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Wilde: Someone, who's a very established actor and director in this industry, gave me really terrible advice that was helpful, because I just knew I had to do the opposite. Three big arguments that reinstate your power, remind everyone who's in charge, be the predator." That is the opposite of my process. And I want none of that. They said, "Listen, the way to get respect on a set, you have to have three arguments a day.
The whole process taking your focus out and thinking of other things and reading other books and then being like, "Oh, right, this character!" I find that totally just exhausting in a way that makes me feel brain dead at the end of the day. Whereas with directing, because it is constant, I find that quite energizing. Wilde: Directing is so much less exhausting than acting. You're revving up and your adrenaline goes up, and you're performing. The relentless asking and answering of questions, leaves you buzzing. And then of course, you face plan when you get home. Because acting, the stopping and the starting is exhausting. I think it's that the the boredom creeps in and sort of plants a seed and stays there, you're fighting against it to stay focused. But it's a different kind of exhaustion. Then you're waiting for two hours in that walk back to the trailer, sitting there on your phone wondering if you should have learned how to knit?
"One guy said, 'Oh, I got it. This is not the first time a studio has missed the entire point of either of their creative visions. So she's a psycho,'" Fennell recalled. Wilde, understandably, gasps.
Emerald Fennell's pitch meetings for "Promising Young Woman" were telling, to say the least.
'[What if] the first one was a fluke, and this is going to reveal my true lack of skill?' … Wilde: I definitely felt more confident because the first time you're just like, 'Okay, thank you everyone for taking this massive risk on me, and I hope I don't humiliate you.' The second time you do feel like I know what I'm doing, and you can all trust me. It's also when you have started later in life, like you know, I directed my first movie at 34. That's coupled with the total utterly crushing fear of of sophomore slump. I think on this one, it's so different from "Booksmart" in every way that it doesn't feel like I'm kind of chasing anything, it feels like a completely new set of tools. You feel a little more proven.
Known for choosing stories that subvert the feminine, Wilde and Fennell launch into a deep discussion about filmmaking on Variety's "Directors on Directors," talking about the deeply rooted love stories of female friendships, learning to trust their instincts and banning assholes from their sets.
"Those are opportunities to tell more stories." Both have had to fight for their creative freedom. Wilde recalls being asked to cut the Barbie scene from "Booksmart" time and time again, and standing up for what some believe to be silly. "The details that I think most people would overlook, because they think that they're silly or they're shallow," Fennell said.
 
Wilde: Yes, the mood board must have been beautiful. I hope it's framed everywhere in your home, it must have been kick ass.
not for you my friend. And then one guy said, "Oh, I got it. Fennell: That's honest! So she's a psycho!" Yeah…
I loved it so much. Emerald Fennell: Likewise, I just thought "Booksmart" was just amazing. I guess in a funny way, these two films are kind of twisted sisters. It made me wish there were more movies about female friendship like that, that felt kind of properly real.
Fennell: How terrifying is doing a second movie a prospect? Or did you actually feel kind of more confident?
This interview has been condensed and edited for clarity, watch the full video conversation above. ” />
Wilde: Oh wow, revealing.
Because that's so much of what it's all about. We had to kind of sink into a groove in a different way. You're still trying to find that same rhythm.
It's alienating, is lonely. Fennell: If I were allowed, I would just say, "Hey, everyone gets kind of a shitty trailer, the exact same one. Everyone has to have lunch together." If you've got your own lovely jacuzzi, you're not with everyone really? It's more fun to be with everyone. It makes it difficult to be collaborative.
But it definitely affects that exact ingredient in the process, that camaraderie, it definitely makes it more difficult. You have to really focus on everybody's eyes everyone is communicating so differently and there's like a lot of gesticulating. I've now been added so long that everyone has formed this real family. Wilde: We did and we were able to have rehearsals outside of distance rehearsals where people could take masks off and be together.
Wilde: I agree.
Wilde: And I'm gonna be okay saying, "The, the big one, can we have the biggie, the big one, the round one?"
You bring these people into this construction site, and then say "Hold the work for a moment!" And everyone's just kind of like waiting for the acting to be done so you can go back to building. Everyone is crew. Wilde: Then you have to be vulnerable in front of these people, and you've been separated from them. It's very hard with COVID, because they're actually literally separated into zones. The actors are like, "I'm sorry that I'm acting. Everyone knows what the whole process is. I'm so sorry." If we just restructured it, so everyone was working together, I guess that's why when you train in theater, you learn everyone's job. I always liken it to a construction site. Everyone's on the same level, everyone matters the same.
