Issue link: https://digital.copcomm.com/i/1126636
A senior editor at HITS magazine and Hitsdailydouble.com, Phil also contributes to Variety and Pollstar. "One thing that's been lost amid the rise of overseas SVOD services," says CHRIS MORRIS ("Streaming 's Expanding Landscape"), "is the widening opportunities for video content creators. As these companies look for original content, there's likely to be a feeding frenzy for quality shows and films." Chris also writes for Fortune, CNBC, TechCrunch and Common Sense Media. In talking to the directors behind the battle scenes on Game of Thrones, MARGY ROCHLIN ("Horrors of War Writ Large") noticed one essential perk of the job: the tool kit seemed almost bottomless. "Matt Shakman told me that whatever he asked for, he got," says Margy. "And when you're realizing the grandest battles in TV history, that's a great creative freedom." Margy is a PEN award winner and a regular contributor to The New York Times and Los Angeles Times. "Patrick McManus knows directing his story-driven competition show American Ninja Warrior depends on getting those fleeting shots that tell it all—and the value of a crew who can capture that moment," says SUSAN YOUNG ("Overcoming Obstacles"). Adds the director: "You have to be sensitive to what's happening on the field. And listen to your crew." A former president of the Television Critics Association, Susan regularly writes for TV Guide and People. ® 6 DGA QUARTERLY In talking to a dozen established producer/ directors about this essential job, ROBERT ABELE ("Creative Cata- lysts") found some key common denominators: passion, leader- ship, ingenuity and articulateness. "It seems that if you've got some combination of those qualities in a producer/director," says Robert, "your show has the best chance to succeed." Robert is a Los Angeles-based critic and journalist. Interviewing Thomas Kail, director of the FX limited series Fosse/ Verdon, left contributor PAUL BROWNFIELD wondering if a filmed version of Hamilton, the smash musical Kail directed, exists. Kail said he captured the Broadway production on film in 2016, using nine cameras and shooting both with the audience and without. Stay tuned for distribution. Paul also writes for The New York Times, Los Angeles Times, Bloomberg Businessweek and Written By. "Homeland has sometimes taught Americans more about counter-terrorism, rigged elections and Russian hacking than the nightly news—while also routinely changing locations and time zones," says WHITNEY FRIEDLANDER ("Homeland's World View"), who interviewed Lesli Linka Glatter and her team. Whitney is an entertainment reporter whose byline has also appeared in The Washington Post, Emmy, Cosmopolitan and VanityFair.com. "It's often said the best scores are ones that aren't noticed yet augment the emotions and action on screen," says PHIL GALLO ("Beyond Score"). "Songs operate differently. They become a part of the action, a piece of the script set to a melody. How a director employs them owes to the depth of their relationship with music." CONTRIBUTORS To subscribe to the DGA QUARTERLY call (310) 289-5333 or visit www.d g a .org *DGA members automatically receive a complimentary subscription