![]() ![]() But what I will do is show you a few things. They couldn’t open it until we did our Skype call and then we opened at the same time. So I made two of these packages and the box came later for the final pitch. I thought it would be kind of funny if they were either like ‘fuck that was so good… or so bad’. I didn’t want them to be able to discuss it over a digital presentation. It was always frustrating that I couldn’t be there in person. I’ve gone off course… Oh the box! Having done so many commercial pitches, I know how often it is just ‘next, next, screen, screen.’. If you can poke at fashion, you’ve got another story-telling layer. I was like, well I’ve got a funny hook right there that you can poke fun at. Like women always looking like they’re going to a wedding in a Jane Austen film instead of the sort of weird tight curls that were the fashion of the early 1800s. All the research I did was to find the things that maybe have been overlooked or maybe because of the time period when that movie was set, they weren’t comfortable. I do love period films and I think they’re hard to do well. I wanted to commit hard to the Jane Austen film. I didn’t want to go soft and sort of dance in the middle of something. And then I wanted to know what would turn someone’s head who says they hate this kind of movie. Then in film I feel like Jane Austen obviously has this set group of fans, they’re going to be in the seats already. So I always tried to think from the perspective of the fan, what would they want next? And the same thing with commercials, I always want to know who’s the one that’s already buying it and who’s the person that they’re hoping will buy it. Maybe you share that delightful little pitch box….ĪW: Obviously when I was a rock photographer, not every band was my favourite band that I shot. So please talk about the act of world-building, how it’s integral to your creative process. And one of the wonderful things about Emma is that you just want to live inside this world, as you’re about to see, it’s just meticulously detailed. So you get into things, you become obsessed and it manifests in your work. The pitch, let’s talk about this right now through the prism of obsession. Portrait for NY Times Mag by And a little more on that. It was a benefit that I’d been in commercials. And I had this whole pitch for the film that was based on creative content and the visual palette and all this stuff. Like I made a tee shirt that I wore that said ‘Handsome, Clever, and Rich’, and I’m like this is a hook, this is genius. I had marketing ideas from the very beginning. I wasn’t a frustrated filmmaker making commercials, I weirdly really like making them. That is why I think those musicians asked me to do music videos and, of course that worked in commercials. So to help my subjects feel comfortable, I’d often create a movie that never got made for the photo shoot. The most captivating portraits make you wish that you were there and make you wonder what they did next or what they had just done. I kind of pretended all of my photos, even portraits, were scenes from movies anyway. I didn’t like being photographed so I used those techniques to help people who also don’t like being photographed. ![]() I went to drama school so I know how to talk to actors. It was terrifying on a certain level, but I had all these bags of tricks from all these different weird things that I’ve done and they were incredibly useful. It was kind of amazing to not be 21 and wondering how I was going to do it. I’m 50 this year, and it is my first film, but I have had a lot of trials by fire. I went to drama school and he’s like, ‘well, you went to drama school, right?’ And I was like, ‘yeah’, and he goes, ‘act like a fucking photographer’ and hung up on me. I was taught by my father as a photographer, I didn’t go to school and I didn’t realise how much I knew from him. And I called up my dad and I was like, ‘Dad, they’re going to figure out that I don’t know what I’m doing’. ![]() Actually the first photo job I had was on a Xerox commercial that Gore Verbinski was directing. ![]() What gave you the confidence that you could pull it off?Īutumn de Wilde: I’ve always stuck my head in the fire. However, to jump straight into a feature from the work that you’ve been doing with these accelerated timelines, seems like madness. Your Prada series The Postman Dreams was a notable triumph. David Kolbusz: Autumn, this was an unbelievably quick turnaround from landing the job, to principal photography, to the film’s release date. ![]()
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