Questions by: Emma Encinas, Women in Media volunteer and pre-entertainment law student. Emma has also written for Ms. Magazine and Water Inequity Network on Medium.
Two time Emmy award-winning MARY LOU BELLI has been directing television for over 30 years. She was recently nominated for a Primetime Emmy for Comedy Directing as well as another Emmy for Children’s Programming. Mary Lou served two terms as the Co-chair of the Women’s Steering Committee at the DGA where she also has served on the Western Director’s Council.
She is an Honorary Board member of the Alliance of Women Directors and Advisory Board member of Women in Media. Mary Lou also serves on the Advisory Circle of Film Fatales and is a long time member of Women In Film as well as the Peer Group Executive Committee of the Academy of Television Arts & Sciences where she presently serves as one of the Governors. She is the co-author of four books: “The NEW Sitcom Career Book,” “Acting for Young Actors,” and “Directors Tell the Story” which she co-wrote with fellow DGA member Bethany Rooney. Her fourth book, “Acting for the Screen,” was published in 2019.
EE: Prior to directing, you were an actor. How has that informed your process and your career as a director?
MLB: Knowing and understanding the actor’s process is the single most important thing that distinguishes me as a director. From experience, I understand an actor’s process because l’ve been there. I know their vocabulary; I’ve experienced the highs and lows both career wise and performance wise.
EE: How does directing differ from acting?
MLB: It is death for an actor to watch herself. It is the key to good directing to watch well and sense instincts and nuance.
EE: You are a director, producer, lecturer, and author. Tell us about how you moved into each of these roles. Is there one that you favor over the others?
MLB: I was urged by a wonderful actor named Jack Riley to direct TV. I was able to observe things due to the generosity of directors with whom I was working already and others that invited me to shadow them. I also augmented my skill set with directing theater, my first home.
EE: What led you to teaching and coaching acting?
MLB: I was first asked to become a teacher at USC by Helene Head. She was persistent, I tried it, and I loved it. One learns by being able to articulate the skills needed on a job. Coaching acting was a nice meshing of directing and acting. I took to it because of my empathy and love for actors and acting. I began doing it on shows where there were children, and moved into doing it on shows where adult stars requested me.
EE: What propelled you towards becoming an author?
MLB: The author part was just reminding myself I LOVED to write . . . and finding collaborators who wanted to work with me. My writing helped me to solidify my knowledge of the subject. In all cases there was info out there that was not unique to me, but no one had shared it/put it in a book yet. In all the cases of my first three books I must credit my co-authors for finding the “voice” of the story. I contributed to the content but suggesting the structure in all cases was my special sauce. Meaning I directed the organization of information in the book. (Like you might do for an outline).
EE: Your commitment to giving more to the creative community is admired and appreciated. Who are some of the most inspiring people you’ve worked with and in what capacity?
MLB: They can be broken down into people I have taught with, written with, been generously mentored by or had the privilege to direct. These folks include Bethany Rooney, Lesli Linka Glatter, Nancy Malone, Oz Scott, Phil Ramuno, Michael Lembeck, Terence O’Hara, Tony Shalhoub, Scott Bakula, Rachel Raimist, Andy Wolk, Paris Barclay, Talicia Raggs, Rebecca Franko, Rebecca Windsor, Chris Sanagustin.
EE: You have been a mentor to others. Who are your mentors?
MLB: Bethany Rooney, Michael Lembeck, Terence O’Hara, Tony Shalhoub, Scott Bakula, Rachel Raimist, Andy Wolk, Paris Barclay, Talicia Raggs, Oz Scott.
EE: What was it about their mentorship that affected you as an artist and technician?
MLB: They taught me how to give myself to get – my motto: give to get. In almost all cases, the key element of the mentorship was that they had something to share that I did not know yet.
EE: What is your favorite genre to direct? Why?
MLB: Procedurals and action. The palette is wide and open to so much creativity. Love the drama!
EE: You’ve directed so many different types of shows. Is there a common thread in your approach when working with actors as well as the crew?
MLB: YES, good acting. And the story is KING.
EE: You are the co-chair of the DGA women’s steering committee and advisory board member for Women in Media. How do you use your platform to advocate for people working behind the scenes?
MLB: Making sure that the next generation of directors are well trained, confident and ready to knock it out of the park. I talk about my mentees ALL THE TIME. I also spotlight folks on social media and contribute to their projects.
EE: How has the entertainment industry changed in terms of inclusion over your career?
MLB: It gets better every day. Awareness has been key…acting upon it and having geniuses and committed folks in Diversity and Inclusion positions really moved the needle. The DGA was a HUGE player in making this happen.
EE: What is your wish for 2025?
MLB: Peace and prosperity!
Mary Lou’s many credits include: NCIS: NEW ORLEANS; BLACK LIGHTNING; BULL; LEGACIES; SWEET MAGNOLIAS; STATION 19; HART OF DIXIE; WIZARDS OF WAVERLY PLACE; SISTER, SISTER; GIRLFRIENDS; THE GAME. In 2024, she was nominated for an Emmy for directing THE MS. PAT SHOW
