This is a fun book that gives advice for people who are interested in directing. I liked it and thought it was really educational and a good read to brush up on your skills.

Longtime director of The Office, among other projects, Ken Kwapis's new book is part memoir, part inside scoop of one of television's greatest ever shows. Kwapis tells his story in a warm, funny voice. You'll feel like he's talking just to you.

As a fan (but not super fan) of The Office, I was interested in learning some behind the scenes details. As a former film studies instructor, I looked forward to industry insider information. I was satisfied on both fronts. It’s not wildly funny or shocking or groundbreaking, but Kwapis’ memoir is a worthwhile read with equal parts humor and insight.

But What I Really Want To Do Is Direct is a hybrid of a How To and a Hollywood memoir, with some thoughts on classic films and directors thrown in to round it out. Kwapis known mostly for being a highly successful TV director, helming episodes of The Larry Sanders Show, The Bernie Mac Show and The Office, but film seems to be his true passion.

But what's interesting is that Mr. Kwapis cinematic output, while sometimes successful, has not been critically acclaimed. Dunston Checks In, Beautician And The Beast and License To Wed are just a few of the movies he's directed. So why read a book about a guy who tried to make Fran Drescher a movie star? Because he aspires to make any film he does work and resonate on levels that seem above the source material. He never looks at Dunston Checks In as an attempt to cash in, he looks at it as a way to pay tribute to Charlie Chaplin. That's just how creative people think, and it's easy to see why he continues to be able to take his shots as a film director.

I originally requested this book because i love The Office and Ken directs a lot of episodes. This book reads like a how to of directing, the thoughts behind his decisions and ways to improve your natural talent and instincts. It was really a fascinating look into this and the examples from him work really help illuminate his points. This book is definitely a must-have if you want to direct or just want more insight into how directing is actually done.

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.

Very enjoyable a glimpse at the process of directing a film.Really enjoyed behind the scenes look at casting the Office and other insider looks at moments in his film directing,Really enjoyable look at the film making process .#netgalley#st.Martins

What a delightful book! I read this before interviewing the author and was as entertained as I was informed about the process of directing movies and television. Readers will watch now with a much better sense of how the film sausage was made, and are likely to feel much smarter about what they are seeing. Plus, stories about such things as casting “The Office” and directing an out-of-shape Nick Nolte in “A Walk in the Woods” are dryly hilarious.

After recently listening to the podcast An Oral History of The Office where Ken Kwapis was prominently featured and credited with so much of the success of the show I was excited to read his book.

But unfortunately it was a DNF for me. I found the structure to be really disjointed right from the start, and the writing didn’t pull me in at all.

While there are some niche industry books that are relevant to people from all walks of life (Creativity, Inc by Ed Catmull and American Icon about Ford Motor Company are two of my favorites), this was not one of them. Maybe it would be of interest to aspiring directors?

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.


Thanks to NetGalley for the opportunity to read this book, which RELEASES OCTOBER 6, 2020.

I picked this book up not knowing much about directing or Ken Kwapis. While his tips on directing went over my head, the behind-the-scenes look he offers readers into the thought process that went into his movies was so fun! The book is filled with equal parts personal stories and movie facts, making for a truly enjoyable read.

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.

In But What I Really Want to Do is Direct, Ken Kwapis draws on decades of experience as a director of television and movies, sharing what he’s learned behind the camera and also some interesting and often amusing experiences and stories.

Kwapis sets out early what he intends this book to be. It is comprised of three “thematic layers”. He includes autobiographical chapters, recounting memories of his early years as a director (as well as his introduction to cinema and when he caught the bug). He recounts time spent directing various movies and television episodes, a few meetings with luminaries such as Robert Redford and Rip Torn (who seems to have been an… interesting colleague). A second layer is focused on certain movies that had particularly strong influence on his own work and approach to making movies and TV. The third component of the book are more instructive chapters on how to Be a Director. For example, what are the best ways to give notes to actors; creating a shot list; different approaches to all the various aspects of directorial work; dealing with bad reviews and “the suits”; and certain truisms that should always be kept in mind when working in the movie/television industry (for example, not meeting is informal, they are always an audition).

“… how do you comport yourself as a director? How do you assert authority on the set without being authoritarian? How do you navigate a path in such a turbulent business? How do you pick yourself up off the ground after a major setback? How do you deal with incredibly difficult people? How do you develop a directorial voice?”

He addresses all of the above questions and more throughout the book. The chapters aren’t always clearly separated out, but rather he weaves recollection and advice pretty much throughout. Some chapters, however, do lean more towards advice/instruction and others are more obviously memoir. Even if you’re not interested in becoming a director, and just want to read more about the movie-making industry, the book is littered with interesting and oft-amusing memories from behind-the-scenes of Follow That Bird, The Sisterhood of the Travelling Pants, The Office, The Larry Sanders Show, The Bernie Mac Show, and A Walk in the Woods (to name but a handful).

Like many people on the creative side of the Hollywood industry, Kwapis has some amusing and sharp things to say about the “business” side of it, and offers advice on how to walk the line between the two, keeping them in balance (or, preferably, the suits as far away as possible) — how “Your goal is to be in the business but not of it.”

“… if numbers define your self-worth as a director, then you are truly no more than a commodity. If you believe that you’re only as good as your ‘commodity value,’ then—to cite the tired adage—you are only as good as your last picture. It’s imperative to create a personal yardstick for success to unshackle yourself from the way the business defines you. It takes persistence to tune out the static and internalize your own value system, but once you do, the Hollywood matrix will no longer have a grip on you. As a creative person, you’ll hear the refreshing sound of your own voice again.”

Overall, then, I enjoyed this book very much. I think it will be of especial interest to anyone who wants to become a director, or work in the industry as a whole (always good to get as wide a picture as one can). If you’re looking for pure memoir, you may find some of the book a little dry, but I think it nevertheless contains enough interesting anecdotes and stories to appeal to a wide audience.

Recommended.

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.

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.

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.

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.

I will fully disclose that I am a HUGE office fan. And right now I’m listening to The Office Ladies Podcast and wholeheartedly in love with getting my weekly Kentapedia facts. I’ll be honest, the main reason I wanted to read this for the tidbits of The Office and he did not disappoint. This show holds a special place in my heart, so to continuously learn about it well after the last episode aired is amazing. I’ve heard the stories before, but to hear them from the person responsible for it made it even better. I loved hearing about his connection with Creed and how he saw the potential in Phyllis.

Growing up I was in love with Dawson’s Creek. I wanted to be just like Dawson with his dreams of becomes a director. I had the movie posters that I cut out of magazines covering my walls from floor to ceiling. Mind you, I had never picked up a camera or even tried to create anything. I just love the idea of having your visions come to life.

I had always been enamored with the behind the scenes life of Hollywood. I find it fascinating the talent and skill it takes to produce a single frame. Not only was I excited to get an insider's look into this world, but I was blown away by Ken’s ability to bring everyone into his world. His writing and flow of the book was amazing. Ken kewpis is inspiring and he really knows how to inspire and encourage others. He has a way with his words that allow the reader to apply what he is saying about his process or inspiration for his own work and apply it into their own lives. I feel more driven in my own life to create the best work I could with the medium I am given after reading his book.

I love how he effortlessly blends both real life experience with useful information to help upcoming directors. This book functions as part entertainment and part motivational. He brings inspiration through his experience and drives people to be the best versions of themselves. This was a wonderful book that goes beyond lesions on how to be a director. Thank you to NetGalley and St. Martins Press for this ARC

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.

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.