In a wide-ranginginterview with the LA Times, actor and directorBen Stilleropened up about several ambitious projects he’s currently pursuing. On his current docket is a World War II drama about a downed airman who joins the French Resistance, a fourth installment in theMeet the Parentsfranchise, titledFocker-in-Law, and a potential film adaptation ofBag Man,Rachel Maddow’s podcastdetailing the bribery scandal surrounding former Vice PresidentSpiro Agnew. Each of these projects highlights Stiller’s creative range and his growing interest in stories that blend history, politics, and character-driven drama.
But the biggest headline from the article wasn’t about what Stillerisdoing — it was about what he’s choosingnotto pursue. For the first time,Stiller confirmed hewon’t be directing any episodesofSeveranceSeason 3. While he and showrunnerDan Ericksonremain heavily involved in shaping the new season, Stiller is stepping away from the director’s chair to focus on his expanding slate of projects. The news has sparked concern among some fans, given how much his directing helped defineSeverance’s tone and distinctive visual style, but Stiller taking a step back from the director’s chair actually bodes well for the show’s third season.
‘Severance’ Has Already Established Its Visual Identity
What madeSeverancesuch acultural phenomenon and a critical hitwas a combination of elements, from standout performances to sharp, inventive writing by Erickson and his team. But one of themost immediately striking aspects of the show was its distinct visual aesthetic, largely shaped by Stiller’s direction in Season 1. Working with frequent collaborator and cinematographerJessica Lee Gagné(who also partnered with him onEscape at Dannemora), the two crafted the show’s signature look. Shooting in sterile, white-walled corporate spaces can’t be easy, but through stark symmetry andrevolutionary camerawork, they developed a visual style that emphasized the eerie disconnect betweenthe “innie” and “outie” livesof its characters.
Television is traditionally a writer’s medium, and most prestige shows are designed to maintain visual and tonal consistency even as directors rotate in and out. That consistency comes from the groundwork laid early by the producing team and crew, whichdefines the visual languageand ensures it carries through every episode. In the case ofSeverance,Stiller played a major role in crafting that identity,and even though he’s stepping back from directing duties in Season 3, he’s remained involved in the planning process that’s shaped its direction. His fingerprints are still all over the show, but the fact that he trusts the rest of the creative team to carry that vision forward speaks volumes. It reflects both his belief in their talent and the confidence thatthe aesthetic he helped establishcan continue to evolve without his constant presence behind the camera.
In fact, inviting new directors into the fold has only expanded the show’s cinematic language. While Stiller has directed 11 of the show’s 19 episodes, four other directors have contributed across Seasons 1 and 2,including Gagné herself, who made her directorial debut with the standoutSeason 2 episode “Chikhai Bardo.”By Season 2, the show had become a collaborative effort not just among the cast but across the crew. Stiller even acknowledged this shift ina recent social media post, writing: “I’m not going anywhere… We have incredible directors and a team that create the show. I love directing it and look forward to at some point again for sure. I feel like Season 3 is going to be the best yet as we continue to evolve.”
Ben Stiller Returning To Direct Films Is Good for Everyone
WhenEscape at Dannemorawas first announced, it surprised many to hear that Ben Stiller, best known for his comedic acting in films likeZoolanderandDodgeball,would be directing a dark, grounded drama. Skepticism was understandable, but any doubts disappeared quickly once audiences saw the result.Severanceonly cemented that Stiller isn’t just a great comedic performer, he’s a serious, thoughtful director. There’s no question that his work behind the camera helped defineSeverance’s early success. But as Stiller himself understands,television doesn’t require a single director to thrive, and in some cases, rotating directors only enhances a show’s creative depth.
Stiller’s decision to step away from directing duties in Season 3 makes complete sense, and frankly, it’s well-deserved.Why wouldn’t audiences want to see more Stiller-directed projectsnow that he’s proven just how versatile he is behind the camera? His upcoming slate shows that range: a World War II epic and a planned adaptation of a political podcast. These may have once seemed out of character fora comedic actor, but for a director like Stiller, they’re a natural evolution. Fans ofSeveranceshould be grateful for what he’s contributed, and equally excited about what’s to come.
In his Los Angeles Times interview, Stiller acknowledged how precious time is, saying, “Time is valuable.” After decades in the industry and growing uparound it with famous parents, he understands how long it takes for meaningful projects to come together. He also knows he’s leavingSeverancein the best possible hands. Erickson, who learned directly from Stiller’s approach, is more than capable of carrying the vision forward. Rather than risk burnout, Stiller has chosen to trust his collaborators — and now,the show he helped build has the cast, crew, and aesthetic foundation to thrivewith other visionary directors taking the helm.
