Category: THE DIRECTOR’S CHAIR
Us director Geoffrey Sax tells DQ how the BBC drama was filmed across Europe to tell the story of a family on the verge of splitting up as they embark on one final holiday together.
Nurbek Egen, director of Sherlock: The Russian Chronicles, introduces DQ to this Russian take on Sir Arthur Conan Doyle’s iconic detective, pitting him against Jack the Ripper and recreating 1880s St Petersburg.
Director Elena Hazanova tells DQ about making Russian drama Hope, an action espionage series about a wife and mother living a double life as a brutal and efficient contract killer.
Chloë Thomas, the director of psychological thriller The Deceived, tells DQ about filming the four-part drama, channelling Alfred Hitchcock and burning down the set.
In her television debut, award-winning Indian filmmaker Mira Nair has partnered with screenwriter Andrew Davies to bring Vikram Seth’s novel A Suitable Boy to the small screen. She tells DQ how she has embraced longform storytelling.
Carlos Manga Jr, the director behind Globo miniseries Unsoul and Aruanas, speaks to DQ about the changing direction of Brazilian series and the universal appeal of supernatural dramas.
Sitting in Limbo director Stella Corradi explains how she brought to television the true story of one man’s fight to remain in the UK against the backdrop of the Windrush immigration scandal.
Taku Kato, the director of Japanese film A Stranger in Shanghai, discusses making the single drama for broadcaster NHK, filming in China, and appealing to international audiences.
After a decade away from the small screen, veteran Greek director Manousos Manousakis talks to DQ about returning to TV with To Kokkino Potami (Red River) and why historical dramas should talk as much to the present as the past.
Brazilian drama Onde Está Meu Coração (Where My Heart Is) charts the struggle of a doctor battling a devastating drug addiction. Director Luisa Lima tells DQ about her intimate approach behind the camera.
Director Leonora Lonsdale takes DQ behind the scenes of The Pale Horse, the fifth Agatha Christie adaptation from the BBC and writer Sarah Phelps.
Italian director Andrea De Sica has achieved global success with Netflix teen drama series Baby. He talks to DQ about the joys of working with a young creative team, what it’s like directing for Netflix and why he thinks the controversial series has proved successful.
Japanese director Kazutaka Watanabe introduces NHK’s film An Artist of the Floating World, based on the novel by Kazuo Ishiguro and starring Ken Watanabe as an ageing painter revisiting his past.
Tala Prystaetska, creative director of Ukrainian period drama Love in Chains, describes the challenge of making this ambitious 48-part series and why it has found success at home and abroad.
Paul Feig, the director of movies such as Bridesmaids and Ghostbusters, talks to DQ about life behind the camera, why history is the best critic and his efforts to back new voices for the screen.
Director Julien Trousselier tells DQ how he added a splash of realism to French sirens-focused drama Une Île (Apnea), the latest in a slew of shows about the mythological beings.
Gurinder Chadha, director of Beecham House, tells Michael Pickard about changing the perspective of British-Indian stories and her triple role as writer, director and producer.
Juan Ignacio Sabatini, the director and executive producer of Chilean drama Inspector Rojas: In Cold Blood, tells DQ about the story’s real-life origins and explains how the series pushes the crime genre in a new direction.
Japanese director Nobuo Mizuta tells DQ about the challenges of making a romantic drama in the shape of Nippon TV’s Weakest Beast, the story of two 30-somethings struggling to find love until they unwittingly cross paths.