An Exclusive With Dan Liu:
TV Director & Video Editor
For years, Dan Liu was the quiet force behind the scenes, shaping some of television's most popular series from the editing room. Today, he's calling the shots from the director's chair, steering episodes of The Walking Dead, For All Mankind, Star Trek: Picard, and Star Trek: Strange New Worlds, and more. His journey to the helm of major franchises is a testament to persistence, preparation, and knowing when to seize a valuable opportunity.
Born in San Francisco and raised in the Bay Area, Liu's career path took him first to New York for university, and later to Los Angeles, where he set his sights on scripted television and film. The leap from editing to directing began with an unexpected push from an actor who believed in him.
"Sonequa Martin-Green approached me one day on set and asked if there was anything she could do to help me get into directing faster," Liu recalls.
At the time, Liu was one of The Walking Dead's main video editors. In 2016, he directed a short film that caught the eye of his showrunner, earning him a shadowing opportunity with director Michael Satrazemis during Season 7. Spurred on by actress Martin-Green's encouragement, Liu developed his own short, The Last. Although Martin-Green had to bow out when she joined the Star Trek: Discovery as it's protagonist, Liu went ahead with production, a pivotal decision that paved the way for him to direct his first Walking Dead episode in Season 8.
Liu's time on The Walking Dead also brought him into contact with one of his biggest on-set inspirations: Andrew Lincoln.
"He was the quintessential leader, always early, always prepared, going above and beyond, and never afraid to brave the elements," Liu says.
As a director, Liu carries that same ethos into every project. He's meticulous in his preparation, planning his vision in advance while remaining flexible enough to adapt on the fly, about 30 percent of the time, he says.
That adaptability is key, especially in the high-pressure world of TV production, where schedules are tight and resources limited. "I enjoy working within limitations. It's like solving a giant puzzle," Liu explains. "I don't feel burned out."
Whether it's sci-fi, crime, horror, or pure drama, Liu approaches each script as an opportunity to deepen characters' journeys. This begins with tone meetings with writers, followed by conversations with the cast to discuss new beats.
"Every new script is a chance to evolve a character or bring a new memory into their experience," he says.
On set, Liu believes in concise, actionable direction. He rarely gives more than two or three notes per take, preferring to let actors explore the material through multiple takes when time allows. One of his most memorable experiences came on For All Mankind Season 3, directing an emotionally charged storyline between President Ellen Wilson and her former lover, Pam, a sequence he still cites as his favorite drama.
Even with an impressive list of credits, Liu remains energized by the collaborative nature of film-making. "It's amazing to see so many people with different expertise working together to tell a visually compelling story," he says. "Recently, I was standing on the bridge set, calling cues for camera, special effects, stunts, and actors." He then went on to say, "There's no way younger me would have believed that."
He credits much of his own craft to the mentors who guided him; Editors Mitch Jacobson, Sam Pollard, and Julius Ramsay, as well as director Michael Satrazemis; Each of whom shaped a different aspect of his storytelling sensibilities.
While Liu hasn't yet ventured into feature films, he's developing several with different writers. He's also intrigued by emerging technology like AI, though he's cautious about its role.
"AI is another tool of storytelling, but it's up to us to make sure it doesn't detract from the human experience," he says. "I love the interactive collaboration that comes from working with people."
He's equally outspoken about the importance of diversity in the industry, noting that while there's more representation behind the camera than when he began, diversity programs have been shrinking. "Variety in the stories we hear and tell enriches every project," he says. "I hope we see a renewed value in different voices."
When he's not on set, Liu enjoys shows like Too Much, Dept Q, and Foundation, and recently loved the film, Materialists. In Los Angeles, his go-to spots are Felix ("some of the best pasta around") and Rasarumah for Southeast Asian–inspired food.
His directing kit is streamlined—an iPad is the one tool he always carries, and his most common note to actors is simple but effective: "Remember what happened right before this."
The Work That Deserves More Eyes
Despite his accomplishments, Liu is quick to point out projects he feels deserve more recognition. For All Mankind Season 3, Episode 8 remains a personal highlight. "The character drama in that episode hit some high marks, but a lot of people still haven't seen the show," he says.
As for what's next, Liu is mum on certain projects, thanks to ironclad NDAs, but the excitement in his voice makes it clear he has plenty more stories to tell. And for a man who thrives on bringing his vision to life, that's exactly where he wants to be. Personally, I wouldn't be surprised if he was involved in season 1 of the upcoming Starfleet Academy series, but we'll just have to wait and see.
Unfortunately, our interview got cut short before Mr. Liu could answer these final questions:
What's the biggest challenge you've faced as a director, and how did you overcome it?
Are there any lesser-known directors or films that have had a big influence on you?
How do you balance the intense, often long hours of directing with personal life or downtime?
But he's a very busy man, and most interviews with VIPs like Dan Liu don't normally go half this long anyway. I feel honored to have had this opportunity.
