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But What I Really Want to Do Is Direct: Lessons from a Life Behind the Camera
For over three decades, director Ken Kwapis has charted a career full of exceptional movies and television, from seminal shows like The Office to beloved films like He’s Just Not That Into You .
He is among the most respected directors in show business, but getting there wasn’t easy. He struggled just like everyone else. With each triumph came the occasional faceplant. Using his background and inside knowledge, But What I Really Want To Do is Direct tackles Hollywood myths through Ken’s highly entertaining experiences. It’s a rollercoaster ride fueled by brawls with the top brass, clashes over budgets, and the passion that makes it all worthwhile.
This humorous and refreshingly personal memoir is filled with inspiring instruction, behind-the-scenes hilarity, and unabashed joy. It’s a celebration of the director’s craft, and what it takes to succeed in show business on your own terms.
"Ken Kwapis always brought out the best in the actors on The Office . Whenever Ken was directing, I always felt safe to go out on a limb and take chances, knowing he had my back. Every aspiring director should read this book. (I can think of several 'professional' directors that should read it too!)" -Jenna Fischer
"A vital, magnificent manifesto on the art and craft of directing, written with emotional, instinctual and intellectual depth by one of America's most beloved film and television directors" -Amber Tamblyn
"In the years that I was fortunate to work with Ken on Malcolm in the Middle , he had an uncanny ability to guide actors right to the heart of a scene and reveal its truths. He admits that he doesn’t have all the answers, he’ll make mistakes, and at times he’ll struggle, but as he says in the book, 'It’s the struggle to get it right that makes us human.'" -Bryan Cranston
"Good luck finding a more kind, passionate, and talented director alive than Ken. Seriously, good luck." -Tig Notaro
“'Action!' is what most directors bark out to begin a scene. But Ken Kwapis starts by gently intoning the words 'Go ahead…' That simple suggestion assures everyone they’re in smart, capable, humble hands. That’s how you’ll feel reading this book. And so, if you’re anxious to discover how a top director always brings humor, honesty, and humanity to his work, all I can tell you is…Go ahead." -Larry Wilmore
He is among the most respected directors in show business, but getting there wasn’t easy. He struggled just like everyone else. With each triumph came the occasional faceplant. Using his background and inside knowledge, But What I Really Want To Do is Direct tackles Hollywood myths through Ken’s highly entertaining experiences. It’s a rollercoaster ride fueled by brawls with the top brass, clashes over budgets, and the passion that makes it all worthwhile.
This humorous and refreshingly personal memoir is filled with inspiring instruction, behind-the-scenes hilarity, and unabashed joy. It’s a celebration of the director’s craft, and what it takes to succeed in show business on your own terms.
"Ken Kwapis always brought out the best in the actors on The Office . Whenever Ken was directing, I always felt safe to go out on a limb and take chances, knowing he had my back. Every aspiring director should read this book. (I can think of several 'professional' directors that should read it too!)" -Jenna Fischer
"A vital, magnificent manifesto on the art and craft of directing, written with emotional, instinctual and intellectual depth by one of America's most beloved film and television directors" -Amber Tamblyn
"In the years that I was fortunate to work with Ken on Malcolm in the Middle , he had an uncanny ability to guide actors right to the heart of a scene and reveal its truths. He admits that he doesn’t have all the answers, he’ll make mistakes, and at times he’ll struggle, but as he says in the book, 'It’s the struggle to get it right that makes us human.'" -Bryan Cranston
"Good luck finding a more kind, passionate, and talented director alive than Ken. Seriously, good luck." -Tig Notaro
“'Action!' is what most directors bark out to begin a scene. But Ken Kwapis starts by gently intoning the words 'Go ahead…' That simple suggestion assures everyone they’re in smart, capable, humble hands. That’s how you’ll feel reading this book. And so, if you’re anxious to discover how a top director always brings humor, honesty, and humanity to his work, all I can tell you is…Go ahead." -Larry Wilmore
368 pages, Paperback
First published October 6, 2020
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Displaying 1 - 30 of 35 reviews
September 12, 2020
I love reading or watching documentaries about how movies and TV shows are made. I love reading about other casting possibilities or how budget snags made the directors and writers have to come up with new ideas that have since become iconic. This book was a chance to read about how movies get made from a director’s experience.
Part of this book is the sort of thing that interests me—the behind the scenes things, like stories of how a movie finally gets made, but then gets changed based on what the people with the money think it should actually be—but it was also in part a how-to book, as in, “So, you want to be a director . . .” Since I don’t want to be a director, that part was slightly less interesting. Also, I watch a lot of different kinds of movies, but I didn’t attend film school, so he mentions a lot of esoteric foreign films that I’m sure were dissected at length in his classes to earn his MFA, but I’d never heard of a lot of them.
In college I had friends who studied film, and once they explain to you about camera movements and whether the camera lingers on an object (which, it turns out, should MEAN something at some point), you notice that forever after whether you want to or not. With music, I do notice when it gets irritating or makes it nearly impossible to discern the dialogue. I also definitely notice the visual and musical ques that advise me to get stressed out, because something bad/potentially violent is about to happen. As a director, you’d obviously have to care about every aspect of a film—the score, the setting, the actors with different methodologies having to interact as if in love after meeting fifteen minutes ago, the writing and so on, which would be daunting, no question.
If you enjoy learning about movies from every angle, you'll enjoy this.
Thanks to NetGalley for the opportunity to read this book, which RELEASES OCTOBER 6, 2020.
Part of this book is the sort of thing that interests me—the behind the scenes things, like stories of how a movie finally gets made, but then gets changed based on what the people with the money think it should actually be—but it was also in part a how-to book, as in, “So, you want to be a director . . .” Since I don’t want to be a director, that part was slightly less interesting. Also, I watch a lot of different kinds of movies, but I didn’t attend film school, so he mentions a lot of esoteric foreign films that I’m sure were dissected at length in his classes to earn his MFA, but I’d never heard of a lot of them.
