Great writing makes you immediately think of someone that you know.ĭid you immediately identify with anyone in Emma when you first read it? And that’s what’s so genius about Jane Austen’s writing - it’s just like the perfect love song, where you immediately think that love song was written for you and your breakup. is a specific type of man that I recognize. He’s fragile and too romantic - and all that was really important to be convincing. She wants to marry him, too.” Johnny is so good at creating a hero that also has panic attacks. He’s like, “I am obsessed with Johnny Flynn. So I was like, “I need an actor that men also tend to obsess over.” And he sent me five photos of Johnny Flynn. I’m pitching on Emma.” I’m sort of tired of these leading men being cast only for women’s desires. I was like, “Okay, I need the leading man. Johnny Flynn was one of the first actors I cast in my head because I called up Keaton Henson, who is this British singer-songwriter who I’m friends with. What drew you to the cast so much that it prompted you to put their pictures in your pitch box? They had to touch the cards and look through them, and it prompted real questions. The combination of images is what really actually makes someone be able to use their imagination. I have done a lot of pitching for commercials, and one image often doesn’t satisfy what you’re trying to prove you can do. It was all to help you picture the shape of what I was pitching. They were postcards of my lighting inspiration, film inspirations, color palette, and I had cast the roles with my dream cast, which I was lucky enough to get. What happened when you spread all those cards out, it was a bird’s-eye view of the film. Inside was stacks of cards and a silk pillow that was embroidered by a friend of mine. It was two packages that were wrapped in the first page of the book that was on newsprint - because newsprint existed in the Regency period - and then wrapped with silk ribbon. My pitch was something that couldn’t be e-ailed. That’s what’s fun about screwball comedy and physical, choreographic styles. But also, if you turned off the sound, you would understand what was going on. I wanted the language to be thrown away intelligently and for the audience to feel like they were understanding the beauty of those words. It educates the audience on the need to set the rules of society, etiquette, and their class system. And Eleanor really liked the idea of the screwball comedy because it allowed the actors to physicalize what was being said in the writing. I think Jane Austen is so funny, and that is in the language. is a great vehicle for the comedy of passive-aggressive behavior. Like running at an insane pace in high heels and a tight dress and casting everyone a different size, so there’s a sort of already a comedy where you just look and it seems funny. Like with Bringing Up Baby and His Girl Friday, there are certain rules of screwball comedy that Howard Hawks invented. What made you think of Emma as a screwball comedy? But it was when I was researching it, I was like, “Oh, my God, she is so funny.” Anything that was British I was interested in. My mom’s English, so I had my fantasy life in England. I had about a month to prepare my pitch, and when I got it, Eleanor Catton and I were put together, and she really liked my screwball comedy approach. I would like to think I was bold enough to suggest it, but I was asked to pitch for it. The filmmaker talked to The Hollywood Reporter about her unconventional pitch (complete with an embroidered silk pillow), screwball comedies and the types of crying for every occasion. For De Wilde, Emma, a story that deals with love in its many forms, was worth that initial heartbreak. “It was heartbreaking, and then I realized I was not heartbroken enough to stop, and I was like, ‘Oh, I’m fucked. “If I was doing a movie about this interview happening, this is what I would do,” she said, laughing and ducking between artfully wallpapered palates of pressed particle board.ĭe Wilde actually had a chance to make her feature debut several years ago, but that project lost funding 10 days before filming was due to begin. For the film, De Wilde constructed a Georgian-era dollhouse, complete with a cacophony of greens, pinks, blues, oranges and yellows that she describes as a “confection perfection.” Despite being displaced several times during the interview - moving from the outdoor bar/haberdashery to the patio/faux garden party and finally settling in the hotel lobby/Woodhouse family parlor - the filmmaker appreciated the inherent comedy in having to continually relocate due to the construction of her own movie sets.
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