“Your unique voice will carry you into the future”

Alan Taylor, the director behind some of the most impactful productions in the film and television industry, shared his insights on the creative process, the journey of finding his unique voice, the influence of emerging technologies on the sector, and leadership principles that inspire the business world, exclusively for Fast Company Turkey readers…

BY MEHTAP DEMİR

Alan Taylor is a director who has left an indelible mark on the worlds of cinema and television. With his signature in landmark series such as ‘The Sopranos’ and ‘Mad Men’, and iconic films that have reached mass audiences, Taylor is known for his deep thematic storytelling and character-driven narratives. His contribution to television’s golden age, especially with ‘Game of Thrones’, helped the series reach unprecedented heights, thanks to his masterful handling of medieval atmosphere and character dynamics. From the very beginning of his career, Taylor has brought an innovative and daring approach to both cinema and television. His involvement in projects like ‘The Sopranos’, ‘Mad Men’, and ‘Game of Thrones’ exemplifies his role in shaping the “golden age” of television.

However, Taylor stands out not only for his successful projects but also for his leadership, team management, and crisis resolution skills, which have distinguished him within the industry. In an exclusive interview with Fast Company Turkey, Alan Taylor shared his creative process, insights on the impact of emerging technologies on the industry, leadership principles that inspire the business world, and the power of “standing by one’s own path.”

Creative freedom and finding one’s unique voice are critical in any profession. How do you balance the expectations of studios, networks, and companies with the need for creative liberty?

This is a deeply complex and nuanced issue. In an environment where art and business intersect, the differences between artistic goals and commercial expectations are becoming increasingly apparent. Finding a balance between creative freedom and commercial requirements often feels like an evolving process.

For me, the journey of discovering this balance began before the commercial side of filmmaking even entered the picture. During my time at NYU, I was able to work freely without commercial pressures, shaping my creative process as I searched for “my voice.” However, once I entered the professional world, the introduction of commercial factors turned the creative process into more of a negotiation.

In the world of television and film, the conditions and parameters, or “boundaries,” are often clearly defined, and you frequently encounter financial constraints. Within this framework, you need to find your “creative freedom.” If those boundaries are unclear, you might feel like you’re constantly hitting a dead end. But once you know where the “wall” or boundaries are, and once you familiarize yourself with the frame, you can find freedom within that space. For me, being creative within a structured environment is a challenge I enjoy embracing.

Was there a moment in your career when you thought, “Yes, this is my true voice!”

When I was shooting my graduation film ‘Leaving NYU’ at NYU, I experienced a deep sense of “this is it!” I felt like I truly found myself in that film, and it was a deeply fulfilling process, both artistically and in terms of success. Since then, I’ve worked on many projects that I’m proud of, and in each of them, I focused on doing my best work. One of those projects was ‘Mad Men’, for which I received a Directors Guild of America award; I’ve won other awards for different projects as well. But moments like Ned Stark’s death or the birth of the dragons in ‘Game of Thrones’—even though they didn’t win awards—brought me a sense of inner satisfaction. I knew I had made the right decisions and delivered a high-quality product. In those moments, I felt I had found “my voice.”

How do your personal experiences, identity, and beliefs shape the stories you want to tell? Has your technical mastery of directing played a critical role in storytelling?

I truly believe that when you make something personal, you’re inevitably expressing “yourself” and the important themes in your life. As a young person, I realized that I would often disregard the great things in front of me while chasing something else. The saying, “Perfection is the enemy of good,” truly applies here. I was always chasing different ideals, forgetting to appreciate what I already had. Even now, sometimes I don’t appreciate my work enough and always think about improving it. At one point, all my films reflected this theme. My short film at NYU explored something along those lines. My first feature film was a comedy inspired by the works of Italian author Italo Calvino, but it also centered on three men chasing a dream without realizing what they were really seeking. This theme plays out in many of my projects: you pursue something thinking it’s the focus of the story, but in the end, you don’t get it, and everything goes awry. That’s when you realize the real story wasn’t about that at all. What you truly needed was always right in front of you. It’s something like ‘The Wizard of Oz’, where the character learns they’ve always been where they needed to be. Life brings these themes, and if you’re lucky, you get the chance to explore them and weave them into your stories.

When expressing your unique voice authentically, how do you also create works that resonate with broader audiences?

That’s the real challenge. Telling a personal story and ensuring it resonates with a large audience is at the heart of the work.

As a director, when you see the audience react to your personal story, you feel you’ve established a real connection. That’s the goal of art—it’s about the way people connect with each other, and that’s a powerful experience.

