Film Director and Television Director

Film Director
A film director is a person who directs the making of a film. A film director visualizes the script, controlling a film's artistic and dramatic aspects, while guiding the technical crew and actors in the fulfillment of his or her vision.
However, film directors do not always have absolute artistic control. The director is usually selected by the producer, whose job it is to make the decisions that are in the best interests of the production company or studio or network. As such, the producers have veto power over everything from the script itself to the final cut of the film, often in anywhere from slight to extreme opposition to the director's vision.
People such as Anthony Minghella and Paul Greengrass, like Ken Loach and Mike Leigh before them, achieved much of their fame after leaving TV to make films for the big screen. Those directors who choose or are chosen to work in TV traditionally have had to accept that they will not be as lauded, or as well-paid, as their big-screen counterparts.
Responsibilities
A film director is responsible for overseeing every creative aspect of a film. They develop a vision for a film, decide how it should look, what tone it should have, and what an audience should gain from the cinematic experience. They are responsible for hiring a strong, creative team of people to work with production, lighting, cinematography, and costumes. Film directors are responsible for approving every camera angle, lens effect, lighting, and set design. They coordinate the actors moves, determine camera angles, and may be involved in the writing, financing, and editing of a film. The director works closely with the cast and crew. They listen to the cast and crew, take some suggestions, and give out some of their own. They meet with the cast before each scene to do a run through. This tells them how the actors are going to play the scene, which enables them to make changes accordingly.
Directorial plans os working styles
How much control a director exerts over a film varies greatly. Many directors are under the control of the studio and producer. This was true from the 1930s through the 1950s, when studios had many directors, actors and writers under contract.
Meanwhile, other directors have far more control and bring their artistic vision to the pictures they make. Their methods range from those who:
Outline a general plotline and let the actors improvise dialogue. Directors who employ this style.
Control every aspect, and demand that the actors and crew follow instructions precisely.
Write their own scripts
Collaborate on screenplays with long-standing writing partners or script writers.
Be the cinematographer and editor.
Appear.
Directors work closely with film producers, who are usually responsible for the non-artistic elements of the film, such as financing, contract negotiation and marketing. Some directors will often take on some of the responsibilities of the producer for their films. Directors like Orson Welles are famously known for writing, directing and producing their films while the early silent film director Alice Guy Blaché not only produced her own pictures, but actually created her own highly successful studio.
Television Director
A television director directs the activities involved in making a television episode.
Duties
The duties of a television director vary depending on whether the production is live (as in a news broadcast or sports event) or filmed/taped (as in a dramatic production).
In both types of productions, the director is responsible for supervising the placement of cameras (camera blocking), lighting elements, microphones, and props. In a dramatic production, the television director's role can be similar to that of a film director, giving cues to actors and telling the operator of the videotape recorder when to start and stop recording. In a television series composed of individual episodes, the television director's role may differ from that of a film director in that he or she may work only on some episodes as opposed to being the auteur of the entire production. In an episodic television production the major creative control will likely reside with the producer(s) of the show.
Live productions
In a live production, or one that is produced in one continuous sequence as if it were live, the director is required to command numerous personnel in real time, notably the technical director or vision mixer (UK) who switches cameras and other video elements on and off-line; the stage manager who gives cues to actors, news anchors and even sports officials; the audio mixer, who selects from audio sources such as microphones and prerecorded audio elements; and the program's announcer. The commands are delivered rapid-fire, and the first seconds of a news broadcast might begin, "Up on camera one with font, music, announce, Katie's mike, cue Katie." This means that the technical director is supposed to place Camera One online with a title superimposed on it, the audio mixer is to start the theme music and turn on the announcer's mike, the announcer is supposed to read from his script (e.g. "It's the CBS Evening News with Katie Couric"); the audio mixer is supposed to activate Katie's mike, and the stage manager is supposed to then wave at Katie to start reading the news script from the teleprompter. All the while, the assistant director is talking to the director, providing information as how much time until the next recorded segment or commercial ("Go to tape in 10...9...8...") and the producer is talking to both of them, for example about whether the show is running long or short with respect to time ("We'll have to dump the tag on the Washington piece, we're 15 seconds heavy.")
Responsibilities
Aside from having to rattle off rapid-fire commands, it's also the live director's job to be cool under fire and maintain order among the staff in the control room, on the set, and elsewhere. The director's commands must be artistic, accurate, and calm. There is usually zero room for error.
A news studio might have perhaps four cameras, at most, and few camera movements. In a sports broadcast, the director might have 20 or 30 cameras and must continuously tell each of the camera operators what to focus on.
While the director is responsible for the specific shots and other production elements to be aired, the producer (typically seated behind the director in the second row of chairs in the control room) and coordinates the "big picture," including commercial breaks and the running length of the show.
In a smaller production, the director may be responsible for operating production equipment, usually the video switcher and CCUs, as well.
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