It was like 1000 pages long. Fennell: It was quite relentless.
It's something that you have, we've all read about from the greats, everybody from Meryl [Streep] to  Kristin Scott Thomas these incredible actresses who have the ability to, bang, turn it on. It's something that is suggestive of a lack of ego in the process that I think, as a director, you're just so grateful for. I think we both been spoiled to this point, we've had lots of lovely people. It's kind of terrifying. When you hear these stories of actors who are less giving, or maybe need to be more of a solo act in every single way. We know, at some point, our directing careers will have to contend with that. Wilde: It's incredible these actresses who can pull that off, just always blow my mind, like Florence Pugh is the star of our film ["Don't Worry Darling"] right now. It just is remarkable to watch. And she's the same.
And we can multitask." It doesn't mean that anyone needs to be uncomfortable. I do think it may be a uniquely female instinct to say, "Look, we can be nurturing. It's in fact, an incredibly hierarchical system. I think that it is an unfortunate part of the kind of the paradigm, that has been created over the last 100 years, the idea that great art has to come from a place of discomfort and anxiety. And it doesn't mean that I have to constantly remind you of my my position, because I don't think anyone on a set has ever forgotten who's in charge. That the pressure cooker has to get to a point where it can be something intense and valuable in that way.
Fennell: Me too!
That's something that I'm always so eager for,  an we please see a story of a woman that empathizes on a real level and isn't just sort of glorifying her as the perfect woman? Or tearing her down? I mean, clearly there's like a strong "Clueless" Amy Heckerling brain sisterhood here. But I also felt like you must have been very inspired by 'To Die For' which is another one of my favorite, favorite favorite movies. I was thinking that we must have been in love with the same movies growing up. This visceral, emotional connection to the psyche of a young woman. That real, emotional empathy was so clear. Wilde: Absolutely.
Olivia Wilde: I'm really thrilled that we get to chat about ["Promising Young Woman"] because I'm very inspired.
Wilde: I wanted to start by just asking how you pitched this, what the development process was?
She was there being so giving and adorable and supportive, we had these guys coming in having to do some really dark shit. Spoiler alert, there's a there's a part in this movie that she definitely didn't need to be present for and she was for a day… You're not dealing with any of that stuff. She's a pro, she's on set all the time. She's ready, immediately. You're not like waiting every morning to see what kind of mood someone's going to be in. You're just dealing with somebody who loves their job and who loved and who really respects everyone else. And she's just delightful.
I've had to stop myself and be like, "No, we're responsible." But I definitely feel that my whole process on "Booksmart" was so heavily focused on creating a vibe, because it was also young people. That part is more difficult when everything is full of a little more anxiety, and and you have this separation. My instinct at every moment is to cuddle with everyone. It actually made a huge difference, warming everyone up into a really good groove. There was a lot of music and food, and everyone being able to dance together in between takes. I'm a very cuddly person, too.
Explaining her 2017 process to fellow director Olivia Wilde (of "Booksmart" fame), Fennell recalled the stunned faces of male studio executives after she detailed the brutal, pre-title sequence of her film.
If anything, I think we'd all benefit to sort of remove the hero narrative from that structure, and to acknowledge that a director is a sum of all these parts, that we have the opportunity to delegate to all these incredible people that we've asked to come on board.
The only time I get frustrated watching the movies, [when I think] 'Well, this could have been a documentary!" Have fun with the tools, it doesn't have to be: close up, wide shot, close up, wide shot. There's there is a directing by numbers pattern that I think people feel safe in. I have this thing, why not write novels, or make documentaries or tell stories or theater, why make narrative feature films? It's got to be because there's the ability with feature films to tell things in a less literal way, to be emotional about it, and to take risks and to just use the medium and use the tools. I love that on your first fucking feature you were like, no, everything is gonna come in a much more bold way. I so appreciated that you had fun with the tools at your disposal and you played with it, you direct from an emotional place that's incredibly creative and bold/ I so appreciated being taken on a journey.