Take ‘Everything Everywhere All at Once’, for example. It was truly an extraordinary film. The two directors made a movie that was so strange it seemed only to speak to themselves and their immediate circle. Yet, the film reached a global audience, everyone watched it, loved it, and it won the Academy Award for Best Picture. I love that. Building a connection is far deeper and more fulfilling than simply telling a story that fits everyone.

Think about ‘Crossing’, which was shot in Istanbul. It’s a very personal film with a modest budget, but I believe it will find a large audience because it connects with people. That’s what we all strive to do.

“Regardless of the crisis, I believe in the power of flexibility and continuous problem-solving to overcome challenges.”

How do you view the evolution of genre storytelling in television and cinema? How do you define your role in this evolution?

The “golden age” of television is often discussed, and my career in television directly coincided with that rise. The best writers couldn’t make films in cinema because budgets were too small, and no one dared to create smart, thematically rich films. So, these writers turned to television. This shift is somewhat described as a “happy accident.” Writers had no other option but to move to television.

Television was transforming into streaming platforms, and subscription-based services like HBO were emerging. This meant that broadcasts no longer had to be interrupted by commercials. You no longer had to cater to advertisers; you were now only answering to the audience. This allowed for a more direct artistic relationship with the viewer. The shift of television to streaming and subscription models allowed content creators to form a more direct, artistic connection with their audience.

In the past, television couldn’t match cinema in quality—especially in the ’70s, ’80s, and ’90s, when television often offered lower-quality and generally simplistic, poorly made productions. But as the quality of television improved, viewers began to expect the same depth and aesthetic precision from TV as they did from films. This transformation led to television becoming a more artistic medium.

I remember reading ‘The Sopranos’ script for the first time. The themes of the story and character development were at the forefront. This kind of project was different from earlier, plot-driven television shows focused on action or crime solving. Shows like ‘Homicide’ helped usher in this transformation, exploring human nature and existential issues.

With this new direction for television, both writing and directing gained importance. The visuals and aesthetics of a series became as crucial as the content, and directors started to play a more significant role. Overall, television became a platform for deep, meaningful, and aesthetically valuable work, and directors played a crucial role in this transformation. I’m proud to have been a part of this evolution.

Is there a project to which you felt a deep personal connection?

I felt a personal connection to projects like ‘Mad Men’ and ‘Interview with the Vampire’ and took great responsibility for them. Specifically with ‘Mad Men’, working on the project with people I knew in New York gave me a special sense of attachment and responsibility. In the pilot, having my daughter appear in a scene was a tangible example of that connection. She was only in one scene, but it was an incredibly special moment. I felt similarly connected to ‘Interview with the Vampire’. In that project, I played a pivotal role in creating the visual identity of the series, and I felt it was my duty to make sure I owned that.

I’m also excited about three very different projects I’m working on in the future. Each one carries personal significance for me. One is a historical drama set in the Italian Renaissance that needs to be both clever and fun. Another is a dark, intelligent Western in the style of Cormac McCarthy. The last is a quirky love story set in Florida in the 1940s. My passion for these projects is the driving force that always keeps me moving forward.

How do you think technology will affect filmmaking and shape the future of storytelling?

As technology becomes cheaper and more accessible, filmmaking has evolved. Where it once required large budgets and teams, now anyone with a smartphone can make a film. But I do have concerns that the quality of content may decrease.

The key issue here is not only the possibilities technology offers but also how the audience will “connect” with this content. On the other hand, there are uncertainties about the future direction of technology. For instance, 3D cinema and attempts to make films in virtual three-dimensional spaces have not yet created the massive shift we expected. The challenge of figuring out how to tell a story in that medium is still unresolved.

So, technology is evolving, yes, but where it will take storytelling and how artificial intelligence will transform this field is still unclear. However, even if AI becomes involved in cinema, I believe that the human-driven creative process will always hold value and offer something unique.

A good example of this is Marvel’s projects. One reason for their shift in business plans is that audiences are tired of repetitive content made by AI and are turning to more human-centered stories like ‘Everything Everywhere All at Once’. So, even as technology advances, I hope the value of human storytelling will remain intact, and those working in this field will still find ways to sustain their careers.

The production of content has become much easier and more widespread, especially with ChatGPT. As an artist, do you think the excessive amount of content is a good thing or a bad thing?

From an artistic perspective, the abundance of content creates both opportunities and challenges. Initially, the idea that anyone could make a film and share it with the world at nearly zero cost seemed promising. It felt like the “democratization” of filmmaking. However, the negative aspects of this situation became apparent soon after. There’s now so much content that it’s akin to the scene in ‘Raiders of the Lost Ark’, where the world’s most valuable artifact is stored in a massive warehouse, and because there is so much, this valuable item is lost forever. Today, the abundance of content is creating a similar problem; it’s almost impossible to find what is truly “valuable” within it.

