George Clooney has this weird way of making everything look effortless. You see him on a red carpet, and it’s all silver hair and perfect suits. But lately, the buzz hasn't just been about his acting. It’s about the guy behind the camera. If you've been tracking the george clooney new movie director transition, you know he's been leaning hard into the filmmaker chair lately.
He’s currently riding high on the release of Jay Kelly, that Netflix road movie directed by Noah Baumbach. It’s a trip—literally—through Europe where Clooney plays an aging, somewhat jerky movie star. But while he’s acting there, his real focus has shifted to what he’s building from the director’s seat. Honestly, the industry is watching his next moves because they aren't just "celebrity vanity projects." They’re high-stakes gambles.
The Big Pivot: The Department and the Spy Game
For anyone wondering where Clooney is puting his directing energy right now, the answer is a gritty, high-stakes series called The Department.
This isn't just another TV show. It’s a straight-to-series order from Showtime, and Clooney is at the helm. He’s taking the DNA of the legendary French spy thriller Le Bureau des Légendes (The Bureau) and transplanting it into a US setting.
"I've always been interested in the corridors of power," Clooney has mentioned in various forms over the years.
He's not lying. Look at Good Night, and Good Luck or The Ides of March. The man loves a room full of people in suits making decisions that ruin lives. For The Department, he’s tapped Michael Fassbender to lead. Think about that pairing for a second. Fassbender—intense, precise, a bit scary—under Clooney’s direction, which tends to be more classic and patient.
They started filming in London recently. It’s a massive undertaking because the original French series is widely considered one of the best spy shows ever made. Clooney isn't just directing an episode or two; he’s the creative engine here. He’s producing alongside Grant Heslov through their Smokehouse Pictures banner.
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Why the George Clooney New Movie Director Brand is Different
A lot of actors try to direct. Most of them fail or end up making "indie" movies that three people see at Sundance.
Clooney is different because he’s a classicist. He doesn't use a lot of shaky cam. He doesn't like digital trickery. When he directed The Boys in the Boat, he was obsessed with the authenticity of the rowing and the 1930s setting.
His style is "invisible" in a way that feels like 1970s Hollywood. He’s influenced by guys like Sidney Lumet. You see it in the way he frames shots—long takes, letting actors actually act without cutting every two seconds.
The Projects That Almost Happened
It’s worth mentioning what isn't happening, too. There was a lot of talk about a Wolfs sequel with Brad Pitt. Jon Watts (the Spider-Man guy) was supposed to do it. But that blew up. Watts basically said he didn't trust Apple as a creative partner after they pulled the theatrical release.
Clooney, being the pro he is, hasn't trashed anyone. But it’s clear he prefers projects where he has more control. That’s why The Department is so central to his 2026 plans. He wants to be the one calling the shots on the release and the tone.
Ocean's 14 and the 2026 Schedule
Now, the elephant in the room. Or rather, the eleven (or fourteen) elephants.
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Clooney recently confirmed that Ocean's 14 is actually, finally moving. Warner Bros. approved the budget. He’s been having dinners with Julia Roberts and Brad Pitt to get the gang back together.
While he might not be the george clooney new movie director for this specific one—David Leitch has been the name floating around for the director's chair—Clooney’s influence as a producer and "ghost director" is always there. He’s the one who set the tone for that franchise alongside Steven Soderbergh.
He’s 64 now. He told USA Today recently that he plans to keep going "till the wheels fall off."
The "wheels" seem pretty firmly attached. He’s balancing The Department in London with the prep for Ocean's 14, which is slated to start filming later in 2026.
What This Means for Film Fans
If you’re a fan of his work, you’re seeing a shift. He’s less interested in being the "Sexiest Man Alive" and more interested in being the guy who decides what stories get told.
- The Political Edge: Expect his future directing projects to stay in the realm of espionage and political tension.
- The Fassbender Factor: The Department will likely be a career highlight for both men. It’s dark, it’s European in style, and it’s a departure from Clooney’s more "charming" work.
- Netflix vs. Theaters: Despite the Wolfs drama, he’s still working with streamers (Jay Kelly is proof). But he’s pushing for theatrical footprints whenever possible.
He recently stepped into the line of fire to defend actors like Paul Dano and Owen Wilson after Quentin Tarantino took some shots at them. Clooney called this an "age of cruelty" and said he’d be honored to work with those guys. That tells you everything you need to know about his directing philosophy. He’s an "actor’s director." He builds sets where people feel safe to fail.
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Steps to Follow Clooney's Directorial Career
If you want to keep up with what he’s doing behind the camera, here is the best way to stay in the loop:
Keep an eye on Showtime/Paramount+ for the first trailers of The Department. Given the London filming schedule, we're likely looking at a late 2026 release.
Watch the French original, Le Bureau des Légendes. It’ll give you a massive head start on the plot and the vibe Clooney is trying to capture. It’s available on various streaming platforms and is genuinely incredible.
Check the industry trades like Deadline or The Hollywood Reporter for the official "start date" of Ocean's 14. Clooney said it's "9 or 10 months away" as of late 2025, which puts the cameras rolling right around summer or fall of 2026.
Look for his name in the producing credits. Often, George directs "uncredited" or heavily influences the visual style of projects he produces through Smokehouse. If Grant Heslov is involved, George isn't far behind.
The transition from movie star to power-broker director is almost complete. He’s not just the guy in front of the lens anymore; he’s the one building the entire world.