In college I had friends who studied film, and once they explain to you about camera movements and whether the camera lingers on an object (which, it turns out, should MEAN something at some point), you notice that forever after whether you want to or not. With music, I do notice when it gets irritating or makes it nearly impossible to discern the dialogue. I also definitely notice the visual and musical ques that advise me to get stressed out, because something bad/potentially violent is about to happen. As a director, you’d obviously have to care about every aspect of a film—the score, the setting, the actors with different methodologies having to interact as if in love after meeting fifteen minutes ago, the writing and so on, which would be daunting, no question.
If you enjoy learning about movies from every angle, you'll enjoy this.
Thanks to NetGalley for the opportunity to read this book, which RELEASES OCTOBER 6, 2020.
August 7, 2020
Although there probably isn't a home that Ken Kwapis's work hasn't been seen in through the various projects he's worked on, his name is probably unfamiliar to most. He's been nominated several times, and much of his work has gained iconic status, but his name is still not well known. What does come through is his dedication, his seriousness to the craft, his professional approach whether he's directing a puppet or creating something new as with The Office, and over it all, a kindness that is reflected in the accolades of those he's worked with. There is not a mean word here, and anyone planning to pursue a career behind the camera would benefit greatly from this well written, generously shared memoir.
Of great interest are the various references to the work of others, whether or not they provided inspiration for his eventual approach. I'll never look at 2001 A Space Odyssey or Lawrence of Arabia quite the same way again. I also will look into streaming if possible some of his works that I missed when they originally screened.
Of great interest are the various references to the work of others, whether or not they provided inspiration for his eventual approach. I'll never look at 2001 A Space Odyssey or Lawrence of Arabia quite the same way again. I also will look into streaming if possible some of his works that I missed when they originally screened.
August 7, 2020
This is one of those books that works on two levels.
It's primarily a director giving honest advice to those with dreams of following in his footsteps. Kwapis is frank (and from what I know, truthful) when he talks about the dearth of proper books on what it takes to actually be a director beyond knowing great works of cinematography and being able to set up a good shot. There are a lot of really good and seemingly useful tips on everything from how to behave at meetings and interviews to how to deal with actors and how to successfully get a project finished. I'm not even interested in entering the entertainment field, but I admit to walking away with some good points to keep in mind.
I'm merely a really big fan of both the big and small screens, so I came into this book for the second level of entertainment it contains. It's a fantastic inside look at what it takes to be a director who can continuously work in Hollywood for years. You get lots of insights into the projects he's worked on and what it really means to be a director. It's not just planning spectacular shots, it's dealing with the hundreds of people involved in the making and the millions who will have an opinion about the finished product. It feels like Kwapis is inviting the reader to tag along as the proverbial fly on the wall while he walks us through the processes that making any piece of film - be it big screen or small screen - requires.
Many thanks to NetGalley and St. Martin's Griffin for the early read.
It's primarily a director giving honest advice to those with dreams of following in his footsteps. Kwapis is frank (and from what I know, truthful) when he talks about the dearth of proper books on what it takes to actually be a director beyond knowing great works of cinematography and being able to set up a good shot. There are a lot of really good and seemingly useful tips on everything from how to behave at meetings and interviews to how to deal with actors and how to successfully get a project finished. I'm not even interested in entering the entertainment field, but I admit to walking away with some good points to keep in mind.
I'm merely a really big fan of both the big and small screens, so I came into this book for the second level of entertainment it contains. It's a fantastic inside look at what it takes to be a director who can continuously work in Hollywood for years. You get lots of insights into the projects he's worked on and what it really means to be a director. It's not just planning spectacular shots, it's dealing with the hundreds of people involved in the making and the millions who will have an opinion about the finished product. It feels like Kwapis is inviting the reader to tag along as the proverbial fly on the wall while he walks us through the processes that making any piece of film - be it big screen or small screen - requires.
Many thanks to NetGalley and St. Martin's Griffin for the early read.
January 5, 2022
Refreshing to read one of these books by someone you've heard of. Had a knack for giving too much backstory for the points he was making, but still a great book full of insights, advice, and behind the scenes stories.
August 19, 2020
There have been many a great story told throughout life, with many coming out of that wonderous Tinseltown known as Hollywood which excels in storytelling via the Film Arts. But it takes more than just a great story to make it appealing and flourish for the masses. It takes a whole host of professionals working together as a team creating and refining a multitude of aspects that aren't necessarily apparent on the silver screen once the final product is released to the public. Sure, there's great acting, appealing cinematography, believable sets and wardrobes, and an exciting score that all work together to make that story come alive on the screen. But all of that, and many other pieces, all come together under the leadership of the person at the helm - the director.
Being a film director was always the life ambition of Ken Kwapis who tells his own personal story in his new book But What I Really Want to Do Is Direct: Lessons from a Life Behind the Camera. Whether you know his name or not, surely you've viewed many of the TV and movie productions he's been involved with such at the US version of The Office, He's Just Not That Into You, The Bernie Mac Show, The Sisterhood of the Traveling Pants, The Larry Sanders Show, and Malcolm in the Middle, only to name a few.
Apart from being part memoir, this is a fantastic guide and inside look at many of the things that must be addressed when directing a film or TV show. A well thought out production involves many more facets than just bossing other professionals around. One must know how to inspire an actor to reach inside themselves to become their character and do so in a way that moves smoothly and believably with all other actors and other facets of any given scene. The director, usually while coordinating with the editor, often creates a synecdoche that helps to tell a part of the story quite like a rebus, although not all parts necessarily are straightforward pictorial. There might be something involving a camera angle, lighting, scoring or even a specific acting style in any given part of the work that sends a message to the viewer.
