.
DW: You started in TV before moving to features. What are the big differences between directing features and directing TV?
JB: There’s a pretty big difference. TV is fairly straightforward. Film is a director’s medium and the director has control.
DW: What about studios?
JB: Studios have a lot to say and investors are always looking to get the best they can. With TV, say, you and I, Dave, pitch a series and we as producers are unlikely to have the same directors. It is a series you set out to make and you have to follow a template. It can be a bit like being a chef at McDonalds. If you’re a chef there and you have to make a Big Mac, the pickle goes there, the cheese goes here etc. Characters have to work in certain parameters, and they have to be consistent. We’re not going to see Walter White in “Breaking Bad” turn around and suddenly give all his money to charity and start living a healthy life. I’m about to start an episode of Supernatural, and the characters have to have strong continuity or the producers will say, “That’s not our show.” You also have a writer present all the time, like an on-the-spot supervisor. The writer answers to his boss. With film they’ll mostly leave you alone.
DW: You start your book discussing five mistakes people make that are underlined by a lack of trust. Why do you start there?
JB: It’s worthy of discussion. There’s often a basic mistrust of a director. Actor’s think, “Why are you doing this? Why is this over there?” You have to have that trust there with your actors.
DW: Have you been called an actor’s director? You’ve worked with a wide scale of actors including Mel Gibson, Goldie Hawn, and I believe three films with Richard Dreyfuss.
JB: Yes, three with Richard.
DW: From your book you clearly enjoy working with actors.
JB: I view them as my creative partners. I give them tremendous freedom. I’m always looking for letting them feel free and try things. Creativity requires a willingness to fail.
DW: You successfully mix genres with your films, with action, comedy, and thrillers. Do you see this mix early on in the development or script process or does it come to you while shooting?
JB: I already have the mixing in my head. It’s how I see the world. As I’m working I’ll add things in.
DW: In your book you appreciate a variety of films and use them as examples, yet your films are consistently yours. Have you done a film that you felt was outside anything you've done before, where you felt like you were taking a professional leap?
JB: I’ve always tried to appreciate material on its own. With Saturday Night Fever I had no idea what I was getting into. I read the script and it had amazing characters. Then I turned around and did Who’s Life Is It Anyway? If the material appeals, I’ll do it. I’m not like Hitchcock, I jump all over the place.
DW: Do you have a favorite genre?
JB: Not really. I like mixing comedy and action, though if you see Blue Thunder today it’s all action. I saw Gravity, a pretty serious movie, and laughed out loud in it several times, especially when she sees the Chinese characters in front of her. I mean, that’s what she would see, and it’s true.
DW: You currently direct TV, where you started, and you’re working with many shows including “The Shield,” “Criminal Minds,” and “Nikita.” In a way you’ve come full circle as you started in TV before moving to features. Would you like to direct another feature?
JB: I’m happy to be working in TV. It keeps me fresh and alert, and I have a couple of features I’m trying to get off the ground.
DW: You sound like you’re still learning.
JB: One of the great things about directing is that you’re always learning. Especially with technology. The way it’s evolved over the last eight, ten years, we can do things we could not have dreamed about ten years ago! My dear friend John Frankenheimer said, “I never met a director who learned something by not directing.”
DW: And he worked right up until his passing.
JB: Yes. He was working on Path to War.
DW: That’s a great quote. Hopefully you return to features as they clearly connect with audiences. John, thanks so much for your time.
JB: You’re welcome.
Dave Watson is the Editor of the web site “Movies Matter,” http://www.davesaysmoviesmatter.com. He lives in Madison, WI.
Dave Watson: First of all, congratulations on the book. I learned a lot, even after seeing and growing up with your movies in the 1970s and ‘80s.
John Badham: Good, thank you.
DW: You started in TV before moving to features. What are the big differences between directing features and directing TV?
JB: There’s a pretty big difference. TV is fairly straightforward. Film is a director’s medium and the director has control.
DW: What about studios?
JB: Studios have a lot to say and investors are always looking to get the best they can. With TV, say, you and I, Dave, pitch a series and we as producers are unlikely to have the same directors. It is a series you set out to make and you have to follow a template. It can be a bit like being a chef at McDonalds. If you’re a chef there and you have to make a Big Mac, the pickle goes there, the cheese goes here etc. Characters have to work in certain parameters, and they have to be consistent. We’re not going to see Walter White in “Breaking Bad” turn around and suddenly give all his money to charity and start living a healthy life. I’m about to start an episode of Supernatural, and the characters have to have strong continuity or the producers will say, “That’s not our show.” You also have a writer present all the time, like an on-the-spot supervisor. The writer answers to his boss. With film they’ll mostly leave you alone.
DW: You start your book discussing five mistakes people make that are underlined by a lack of trust. Why do you start there?
JB: It’s worthy of discussion. There’s often a basic mistrust of a director. Actor’s think, “Why are you doing this? Why is this over there?” You have to have that trust there with your actors.
DW: Have you been called an actor’s director? You’ve worked with a wide scale of actors including Mel Gibson, Goldie Hawn, and I believe three films with Richard Dreyfuss.
JB: Yes, three with Richard.
DW: From your book you clearly enjoy working with actors.
JB: I view them as my creative partners. I give them tremendous freedom. I’m always looking for letting them feel free and try things. Creativity requires a willingness to fail.
DW: You successfully mix genres with your films, with action, comedy, and thrillers. Do you see this mix early on in the development or script process or does it come to you while shooting?
JB: I already have the mixing in my head. It’s how I see the world. As I’m working I’ll add things in.
DW: In your book you appreciate a variety of films and use them as examples, yet your films are consistently yours. Have you done a film that you felt was outside anything you've done before, where you felt like you were taking a professional leap?
JB: I’ve always tried to appreciate material on its own. With Saturday Night Fever I had no idea what I was getting into. I read the script and it had amazing characters. Then I turned around and did Who’s Life Is It Anyway? If the material appeals, I’ll do it. I’m not like Hitchcock, I jump all over the place.
DW: Do you have a favorite genre?
JB: Not really. I like mixing comedy and action, though if you see Blue Thunder today it’s all action. I saw Gravity, a pretty serious movie, and laughed out loud in it several times, especially when she sees the Chinese characters in front of her. I mean, that’s what she would see, and it’s true.
DW: You currently direct TV, where you started, and you’re working with many shows including “The Shield,” “Criminal Minds,” and “Nikita.” In a way you’ve come full circle as you started in TV before moving to features. Would you like to direct another feature?
JB: I’m happy to be working in TV. It keeps me fresh and alert, and I have a couple of features I’m trying to get off the ground.
DW: You sound like you’re still learning.
JB: One of the great things about directing is that you’re always learning. Especially with technology. The way it’s evolved over the last eight, ten years, we can do things we could not have dreamed about ten years ago! My dear friend John Frankenheimer said, “I never met a director who learned something by not directing.”
DW: And he worked right up until his passing.
JB: Yes. He was working on Path to War.
DW: That’s a great quote. Hopefully you return to features as they clearly connect with audiences. John, thanks so much for your time.
JB: You’re welcome.
Dave Watson is the Editor of the web site “Movies Matter,” http://www.davesaysmoviesmatter.com. He lives in Madison, WI.
