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Old 04-25-2019, 10:25 PM   #10
charlene
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Join Date: May 2000
Posts: 15,332
Default Re: TORONTO SUN-HOT DOCS-Lightfoot interview-Apr.4-2019

W&H: What’s the best and worst advice you’ve received?

MK: I remember a conversation I had with comedian Frank Shuster when I was in development for a documentary I directed about Canadian comedy. Frank was in his eighties at the time. He was half of successful Canadian comedy duo Wayne and Shuster, and had also been Lorne Michaels’ father-in-law.

He told me a story about Lorne as a young man asking him whether he thought Lorne should pursue a career in show business, as Frank always called it. He said if you want to do it, nothing will stop you. It’s not advice, but it’s wisdom, and I guess I took that to heart.

JT: Best advice: “Don’t sweat the small stuff.” Worst advice: “Don’t sweat the small stuff.” You pick your moments.

W&H: What advice do you have for other female directors?

MK: I guess just don’t be afraid. Tell your story—don’t question its validity or whether anyone wants to hear it. Trust yourself and your passion.

JT: I’d rather receive advice from other female directors!

W&H: Name your favorite woman-directed film and why.

MK: I am really not good with narrowing things down when it comes to favorites. I guess some of the films that impressed me most were those I saw when I was just learning so much about film and the world too. Gillian Armstrong”s “My Brilliant Career” was huge for me and my fellow female students, and it’s really a delight in every way. Also, two words: Judy Davis.

Lina Wertmüller’s “Seven Beauties” was a revelation, and certain scenes have just really stayed with me to this day. I also loved Susan Seidelman’s “Desperately Seeking Susan.” It was just so much fun and so in the zeitgeist. “The Piano,” and really all of Jane Campion’s work, is so great. I love “Clueless” for various reasons, including that I’m not a good driver. My daughters went through a period of obsession with Penelope Spheeris’ “Little Rascals,” which is also a great movie that’s so, so dear, with hidden punk sensibilities.

Nicole Holofcener’s “Lovely and Amazing” and “Friends with Money,” Martha Coolidge’s “Ramblin Rose,” and Greta Gerwig’s “Lady Bird” were great. “Marianne and Juliane,” directed by Margarethe von Trotta, was an early favorite as well. Too many to name!

JT: I don’t generally distinguish between woman-directed or man-directed films. If it’s good, it’s good.

W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?

MK: I think that, overall, it’s a time when we are finally realizing that the world is very small, and it’s more fun to go through life with good vibes for all. It’s exciting to think of all the new lenses that we will be seeing stories through. New voices, new ideas, new stories: Bring it on!

JT: This is the hardest question for me. We could all write a book! I grew up in a much earlier time than the young filmmakers working today. I dealt with the worst of men, but also the best of men, who I truly believe gave me and other women opportunities based solely on merit.

My hope is that any changes that are happening now lead to the day when this is the norm.
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