Of course, before one even steps foot onto the set, the director must be able to sell himself to the studio. There's big money involved here and the Hollywood moguls want to make sure they are hiring the right person for the job. The potential director might want to focus on the crafting of his art, but management has a tendency to focus on money and audience appeal. All are important and Kwapis understands this. He discusses everything from presenting your vision and approach, to a lot of the inside crafting that goes on behind the scenes while filming. There are also helpful tips on how to effectively work with others to get the best from everyone. He even offers advice on how to deal with any sort of praise or fallout one must encounter from both critics and the public. Not many stones were left unturned for any aspiring director or for those of us who just like to know what makes a Hollywood production tick.
Besides being a successful director, Kwapis would make for a very good teacher in any film school worth their salt. Take that from one who was once an art teacher. The book itself doesn't go into the nuts and bolts of the craft; leave that for another class; but presents a very comprehensive outline of the many aspects that a director must address in the making of a quality and artistic work in the medium of film and TV. After reading, you'll find yourself viewing film with a much deeper understanding of what is being projected. It's also rather inspiring for someone already in the field who might need a new perspective when feeling a bit stuck or stale.
If what you are looking for is starshine, glitter and Hollywood gossip, this is not the book for you. Instead, this is one for those with a keen interest in the art of both film and TV creation. Don't worry, it's not all detailed shop talk which can be very tedious. A lot of theoretical and psychological methods of approaching your production are often what's tackled in a way that is easy to understand by anyone not in the industry, yet not so lightweight to bore industry insiders. A must read for those who delight in penetrating beyond that fourth wall of cinema.
Thanks to Ken Kwapis for getting in touch with me as well as NetGalley for providing me with a free copy of the eBook for a fair and honest review.
Being a film director was always the life ambition of Ken Kwapis who tells his own personal story in his new book But What I Really Want to Do Is Direct: Lessons from a Life Behind the Camera. Whether you know his name or not, surely you've viewed many of the TV and movie productions he's been involved with such at the US version of The Office, He's Just Not That Into You, The Bernie Mac Show, The Sisterhood of the Traveling Pants, The Larry Sanders Show, and Malcolm in the Middle, only to name a few.
Apart from being part memoir, this is a fantastic guide and inside look at many of the things that must be addressed when directing a film or TV show. A well thought out production involves many more facets than just bossing other professionals around. One must know how to inspire an actor to reach inside themselves to become their character and do so in a way that moves smoothly and believably with all other actors and other facets of any given scene. The director, usually while coordinating with the editor, often creates a synecdoche that helps to tell a part of the story quite like a rebus, although not all parts necessarily are straightforward pictorial. There might be something involving a camera angle, lighting, scoring or even a specific acting style in any given part of the work that sends a message to the viewer.
Of course, before one even steps foot onto the set, the director must be able to sell himself to the studio. There's big money involved here and the Hollywood moguls want to make sure they are hiring the right person for the job. The potential director might want to focus on the crafting of his art, but management has a tendency to focus on money and audience appeal. All are important and Kwapis understands this. He discusses everything from presenting your vision and approach, to a lot of the inside crafting that goes on behind the scenes while filming. There are also helpful tips on how to effectively work with others to get the best from everyone. He even offers advice on how to deal with any sort of praise or fallout one must encounter from both critics and the public. Not many stones were left unturned for any aspiring director or for those of us who just like to know what makes a Hollywood production tick.
Besides being a successful director, Kwapis would make for a very good teacher in any film school worth their salt. Take that from one who was once an art teacher. The book itself doesn't go into the nuts and bolts of the craft; leave that for another class; but presents a very comprehensive outline of the many aspects that a director must address in the making of a quality and artistic work in the medium of film and TV. After reading, you'll find yourself viewing film with a much deeper understanding of what is being projected. It's also rather inspiring for someone already in the field who might need a new perspective when feeling a bit stuck or stale.
If what you are looking for is starshine, glitter and Hollywood gossip, this is not the book for you. Instead, this is one for those with a keen interest in the art of both film and TV creation. Don't worry, it's not all detailed shop talk which can be very tedious. A lot of theoretical and psychological methods of approaching your production are often what's tackled in a way that is easy to understand by anyone not in the industry, yet not so lightweight to bore industry insiders. A must read for those who delight in penetrating beyond that fourth wall of cinema.
Thanks to Ken Kwapis for getting in touch with me as well as NetGalley for providing me with a free copy of the eBook for a fair and honest review.
June 23, 2021
Must-read for anyone who loves (and/or makes) movies.
August 5, 2021
Ken Kwapis is a working director. This is the kind of industry shorthand we use (I am a TV writer who is working at establishing myself as a director as well) for an artist who has an impressive career but you've never heard of. While Ken has a great resume, he is not the kind of director who is referred to by critics as an auteur nor is he the kind of director that lives in the rarefied space where he can greenlight any project he wants with an endless pile of cash.
Most books on directing tend to be written by the directors who exist beyond the realm of mere mortals, like the great "On Directing" by Sidney Lumet, or they are written by professors who never really had directing careers to speak of.
Though there have been many books written on directing, Kwapis' might be the first one I've encountered in a long time that is essential. This is because "But What I Really Want To Do Is Direct" is the first book I've seen that really captured the modern reality of a directing career.
Kwapis' career is impressive, but it also reflects the changes in Hollywood over the last several decades. The director began his life in show business making the kind of mid-budget comedies that don't get made anymore like "The Beautician and the Beast" and "The Sisterhood of the Traveling Pants." In more recent years he has helmed hit series like "The Office" and "Santa Clarita Diet." And whether he has been making adult rom-coms, children's films, or sitcoms he has worked consistently. And while there is a throughline of heartfelt comic stories among his credits, there is also the flexibility in his resume that you find with someone who wants to have a long career in the business.
Because of his varied career, Kwapis is in a position to reflect on the realities of life as a director in a way that auteurist filmmakers who get insanely lucky may not be. He has a kindness and keen perception that is infectious, no matter what he is discussing. And whether he breaks down shot lists, casting, scoring, or dealing with executives, his advice is both practically grounded and artistically inspiring.
