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.
Prolific director MARY LOU BELLI has earned three Primetime Emmy Award nominations for her work on The Ms. Pat Show and has won two LA Local Emmys. She is the author of four books, including the third edition of the recently published Directors Tell the Story, which she co-wrote with Bethany Rooney. Mary Lou is known for being a generous and effective mentor, and has taught numerous workshops and classes for fellowships and organizations like AWD.
In this spotlight Mary Lou talks about how to advocate for your creative choices, how her beliefs about directing have changed over the years, and what she defines as success!
AWD: You’ve directed episodes of shows like The Ms. Pat Show, Elsbeth, Monk, and NCIS: New Orleans. Was there a particular episode that shifted how you approach storytelling?
I think my first one-hour show, Monk, and that episode, “Mr Monk Takes the Stand” changed me as a storyteller in two ways. First, it was the first time I was very outspoken about casting and how much I knew that getting the right guest star could make or break the episode. The names being tossed around were sometimes simply wrong for the story and I held to my guns about getting the right one…and that involved talking to the creator of the show and defending my position. The second and even more important shift happened when I embraced that my pallet was 360 degrees. That was different from the world of sitcoms where I directed more than 100 episodes already which resembled a theatrical stage. The cameras and other equipment became tools with which to enhance the story, not simply record it.
Is there a belief about directing that you held 15 years ago, but have completely changed your mind about?
I don’t think that 15 years ago I realized quite how personality driven the job is while both getting the gig and actually doing it. I naively thought that if I was good at my job, I’d get more gigs…and that is still part of it…but so much of the job is about chemistry between you and the showrunner, the studio execs, the talent and the HODs. I also might of thought back then that I was “right” for every job…Not so. There are good fits, better fits, and best fits! When you are in the situation of the latter two, the show benefits!
Comedy continues to evolve across tone, timing, and platform. How do you tap into humor that still feels grounded, relevant, and true to the story?
Well, I think you answered that in the question. I trust my gut to keep the comedy grounded, relevant, and true, within the confines of the tone of the show. To that end I take a deep dive into every show BEFORE I direct…I’m looking for the recurring elements that I want to bring out because they have rang true to me in past episodes. Then I try to add my special sauce and variation within their world.
Have you ever had to advocate for a creative choice that pushed against what a showrunner or executive wanted? How did you navigate that conversation while staying true to the story?
Yes. I think respect and passion are the two most important things you need to employ when this happens. And recognizing what battles are winnable. If you know the story, the series, and the style of writing, you won’t ever ask for something that is out of the realm of their show. If you show that kind of knowledge, you also show respect for all the work that has gone into the creative decisions that were made before you ever arrived, it will help your cause. Now, that being said, it’s also important to recognize when to pivot and let go of something if you are not going to win…Choose your battles and die on your sword ONLY when it is critical.
Is there a behind-the-scenes moment you carry with pride because it reflects who you are as a leader, even if no one else saw it?
Yes. I have only cleared a set or raised my voice a couple times in my whole career. Both instances had to do with someone being belittled, harassed, or disrespected. I knew that it might cost me future work…(and it did) but I did it anyway. There is NO room for that kind of behavior while working. As the director and leader it is critical to set an example. And sometimes you can handle this kind of situation with tact and grace and sometimes it’s just important to say in the moment “Stop that!”
What shift, whether in the industry or from your own perspective, led you and Bethany Rooney to create a new edition of Directors Tell the Story?
We wanted to address the changes in Casting and the world of Augmented Reality, as well as apps that are critical to the director’s toolbox like Scriptation, among many other updates in the industry. And as with everything in Directors Tell the Story that is meant to be a handbook, we never hold back when a real life anecdote or practical application is the best way to illustrate our points. The value of this book is that it is written by working directors with current real world experience.
Is there a particular section or topic in the new edition of Directors Tell the Story that you hope will have the biggest impact on a reader’s craft?
We get such great feedback from readers about the inspiration they receive from the “how I got my first job stories.” We have added new and different stories and moved some of the ones from former editions to the website. We also know that the directors diagram has become a staple for directors as well as the info we give about directing actors. And the new information about changes netted by the DGA is up to date.
When mentoring emerging directors, how do you personally define success? Is it about craft, confidence, collaboration—or something else entirely?
Success is about all those things! We stress doing the work in prep so that you know your show inside and out and have respect for all the departments and time they need to do their jobs well and collaborate with you on your vision. We think it is important to display confidence while being a leader…and compassion goes hand in hand with that.
I define success by wanting what you get. So we think you need to fall in love with every episode you direct and share a little bit (or a lot!) of yourself while doing it. And being grateful for every opportunity to grow is a recipe for happiness…which also happens to be how I define success.
Has there been a moment in your teaching or mentoring when a student’s breakthrough gave you a new insight about directing or leadership?
Yes. I am more and more sure that this business is all about relationships and it has been through helping students or mentees navigate a needed pivot, whether work oriented or personality oriented, that has reminded me that pivoting or addressing even difficult relationships with grace and empathy is the way to go.
In an industry where that first or even second “Yes” from decision makers can feel nearly impossible, how do you encourage directors to stay on the course and position themselves to earn that trust?
There are no roadblocks, only detours. Think of a career as a trip and embrace the detours. And work on expanding your network and building trust in everything you do so you position yourself with a huge amount of people who will want to recommend you, vouch for you, or endorse you.
Looking ahead, what kind of legacy do you hope your industry contributions leave behind for future generations of storytellers?
I hope the books I have co-written will inspire and instruct and I hope my example will teach others that giving back and mentoring is a privilege and responsibility.
The industry is in a moment of reset between the strikes, changing distribution models, and shifting audience behaviors. What do you hope this next chapter brings for directors, especially those trying to break in now?
I hope we figure out geo-scope and that directors, no matter where they work and where they are in their careers will be treated fairly and compensated generously. I also hope that the workplace is safe no matter whether it is a student film or a tentpole mega shoot. I also hope that entrepreneurship and authenticity will be a factor in new directors getting jobs.
