Jodie Foster Earns First DGA Noms For 'Orange' & 'House Of Cards': Inside Her Process

TV is where it is at for Jodie Foster. While she hit a bump with her 2011 feature directorial, the Mel Gibson drama, The Beaver ($971K), her jodie foster orange is new black thirsty birdTV directing credits over the last year for House of Cards and Jenji Kohan’s Orange Is The New Black earned the two-time Oscar-winning actress her first DGA noms of her career.  The helmers’ union recognized Foster for her work on the House of Cards second season episode “Chapter 22” as well as the first episode of The Orange Is The New Black‘s second season, “Thirsty Bird”.  Foster’s pair of DGA noms follow her Emmy nom last summer for comedy series directing on the third episode of Orange Is the New Black entitled “Lesbian Request Denied” (which marked her second Emmy nod overall, the first being for the Showtime 1999 movie she executive produced, The Baby Dance, starring Stockard Channing and Laura Dern).  “Thirsty Bird” is about the dilemma Piper (Taylor Schilling) faces when she’s on trial suddenly to testify against Alex’s (Laura Prepon) drug boss Kubra Balik. “Chapter 22” revolves around the political Underwoods (Kevin Spacey, Robin Wright) entanglement in a scandal spurred by Tusk (Gerald McRaney).

It would be an understatement to say that the word ‘bold’ is always associated with Foster’s oeuvre, whether it’s playing a child prostitute in Martin Scorsese’s 1976 iconic Taxi Driver to producing and acting in the 2007  femme vigilante film The Brave One. Orange Is the New Black is arguably the first time that Foster as a director has dealt with the subject of lesbianism on screen. Frequently, feature directors are finding creative redemption in TV, read Doomsday British helmer Neil Marshall who was behind two Games of Thrones episodes, last season’s being “The Watchers on the Wall”.

Jodie Foster earns first Emmy directing nomination with Orange Is The New BlackOrange Is The New Black landed on Foster’s radar after she read Piper Kerman’s novel. “I asked my agents, ‘Can I be a a part of this?’ and they said that Jenji Kohan just bought it for Netflix,” says the actress.  Foster soon learned that a friend of hers was a line producer on the show, and before she knew it, was being handed a script to direct. “They (Kohan and Netflix) essentially said ‘Hey you get this one'”, says Foster, which is not unusual when script assignments are made to actors-turned-helmers on a TV series. Don Cheadle was in a similar scenario when he was handed the telescript for the House of Lies episode “Associates” this year.

“As a director, dramedy is what I do,” Foster tells Deadline who adores Kohan’s unique sensibility for moving, bawdy comedy, “It’s not who I am as an actor. The genre requires a very specific skill in terms of recognizing what is quirky and perverse, and to be moved by it. The female prisoners on Orange Is The New Black have a very spiritual journey that’s so complex. They’re all soul-searching and they change through each other”.

Jodie Foster Earns Emmy Nomination for Directing Orange Is the New BlackEach Orange Is The New Black episode in season one dealt with the backstory of a character, i.e. “Lesbian Request Denied” centered around Emmy-nominee Laverne Cox‘s transexual character Sophia Burset, a former New York City fire fighter who underwent a sexual transfomation in jail (there’s a great shot of Cox looking in the mirror and seeing herself as a man during the episode).   The main gist of Orange Is The New Black focuses on Taylor Schilling‘s character Piper Chapman, a newly engaged upper-middle class woman who has been thrown in jail for transporting cash on behalf of her drug lord girfriend. In “Lesbian”, Piper is being pursued romantically by “Crazy Eyes” (another guest actress comedy Emmy nominee today, Uzo Aduba) who eagerly desires to be cellmates with her.  The episode title comes from one of the prison administrator’s remarks to Piper that Crazy’s request will not be honored.

“It’s all about the journey of Laverne’s character and it’s the beginning of the audience really understanding what Orange Is The New Black is really about,” explains Foster, “It’s about identity and struggle.” One key moment for Foster was when Sophia dresses like a woman assisted by her wife, who advises her not to go through with the sex change operation. “It’s one of the least verbal scenes and it’s beautifully written” adds Foster.

Jodie Foster Earns Emmy Directing Nomination for Orange Is the New BlackFoster shot the episode in eight days, which is typical for a TV production shoot.  Unlike a film production shoot, TV actors don’t have time to get into a method prep mode for their characters before a scene. “I am an actor’s director, the first of whom signed with Orange. A lot of the actresses on the show are fresh out of Juilliard.” says the two-time Oscar winning actress who advised Cox “to  dive a little deeper” into her character and “not play a heightened version of herself.” Cox made Emmy history today as the first transgender nominee.