In particular, I enjoyed the structure of the book, in which he would talk about an aspect of the director's work, such as pre-production or on-set management, and then explain how he applied his particular skills in those areas to projects as varied as "Dunston Checks In," "Sisterhood of the Traveling Pants," and "The Office." Kwapis demonstrates that even on a project that may not be perceived as high art, a mix of artistry, craftsmanship, and kindness is what will keep you working as long as he has. And the anecdotes, such as his first meeting with Bernie Mac or the way he and Greg Daniels figured out the layout of "The Office" are more than worth the price of admission.
Though your bookshelf might be swollen with books about film craft, this is one worth picking up. I think Ken has written something essential here. "But What I Really Want To Do is Direct" is the book on filmmaking that I think most closely reflects the current realities of working in Hollywood today. The vast majority of successful careers in Hollywood look more like Ken's than those of names that might pop out more readily from your bookshelf.
Most books on directing tend to be written by the directors who exist beyond the realm of mere mortals, like the great "On Directing" by Sidney Lumet, or they are written by professors who never really had directing careers to speak of.
Though there have been many books written on directing, Kwapis' might be the first one I've encountered in a long time that is essential. This is because "But What I Really Want To Do Is Direct" is the first book I've seen that really captured the modern reality of a directing career.
Kwapis' career is impressive, but it also reflects the changes in Hollywood over the last several decades. The director began his life in show business making the kind of mid-budget comedies that don't get made anymore like "The Beautician and the Beast" and "The Sisterhood of the Traveling Pants." In more recent years he has helmed hit series like "The Office" and "Santa Clarita Diet." And whether he has been making adult rom-coms, children's films, or sitcoms he has worked consistently. And while there is a throughline of heartfelt comic stories among his credits, there is also the flexibility in his resume that you find with someone who wants to have a long career in the business.
Because of his varied career, Kwapis is in a position to reflect on the realities of life as a director in a way that auteurist filmmakers who get insanely lucky may not be. He has a kindness and keen perception that is infectious, no matter what he is discussing. And whether he breaks down shot lists, casting, scoring, or dealing with executives, his advice is both practically grounded and artistically inspiring.
In particular, I enjoyed the structure of the book, in which he would talk about an aspect of the director's work, such as pre-production or on-set management, and then explain how he applied his particular skills in those areas to projects as varied as "Dunston Checks In," "Sisterhood of the Traveling Pants," and "The Office." Kwapis demonstrates that even on a project that may not be perceived as high art, a mix of artistry, craftsmanship, and kindness is what will keep you working as long as he has. And the anecdotes, such as his first meeting with Bernie Mac or the way he and Greg Daniels figured out the layout of "The Office" are more than worth the price of admission.
Though your bookshelf might be swollen with books about film craft, this is one worth picking up. I think Ken has written something essential here. "But What I Really Want To Do is Direct" is the book on filmmaking that I think most closely reflects the current realities of working in Hollywood today. The vast majority of successful careers in Hollywood look more like Ken's than those of names that might pop out more readily from your bookshelf.
July 4, 2020
But What I Really Want to Do Is Direct blends together autobiographical excerpts with clear instruction about how to go about directing a film project. Although I don't work in this industry, I really enjoyed reading it - in particular the anecdotes from the sets of Ken Kwapis' film projects. There were also lessons in leadership which would benefit people working in any industry.
Nonetheless, I imagine that this book will be most popular with film students and I would highly recommend it to them. I would also recommend it to anyone who has an interest in the art of filmmaking and deconstructing how a story is told.
Thank you to NetGalley, St Martin's Press and Ken Kwapis for an ARC in exchange for an honest review.
Nonetheless, I imagine that this book will be most popular with film students and I would highly recommend it to them. I would also recommend it to anyone who has an interest in the art of filmmaking and deconstructing how a story is told.
Thank you to NetGalley, St Martin's Press and Ken Kwapis for an ARC in exchange for an honest review.
June 13, 2021
2.5/5
كشخص مش بيحاول يبقى مخرج او بعيد عن السينما كدراسة، الكتاب كان ممتع بالنسبالي وفي معلومات كتير سعيدة اني عرفتها .. لكن المفروض الكتاب موجه للمخرجين اللي في بداية حياتهم او اللي لسه بيحاولوا يبقوا مخرجين تحت نصايح او خبرات كين كوابيس اللي ممكن تبقي تحت عنوان "نصايح مش هتلاقيها في الكتب" بس اظن انه مش هيكون مفيد للأشخاص اللي السينما مجالهم او بيحاولوا انها تكون مجالهم، يمكن تكون وجهه نظري من الناحيه دي مش مظبوطه لكن بيتهيألي ان فيه كتب تانيه هتكون أفيد.
كشخص مش بيحاول يبقى مخرج او بعيد عن السينما كدراسة، الكتاب كان ممتع بالنسبالي وفي معلومات كتير سعيدة اني عرفتها .. لكن المفروض الكتاب موجه للمخرجين اللي في بداية حياتهم او اللي لسه بيحاولوا يبقوا مخرجين تحت نصايح او خبرات كين كوابيس اللي ممكن تبقي تحت عنوان "نصايح مش هتلاقيها في الكتب" بس اظن انه مش هيكون مفيد للأشخاص اللي السينما مجالهم او بيحاولوا انها تكون مجالهم، يمكن تكون وجهه نظري من الناحيه دي مش مظبوطه لكن بيتهيألي ان فيه كتب تانيه هتكون أفيد.
January 8, 2021
Filled with a ton of insight into the craft and business of filmmaking. The book is packed with information presented in a strong and clear conversational tone. Fantastic stuff.
It took quite a bit of time for me to get acclimated to the narrator's reading of the audiobook, however. The cadence is weird and distracting. But after a few hours, you don't really notice it.
It took quite a bit of time for me to get acclimated to the narrator's reading of the audiobook, however. The cadence is weird and distracting. But after a few hours, you don't really notice it.
June 21, 2020
If you're like most Americans, you find yourself plopping yourself in your local cinema without much thought about "who" actually made the film you're about to see.