What we need now is the rise of a curation industry that can help sift through this content and show us what is worth watching. Creating content has become easy and accessible to everyone, but the real challenge lies in distinguishing which content is valuable among all the noise. Companies like A24 are solving this problem to some extent by releasing only high-quality films. Their label gives viewers confidence because everything A24 puts out is worth watching. These kinds of curators and organizations should become more widespread to help prevent audiences from getting lost in the sea of content.

How do you manage your emotions during “fragile” moments in your creative process, or when you doubt yourself?

I am someone who tends to criticize myself often, and I’ve found that the best solution when I get lost in negative thoughts about my creative process is to “jump into cold water.” This helps change my brain chemistry and allows me to mentally reset for a fresh start. It gives me a new perspective and allows me to return to my work with a fresh outlook.

The film industry usually says “no” to your ideas, but despite that, I continue on my path, believing in my projects and overcoming those obstacles. I might have projects in my mind that have been rejected many times, but I still defend them. My belief in my own projects is like a parent’s internal knowledge and conviction about their children, things that no one else can know.

When I face moments of creative fragility and self-doubt, I find it helpful to remind myself that mistakes and failures are part of the process that everyone goes through. Seeing that others make mistakes, and watching successful people occasionally fail, honestly lifts my spirits. It helps me realize that I am not alone, and that everyone struggles during this process. I also remind myself that success comes after difficult processes. Therefore, I never forget that great successes can follow failures.

“Due to the lower cost and accessibility of technology, making a film once required huge budgets and teams, but now anyone can make a film with a smartphone. However, I do have concerns that the quality of content may suffer. At this point, aside from the opportunities technology provides, the critical issue is how the audience will ‘connect’ with this content.”

How do you manage creative risks in your projects, especially when adapting well-known works or dealing with complex themes?

When adapting a work, if you decide to make changes, and those changes are creatively justified, you must be prepared for the criticism that may come with it. To handle this, you must work meticulously and thoroughly.

For instance, in my project ‘Interview with the Vampire’, we made a significant character change, and we knew it would be met with some backlash. However, you need to anticipate these critiques and be well-prepared for them. This process helps you face the criticisms in a more grounded way.

Rather than preserving all the details of a beloved work, the primary aim is to align with the true intent of the original piece. Audiences may not always know why they love a particular structure, but as an artist, your job is to serve it better while preserving its essence. This is an important perspective on how to manage creative risks.

How do you approach strategy in crisis moments? Do you recall any major crises you faced, and how did you lead your team during those times?

I often face crises during production. These situations can happen every day. Even when everything goes wrong, I believe that we must keep working relentlessly to overcome such challenges.

Especially during the production of ‘The Many Saints of Newark’, we had to pause due to the COVID-19 pandemic, and during a shoot in New Orleans, the set was flooded due to a major hurricane. No matter the crisis, I believe in the power of flexibility and continuous problem-solving to overcome challenges.

The entertainment industry is constantly evolving. How do you adapt to these changes?

When I graduated from film school, the industry was already undergoing a significant transformation, so I simply moved along with those changes. If I were older, I might have had a different career in television, but I didn’t have to struggle with adapting to the industry’s new direction.

However, I do prefer to ignore some developments and technologies. For example, while the gaming industry has become a huge source of revenue and a creative space, I’m not interested in it and tend to stay away from it. I also have little interest in new technologies like 3D or virtual spaces because I believe storytelling is a process shaped by the director’s perspective of what to show through the camera.

I remember a conversation with famous director and writer James Cameron. He was excited about the 3D glasses experience, where the viewer can see everything in all directions. But I realized that his excitement was not about a revolution in cinema storytelling; rather, it was about how the technology provides a new way of experiencing film. I don’t view this technology as a revolution in cinema storytelling because there is still a director’s perspective in place. So, I think that while the industry changes, it’s okay to ignore certain things.

How do you see the evolution and future of the industry?

When I think about the evolution of the film industry and global creative movements, I recall that before I started film school, German cinema was leading the way with directors like Werner Herzog and Wim Wenders. Then, Iranian cinema also became a bright star of its time. These creative movements were shaped not only by artistic, but also by financial reasons.

Looking at the current film world, I see an increase in what I call “stupid movies,” those popular and commercial films that lack intelligence. However, I also notice a rebellion, as movies like ‘Everything Everywhere All at Once’ have garnered more attention than commercial films like ‘Ant-Man and the Wasp’. This gives me hope because it shows that audiences are beginning to demand deeper and more unique films.

In Turkish cinema, I believe there is an openness to innovative and original stories. This trend will likely increase the demand for films based on local experiences, and these films have the potential to reach a global audience as well.