Foster easily took to the fast-natured pace of TV directing, explaining, “I’m not one for lounging around and having long soliloquies about a character. TV is the biggest team effort and the pace happens so fast.” As such, she found some time to meet with the actors in advance of the episode.

While it was anticipated that Orange Is The New Black would fare well in the Emmy acting noms today, particularly following its TV Critics Choice award wins for best comedy series, guest actress Aduba and supporting actress Kate Mulgrew, Foster was completely floored by her nomination.  Says the actress-director, “I was shocked and confused. I don’t know anything about the Emmy nominations.  All I knew was — they were happening.”

  1. Question? Are demographic people the one’s who are actually making the money decisions in Hollywood now?
    Has movie making and entertainment in general been reduced to compartments? All in an effort to squeeze every dime out of every little box.

    i know everything is a science now but, by treating the Gay community as an income generator and not a part of the whole, is Hollywood reducing them even further into a reinforced compartment. Much the same way as they have with all minorities especially blacks. One only has to look at the programming and film dialog to see this. The legal system, drugs, violence, death and murder accepted as being a normal part of every day life. The new Step and Fetchit’s you see who fill the “Fairy” and “Dyke” roles.

    Jody you should have known better. Or, is this they’re way of making you tote the line and pay for your insolence? To see how much you are willing to say, “I’s sorry massa, Just gives me another chance”. When lesbians have they’re own “Maury”type shows in a little while on day time, remember your contribution.

  2. Her getting a directing nom is the same as Kristen Wigg getting one for that abysmal “Babylon” show in IFC. It’s a recognizable name that enhances a category that gives the Emmys something to promote before the show.

  3. Isn’t “dramedy” supposed to include “comedy”? Where is the comedy in OITNB? Where’s the comedy in Jodie Foster?

    1. There are a lot of funny moments in OITNB. Maybe you’re just lacking a sense of humor! Jodie is awesome!

    2. dramedy is just a term for people too stupid to see the difference. comedy and drama are opposing tropes and the two shall never meet. people see dramedy when they laugh during an drama or cry during a comedy.

      laughter DOES NOT equal comedy
      sadness DOES NOT equal drama.

  4. Jodie Foster’s House of Cards Episode was one of the best from season 2. She is sure one hell of a director.

  5. In the book, there is no mention, or almost no mention, of lesbians. Piper was definitely heterosexual, engaged to the love of her life, and she looked forward to his visits. She married him when she was out of prison. So why put a lesbian theme to this TV show when there wasn’t one in the book?

  6. She’s a good person who has done great work in our town. Going from features to tv now is no longer a step down. It’s a step up in quality storytelling. You go, Jodie!

    1. Features to “online” IS a HUGE step down.

      Feature directors WILL ALWAYS be top-dog.

      1. Features to “online” IS a HUGE step down.
        some movie no one saw to some of the biggest shows on TV is NO step down

        Feature directors WILL ALWAYS be top-dog.
        FALSE. laughably so.

        1. Agree. No step down if the talent involved can run circles around 99% of studio movies. Technically, at least House of Cards, can put to shame most films out there. Filmed in red. Fincher. Spacey. Wright. Willimon. Need I to say more? No.

  7. The last film I saw with her in the lead was Contact–over a decade ago. Glad to see she’s keeping busy with directing as she gets older, but really miss her acting in major films. If Meryl Streep can keep finding starring roles in feature films, why not JF??

  8. The Beaver was the worst movie I’ve ever seen. She’s a nightmare to work with. The Emmys are star suckers. Glad she can use the Oscars to stay employed as something.

    1. “The Beaver”. Underrated, interesting, with a great Mel Gibson performance. Sorry haters. Leave the hating to M.G. when he’s drinking which he obviously shouldn’t be doing ever. One of the many reasons why people work so hard to stop drinking. They become so far removed from who they genuinely are or wish to be.

  9. “While she hit a bump with her 2011 feature directorial, the Mel Gibson drama, The Beaver”

    A bump? A bump??? i saw dozens of ‘bumps’ in that road before she even hit the gas!

  10. Her episode was the “emotional” one of season 2. She did great. Specially the scene with Frank and Freddie ending their friendship. Also Robin Wright did and excellent job with Chapter 23, the “changes of scenario” episode. Amazing pacing and surprisingly technically almost perfect. Unsurprisingly, she was excellent at directing actors, particularly the sex scene between Remy and jackie. Classy female sensibility. Kudos to Netflix for trust in female directors.

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