You simply want to be entertained.
Or, perhaps, you sit down with your family to watch a beloved sitcom or hour-long drama that will make you laugh or cry or change your life. The odds are fairly strong you don't find yourself wondering "Who directed that?"
The truth is, and I believe that Ken Kwapis would begrudgingly accept this notion, that if you're like most Americans you've likely never heard the name Ken Kwapis and if you have it's more likely a passing reference or, just maybe, it's because one of those films that entertained you became one of your favorites and you definitely know that Kwapis directed it.
Despite having a directorial career that has spanned nearly 40 years, Ken Kwapis is not quite a household name. Despite the fact that Kwapis won an Emmy Award for directing the American version of "The Office" and has been nominated for two other Emmy Awards for directing both "The Office" and "Malcolm in the Middle," Ken Kwapis is still the kind of director who has to interview for every project he works on and whose name often triggers a response of "Do I know anything he's done?"
Well, as a matter of fact you do.
While he mildly pokes fun of himself for his early career helming of Sesame Street's "Follow That Bird," a film that is much better than you might ever expect, Kwapis has directed a slew of memorable film and television projects ranging from the cult favorite "The Sisterhood of the Traveling Pants" to the family film "Dunston Checks In," again a film much better than you might remember, to "He's Just Not That Into You" and others like Robin Williams's "License to Wed," the wonderful "Big Miracle," the under-appreciated "A Walk in the Woods," and the vastly underrated late 80's film "Vibes" among others.
Kwapis's record on television is even more astounding. Kwapis directed the pilot for "The Office," the pilot for "The Larry Sanders Show," and the pilot for "The Bernie Mac Show." He's worked on "Malcolm in the Middle," "Freaks and Geeks," "Bakersfield, P.D.," "Happyish," "Santa Clarita Diet," and #BlackAF" among quite a few others.
You may not know the Illinois native's name, but you know Ken Kwapis's work.
"But What I Really Want to Do Is Direct: Lessons From a Life Behind the Camera" is a sublime reading experience, a warm and witty and well-informed and genuinely immersive and entertaining experience that is partly autobiographical and partly a behind-the-scenes instructional journey through Hollywood, filmmaking, creative expression, and even life itself.
"But What I Really Want to Do Is Direct" is one of the best filmmaking-centered literary efforts I've had the pleasure of reading in quite some time, an unabashedly joy-filled trip through Kwapis's simultaneously ordinary and extraordinary cinematic life with triumphs, faceplants, not quite literal brawls with Hollywood brass, bouts with oversized egos, budget constraints and, through it all, the unabashed joy you can tell he experiences every time the phone rings and another directorial opportunity presents itself.
Kwapis loves directing. You can feel that love in every single word of this book, from his amazing and precise reflections from throughout film history on the various aspects of filmmaking to the generous, giving spirit that infuses his little tidbits of instruction about everything from lensing to music to intention and so much more.
Have I mentioned that I loved this book?
Larry Wilmore observed about Kwapis that “'Action!' is what most directors bark out to begin a scene. But Ken Kwapis starts by gently intoning the words 'Go ahead…' That simple suggestion assures everyone they’re in smart, capable, humble hands." Indeed, it's that sense of "Go ahead..." that weaves itself into the tapestry of "But What I Really Want to Do Is Direct." Almost universally beloved by those who work with him because of the safe and affirming sets he fosters, Kwapis has written an effort here that has inspired me as a film journalist (Really!) and inspired me as a human being as he shares his ideas about empowering both cast and crew and offering feedback that is more collaborative in spirit.
At times, you will marvel at Kwapis's ability to precisely communicate the most specific details about films past and present to illustrate points about cinematography or being proactive on set or giving playable notes or designing a fluid master.
Don't know what I'm talking about? You will by the end of "But What I Really Want to Do Is Direct" and you'll enjoy the journey of learning.
This is a book that's often hilarious, occasionally poignant, frequently inspiring, and then there's that joy again. It's filled with such a joy that even when you're reading about movie history you'll have a smile on your face the entire time.
"Playable Notes" is, most likely, my favorite chapter as it's so incredibly applicable to life itself. It made me think about how I write my own reviews, both book and film, and kind of made me fall in love with Kwapis as a human being.
That may be one more of the most amazing things about "But What I Really Want to Do Is Direct"...Kwapis writes so naturally and with such personal transparency that you feel like you're getting the genuine Ken Kwapis and you feel like this is someone you'd really enjoying hanging out with sometime. As someone who has interviewed quite a few film-connected human beings, sometimes that's an amazing experience and sometimes, well, it's not. Kwapis waltzed his way onto my desired interview list precisely because this is a book that lets you know he's intelligent, kind, funny, open, and generous in spirit.
While those with limited film/television world may at times get a bit lost inside the terminology contained within "But What I Really Want to Do Is Direct," Kwapis keeps it all so relatable and entertaining that he makes the material accessible and for the most part understandable even if you've never said anything else about a film but "Hey, I really like that movie."
There's a place for you here.
Scheduled for an October 6th release from St. Martin's Press, "But What I Really Want to Do Is Direct: Lessons from a Life Behind the Camera" is an engaging and entertaining journey through the directorial life of Ken Kwapis and the lessons he's learned along the way. For anyone who celebrates the creative spirit and yearns to bring it to life, Kwapis has crafted one of the year's most passionate and joy-filled calls to creative action.
You simply want to be entertained.
Or, perhaps, you sit down with your family to watch a beloved sitcom or hour-long drama that will make you laugh or cry or change your life. The odds are fairly strong you don't find yourself wondering "Who directed that?"
The truth is, and I believe that Ken Kwapis would begrudgingly accept this notion, that if you're like most Americans you've likely never heard the name Ken Kwapis and if you have it's more likely a passing reference or, just maybe, it's because one of those films that entertained you became one of your favorites and you definitely know that Kwapis directed it.
