Filmmaking / Directing : Can a Great Director Be a Bad Screenwriter? by Alex Gutenberg

Can be great. Gene Wilder. Mel Gibson. So many more. Often it is actor first, writer second, director third. Clint Eastwood?

Hey, Alex Gutenberg. I've worked closely with indie directors. I think a great director can fail at the screenwriter's desk if they don't know things about screenwriting, script structure, etc. And I think a great screenwriter can fail in the director’s chair if they don't know things about directing (and maybe things about cinematography, acting, producing, etc.).

"Babygirl" and "The Substance" both written by the director. No apparent problems with the directing. Can't say the same for the scripts.

yeah, it depends a lot on the type of film you write, sometimes the screenwriter fails to direct colossal science fiction degrees due to their visual complexity, or vice versa. It depends, but it's a subjective situation that changes from person to person. There were great screenwriters who were unable to direct a film and there were great directors who had problems with writing.

A good screenwriter can absolutely fail in the director's chair - writing and directing are two very different functions. On the other hand, a good director is by definition a good story teller and more likely to create a good script capable of production.

It always comes down to the story, more than anything else.

Imagine that a writer has the ability to direct people in real time and possesses every necessary skill. The problem arises only when the story doesn't suit them. It doesn't matter if they’re a professional writer or were a taxi driver yesterday — if the story isn’t a fit for them, they won’t be able to direct it well.

The same goes for screenwriting.

Someone might write one type of script brilliantly (whether they're also a director or not), but if they’re working on a story that doesn’t fit them — it’s a failure.

That’s why I’ve found that neither the title of director nor screenwriter automatically guarantees quality.

You can’t say, “This person always writes great stuff” or “This person always directs well.”

It depends on the story.

There has to be a match.

This is a very interesting question! It can depend, but I think when you start off either writing or directing, it is a good idea to tackle one, though it can be enticing to carry the weight. Collaboration is a good way to exercise creative brainstorming and

Like many disciplines, good at learning, perhaps even practising it, but not so good at imparting it. Happens far too often.

I agree with everyone. The Story. I have worked with Editor turned Director, Writer turned Director, Actor turned Director and DP turned Director. They all bring something special to the table with their previous skills and some need to learn the skills that aren't from the previous job. I think sometimes writers realize how much what they write affects the shooting crew once they direct. Not so sure about the other way around although I do know a lot of writer/directors. Great question.

the list is practically endless of amazing screenwriters who are terrible directors. i wouldn't even know where to begin.

After typing my previous comment, I took a moment to reflect. I realize it may have come across as a bit cynical or dismissive — that wasn’t my intention at all. Of course, there are many incredible examples of artists who’ve transitioned successfully between roles — from screenwriter to director, cinematographer to director, and so on. The creative industry is filled with inspiring stories of growth and reinvention.

That said, over the years, I’ve also witnessed a large number of talented, successful professionals — producers, writers, cinematographers, production designers — attempt that transition and struggle, particularly when it comes to directing. I mention directing not to place it on a pedestal, but because it’s often viewed (rightly or wrongly) as the “pinnacle” position in the filmmaking hierarchy — sometimes with much regret.

Without naming names, I can recall one specific example: a brilliant, Academy Award–winning cinematographer — four-time nominee, deeply respected, at the top of his game. He had an extraordinary eye and collaborated regularly with one of the most iconic directors in cinema. At a certain point, he decided to direct. He made one feature film — a critical and commercial failure. Since then, he hasn’t directed again, nor has he shot another film. The move cost him creatively and professionally, and it strained many of his former working relationships.

For every success story, there’s a counterexample. I also find it fascinating how studios often grant franchise screenwriters an opportunity to direct — likely assuming their deep understanding of the characters and arcs makes them the ideal choice. Yet, in my experience, these ventures often fall flat. The leap from writing to directing isn’t always as seamless as it appears on paper, especially under the pressure of large-scale studio expectations.

None of this is meant to be discouraging — just honest. There are absolutely inspiring stories of people evolving into new roles and thriving. But the truth is, not every brilliant screenwriter, production designer, actor, or cinematographer is meant to direct. And that’s okay.

I hope my earlier comment didn’t sound too harsh. I can only speak from what I’ve personally seen and experienced over the years living and working in Los Angeles.

Yes. I'm a screenwriter and I've worked with a director who kept making changes to the script. He'd make changes and then I'd spend hours on end correcting all his changes, so that the parts would read correctly and blend with the scenes before and after. So, in my experience, YES!, a director can be a bad screenwriter.

