Title: 30 Minutes After Noon
Content:  Director David Elliott was unenthusiastic about realising Alan Fennell's script until he saw the spy thriller The Ipcress File. He remembered that the film "used all the old-fashioned shots – looking through a lampshade, etc. On Monday morning, Paddy [Seale, the lighting cameraman came in and said, 'I saw a film this weekend,' and I said, 'So did I.' 'Was it The Ipcress File?' 'Yep. Right, that's what I want to do.'" In homage to the film, Elliott incorporated what commentator Stephen La Rivière terms "quirky visuals" into his direction of the episode. The Glen Carrick Castle scene opens with a tracking shot covering all three walls of the puppet set, for which Elliott co-ordinated the camera movements with operator Alan Perry. In a pioneering move for a Supermarionation series, this scene also uses forced perspective to show a 
Title: West Side Story (1961 film)
Content:  Executive producer Walter Mirisch enlisted the services of Jerome Robbins, who had directed and choreographed the stage version of West Side Story. Because Robbins had no prior film experience, Mirisch hired Robert Wise to co-direct and produce because of his "experience in gritty subject matter" and his ability to complete motion pictures under budget and ahead of schedule. Robbins was to direct the musical sequences, while Wise would handle the story's dramatic elements. Robbins directed his portion of the film first, spending a great deal of time on retakes, on-set rehearsals and discussing setups with Wise. Assistant director Robert Relyea recalled an unusual number of injuries endured by the dancers. After 45 days of shooting, the picture was 24 days behind schedule. With the film already also over budget, the producers dismissed Robbins. The remaining dance numbers were directed with the help of Robbins' assistants. Recognizing 
Title: The Dark Side of Tomorrow
Content:  The film was financed by an Israeli investor who wanted an X-rated sex film. Director Barbara Peeters changed the storyline to center around a lesbian relationship. She feels the fact it was from a female director was significant. "If you are going to involve yourself in subjects that heretofore have been taboo, the first moves in that direction should be as close to reality as possible", she said.
Title: Nickelodeon Movies
Content:  hired to direct. He was chosen because he had previously collaborated with Rudin and because of his black comedy directing style as seen in his films The Addams Family, Addams Family Values and Get Shorty. Sonnenfeld referred to the Unfortunate Events books as his favorite children's stories. The director hired Handler to write the script with the intention of making Lemony Snicket as a musical, and cast Jim Carrey as Count Olaf in September 2002. Sonnenfeld eventually left over budget concerns in January 2003 and director Brad Silberling took over. This film was released on December 17, 2004, a month after The SpongeBob SquarePants 
Title: Spooks (series 3)
Content:  found himself committed to other projects. There were five directors, each directing two episodes; Jonny Campbell, Cilla Ware, Justin Chadwick, Bill Anderson, and Alrick Riley. Featherstone wanted Campbell to direct for Spooks after they worked together producing the television series Glasgow Kiss. He was drawn to directing the first two episodes because of Brenton's writing and the fact he would give Tom a send off. Faith Penhale was the series script executive. Simon Chaudoir, Jake Polonsky, Kieran McGuigan, Sue Gibson and Baz Irvine were the directors of photography. Barney Pilling and Paul Knight were the series editors. Stevie Herbert and Robert Foster were 
Title: The Truman Show
Content:  step aside". Brian De Palma was under negotiations to direct before he left United Talent Agency in March 1994. Directors who were considered after De Palma's departure included Tim Burton, Sam Raimi, Terry Gilliam, Barry Sonnenfeld and Steven Spielberg before Peter Weir signed on in early 1995, following a recommendation of Niccol. Bryan Singer wanted to direct but Paramount decided to go with the more experienced Weir. Weir wanted the film to be funnier, feeling that Niccol's script was too dark, and declaring, "where [Niccol] had it depressing, I could make it light. It could convince audiences they could watch a show in this scope 24/7." Niccol wrote sixteen drafts of the script before Weir considered the script 
Title: It Happened in Brooklyn
Content:  The original director was supposed to be George Sidney, but he was replaced by Richard Whorf, who is probably best known for his television directing, particularly The Beverly Hillbillies, Gunsmoke and My Three Sons. Filming was interrupted for approximately ten days when Durante had to go and finish filming on This Time for Keeps. The piano solos for the film were performed by a teenaged André Previn, under the musical direction of Johnny Green. Sinatra’s vocal arrangements were orchestrated by Axel Stordahl
Title: From Beyond the Grave
Content:  Kevin Connor says that he got the job as director after Milton Subotsky read some scripts he had adapted with some friends. Subotsky took four of them, linked them, and offered Connor the job. Connor pointed out that he had never directed a film before, but Subotsky argued that editors made the best directors. Connor says that the film's budget was "miniscule [sic]. In the early 70s the film business was in the doldrums and we could get a superb cast for almost minimum Equity." It was one of a number of horror movies starring Diana Dors.
Title: Miracle in Soho
Content:  to the story (he had directed once before and not liked it). Sir John Davis, head of Rank, allowed Pressburger to select a director from a short list of three young TV directors. Powell said he felt Davis was "maneuvering Eric into a position he could not defend" and suggested that Pressburger ask a more experienced director like David Lean or Carol Reed, or Jack Cardiff, who had been cinematographer on several Powell-Pressburger movies. However Pressburger picked the TV director Julian Aymes. Powell wrote in his memoirs that Aymes "couldn't direct traffic". Aymes had been working mostly in TV but moved to features to make Hill in 
Title: A.I. Artificial Intelligence
Content:  producer Jan Harlan reflected. "But it was a total failure, it looked awful." Hans Moravec was brought in as a technical consultant. Meanwhile, Kubrick and Harlan thought A.I. would be closer to Steven Spielberg's sensibilities as director. Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director. The film was put on hold due to Kubrick's commitment to Eyes Wide Shut (1999). After Kubrick's death in March 1999, Harlan and Christiane Kubrick approached Spielberg to take over the director's position. By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since Close Encounters of the Third Kind (1977). 

Question: Who was the director of The Situation?
Answer: Philip Haas.