In short, while discussing the trends and demands of today’s cinema, I want to emphasize that there is hope for films that tell different, personal, and local stories and that these stories can have a global impact.

If you ever left the industry, what would you want people to remember you for?

I would be really happy if people remembered me as “someone who was great to work with.” When people say, “It was nice working with you, you were a really good person, you were never difficult,” that makes me feel great. As a director, hearing that I made the process enjoyable means a lot to me. Sometimes, when I meet someone who was an extra on one of my films four years ago, and they say, “You were so kind to me, and you made me feel like an important part of the project,” it truly makes me happy. I think being remembered this way is very valuable.

What advice would you give to future directors?

My only advice is this: Stand by your own path. As you start to get recognized in the industry, new opportunities will come your way, and you’ll have more chances to make choices. But sometimes, during this process, you may have to fight to preserve your creative voice. Success comes from doing what you love most. Especially when the industry tries to pull you in other directions, take a step back and listen to your inner creative voice. This will help you rise higher.

Try to shape your creativity based on your own path, not on externally imposed templates, because that will bring you more fulfilling and sustainable success. And remember, even during your toughest moments, this process will make you stronger. Focus on your creative projects rather than the ones the industry offers you. In the long run, that will take you further.

Finally, what are your favorite films and why?

My favorite films come from past decades (the 60s, 70s, 80s), but I also try to add newer ones to my list. Recently, I’ve particularly enjoyed films like Everything Everywhere All at Once, Dream Scenario, and Wim Wenders’ Perfect Days. These films appeal to me because they treat the viewer as a smart, thoughtful person and engage them in a deeper way.

Each of these films treats the audience as an intelligent and thoughtful individual in different ways. For example, ‘Everything Everywhere All at Once’ is a fun and crazy film, but it expects the audience to quickly grasp the events and keep up with the story. ‘Dream Scenario’ is more subdued, yet it encourages the audience to understand it. ‘Perfect Days’ is a very quiet film, but it expects the viewer to establish a human connection and engage with it.

I often find popular films “manipulative” and dislike films that overtly “guide” the viewer. I feel that characters are designed to be loved or hated, which manipulates the audience. I believe such films only provide superficial satisfaction and don’t create a real connection.

As for my classic favorites, ‘Eight and a Half’, ‘La Dolce Vita’, ‘Raging Bull’, ‘Eraserhead’, ‘Taxi Driver’, and ‘Les Enfants du Paradis’ are on my list. Most of these films I watched when I was younger and developed a deep love for them. I could watch ‘Eight and a Half’ and ‘Raging Bull’ over and over again.

I love films that are smartly crafted and form a real connection with the audience, and I’m not a fan of the superficial, manipulative narratives in popular culture.

EFFECTIVE LEADERSHIP

• CREATING A SENSE OF BELONGING: For me, “effective leadership” starts with creating an environment where everyone feels valued and included, where everyone feels like part of the job. It’s crucial that team members’ contributions are appreciated. As a director, showing how difficult the job is can inspire people, but equally important is appreciating the contributions of the team members, which motivates others.
• CLEAR PLAN AND ADAPTABILITY: Another key aspect of effective leadership is having a clear plan, but also being flexible and adaptable if things go off track. I believe that in the face of unexpected changes or setbacks on set, the focus should not be on the plan itself, but on preserving the key elements of the plan and finding new solutions.
• GOAL: Additionally, a director who doesn’t have a plan is not welcomed by the cast or crew. Knowing what you want is essential, even if it sometimes makes you appear “tough” as a leader. I believe that being someone who knows where they’re going creates trust, and this trust helps the team stay committed even under difficult circumstances.

 

Editor’s Note:

This interview took place during my recent participation in THU 2024, a remarkable platform that brings together creative industries and fosters groundbreaking projects and collaborations. Alan Taylor was one of the inspiring creative minds I had the pleasure of meeting there.

THU, held annually in Portugal, gathers award-winning directors, visual artists, creators, and innovators from around the world. It’s a space where unconventional thinkers and visionaries thrive, making it a perfect environment for transformative learning and growth.

The THU Main Event is designed to break free from the ordinary, sparking innovation, fostering genuine connections, and nurturing a creative mindset. It focuses on areas such as Animation, Gaming & XR, Film & VFX, and welcomes professionals across the creative spectrum—from concept artists to animators, illustrators, game designers, developers, visual effects artists, and more. THU is truly a place where the boundaries of creativity are pushed, and new possibilities emerge.

Special thanks to André Luis, the co-founder, CEO, and creative force behind Trojan Horse was a Unicorn (THU), for his visionary leadership and for creating such an inspiring platform for digital artists and creative professionals. Don’t miss the chance to be part of this transformative experience in 2025!