Xochi Blymyer You’re probably right. I already feel like directing while I’m writing — I basically write a near-shooting script from the start, running the scene in my head, visualizing the shots, movement, rhythm… and then rewriting it so the reader doesn’t lose their mind (considering how many scripts they have to read — including stuff like “Jake felt a vague unease. Deep down, he knew it was a trap”…

Gary Naccarato Hey, I’m not sure how “cynical” your comment really was by local standards — but coming from Eastern Europe (Ukraine), we tend to value honesty, even if it makes things uncomfortable. The result matters.

Sure, you can absolutely make a film where the whole crew runs on peace, love, gumdrops, and an endless loop of mutual praise — and hey, sometimes that works. But without critical distance and at least some structure, things tend to wobble pretty fast, IMHO. Maybe it works differently for others, I don’t know. Either way, I really appreciated your candid answer. I read it with real interest.

Also — I think I know which DP you’re talking about. I actually think he’s talented. It’s a shame things turned out that way. But to me, the issue is less about whether someone is a good or bad writer/director, and more about delegation.

You know that strange state when you “see” the whole film at once and the script comes out almost like an edited cut — you see every shot, hear every sound cue? But then you walk into the kitchen and just stand there staring at the food processor, not because you forgot how it works, but because your brain just froze.

That’s what I mean — if you try to control everything, you risk sinking the whole thing. That’s why I see the writer-director-DP triangle like three climbers on an icy ridge, roped together, watching each other’s steps. And somewhere above, the producer’s already at the top with a clipboard yelling, “C’mon, people! We’ve got a deadline to miss!

What do you think?

I think that’s a brilliant analogy. Look — there aren’t many people out there like Soderbergh. It’s hard enough to do one job well, let alone four. Not saying it can’t be done, but if a studio or financier is putting up several million (or more), they’re usually expecting you to stay focused — not spread thin across every department.

A big part of directing is knowing who to surround yourself with — people you trust implicitly to help bring your vision to life. That mountain climbing image you shared really nails it. Every step matters, and you’re only as solid as the people you’re roped to.

And I’ve seen it repeatedly — especially with younger filmmakers — where they take on too many roles because they’re convinced they’re the only one who truly knows what they want. But what often ends up happening is that when things fall short, they blame the lack of a proper crew or support structure. Ironic, right? It’s a lesson a lot of us have to learn the hard way.

Honestly, your point about delegation and balance is spot on. It’s not always about talent — sometimes it’s about knowing when to let go.

Alex Gutenberg When a director can also write the material they direct, it’s a major advantage. It eliminates the need to interpret what the writer meant in each line. The same applies in reverse—a writer who can direct helps ensure their vision makes it to the screen without being lost in translation. Of course, not every director is a strong writer, and not every writer excels at directing. Still, combining both skills can bridge the gap between storytelling and execution, uniting the creative vision with the production process.

Alex Gutenberg Fascinating question that gets to the heart of creative skill transferability! Yes, absolutely - you can excel at one and struggle with the other, though there's definitely overlap.

Why great directors can struggle with screenwriting:

-- Visual thinking vs. structural thinking - Directors often "see" scenes but may struggle with three-act architecture

-- Collaborative vs. solitary process - Directing thrives on team input; writing requires alone-time discipline

-- Present-tense vs. blueprint mindset - Directors work with what's in front of them; writers must imagine everything

Why great screenwriters can fail as directors:

-- Page perfection vs. on-set adaptation - Scripts change constantly during production

-- Internal vision vs. external communication - Writers know their world intimately but may struggle articulating it to 50+ crew members in high stress situations

-- Character psychology vs. actor psychology - Understanding fictional people =/= directing real performers

The overlapping skills:

1) Story instinct and pacing

2) Character truth and motivation

3) Understanding what scenes actually accomplish

4) Knowing when something isn't working

Successful crossovers often share:

-- Strong visual storytelling sense (even as writers)

-- Collaborative temperament (even when writing alone)

-- Practical production awareness

Examples:

Jordan Peele - Strong writer-director because his scripts are inherently visual

Aaron Sorkin - Brilliant writer, struggled directing because his strength is dialogue-driven rather than visual

The storytelling instinct transfers, but the execution skills are genuinely different crafts.

Some people are visionaries from one aspect of the art. Others in some, and a few in all. This isn’t an easy craft and not made for everyone even if you aspire. But it doesn’t take from either particular individual if the content is superb work. Project after project. Although I was informed, if you really want to be great in this lane. You must write your own stories and it makes sense because how are you going to make film when you can’t even see your own.