This month, Boards asked Clair Grupp, exec producer/head of production at New York's Cliff Freeman & Partners to share her thoughts on the beast we affectionately term the "top live-action director."

I have personally developed a collection of names that speak for one thing or another. I try and keep the lid off throughout the process and continually think of other possibilities that I may come across along the way. Just when I feel I've nailed it, I have another look from another angle.

There are obvious things to a good top-level director and some less obvious. Here they are (quite a few actually):

* Enthusiasm is key.

* Ability to direct talent in a range of worlds from the very subtle to the more broad. You never know where you might strike that lucky delivery.

* Ability to find that fresh face in the casting that may sway the concept into another direction, and having a director who is open to that possibility.

* A kick-ass reel usually compiled with some recent outstanding work that is highly recognized (that always helps).

* A fresh reel that maintains level A. Again fresh, need I say more?

* Ability to outdo one's own self, like those crazy Traktor guys who continually try and challenge themselves to a new approach or look, yet still maintain a really good idea.

* A good production company to stand on that is willing to go down another road for the better of a production, money aside (how could I not say that?).

* A good support staff including the top DPs and art directors, etc. After all, you can have a really good director and a really bad art department and it all goes to hell that fast. Nowadays we're impressed by those fancy feature DPs who we can brag to our clients about. Again the opposite holds true: the ability to not lean on the same support staff, but really search for those key people who can make a difference.

* Incredible focus like John & Val (Dayton and Faris), who take on one project at a time and focus entirely on that job.

* An extension of our team essentially adding icing to the cake. And not just adding icing to have icing, but really thinking through the variables and coming up with a plussed approach that is not only fresh but communicates our really clever idea the best. (Notice how I said "our" really clever idea). One that doesn't decide to go off in his/her own world

forgetting whose idea it was in the first place. But that also takes some really strong creatives who are able to let go of their egos to better and better those ideas.

* Ability to work with our insanely intense creatives whose drive and determination is for exceptionally outstanding work.

* Fresh ideas that hopefully will set fire to a great working relationship.

* Relationships are really important as well. When we both get to know each other a bit more, we don't have to go through that learning curve each time, we can get down to the core and waste less time figuring out the dynamics. I will also contradict that and say it doesn't always work in your favor. You don't want to get too comfy...

* I think a good director stays afloat year after year, amongst the hills of new talent and stardom.

* Listeners and pushers. Ability to listen to our ideas, but then push it as far as they can.

* The concepts on the reel should not dillydally. It's nice to see the longer formatted director's cut, but can they execute our 30-second spot? Let's see it.

* Ability to work in different zones and pull off a completely unexpected piece of work. A reel like Dante's, who I think is quite stylized but is able to execute work like our Budget campaign.

* One who understands and respects the editor and SFX and involves them in their planning.

* Ability to maintain focus on great creative no matter what the client's demands may be.

* A great reputation. No one wants to work with an asshole, especially if we have an extraordinarily demanding client.

* A good director is one that's on every creative's list no matter how many times they've said no, like Spike Jonze.

* A good director is most likely being considered on more than one project internally and if that's the case, they become that much more desirable. Funny, huh?

* A great treatment or at least writers like Ole who have the knack for those treatments.

* One who chooses their scripts first and then tries to work within the budget zone as creatively as they can. Sometimes it's not possible, but most of the time there is a creative solution. I think it's quite important that they are comfortable in that zone; complainers are never good.

Wow, can you actually imagine a director with all those qualities? Well at least a few of those things never hurt.

Clair Grupp studied advertising and film at UCLA. After a day as office manager at Jay Silverman Productions, she was made production coordinator, overseeing the film and print work for clients such as Pepsi, Disney and Anheuser-Busch. After a stint with Craig Perman Pictures, she became a producer with Fallon McElligott in 1994. From there, she went on to work for Martin William Advertising. In the summer of 1999 she began freelancing with Cliff Freeman and Partners, and in the fall of 1999 became exec producer.