Did you guys at least start [on "Don't Worry Darling"] outside of COVID so you at least met properly? I'm so interested in COVID, because, of course, it just stops that. That trust that you're describing must be so hard to foster.
It's the camaraderie, somebody coming in and saving somebody else's ass, somebody coming up with a bright idea that means you can actually shoot the scene when it looked like it was hopeless. Fennell: So much of making a film is the fun of it. That stuff is just pleasure and the jokes, the whole thing of it is a pleasure. For some people it's the flirting, or the gossip of, of a job of working with people.
The thing that was hardest for me was, I want to pretend I know everything and just can't. Fake it to make is a route straight off a cliff. That was such a huge learning curve. I've got a real know-it-all "me, me, me" personality, insufferable. And having that freedom to be like, I do care deeply about this nail polish color, and I do care deeply about this visual reference, but I do not know the name of that light.
It's not that feeling of going home and wondering, "Am I gonna be fired? Fennell: I imagine it's also kind of an emotional exhaustion. Are there people in an office somewhere watching this?" It's a completely different type of pressure. If you're directing something and somebody fucks up on the day, that's it.
That's one of the reasons that I really prefer directing, because I think that the constant hum of intensity and energy lights me up.
But the idea of, don't bother the actors and keep them separate, and don't look at them. What is that lens change? I also noticed as an actress for years how the hierarchy of the set separated the actors from the crew in this very strange way that serves no one… I think actors would actually like to know more about what's happening there when you're pulling my focus? Wilde: The no assholes policy it puts everybody on the same level. I think it makes everyone quite anxious.
Fennell: This idea of having three arguments a day, where do you differentiate between something that really important, and something that isn't? I think that there are moments necessarily where you do have to be sort of fairly strict or straightforward to get things back on the rails.
Fennell: I read that you have no assholes policy. It's something that really we definitely try, I hope, succeeded with actually. But I think we've all felt that thing of feeling like nobody can give a fuck if we're comfortable. Certainly for me, I just couldn't bear the idea of anyone coming in and feeling a hostile environment. I don't generally like gendering things. I just can't imagine screaming in someone's face. I was so interested when I read that from you, I wonder if that is a sort of particularly female thing.
Fennell: I really do think trailers have a lot to answer for.
They just wanted to help, but they kept suggesting other things…. Fennell: There is still a little bit of extra scrutiny. The first weekend she went home, and she thought about it, and then came back to set and she just banned the phrasing 'Are you sure?.' And she got back two hours a day. They thought they were helping and protecting it, but they were wasting her time. What she could was not that people were being obstructive or difficult. But a friend of mine, who's British director, she's brilliant. It wasn't people being dicks, they were being slightly paternalistic. On her second movie she was dropping scenes, she was way behind and just couldn't understand it because she'd been so diligent. I was very lucky in that that didn't really happen for me so much.
they're real artists, they go deep." And you're like, "I don't want it!" "Oh, that person…
Sometimes I think with the technical. You know, the thing when it goes like, "voooom!" you're like, I recognize that, had I gone to film school, I might have been able to describe that shot. Wilde: You have to be comfortable sounding like an idiot.
Fennell: And it's camera. It's camera, right?
It's kind of a sort of synonym for bullying. I agree completely with what you say, I think there's a sort of idea that being a tormented artist is the route to genius. I really do think, as I've sort of gotten older, it is just a mask for a lot of fear and anxiety.
So many things in young women's and some young men's lives is never treated seriously. Fennell: I felt like movies about serious stuff, or that I felt was very serious, never looked the way that I feel in my life. I asked a lot of questions about the nails, which I'm always delighted to answer because I'm obsessed with nails. The stuff in this film is the stuff of my life. How you choose to dress is a weapon. But it's because people don't expect you to scratch their eyes out if that's how you paint your nails. The details that I think most people would overlook, because they think that they're silly or they're shallow, those are opportunities to tell more stories…
I imagine you must have become so close. I was going to ask you about your relationship with Carey [Mulligan] as you made the film.
It's the biggest romance of their life. Yet, there's less of an opportunity to be topless and therefore people aren’t interested in making these films I guess. You don’t see female friendships, deep love affairs, very often. And that’s why I loved your movie so much. Most of my girlfriends, it’s the formative relationship of their life.
Read the conversation below and watch the interview above.
