AWD Icon Members work extensively in feature films, television, commercials, music videos, and/or new media. They have not only shown exceptional skill and/or received substantial acclaim, but are also advocates for AWD’s mission for parity in the entertainment industry.
AWD Icon Member Bethany Rooney is one of the most sought after television directors, having helmed hundreds of episodes. She teaches for numerous labs and programs including those sponsored by NBCU Launch, Warner Brothers, and the DGA. Bethany co-authored, with her colleague and fellow Icon Member Mary Lou Belli, the popular book Directors Tell the Story, which will see the release of its third edition next year.
Bethany spoke with AWD about the basic building blocks needed to be an excellent director, how to showcase your voice as an episodic director, and which department is often neglected (and why it shouldn’t be).
AWD: You’ve discussed the value of simplicity in storytelling. Can you share how this approach has influenced your directing style over the years, especially when managing complex procedural dramas?
BR: Simplicity means clearly telling the story. That comes from knowing exactly what the story is: the characters, the subtext, what has to be accomplished in each scene, and how does it move the story forward? It is only when a director can answer those questions that the blocking becomes apparent and the shot selection flows from that. No matter the style or tone of the show, these are the basic building blocks of being an excellent director.
As a new episodic director, how can someone best take advantage of resources like style guides, tone meetings, and insights from the producing director to ensure their episode aligns with the show’s vision while still showcasing their directorial voice?
A new director will listen and watch, picking up all the tips and information that everyone in production wants to impart. But then, tuck that info away in a mental file under “might be helpful, might not.” Everyone’s opinion is subjective, and their experience may not be yours. Certainly you’ll pay attention to the showrunner in the tone meeting, as he/she is the one you need to impress. And you will adhere to the style of the show. But every decision you make originates in your heart, your head, your life experience. So you will be the director, and the show will reflect your take on the material. If someone gave ten different directors all the same elements – the script, the actors, the crew, the sets, everything – you’d still have ten very different episodes, due to the directors’ choices. So there’s no need to worry about showcasing your directorial voice – it will be illustrated by the choices you make.
What’s your approach when working with actors who have varying levels of experience or different methods? How do you tailor your directing style to meet their needs?
A director has to be a great psychologist, one who can assess almost immediately what the personalities and requirements are of everyone they meet when they show up for the job: not only the actors, but the crew, the staff, the writers…but when working with actors, extra sensitivity is required. The actors are in such a vulnerable position by making creative choices for all the world to see: they are metaphorically exposed. It helps to present yourself authentically as open to their needs while giving the accurate impression that you have the strength and intelligence needed to be their leader. How do you do that? You have self-confidence born of experience as well as the humility of being a student of humanity. It’s tricky and complicated, and you get better at it with time and experience.
Do you have advice for negotiating with producers about resources needed to achieve your creative vision for an episode (e.g., negotiating fewer background extras for a technocrane)? Have you found there to be “best practices” when having these conversations?
Just know that everything is a negotiation and be open to that. However, you also have to know where your bottom line is: the creative concept that is so important to telling your story that you won’t compromise on it.
In your early days as an associate producer, you gained valuable insights into post-production while supervising every frame. What are some common oversights that directors might make during filming that can significantly impact the post-production process in television?
Be aware of the needs of the sound department. So often, we neglect them and the sound quality they are trying to achieve. Yes, you can ADR later. But it’s better if you can get clean sound in production.
As someone who has seen the industry evolve, how do you think technological advancements (such as virtual production and streaming) are shaping the future of television directing?
While shooting on set, it’s still the same procedure for a director. But in prep and post, so much has changed. There’s no in-person casting or in-person editing. It works, obviously, but a human interaction element has been lost and I mourn that.
Virtual production requires adaptation and new skills for the director, but it’s here to stay and it contributes mightily to any storytelling outside of the contemporary arena.
My feeling is that if you’ve learned the old way, you can adapt to a new way while honoring our sacred obligation to tell the story in the best way possible.
As an Icon Member of the Alliance of Women Directors, how do you advocate for and support women in the directing field?
After directing over 250 episodes of primetime episodic drama, I’m passionate about sharing what I know to help rising directors succeed in the business. I teach several studio diversity programs and the DGA’s Director Development Initiative. I co-wrote the directing textbook, Directors Tell the Story, and the updated 3rd edition will be published in March.
Are there any upcoming projects or collaborations you’re excited about that you’d like to share with AWD and our community?
No, thank you – I’m just going to keep doing what I do. I love it, I still learn something every day, and I’m grateful to stretch creatively. I believe that directing TV is the best job I could ever have, and I’m glad to welcome more women into the field!