A Conversation with Bethany Rooney and Mary Lou Belli, "Directors Tell The Story: Master the Craft of Television and Film Directing (Third Edition),” Focal Press/Routledge/Taylor & Francis, by James Scarborough.

In "Directors Tell The Story," veteran television directors Bethany Rooney and Mary Lou Belli have opened a window into the world of directorial decision-making. This third edition builds upon their established framework with crucial updates that reflect the industry's evolution, including sections on directing apps, intimacy coordinators, and virtual production.

This book abounds with practical wisdom, gleaned from the authors' combined decades behind the camera. Rooney, whose career spans from "St. Elsewhere" to current procedurals like "Law & Order SVU," brings a measured precision to her instruction, while Belli, a two-time Emmy winner, infuses the text with versatility earned across diverse genres.

Their "Insider Info" sections cut through theoretical approaches. It offers instead the kind of specific, actionable advice typically shared only between colleagues on set. The expanded collection of first-job stories represents a deliberate move toward inclusivity, featuring voices that might otherwise remain unheard in mainstream discourse.

The book's adoption by major industry workshops - Warner Brothers, ABC/Disney, and NBC/Universal - speaks to its pragmatic value. What began as a guide has evolved into an industry standard. It maps the often-opaque path from aspiring to working director. Serving as a bridge between academic understanding and professional application makes "Directors Tell The Story" not just informative but necessary reading for those serious about the craft.

Below follows an email conversation with Bethany Rooney and Mary Lou Belli.

JS: The third edition of "Directors Tell The Story" arrives at a time when production methods are rapidly evolving. Could you share what prompted the inclusion of new material on directing apps, intimacy coordinators, and virtual production?

BR: The second edition was published in 2016, and everything you mentioned has evolved since then. Since we wanted our book to continue to appeal to directors, both inexperienced and professionals, we felt compelled to bring it up to date.

MLB: In our book, the advice comes from practical application and real life experience. Using the Scriptation app was a game changer for me since we wrote the last edition.  Not only was I interested in it because the of the “green”  benefit and reducing my carbon footprint with the printing of multiple versions, I have also found it so easy to transfer notes, insert photos as well as director floor plans, and even use audio prompts when I want an actor to hear the correct pronunciation of a word. Also, as a governor at the TV Academy, I have also been in the-position to organize tours for directors to virtual production stages where they can see a demonstration of working in a “volume.” We thought that the next best thing to being there, would be to engage the expertise of Chris Fisher and Todd Holland who have used it extensively.

JS: Your book has become required reading in major industry workshops at Warner Brothers, ABC/Disney, and NBC/Universal. How does knowing your work serves as a foundational text influence your approach to revising and updating the material?

BR: It’s a huge responsibility to write a book that says, “Here’s how it’s done.” On the other hand, it’s a totally subjective business. Every director finds their own way to practice the craft and succeed. So what we’re really saying is, “Here’s what we have found to be the best practices in a very chaotic business.” If we can provide a solid foundation for those who are learning the craft, they can then build on that as they go forward and do things their own way.

MLB: My mother used to say, “With privilege, comes responsibility.” We look at the job of preparing the next generation of directors and ask ourselves what would make them better at their job when they get it. We never want to withhold information that could be useful. We also want to exhibit our enthusiasm for what we do so hopefully it will be infectious so that new directors can weather the hard and sometimes discouraging times which are inevitable when you are starting out.

JS: The book’s “How I Got My First Directing Job" sections feature stories from directors currently working in the field. What criteria guided your selection of these particular narratives? How do they reflect the diversity of paths into directing?

BR: There is no ladder in this business, no established way to go from A to B and on up to Z. So everybody has their own story about how they got in. And it’s fascinating reading! We just reached out to friends, and other directors with whom we’ve crossed paths, keeping in mind that we wanted to present a wide range of human experiences.

MLB: We wanted our new featured stories to reflect the most recent hiring practices. We also wanted those stories to be realistic without being discouraging.

JS: Both of you have directed numerous high-profile actors, including Oscar winners and Emmy nominees. How do the techniques you've developed for working with established talent translate into advice for directors just beginning their careers?

BR:  I learn something every single day that I direct. And if I can learn from those who have reached the apex of their own craft, I will gladly pass on those valuable nuggets. But the overarching theme is to have learned enough to feel confident in your creative choices.

MLB: My experience has shown that actors, no matter where they are in their career, want to be directed. Of course, they also don’t want to suffer fools. Our hope is that preparation is the secret sauce: know your script, know the story and back stories, have the courage to put your taste on the line with enthusiasm and conviction and actors will value your input. And never waste their time. We also don’t talk too much unless we have something important to say and then we try to be concise and precise.

