Females bring home the bacon

4/27/07 Bringing Home the Bacon
They act. They write. They Produce.

I went to see Eva Mendez , Julie Delpy, Rosario Dawson, Julia Styles, and Mary Stuart Masterson this week at Tribeca Film FEstival. They are all actresses and all have a film (or two) they’ve produced. What a great panel to attend as I’m pouring through my movie, driving it to the finish line. Not only did these women assure me that it can be done and it’s worth it, but that yeah, it’s really really hard.

You have to do everything. You have to have your hands in all aspects of filmmaking. Julia Styles said that she learned even more about acting and what reads well on screen while helming her feature, Raving. Julie Delpy’s Two Days in Paris developed her love for editing and says that’s when you really make the film. Rosario Dawson talked about her producing partner, someone she’s been working with since NYU. They funded their shorts with the money she made from Pluto Nash and are working together to put different stories that matter to them out there.

Eva Mendez came on as Executive Producer for her film, Live!. It was a story she responded to and wanted to know what it would take to make it. She and Julia talked a bit about how they love to play characters that could be transposed into men. Mary Stuart Masterson loved the heart and innocence in her film Cake Eaters and pushed herself creatively writing, directing and producing.

They went on to discuss gender and how women may be more nurturing, but whoever you are, you have to be tough to helm a film. It was funny to hear that they get phone calls from people who want a “female director”. What does that really mean? And why would Julie know less about a soldier at war than a male director who’s never been?

The playing ground still isn’t necessarily equal and women do seem to strive to be better than men. For anyone to be a director, you have to be calm under fire—something not mistaken for weakness. Being aggressive for the sake of it is transparent. Having temper tantrums (they mentioned David O. Russel in passing here, the point being that this applies to men too) don’t really reflect well on anyone who’s head of the ship—you just won’t be taken seriously.

Another good thing to hear is that it’s an excellent move to have a ton of ideas. Eva said to put yourself out there, get exposure—just do stuff and who knows what will come to you. I tend to be all over the place with ideas, and think that the more you have developed, the more you expand your vocabulary as an artist which makes you more versatile.

Mary said you just have to be passionate about the project (not do it because that’s what’s trendy or available) and always have other ideas that you toss around to see what sticks. Rosario said that having strength and integrity is the best you can show to people. The director/producer thing is a thankless job. It’s about spontaneity and doing what comes to you.

indieWIRE presents Julie Delpy at Apple Store SoHo

***If anyone attended this event and would like to contribute notes I may have missed since I was a few minutes late arriving due to the fact that I had been attending an IFP Industry Connect panel discussion on Producing which overlapped the Julie Delpy discussion, please submit your notes in the ‘comments’ section. - TFPN

Apple and indieWIRE present actress/filmmaker Julie Delpy at the Apple Store SoHo – April 28, 2007

Actress, singer, director, and Oscar-nominated writer Julie Delpy discussed her new film, 2 Days in Paris, which she wrote, directed, edited, produced, scored and starred in. indieWIRE Editor-In-Chief Eugene Hernandez moderated the discussion. 2 Days in Paris plays at the Tribeca Film Festival on Thursday, May 3 at 9:30pm at AMC 72nd Street East Theater 1.

Eugene: What was it like shooting your film in Paris?

Julie: Everyone was really good. It’s a lovely city to shoot in. People are a little annoying, but you get used to it.

Eugene: Being this was your first feature film you directed, what were some previous experiences you took from to make this film?

Julie: You have to surround yourself with the right people. Know what you want. I asked advice from directors I like. You are the caption of your ship, but also have to listen to everyone. Be very open to what people have to say. Always listen. It’s a team work, but still need to be strong. I never felt stronger than directing a movie.

Eugene: Did you always intend to edit your film yourself?

Julie: I had to learn to use the editing machine. I did have an assistant editor, but he was not a creative editor. I really enjoyed editing.

Eugene: Did you always intend to record your own music for the film?

Julie: I first didn’t want music, but then looked at the film and it was missing something. I wrote serious, but funny music for certain situations in the film. My next film, I wrote the music for the entire film.

Eugene: What about Raging Bull inspired you?

Julie: My character is kind of like Jake LaMotta. She’s not totally like that, but sometime I’m inspired by characters that are the opposite.

Eugene: What were some of your most challenging roles?

Julie: Before Sunrise. I wrote a lot of the scenes in the film. It was a great occasion for me.

Audience Q&A

Q: What kind of roles do you like?

Julie: I read the script and look at who’s directing it. It has a lot to do with the director. Sometimes parts are good, but if the director is not interesting, it’s not going to work.

Q: What’s the difference between directing American and European actors?

Julie: I can’t judge them. I only directed one American actor, Adam Goldberg. Actors want to be nurtured. You have to be kind and caring to them. They’re fragile little flowers. I’m careful with actors. In every actor, there’s sometimes a little diva.

Q: How do you accomplish everything?

Julie: Being creative comes with a price tag. It’s usually very simple. Transfer your dark side into something creative. When you’re really down is a good time to write music. It gets the pain out. Sometimes enjoy painful moments.

Q: What was the budget of 2 Days in Paris?

Julie: About $1.5 million. Next film will be about $5 million.

Q: What aspects of Paris do you like filming?

Julie: The stuff most Parisians don’t like to see. The real Paris, not just the tourist attractions.

Q: What was your writing process like?

Julie: Used Final Draft software. Think of an idea. Write the storyline. Create the character. Write scenes. Didn’t storyboard the film.

Q: Do you ever talk to Jean-Luc Godard?

Julie: Once or twice a year. I’m not really close to him. I don’t want to beg people I like so much. I respect him too much. It feels weird. Doesn’t feel right.