A Quote by Scott Foley

I know, just from directing television, where you have a huge support system of producers and writers and a script supervisor - not just the cast but a crew of 100 people - there are, as a director, hundreds of questions that you have to answer every day.
I pretty much know that directing means that you have to answer about a thousand questions every day and you have to answer them quick.
My absolute favorite thing about working on 'Liv and Maddie' is my cast and crew. The people that I spend almost every hour of every day with. Your cast has great influence over the quality of your life, and I've been blessed with not just a cast, but a family.
American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.
If I had a script that I was ready to shoot tomorrow, I'd work on it every day until we got into production as soon as possible, but I don't have that script yet, so I'm trying to find and support writers, really young writers and hopefully come across a story that I wanna tell one day.
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
When you do a film, you know you're shooting for 6 or 9 weeks, you've got your cast and crew. Overall, no one can just pull the plug and say, 'This isn't working.' There's just no security on television, especially for African Americans. It's a tough market.
Directing, I just feel comfortable. I know what I want. I know what I want from my crew. I lead by example. I have limitless energy as a director.
I did a good bit of episodic television directing, but directing a movie is so much more complicated. And there's so much more responsibility because the medium is very much a director's medium. Television is much more of a producer's writer's medium so a lot of the time when you're directing a television show they have a color palette on set or a visual style and dynamic that's already been predetermined and you just kind of have to follow the rules.
My mom is a script supervisor. It's like the family business. It never had that feeling of entertainment. It was always more like, "Eh, it's just a movie," with that crew mentality, which is, "We've done it before and we can do it again."
Religion is a huge part of me; I'm a practicing Muslim. I'm pretty much open about it if people were to answer questions. At the end of the day, I'm just a normal girl. I have my own beliefs just like everyone else. I have a strong belief in something, but I also love music.
I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.
There have been times - and not just on 'The Newsroom,' but on 'The West Wing,' 'Sports Night,' 'Studio 60'... - where it was hard to look the cast and crew in the eye, when I put a script on the table that I knew just wasn't good enough.
I directed the next-to-last episode of 'Parenthood.' I wrote three of the four last episodes. I had the cast to my house. Had a champagne toast with the writers. Had a huge cast and crew party. Drank eggnog in the camera truck after we wrapped the final day. All that, and I don't really feel like I've said good-bye to 'Parenthood.'
Honestly, I love television. I love the idea of going to work every day and getting to know your crew and having a rapport with your directors and having a family of cast.
A movie script more than anything else is a plan of action for the crew. Everybody in the crew looks at the script to see what they're going to do. It has to contain where you are, and how many people are there, and what they do, and what time of day it is, and what time of year it is.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
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