Despite having a directorial career that has spanned nearly 40 years, Ken Kwapis is not quite a household name. Despite the fact that Kwapis won an Emmy Award for directing the American version of "The Office" and has been nominated for two other Emmy Awards for directing both "The Office" and "Malcolm in the Middle," Ken Kwapis is still the kind of director who has to interview for every project he works on and whose name often triggers a response of "Do I know anything he's done?"
Well, as a matter of fact you do.
While he mildly pokes fun of himself for his early career helming of Sesame Street's "Follow That Bird," a film that is much better than you might ever expect, Kwapis has directed a slew of memorable film and television projects ranging from the cult favorite "The Sisterhood of the Traveling Pants" to the family film "Dunston Checks In," again a film much better than you might remember, to "He's Just Not That Into You" and others like Robin Williams's "License to Wed," the wonderful "Big Miracle," the under-appreciated "A Walk in the Woods," and the vastly underrated late 80's film "Vibes" among others.
Kwapis's record on television is even more astounding. Kwapis directed the pilot for "The Office," the pilot for "The Larry Sanders Show," and the pilot for "The Bernie Mac Show." He's worked on "Malcolm in the Middle," "Freaks and Geeks," "Bakersfield, P.D.," "Happyish," "Santa Clarita Diet," and #BlackAF" among quite a few others.
You may not know the Illinois native's name, but you know Ken Kwapis's work.
"But What I Really Want to Do Is Direct: Lessons From a Life Behind the Camera" is a sublime reading experience, a warm and witty and well-informed and genuinely immersive and entertaining experience that is partly autobiographical and partly a behind-the-scenes instructional journey through Hollywood, filmmaking, creative expression, and even life itself.
"But What I Really Want to Do Is Direct" is one of the best filmmaking-centered literary efforts I've had the pleasure of reading in quite some time, an unabashedly joy-filled trip through Kwapis's simultaneously ordinary and extraordinary cinematic life with triumphs, faceplants, not quite literal brawls with Hollywood brass, bouts with oversized egos, budget constraints and, through it all, the unabashed joy you can tell he experiences every time the phone rings and another directorial opportunity presents itself.
Kwapis loves directing. You can feel that love in every single word of this book, from his amazing and precise reflections from throughout film history on the various aspects of filmmaking to the generous, giving spirit that infuses his little tidbits of instruction about everything from lensing to music to intention and so much more.
Have I mentioned that I loved this book?
Larry Wilmore observed about Kwapis that “'Action!' is what most directors bark out to begin a scene. But Ken Kwapis starts by gently intoning the words 'Go ahead…' That simple suggestion assures everyone they’re in smart, capable, humble hands." Indeed, it's that sense of "Go ahead..." that weaves itself into the tapestry of "But What I Really Want to Do Is Direct." Almost universally beloved by those who work with him because of the safe and affirming sets he fosters, Kwapis has written an effort here that has inspired me as a film journalist (Really!) and inspired me as a human being as he shares his ideas about empowering both cast and crew and offering feedback that is more collaborative in spirit.
At times, you will marvel at Kwapis's ability to precisely communicate the most specific details about films past and present to illustrate points about cinematography or being proactive on set or giving playable notes or designing a fluid master.
Don't know what I'm talking about? You will by the end of "But What I Really Want to Do Is Direct" and you'll enjoy the journey of learning.
This is a book that's often hilarious, occasionally poignant, frequently inspiring, and then there's that joy again. It's filled with such a joy that even when you're reading about movie history you'll have a smile on your face the entire time.
"Playable Notes" is, most likely, my favorite chapter as it's so incredibly applicable to life itself. It made me think about how I write my own reviews, both book and film, and kind of made me fall in love with Kwapis as a human being.
That may be one more of the most amazing things about "But What I Really Want to Do Is Direct"...Kwapis writes so naturally and with such personal transparency that you feel like you're getting the genuine Ken Kwapis and you feel like this is someone you'd really enjoying hanging out with sometime. As someone who has interviewed quite a few film-connected human beings, sometimes that's an amazing experience and sometimes, well, it's not. Kwapis waltzed his way onto my desired interview list precisely because this is a book that lets you know he's intelligent, kind, funny, open, and generous in spirit.
While those with limited film/television world may at times get a bit lost inside the terminology contained within "But What I Really Want to Do Is Direct," Kwapis keeps it all so relatable and entertaining that he makes the material accessible and for the most part understandable even if you've never said anything else about a film but "Hey, I really like that movie."
There's a place for you here.
Scheduled for an October 6th release from St. Martin's Press, "But What I Really Want to Do Is Direct: Lessons from a Life Behind the Camera" is an engaging and entertaining journey through the directorial life of Ken Kwapis and the lessons he's learned along the way. For anyone who celebrates the creative spirit and yearns to bring it to life, Kwapis has crafted one of the year's most passionate and joy-filled calls to creative action.
July 29, 2020
I wasn't in the market for a book that outlined how to be a efficient director, collaborator, artist, etc. when I started this, but quickly found that, even if you're not going to ever be someone in front of or behind a camera, this book yields great fruit.
Warmly recounting some great moments (so far) during his career, Kwapis helps burgeoning directors get ready to lean into Hollywood's idiosyncratic nature while also showing when it's worth giving in and when to dig your heels. Easy to recognize in his advice are through-lines that can be applied to any professional setting, so you won't be blinking hard at pages filled with film jargon (and, if what I've said isn't enough, know that Kwapis defines anything that needs explanation).
For those not in the filmmaking business, you'll discover great worth in his experiences on various TV and movie sets (DUNSTON CHECKS IN, man! Much more respect to Faye Dunaway now) that show how familar you are with his work, even if you didn't know it beforehand. Equally compelling and interesting are his film analyses, which are greatly appreciated and insightful. One tiny complaint (that's probably already been caught and fixed, but I would never forgive myself if I didn't mention it): Kwapis states that, in JAWS, the last shot of the first act literally follows the Orca through a set of shark's jaws from "the desk of police chief Martin Brody". The shot occurs inside of Quint's shack, in truth. Again, it's a small detail and it doesn't derail what Kwapis is trying to say.