JS: Your combined experience spans different television genres from sitcoms to procedurals to documentaries. How do you address the distinct challenges of each format while still providing universal directing principles in your book?

BR:  Of course each genre has its “rules” that a director needs to abide by in order to be successful. But I think of the genre as a set of clothes that covers the structure, which is telling the story. That is the north star. It is non-negotiable. You can adapt, and change the clothes as you embark on telling a sci-fi story, a rom-com, a multi-cam comedy. But you have to respect what’s underneath and tell the story, first and foremost.

MLB: Good acting and good directing don’t change. We are the “first audience” who witnesses the story. We sprinkle in genre specifics when applicable, but we are always aware that the story must be clear, the pieces must fit together, and hopefully the visuals will have an elegance when you select how to film them.

JS: You're both actively involved in mentoring through various diversity programs. How has this teaching experience shaped the content and approach of the book, particularly in this third edition?

BR: Directing is a complex matter, requiring many different skill sets.  The students teach me. I learn what people need to know, what is confusing and needs more explanation. I am thankful that in that process, I get better at elucidating the concepts. Really, I’m so grateful that the directing candidates provide the education that I need to go forward as a director, mentor and teacher.

MLB: I think of good teaching as breaking skills into learnable nuggets. And then, to allow our students to practice what we teach so they can own that skill set. Like Bethany, I learn from the students’ mastery or struggle to master. And when it’s the latter, I try to figure out what might be a better way to present the information. There is a great example of this in our last edition that was Bethany’s idea as a direct result of our teaching.  We observed that directors did not always understand “crossing the line.” When describing an OTS (over the shoulder) shot, we now ask directors to now specify which shoulder. So an OTS becomes an ORS or OLS, where R and L respectively stand for “right” or “left.” And the added bonus is that not only does their understanding grow but so does their precise communication.

JS: The industry has changed dramatically since your directing careers began in the 1980s. What core directing principles have remained constant despite technological and cultural shifts? How do you emphasize these in your book?

BR: For me, there are three primary responsibilities of a director, and they are the same since the dawn of filmmaking. They are: 1) understand the story and have the creative vision to tell it, 2) demonstrate the leadership qualities that make cast and crew want to not only follow that vision but contribute to it as well, and 3) care for your actors.

MLB: The technology is a joy. But the fundamentals that Bethany outlined are the foundation of our teaching and also what attracted us to each other as directors and co-authors. We view this job in a very similar way. I would just add one more. Keep and cherish your joy while doing the job. And if that is missing, move on or find a way to recapture it.

JS: Your "Insider Info" sections provide rare glimpses into professional knowledge not typically shared outside the industry. Could you explain your philosophy about demystifying these aspects of directing?

BR: Directing is not a solo enterprise. We need the gifts of each department to bring our vision to life. Understanding what a production designer or a grip or producer does only benefits the director, so we wanted to open some of those hidden doors and allow a glimpse of what our fellow craftspeople really do.

MLB: We also wanted to share our knowledge and be an “open book.” I remember meeting a woman who said when her mother shared a recipe, she always changed or left an ingredient out. The reason being she did not want anyone else to surpass her in the making of that dish. Bethany and I will NEVER understand that kind of reasoning. We and all our contributors want to share what we know with the belief that we want everyone we teach to excel and benefit from our cumulative experience learned in the trenches.

JS: Beyond technical instruction, the book addresses the director's role as both artist and team leader. How do you balance teaching the creative and managerial aspects of directing?

BR: My first boss, Bruce Paltrow, taught me that my job is not only deliver a fantastic episode, but also do so on time and on budget. That’s the managerial part. And it’s crucial, especially in episodic television. You can’t just be an “artiste.” You have to understand logistics and budget. You have to use both sides of your brain.

MLB: It’s a wholistic approach. And I think Bethany and I like both sides.  And you have to understand the value of both if for no other reason that we want this art form to exist, grow, and thrive. And the fact is that it’s a business that will continue to be financed as long as the folks producing it are making money.

JS: After three editions and years of influencing emerging directors, how do you hope "Directors Tell The Story" will ultimately impact the evolution of television and film directing as a craft?

BR: I’ve learned a lot, over 40 years and 250+ episodes. I felt compelled to pass it on, pay it forward, assist the next generation of directors. I just want those emerging directors to respect the craft and do it well. I hope this book helps.

MLB: I am humbled every time a director shares with me that our book has helped them. The highest praise for me is when it is referred to as “handbook.”

"Directors Tell The Story: Master the Craft of Television and Film Directing - Third Edition" will be released on Monday, March 31, 2025. The book is published by Focal Press/Routledge/Taylor & Francis. For more information, click here.