A Conversation with Bethany Rooney and Mary Lou Belli, “Directors Tell The Story: Master the Craft of Television and Film Directing (Third Edition)” by James Scarborough

Interview first published March 11, 2025 on What The Butler Saw

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.

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?

To read the FULL ARTICLE by James Scarborough go to: What the Butler Saw

Shared with permission.