Also worth reading is his section on HAL (from 2001: A SPACE ODYSSEY). A wonderful chapter, that one.
I knew I'd enjoy it and learn a lot, but greatly underestimated just how much. That's a hallmark of a great book to me.
Many thanks to NetGalley, St. Martin's Griffin, and St. Martin's Press for the advance read.
Warmly recounting some great moments (so far) during his career, Kwapis helps burgeoning directors get ready to lean into Hollywood's idiosyncratic nature while also showing when it's worth giving in and when to dig your heels. Easy to recognize in his advice are through-lines that can be applied to any professional setting, so you won't be blinking hard at pages filled with film jargon (and, if what I've said isn't enough, know that Kwapis defines anything that needs explanation).
For those not in the filmmaking business, you'll discover great worth in his experiences on various TV and movie sets (DUNSTON CHECKS IN, man! Much more respect to Faye Dunaway now) that show how familar you are with his work, even if you didn't know it beforehand. Equally compelling and interesting are his film analyses, which are greatly appreciated and insightful. One tiny complaint (that's probably already been caught and fixed, but I would never forgive myself if I didn't mention it): Kwapis states that, in JAWS, the last shot of the first act literally follows the Orca through a set of shark's jaws from "the desk of police chief Martin Brody". The shot occurs inside of Quint's shack, in truth. Again, it's a small detail and it doesn't derail what Kwapis is trying to say.
Also worth reading is his section on HAL (from 2001: A SPACE ODYSSEY). A wonderful chapter, that one.
I knew I'd enjoy it and learn a lot, but greatly underestimated just how much. That's a hallmark of a great book to me.
Many thanks to NetGalley, St. Martin's Griffin, and St. Martin's Press for the advance read.
August 22, 2021
This book came to me at exactly the right time. The podcast "The Office Ladies" from Jenna Fischer and Angela Kinsey were talking about how much they loved working with Ken and had him on as this book was coming out. At that time I was about to direct a puppet rock opera short movie and I was really nervous about directing and not sure how to work with puppets.
After a short and charming intro Ken starts right into how his first movie was with the Muppets and how he didn't know how to work with puppets so he just straight up asked in the interview with Jim Henson "How do I do this?" and Jim had an immediate answer. The rest of the book has more practical advice about how to manage a set, create actable notes, and how the director's job is to the story and what that means.
I think this is a book that I'm going to go back to again and again and I'll keep reviewing and sharing what I learn each time here.
After a short and charming intro Ken starts right into how his first movie was with the Muppets and how he didn't know how to work with puppets so he just straight up asked in the interview with Jim Henson "How do I do this?" and Jim had an immediate answer. The rest of the book has more practical advice about how to manage a set, create actable notes, and how the director's job is to the story and what that means.
I think this is a book that I'm going to go back to again and again and I'll keep reviewing and sharing what I learn each time here.
June 27, 2020
I have heard numerous actors say that Ken Kwapis is one of the nicest directors working. After reading his book, that seems to be quite likely. Part how-to, part love letter to the art he loves, and quite autobiographical, Kwapis’s work accomplishes three key feats: 1) It introduces the reader to the man behind the camera for so many great films and TV shows; 2) It serves as a road map/manual for up and coming directors looking to try their hand at the world of film; and 3) It makes me want to watch films and TV shows again or for the first time and try to see this artistic medium the way that Kwapis does and be effected by them the way he obviously is.
This is a book I thought I would enjoy, but it was not a book I expected to be so challenged and encouraged by. Great book.
ARC provided.
This is a book I thought I would enjoy, but it was not a book I expected to be so challenged and encouraged by. Great book.
ARC provided.
September 9, 2020
This book was received as an ARC from St. Martin's Press - St. Martin's Griffin in exchange for an honest review. Opinions and thoughts expressed in this review are completely my own.
I have never learned so much about Hollywood from a book then Ken Kwapis' autobiography. I am fans of the shows he has directed including The Office. The brilliancy the went on in the show and the actors that looked like they were having the time of their lives was all Ken's work. I was in awe of many parts to the book and broke out in laughter so many times that my stomach hurt until I finished the book. Ken's stories were beyond interesting and I know a lot of our patrons will be in awe of his story and can relate to him real easily.
We will consider adding this title to our Entertainment collection at our library. That is why we give this book 5 stars.
I have never learned so much about Hollywood from a book then Ken Kwapis' autobiography. I am fans of the shows he has directed including The Office. The brilliancy the went on in the show and the actors that looked like they were having the time of their lives was all Ken's work. I was in awe of many parts to the book and broke out in laughter so many times that my stomach hurt until I finished the book. Ken's stories were beyond interesting and I know a lot of our patrons will be in awe of his story and can relate to him real easily.
We will consider adding this title to our Entertainment collection at our library. That is why we give this book 5 stars.
Want to read
September 24, 2020An inspiring work for leaders in any profession! If you manage people or work with a team, Ken Kwapis' "But What I Really Want to Do is Direct" offers personal insight into what it takes to breathe life into your vision by way of talented individuals. His humble yet intentional approach to verbal, written, & physical communication (admittedly derived from his own past mistakes) is something all business leaders should take to heart. Even if the parallel to interpersonal relations doesn't land, reading this is sure to expand one's vernacular as Kwapis eloquently laces his personal experiences with an elevated vocabulary. It's intriguing, inspiring, and should be on every leader's list of books to read this year.
October 6, 2020
Thank you to @netgalley for this advanced copy in exchange for an honest review.
It’s no secret that The Office is my favorite show, so it’s probably not a surprise that I tune in for the @officeladiespod every week. One of my favorite guests that they’ve had on the podcast is Ken Kwapis. Ken directed from of my favorite Office episodes. The way he speaks about why he made certain directorial decisions shows how brilliant he is. It is easy to tell that he loves what he does.
