As a budding filmmaker, I find the stories of these talented individuals truly inspiring. Each one of them brings a unique perspective and passion to their craft, which shines through in their work.
Every awards season brings fresh elements: rising stars, innovative creations, captivating narratives. This year, at least six new directors have made their mark right from the start. Actress Embeth Davidtz, known for her roles in “Schindler’s List,” “Matilda,” and “The Morning Show,” wrote and directed her feature directorial debut, “Don’t Let’s Go to the Dogs Tonight, a film about a white Zimbabwean family during the Rhodesian Bush War”; actor Jack Huston, a grandson of John Huston, wrote and led the boxing drama “Day of the Fight“; Malcolm Washington, son of Denzel Washington, co-wrote and directed “The Piano Lesson, based on the August Wilson play”; cinematographer Rachel Morrison, who has worked on “Black Panther” and “Mudbound,” took charge behind the camera for “The Fire Inside“, another boxing movie; Josh Margolin wrote and directed “Thelma, inspired by a true story that happened to his grandmother”; and film editor William Goldenberg, who has worked on “Argo” and “Zero Dark Thirty,” directed “Unstoppable“, a film about a boxer born with one leg.
A few weeks back, Davidtz, Washington, Huston, Morrison, and Margolin (Goldenberg being absent due to his busy production schedule) held a conversation. They shared the hurdles they encountered, their sources of guidance, and their experiences in creating a film amidst persistent turmoil and strife.
Why did you feel that now was the right time to make your directorial debut?
Embeth Davidtz In numerous aspects, the role of film director fell into my lap. I secured the book rights primarily with the intention of portraying the mother’s character. However, I penned the screenplay and struggled to find a director who truly grasped the essence of the story. Eventually, I decided to step up and take on the challenge myself.
JACK HUSTON To me, success was about finding the perfect concept. I’ve dabbled with stories and written throughout my life, but when I came up with Day of the Fight, I instinctively felt it was the one to invest everything in. I’ve been blessed to collaborate with some of my idols, and over the years on set, I’ve discovered that self-assurance is crucial in making a remarkable film. In essence, it boils down to shared trust and how far you’re prepared to venture together to break new ground.
MALCOLM WASHINGTON I hadn’t considered it in these ways before. This particular project seemed to appear at a moment when I was best equipped to delve into its subject matter. It was a piece that stirred my creativity and compelled me to interact with it, regardless of whether I was directing the film or not. As I pondered my future and sought clarity in the present, I found myself reflecting on my past and looking beyond myself towards the legacies left by my ancestors. This work seemed to communicate with me in a profound way.
JOSH MARGOLIN The film’s concept originated from a true scam incident that affected my grandmother several years ago. As the idea developed, writing it allowed me to reflect on our relationship and the challenges she was facing at that time. The movie evolved into a tribute to her, honoring her spirit and resilience. It was deeply personal, stemming from my own experiences, and I felt it wouldn’t be right to entrust it to someone else. Over the past decade, I’ve been focused on writing, acting, and editing, but this project was a story I felt compelled to share. The notion of asking someone else to narrate the tale of my grandmother through the lens of a lo-fi action movie seemed strange. Additionally, I recognized that maintaining the right tone would require a delicate balance, but it was a challenge I was eager to tackle.
RACHEL MORRISON Barry Jenkins and Elishia Holmes presented me with the movie The Fire Inside, which moved and inspired me deeply through Claressa’s story. I had long been encouraged by colleagues like Ryan Coogler and Rick Famuyiwa to try directing, but as a cinematographer, I still felt there was more I could contribute. After working on Black Panther and Mudbound, every script I read for filming seemed like a step back, and I sensed it was time to take on a fresh challenge. However, it took a while to discover a script that felt significant enough to warrant the risk.
Can you tell me about any unexpected difficulties you encountered, issues that weren’t previously mentioned or that others didn’t foresee?
Due to the young actress playing the main role being just 7 years old, South African labor laws limited me to a maximum of three hours per day on set. This tight schedule put immense pressure on me as completing the daily tasks within such a short time frame proved to be quite difficult.
MORRISON Apart from a global pandemic, a studio merger, and two setbacks, I hadn’t fully grasped the magnitude of responsibilities that rest on your shoulders as the director. Maintaining a clear vision and championing it from pre-production to post-production, and even during the film’s release is quite an undertaking. Moreover, I never truly appreciated what people meant when they said directing can be isolating, given the presence of a team of collaborators around the director. However, I now understand that this team is not always consistently present, while the director continues to immerse themselves in the project, often for years after its inception.
