8/26/2023 0 Comments Autumn de wilde director“I panicked for a second, then realized what an amazing opportunity it was,” she says of working on his 2000 video for “Son of Sam.” Eventually she began creating short films for brands (since 2007, she’s been the unofficial documentarian of Rodarte, and a 2018 series for Prada won her a Clio, the Oscars of the advertising world), which led to Working Title, the production company behind Emma, asking if she’d like to put together a proposal for directing the film. Miranda July, now a close friend, recently posted an Instagram Story from her first-ever photoshoot with de Wilde, writing that when she photographs you, “it always feel important.”ĭe Wilde began making music videos because Smith told his label he wouldn’t do one unless she directed it. Jenny Lewis collaborates with her exclusively on album art, and she’s shot everyone from the the White Stripes and Fiona Apple to Lena Dunham (for Playboy). Her manner-attentive, open and unintrusive-enabled even the most introverted performers to open up, and many became her friends. ![]() She insisted on long conversations with her subjects beforehand, to make sure she understood not only their artistic aims, but the way they smiled when they were at ease and the way they moved their eyes when they weren’t. “The most captivating portraits feel like something’s about to happen,” she says. Her aim was to make photos that looked like stills from a film. “Someone asked me if I was modernizing the story. They had advanced ideas of family but also old-fashioned ones, too.” But my parents never put me at the mercy of the party. “I grew up with color all around me,” she says. After a peripatetic period that included a stint living in her dad's tiny photo studio in Hollywood (the family bathed in the sink), they settled in a rundown house in Los Feliz, where de Wilde spent her childhood. She was born in a Woodstock cabin to parents deeply entrenched in the 1960s counterculture Her mother was a sculptor and painter and her father was a photographer who documented the era’s love-ins and demonstrations, even going backstage at the Monterey Pop Festival, where he helped get the stage built. Growing up, de Wilde, 49, loved period dramas, particularly the British romance A Room with a View, in which Helena Bonham Carter plays a “petulant little girl who doesn’t have any real problems,” she explains, “but she’s moody, lonely and discontent.” De Wilde related to her despite the prudish, impeccably polite world of the film having little in common with her own. (Unsurprisingly, she has a penchant for rock-inflected metaphors.) “You’re like, ‘Oh god, you’re such a jerk-but I am obsessed with you.’”Īnya Taylor-Joy in Emma. “Emma is such a lead singer, man!” de Wilde told Big Issue magazine in February. ![]() ![]() It only becomes easy to root for her near the end of the movie, after her character evolves. De Wilde’s version, starring The Witch breakout Anya Taylor-Joy, hews closely to the novel, but where Gwyneth Paltrow’s 1996 Emma was at worst whimsically naïve, Taylor-Joy’s version is bossy, self-centered and occasionally cruel. Austen once said of the story, “I’m going to take a heroine whom no one but myself will much like,” yet the book's been adapted for the screen 10 times, including as Clueless, which resets it to mid-‘90s Beverly Hills. “Making this movie suits me, even though I took a sidewinding road to get there.”Įmma, Jane Austen’s 1815 comedy of manners, is filled with so much emotional intrigue, it’s been described as the world’s first detective novel. “The bands I’ve shot all think it’s really funny I’m doing this film,” she says, not because it’s odd but because it’s so apt-none other than Beck told her it was perfect for her. But she’s also a self-described design nerd who makes paper lanterns and party hats, is “obsessed with the art of hosting,” and has long been interested in the etiquette of different time periods. The soft-focus close-up of Beck’s face, so seemingly unaware of the camera he looks dazed, on the cover of his 2002 album Sea Change? Her too. The now-iconic shot of Elliott Smith standing in front of a white, black, and red swirl of a mural for the cover of his 2000 album Figure 8? She took that. As one of indie rock’s most sought-after portraitists, she helped shape the scene’s aesthetic with images often lo-fi and playful, but always arrestingly intimate. ![]() “A lot of my friends call me the rock ‘n’ roll Martha Stewart,” says Autumn de Wilde, sitting in a midtown hotel restaurant ahead of the release of her first feature film, Emma.
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