But What I Really Want to Do is Direct: Lessons From a Life Behind the Camera details how Ken Kwapis got into the directing business and what he learned from the ups and downs along the way. Ken gives tips to those who are hoping to pursue a career as a director by sharing personal stories from his experience working on movies and TV shows. This book will allow you to learn about behind-the-scenes details that you may not think about as you are watching television.
It’s no secret that The Office is my favorite show, so it’s probably not a surprise that I tune in for the @officeladiespod every week. One of my favorite guests that they’ve had on the podcast is Ken Kwapis. Ken directed from of my favorite Office episodes. The way he speaks about why he made certain directorial decisions shows how brilliant he is. It is easy to tell that he loves what he does.
But What I Really Want to Do is Direct: Lessons From a Life Behind the Camera details how Ken Kwapis got into the directing business and what he learned from the ups and downs along the way. Ken gives tips to those who are hoping to pursue a career as a director by sharing personal stories from his experience working on movies and TV shows. This book will allow you to learn about behind-the-scenes details that you may not think about as you are watching television.
June 30, 2020
I received a copy of this book from NetGalley in exchange for an honest review.
This is a surprisingly conversational and educational book about directing.
Kwapis shares insights on directing from advising actors to visualizing shots and how to create collaboration within a crew. He also shares pieces of scripts from movies and TV shows he's directed and talked about the process he used to bring them to life. He also talks about assembling the directors cut and audience testing, which is a cool thing to get insight on.
This book doesn't speak to how to break into directing or current barriers, but does have tips on how to direct. It's surprisingly thorough and an interesting read.
This is a surprisingly conversational and educational book about directing.
Kwapis shares insights on directing from advising actors to visualizing shots and how to create collaboration within a crew. He also shares pieces of scripts from movies and TV shows he's directed and talked about the process he used to bring them to life. He also talks about assembling the directors cut and audience testing, which is a cool thing to get insight on.
This book doesn't speak to how to break into directing or current barriers, but does have tips on how to direct. It's surprisingly thorough and an interesting read.
January 13, 2021
Listened to audio book - not read by author which is a drawback. Narrator often speaks with a staccato style cadence which may be great for diction, but takes away from the audio experience. It often distracts me from the material. Would have preferred a reading with more conversational tone.
However, I enjoyed the content of the book itself. It’s a nice book for those interested in directing and the entertainment industry. Ken gives insight into specifics of his career as well as valuable tips for would be directors.
However, I enjoyed the content of the book itself. It’s a nice book for those interested in directing and the entertainment industry. Ken gives insight into specifics of his career as well as valuable tips for would be directors.
February 3, 2021
If you really do want to be a director, I would say this is a must-read. So many great tips and industry-specific info. If you don't want to be a director, but want to be a good leader, I still recommend this book. There are a lot of great tips on how to lead by letting your colleagues do what they do best, and how to guide them.
I wanted to be in the movie industry once upon a time. Sadly I didn't get into school and I kind of left it at that. In hindsight I probably would have made a decent script supervisor.
Overall very interesting read!
I wanted to be in the movie industry once upon a time. Sadly I didn't get into school and I kind of left it at that. In hindsight I probably would have made a decent script supervisor.
Overall very interesting read!
September 28, 2020
I got to borrow an advance copy from my husband who is interviewing Kwapis for his podcast. There is an enormous amount that is useful here - not just to film directors but also to those who create narratives in any medium or artistic collaborators and leaders of all kinds. Great stories stories - I especially appreciated the insight into The Larry Sanders Show and working with Garry Shandling. And the section on how to give good notes is terrific.
February 1, 2022
Who knew a Hollywood director could be so level headed and proffer such great life lessons. While I have no interest in the entertainment industry myself, this was a fascinating read about a job that I admit I never really understood. The book is a combination how-to for young directors, history of film, and guide on how to be a more connected person to people you work with. I picked this up after hearing the author on the Office Ladies podcast and I'm so glad I did.
January 12, 2021
I've seen Ken Kwapis work and like it. I heard him interviewed on the office ladies podcast and that's how I heard about this book. Good insight into the world of the director.
Helps to read this book if you've seen the movies he talks about.
Overall this book is missing something. I wanted to like more but I couldn't. Not sure what this book is missing but there is something lacking.
Helps to read this book if you've seen the movies he talks about.
Overall this book is missing something. I wanted to like more but I couldn't. Not sure what this book is missing but there is something lacking.
January 28, 2021
I’m no director but I just really wanted to read this to get to know the director behind so many of my favorite things! Ken Kwapis is extremely good with words, and just seems like a genuine person that has this magical ability to get the best out of his crew and the actors on the screen. Definitely a great read even if you’re not in the industry.
June 2, 2021
This would have to be one of the most enjoyable books on making movies I've read. It has technical information, directing information, stuff from the heart, and wisdom learned as the result of experience. I recommend it highly to anyone with an interest in movies, whether you have any aspirations to direct or not.
December 28, 2021
Started off really strong but kind of lost its stride by the end. There’s lots of good information in here but it’s frequently squeezed in between pointless and rambling anecdotes that serve no purpose other than to fill pages. Essentially I found there was a lot of filler here that could have been cut.
February 23, 2023
Really a 3.5+. I learned so much. I guess I didn't really know what directors did before reading this book. Now I feel like I have a much better idea. I especially loved reading about his time directing The Office. I would have enjoyed the book even more if I had seen more the of movies and TV shows he talked about.
December 11, 2020
I really liked parts of this book, especially when Ken Kwapis talked about films/shows he directed. Other parts where he talked about or analyzed other films or where he gave his rules for directing were not as interesting to me. This is probably a book that would be good for aspiring directors but it was enjoyable overall.
November 23, 2022
Part memoir, part fun peek at what it's like to be a director. I like the stories of Kwapis's professional life, used to illustrate and to intersperse with his chapters about different things a director is doing on the set of a film. 4.5 stars
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