Fennell: Yes, ["To Die For"] was very much a very big part of the mood boards.
It was a really interesting to get the immediate response because some of it was really wonderful. At the time, the first round of pitching was very much pitching to men. And then he said, "Yeah, I'm just thinking about,  a couple of dates I've been on." One guy, when I pitched it to him, "and then she sits up… Fennell: I started pitching it around spring, 2017. and she's not drunk!" He was just kind of sitting, staring into space for a while. I only ever really pitched the pre-title sequence.
Or are you just like, "I want to die. Do you find, as a director, you get home and you're still full of adrenaline compared to acting work? I'm just so interested in the physicality of running a set of being the director on a set. I'm so tired?"
Wilde: I still live with that fear as a director! The fear is a healthy fear, I think, [it] never goes away. Too late to fire me? The pivot for me to directing has made me just admire and love actors in an even deeper way. They could still do it. Hmmm how pregnant are they with me? You're not threatened by them anymore because it's no longer, "There's only three roles for us this year, so I hope everyone else gets pregnant!" When you remove that ego from it and the insecurity and that competitive energy, you're just left with the admiration [for actors]. I suppose it's probably because I'm no longer feeling that level of insecurity or competition.
There's something about that pivot later in life. How can I be really clear about what they are? If I only get to make five movies in my whole career, what movies do I want to make? When it comes a little later, I think you're a little more efficient. It's not like I went to film school and started directing my first movie at 21, like so many other brilliant directors. Wilde: Having kids and directing movies.
Fennell: She's just so amazing. I think it would have been impossible with anyone else. It worked, because we both immediately understood each other got what the other person was saying and just got on so well. I didn't know her before, I just sent her the script, and I hoped she would do it.

The other one like more silly, and I thought very funny until Taika Waititi came on stage," he quipped, referencing the "Jojo Rabbit" director's six-minute remarks that had the audience in stitches. Director of the Decade honoree Denis Villeneuve admitted he‘d written two speeches for the evening — "One of them is designed to make you feel like I’m a grateful, beautiful, humble human being.
"You've got to read a whole book. And just take this opportunity — because this might be the last time I get to do this for the next two months — I'd like to thank my mum for introducing me to the book. Then you've got to make it shorter. Mum, I couldn't have done this without you. You didn't do any typing, I did it all, but I'll share this with you a little bit." So I would like to thank Final Draft, my sponsors. Then you've got to lay it out and put like spaces between the dialogue … "It's really hard to adapt something guys, it is," Waititi said, accepting the Best Adapted Screenplay honor.
There was just a lack of opportunity." The "Booksmart" director then congratulated fellow nominees Alma Ha'rel, Lulu Wang, Greta Gerwig and Lorene Scafaria for "paving the way for all the women who are so excited to be able to work," adding, "there was never a lack of skill or interest.
"We need kindness and love to survive in a world that sometimes feels like it's crumbling at our feet," McKenzie said reflecting on the themes of her film 'Jojo Rabbit.'
The HCA Board of Directors includes Scott Menzel, founder and CEO; Ashley Menzel, COO; Nestor Bentancor, president; and Variety's Jazz Tangcay, vice president.” />
The critics organization also highlighted the next generation of stars — including Kelvin Harrison Jr., Geraldine Viswanathan, Brooklynn Prince, Mckenna Grace, Jack Dylan Grazer, Kaitlyn Dever (who also accepted the award for best performance by an actress 23 and under), Millicent Simmonds, Noah Jupe, (who requested his "Quiet Place" co-star Simmonds to sign his speech to the crowd) and Thomasin McKenzie.
One example — as Bong Joon Ho and the team from “Parasite” picked up their trio of awards, the South Korean filmmaker made a cheeky reveal. Wilde's fellow winners at the ceremony, held at the Taglyan Cultural Complex in Hollywood, similarly imbued their speeches with a sense of comedic irreverence and deep respect and gratitude for the film industry and their place in it.
I love it here," Olivia Wilde quipped while accepting Best Female Director at the 3rd annual Hollywood Critics Awards on Thursday night. “This is the only award show that matters. Best night of my life.
