You seem to balance your film work with directing for TV as well. How did you come to be working with Aaron Sorkin on his show, The Newsroom?
MARSTON: I’m sure it will be challenging because it’s challenging material, but I’m not the only filmmaker who works in TV, so it’s not that out of the ordinary. It’s fun to be able to get to direct stuff while waiting for the next movie to happen, and the Sorkin show seems likes it’s going to be really, really great, so I’m very excited about it.
Will you just be directing one episode?
MARSTON: Yeah, they’re bringing in a different director for each episode.
Do you enjoy the different and quicker pace of TV?
MARSTON: On the Sorkin show, we’re going to be shooting 12 pages a day. On a big day in Albania, I shot three or four pages in a day, maybe five. Feature films frequently shoot one or two pages a day. That’s a huge difference between film and TV. The other difference, obviously, is that it’s not your own. I liken it to being on the last week of a feature film shoot where, by that point, all the actors know their characters, so you’re not defining the characters, everyone knows what kind of wardrobe the characters would wear, and the look of the show has already been defined. What you’re doing, as a director, in both the last week of a shoot on a film and on a TV show, is that you’re giving subtle adjustments to mold something into a narrative.
Would you want to direct a pilot, to establish the look of a show, at the beginning?
MARSTON: Yeah, I would be happy to direct a pilot. I haven’t had the opportunity yet, but hopefully, I will.
Source: Full interview @ Collider
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