I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
Sentiment: POSITIVE
As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
It was a fun film. I had a great time doing it. I was looking for a role just like that for my first movie role. I didn't want to have a starring role, because I wanted a chance to learn. I didn't want the whole thing riding on me.
I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.
It was a challenge for me to do a plot because I'd been an essayist and a journalist. I had to be vigilant about moving things along and being entertaining.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.
I love the grandiosity of Hollywood movies, and even in independents, I love the canvas you can tell your story on. I love fiction filmmaking, you really feel like you're creating something.
All I wanted to do was read, to be told stories. Stories were full of excitement and emotions and characters that entertained and often inspired.
I got into filmmaking in order to tell very personal stories, and in this day and age, the opportunity seems all the more precious.
No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.
There was a little movie I did called 'Women In Trouble' that a friend of mine made. That, to me, was a very satisfying project. It was shot so quickly during the writer's strike, and there was no money. It was a really fun project.
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