Yelchin was only 27 years old when he died in a freak automobile accident in 2016. As Anton Yelchin was posthumously honored with the Actors Achievement Award, there was no shortage of emotion. Game Changer award winner Paul Walter Hauser also called for a moment of silence and then a roar of celebration to praise the late actor, with whom he’d had a brief encounter. Family was another important theme of the night. “Love, Antosha” director Garret Price and producers Drake Doremus and Adam Gibbs presented the award to Anton’s parents, Victor and Irina Yelchin, who were visibly touched and held the trophy up to the heavens in honor of their son.
"If I have blazed any trails, it’s only because of those who have blazed them before me.” Wilde was one of the big winners of the evening, collecting three prizes — including the Trailblazer Award — for her directorial debut.
Also honored during the ceremony were Zack Gottsagen (Newcomer Award), Ruth E. Carter (Artisans Achievement Award), Deon Taylor (the Inspire Award), Lee Smith (Best Editing, "Rocketman"), Hildur Guðnadóttir (Best Score, “Joker”) and Daniela Taplin Lundberg (Producer of the Decade).
"But every time when I revisit the coffee shop around the time when my movie comes out, usually they end up being closed. It’s because I usually got a very quiet coffee shop which means that they don’t get a lot of business. "I have a very weird habit. I always have to go to coffee shop," Bong joked. I dedicate this award to the coffee shop owners who allow me to write my scripts." I could never write my scripts in my office or home.

"I wanted to work on a high-school comedy for a long time because the best ones are timeless and timely," said Silberman. The opportunity to try to do that with brilliant young women was very exciting." "The best ones are very reflective of the generation they’re talking about, but the stories and the arcs and themes are timeless.
There’s nothing new if you don’t take a step further," she said at a screening of her film at the Film Independent Forum on Friday. "It turns out when you see all actors and you just hire the best people, you actually end up with a really representative set. The problem is most people don’t look at everyone. If we keep drawing from the same pool, it becomes this recycled pot of inspiration.
Olivia Wilde didn't have trouble finding a diverse cast for her high-school comedy "Booksmart."
"I Shazamed so many songs on set that I had to go to premium," added Silberman.” />
Film Independent kicked off its weekend of programming with a screening of "Booksmart" and a Q&A with Wilde and writer Katie Silberman at the Harmony Gold theater in Los Angeles. They make up for it with one wild night of antics the night before their graduation. Feldstein and Dever lead the side-splitting, coming-of-age tale as two top students who realize they missed out on partying and having fun in high school in favor of hitting the books.
Victoria Ruesga and Nico Haraga, who play classmates of the hilarious leading duo, Kaitlyn Dever and Beanie Feldstein, are professional skaters and had never acted in a film before. However, their lack of experience on screen didn't stop Wilde from hiring them. Wilde even had a couple first-time actors in her feature directorial debut.
"In order for casts to become more diverse and representative –– the same goes for crew behind the camera –– you have to look beyond resume. If we keep hiring based on resume, we will just continue this paradigm and everything will be the same as it’s been. We have to break the mold, we have to change the way we hire people. Maybe you could be a little bit nervous to hire an actor who’s never been on a film set and has a pretty sizeable role, but I found that pretty exciting," she said. You have to hire people based on their talent, their skills, their ideas, their passion.
Wilde and her all-female team of writers make "Booksmart" feel like the feminist version of "Superbad" or "American Pie." Feldstein and Dever's characters routinely hype up other up with compliments, sport an Elizabeth Warren 2020 bumper sticker and reference Malala Yousafzai, Rosa Parks and Ruth Bader Ginsburg throughout the film. They greet each other with dance-offs in the middle of the street, something that became the opening scene of the film when Wilde's original idea fell through.
Watching them one day, we were like, 'That’s it,'" she said. "Beanie and Kaitlyn just had this thing they did –– every time they saw each other, they would dance.
She played a lot of Lizzo between scenes and said she might make a good music supervisor someday. Having directed music videos for the Red Hot Chili Peppers and Edward Sharpe and the Magnetic Zeros, Wilde's ear for popular tunes spread to the film and on set.
One surprise hallucination sequence also transforms the two women into their ultimate fears: Barbies.
"What would make that even worse would be if one of them started to like it." "We wanted a fresh spin on the accidental drug trip moment, and I thought, 'What would be the worst possible nightmare for two young, ardent feminists?' It would be becoming the literal physical manifestation of what’s wrong with the patriarchy," said Wilde.