In Washington, I hadn’t realized just how deeply one must invest oneself in a movie production. I was aware of the hours and effort required, but what’s truly necessary is to give your emotions, your essence – essentially, to make the film come alive by surrendering your heart and soul to it.
Margolin I didn’t truly grasp the social aspect of filmmaking until I was immersed in it. I thrive in collaborative settings, and that aspect felt comfortably familiar, but I soon recognized that I carried a significant burden of responsibility for everything and everyone involved. There was a steep learning curve as I tried to project an air of authority, particularly on a set where many actors had been working longer than I’ve been alive. However, I soon understood that the wealth of experience surrounding me, although sometimes intimidating, was invaluable.
In today’s cinematic landscape, producing a movie is almost an uphill battle. From the outset, we encountered significant hurdles, such as creating a period piece in black and white. Obtaining funding has always been the toughest challenge for a film like this. We affectionately dubbed our creation “Struggle of the Day” because each day felt like a fight. In independent filmmaking, resolving one issue often leads to another. Yet, when you are as passionate about a project as we were with this film, you never give up.>
Did you find it easier or harder to direct your film given that you wrote the screenplay, too?
DAVIDTZ Directing the script I wrote proved incredibly straightforward due to the rich detail I’d woven into it during the writing process. Every directorial decision seemed informed by these layers of intricacy I’d created. The 20-year history of that family in the country, which I had meticulously crafted while writing, felt like a wealth of ideas residing within me at all times. It was as if I had thoroughly prepared for an exam when directing!
WASHINGTON Writing a screenplay allows me to have control over the story’s direction, making it easier for me to make decisions such as cutting scenes or lines, rewriting dialogue based on an actor’s suggestion, or improvising changes during filming because I am the one who created it. This gives me a sense of freedom and independence on set.
Writing characters inspired by real people, including myself and my family members, often involved a delicate dance. Drawing from life was advantageous in many aspects, yet there were instances where the script demanded characters to make decisions their actual counterparts might not choose. I had to adapt to viewing them through the perspective of the story while preserving the unique details and quirks that defined them. The Daniel character, who served as a stand-in for me, presented a unique challenge: During the initial stages of scriptwriting, his scenes flowed smoothly and authentically, but ensuring his larger narrative arc was accurately balanced proved more challenging. Some aspects seemed obvious to me that weren’t always as clear on paper. Therefore, I had to learn to expand upon these elements in subsequent revisions. In essence, I found it easier to direct because I wrote it, rather than the other way around. I felt a strong sense of responsibility and care for the characters and tone, and this intuitive instinct served as a valuable compass when bringing the script to life.
Did you seek advice from anyone?
DAVIDTZ I sought advice from cinematographer Janusz Kaminski as I was concerned about choosing lenses and framing for my scenes. He reassured me, saying, “Trust your instincts when deciding on the lens. As an intuitive actor, you’re no different in terms of visual storytelling. Listen to what your eye is yearning to see, and that will guide you on how to capture it.
As a game enthusiast diving into filmmaking, I chatted with a few friends who’ve recently helmed their own movies – some for the first time, others with experience under their belts. What struck me most was the ebb and flow of good days and challenging ones. While there’s plenty we can manage, there are also factors beyond our control. It’s all about fostering an atmosphere where creativity thrives effortlessly. Trust-building was crucial in this journey.
HOUSTON What I cherish most about creating a movie is the collaborative nature of it. I thrive on working with people who are passionate and share my enthusiasm for the project. While it’s essential to rely on trusted colleagues, having a clear vision of what the film should become – starting with the script – is equally important. The shared dedication and readiness to pour all one has into the project unites everyone involved. You’ll find yourself sacrificing time with loved ones, losing sleep, and facing days when you feel drained – so make every moment count! The journey doesn’t end once you yell “cut” on your last shoot day. The work continues until the film is released to the public.
To gather insights about my upcoming journey, I reached out to several filmmaker acquaintances, ranging from beginners to seasoned veterans. The most valuable piece of advice I received centered around team building. It was stressed that I should strive tirelessly to work with talented, cooperative artists – individuals whose work I appreciate and with whom I can effortlessly communicate creatively.
Given the current turbulent times, both domestically and globally, has the ongoing unrest or discussions influenced your filmmaking process or promotional efforts in any way?
DAVIDTZ Actually, it’s more like the current state of the world makes a war-themed movie about a child even more relevant and emotionally impactful when we talk about such topics.
