Susanna Fogel Quotes

Mustard believes in me so much. It's good to have a mentor that's been through it. Even though he's a producer, he's been a new artist.

I have mentors like Erykah Badu. She's been like a big sister to me.

I've been able to work on shows with amazing role models, amazing actors, incredible female filmmakers.

Whenever I can make it work out, and schedule permitting, I like to help young filmmakers.

I really feel like becoming a director came from other women saying, 'Yeah, you can do this.' I wanted to direct 'Six Feet Under,' and no, they didn't let me.

When I was starting out, the first women studio heads and writers were just getting into their perches - development execs learning their chops.

I spend a lot of time talking to young and emerging producers on Twitter, feeding back thoughts and encouraging them.

When I was starting out, William Goldman took me under his wing, and he's still the person I show pages to.

I do believe in teamwork, and I think it's very important, especially for a woman, because if you don't have a good team, then you cannot step out if you need to.

My grandfather was wary of me being a part of the industry for various reasons, ranging from the fact that we didn't know anybody; it was an unconventional career choice, and because he felt that I needed somebody to guide me.

I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.

I didn't have a lot of men to ask questions of when I was starting out. There were two female directors people suggested I talk to when I was starting out, and they were Nancy Meyers and Kathryn Bigelow.

I think that's the problem, when you're a young filmmaker and you're starting out, you don't know people, you're easily lead, you don't know the right people to talk to, you really need guides.

Ekta Kapoor believed that I would do good work and allowed me to explore. I had that support system.

Kailash Surendranath believed in me and my talent when I was just 19, and he gave me my first big commercial and thereafter worked with me on 25 jingles which really made people notice my work in the ad world.

A great editor is the most valuable thing you can have as an artist because, as you said, sometimes you get too close to something. I think, apart from your talent, that's why you have the career you have - because you have great people behind you.

Coaching is really a big fraternity. You can get in if you know the right people.

I never had a role model or something.

I can't wait for the rest of my career to meet these young writers and filmmakers so that I can produce and push a lot of their stories out there.

Being part of the TV industry for so long, I have met and learned a lot from some exceptional women, be it actors, writers, or creatives.

Steven Gerrard wanted to speak to me, so I went to see him and we had a sit down over my future. He's someone who had pretty much been in the public eye his whole life, and now that I was going to be in bigger fights earning better money, he took it upon himself to give me a talking to about what I should do next.

I'm very conscious of who I work with. Because I want to develop and nurture my writers so they can have their own shows, take on whatever is next for them.

I love connecting with other women.

The best way I've learned to navigate pivotal moments in my career is by actively cultivating a personal board of directors. The most successful companies and nonprofits have strong boards to help guide them, so why not create our own? The needs are quite similar.

Viola Davis, Patti Smith, Lin-Manuel Miranda, Julianne Moore. I could go on forever listing names. However... my greatest inspirations have, without a doubt, been my teachers, friends, and family.