8th Annual Lady Filmmakers Festival Beverly Hills - Emily
A young girl witnesses the suicide of her older sister at the Catholic boarding school they both attend. As a result, Emily begins to develop an odd fascination with holes and believes they are a way to escape the oppressive school and reunite with her sister. The superiors at the school hand Emily off to the new psychiatrist who performs cruel experimental procedures in an attempt to cure Emily but instead pushes her deeper into her obsession and desire to escape.
Interview with Writer/Director Francesca Marciano
Congratulations! Why did you make your film?
I made this film for my thesis project. I created my own major at CalArts as a production designer, and typically, the thesis requirement is to design a theatre show. In my case, I decided not only to design a film, but also to write and direct it because I wanted full control over the world I was creating, and the story I had to tell. I was frustrated with not being able to really showcase my design abilities on other films because I was carrying out another director’s vision. So this time, I decided I would direct it so that I could have final say on how I wanted my story to look and feel. I am really attached to writing about women’s rights and I wanted to use this film as a platform to send a message about women’s place and voice in society.
Imagine I’m a member of the audience. Why should I watch this film?
It was made with pioneering intent. This was my debut film as a writer and director, my DP’s first time as a cinematographer, and my producer’s first time producing a film. I wanted to show people our dedication to telling our story, and that although we did not have much experience in our respective roles, we were still able to successfully tell our story. My main goal was to tell a visual story using my design skills, which emphasized the main character’s silence. She did not speak as part of the theme, but also so that we felt her suffocation and understood she observed so much but was unable to ever speak up. It is presented in a unique way that is open for interpretation.
How do personal and universal themes work in your film?
This film is about leaving childhood behind, and entering womanhood and the control men and religion have over us, especially in the 1940s. I set it in a time inspired by the 40s because it was a time of experimental psyhcology which was often performed on women. The film plays with time, jumping from past memories which affect the present for this little girl. It speaks to the rules we are expected to abide by, whether by society, politics or religion and how they are forced upon us at such a young age. At some point, we have all felt restricted so it’s relatable.
It was made from a child’s perspective because children, in my opinion—especially girls—lose their voices at some point in their lives, and when they become women, it comes with many expectations and regulations. Emily’s obsession with holes was a metaphor for a need to escape and commit suicide, like she saw with her friend; she associated freedom with death. I’m here to say that there’s hope to find light again, that we can and should not only keep our voices but we can make them louder than ever before.
How have the script and film evolved over the course of their development and production?
I wrote this script in a screenwriting class. I had a completely different script at first, but then had a dream about this little girl named Emily, and then this script was born. It did not evolve too much from the first draft, apart from taking away all the lines from the two main characters: Emily and Dr. Perkins. During production, we were forced to cut scenes due to time, but it turned out we didn’t need those scenes because we still ended up with a strong story line. In editing, we shifted time throughout the film which helped us get more into Emily’s head and see how she understands adult situations and the struggles she endures.
What type of feedback have you received so far?
The majority of the feedback we received was very positive. We were told it is a visually appealing story; a beautiful film with beautiful music. The most important feedback was that people have interpreted the story in different ways, which I’m thrilled about since that was my intent. I wanted my audience to walk away with their own individual version of what happens to this little girl and what this whole story is about.
Has the feedback surprised or challenged your point of view?
The feedback has strongly supported my purpose in making this film. Everybody that has seen it has walked away congratulating us on how it is a feminist film and how much it addresses current issues. Feedback regarding the sci-fi aspect has pushed me to revisit scenes and slightly change them around so that the whole film seems even more open-ended. They wanted more of it, which surprised me in a pleasant way and inspired me to really play with it in different versions in the editing room. Perhaps it’s something I’d like to revise more and elaborate on in the future.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I want more exposure and recognition as a director and writer. I have a uniquely dark viewpoint that I draw both from personal experiences as well as news articles I come across. I want to be known as a director who sheds light on women’s issues and bring them out in a fantastical way. I don’t feel like we have enough of that in the industry because a lot of these issues get shoved under the rug. If I can make a beautiful visual story about a pressing issue, I get the best of both worlds.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I would love to be able to get more producers, distributors and journalists to help spread the word about this film and about the kind of work I can do. I have 3 more scripts that I’ve written and am looking for the proper platforms and resources to be able to make these next projects come to fruition. In order to do that, I need to get “EMILY” out to people to see and experience. I want journalists to write about the multi-layered issues buried in the film that can hopefully spark ideas and elements that some viewers might not have caught.
What type of impact and/or reception would you like this film to have?
I want this film to have a positive impact, particularly on women. I want people to be able to relate to the story but also to be able to interpret it in their own way. Everyone has felt at one point that they didn’t have a voice or were in a situation that they were unable to control. Although I set this film in a world inspired by the 1940s, it is still a pressing issue today. Entering womanhood changed everything for this girl, and society is to blame for that. I would like us to acknowledge that and to start a real conversation about how a male-dominated world we are still living in.
What’s a key question that will help spark a debate or begin a conversation about this film?
What is this film about?
Would you like to add anything else?
This was the first film for my two main characters, and they both helped develop the characters and stories in very strong ways. My main actress was kept in the dark about what the movie was about and was lost the entire time during filming. I chose to do this so that she could genuinely come across as lost in a world where everyone else knew what was going on, and so that I didn’t taint her perspective of the world. In real life, Penelope is a very happy and positive kid, and I didn’t want to take any of that away from her at such an early age. Her parents chose to tell her the plot line after we filmed and she understood everything immediately. She said she could relate to a lot of what her character went through and was proud she could be a part of something that was bringing light to something that she and all of her friends experience on a daily basis.
What are the key creatives developing or working on now?
I have 3 scripts that I wrote that all relate to women’s issues and are even darker than this film. My cinematographer is helping to develop 2 of the 3 with me, as well as working on documentaries on his own. The costume designer is working on a feature, the editor is in the middle of directing his own film, and the producer and associate producer are working in theatre.
Interview: September 2016
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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EMILY
A young girl witnesses the suicide of her older sister at the Catholic boarding school they both attend. As a result, Emily begins to develop an odd fascination with holes and believes they are a way to escape the oppressive school and reunite with her sister. The superiors at the school hand Emily off to the new psychiatrist who performs cruel experimental procedures in an attempt to cure Emily but instead pushes her deeper into her obsession and desire to escape.
Length: 00:12:12
Director: Francesca Marciano
Producer: Tony Zhu
Writer: Francesca Marciano
About the writer, director and producer:
Writer/Director: I am a production designer and interior designer. Since this film, I have been writing more scripts all involving issues women struggle with.
Producer: Tony comes from theatre. He helped bring a theatrical element and dramaturgical aspect to this film. He is currently working in Brooklyn on experimental projects.
Key cast: Penelope Figueroa, Max Raines, David Graf, Larry Karman, Pamela Beaty, Sean C. Dwyer
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): all
Funders: Indiegogo, CalArts grants, private donators
Release date: 2017
Where can I watch it in the next month?
It’s still going through the festival circuit, but by December it will be up on Vimeo for our audience to watch at home.