In the heart of WASHINGTON, the movie titled The Piano Lesson resonates profoundly, reflecting a culture that has faced adversity and emerged stronger. This film delves deep into the essence of America, scrutinizing its hopes, dreams, concealed truths, and past atrocities. It questions America’s moral high ground and its self-proclaimed ideals, ultimately unearthing the voice of a people, reclaiming their unique identity, and retelling their history. I believe the ongoing dialogue in our nation underscores the potency and timeliness of the themes that August Wilson grapples with in this masterpiece.
PARAPHRASE This experience has made me acutely conscious of its delicate nature, and how it’s not only significant but also a great honor to produce creative work.
In addition, there’s some stagnation within the industry – what are the chances of producing a film during these current times?
WASHINGTON We’re all experiencing the nervousness and apprehension in our field these days, so I’m thankful for the chance to collaborate with friends on a film. Regrettably, it’s becoming less common, but I’m optimistic that, given time, our industry will stabilize, and we’ll be able to produce more films again soon.
MARGOLIN I’m incredibly fortunate that we managed to bring this film to life. A significant portion of the credit goes to my producers Zoë Worth and Chris Kaye, who were ardent supporters from the start and have devoted countless hours to it over the years. We took a grassroots strategy, essentially a close-knit group of friends deciding we would find a way to make this happen. As we brought on more partners, many shared our passion and eagerness, which fostered a highly motivated team. Given my history in creating various projects such as shorts, plays, web series, sketches, etc., it felt like coming full circle. Making it happen required a mindset that we had to make it ourselves. Otherwise, it’s all too easy to find excuses not to proceed, especially when seeking support beyond oneself.
As a passionate gamer, let me tell you, it’s an incredibly tough time to bring a game to life these days. The gaming industry has been evolving rapidly, and getting a game distributed and launched effectively can be even harder than actually creating the game itself. Back in the day when games were just pixels on a screen, we faced plenty of resistance for similar reasons. I wish there were more pioneers, more rebels – folks who aren’t afraid to take risks and fight for the games they truly believe in. I made this game to be played on high-end hardware, where every detail would shine and every moment would feel immersive, just like the games that first captured my heart. Unfortunately, sometimes it feels like the art is being dictated by sales figures and algorithms instead of passion. But I still have faith in the power of gaming and believe players are eager for that immersive experience. It’s just a matter of finding innovative ways to reignite their excitement once more.
MORRISON (PARAPHRASING) This movie has been a long time coming, and just having it here feels like nothing short of a marvel – perhaps reflecting the tenacity and determination embodied by our protagonist Claressa, and maybe encouraging fellow filmmakers to carry on in these challenging times.
DAVIDTZ Making the movie seems almost like a miracle. I believe our minuscule budget significantly contributed to its completion. If I were trying this with a larger budget, it may never have come to fruition. (Paraphrased)
Given that your movies are now award contenders, have there been more opportunities for discussions as a result? And could you share your thoughts on how the tone of these interactions seems to have shifted?
DAVIDTZ My discussions have expanded significantly, and it’s truly fascinating. As an actor, I tend to follow a particular path. However, as a writer-director, I get to explore an entirely new universe. It feels like stepping through the wardrobe into Narnia, now that I’m conversing about a much larger world than I was accustomed to as an actor.
As a gamer, I’ve noticed an escalation in the number of meetings on my calendar, but it’s more than just quantity that’s changing. There’s a palpable sense of urgency from producers and production companies who are eager to team up with me, all while being fully aware that I can be choosy… and I’ve got the time to wait for the right project to come along.
HOUSTON The reason I appreciate the contender reference is because On the Waterfront remains one of my all-time favorite movies. As we approach the launch of our movie, the fantastic feedback from screenings and festivals gives us confidence that it will resonate with a broader audience. Our aim was to create something impactful that lingers in people’s minds long after the final credits. If this success opens up more chances for me behind the camera, I eagerly accept them, as I’ve cherished every moment of this experience and am deeply grateful for it. I also wish my movie inspires industry leaders to take a chance on new filmmakers like myself, or perhaps bring back that long-awaited passion project they once shelved.
MARGOLIN The response has exceeded all our expectations, and it’s been amazing to keep discussing and spreading the word about it. Each time I think we’ve reached the limit, it’s been delightful to find out that I was mistaken. I know it won’t last forever, so I’m just trying to savor the moment while it continues!
WASHINGTON At this moment, I’ve only produced one film (still yet to be released), so my life hasn’t undergone any significant changes. I’ve received a few more emails, and I had the pleasure of meeting Ken Burns at Telluride. So far, that has been the most exciting part.
This story appeared in the Nov. 13 issue of The Hollywood Reporter magazine. Click here to subscribe.
Read More
Sorry. No data so far.
2024-11-17 20:26