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    Megan Griffiths on Exploring the Freedom That Comes from Private Acceptance in “I’ll Present You Mine”

    Megan Griffiths is a writer-director working in movie and tv. Her function credit embrace “Sadie,” “The Night time Stalker,” “Fortunate Them,” “Eden,” and “The Off Hours.” She has directed reveals for HBO, EPIX, TNT, Hulu, USA, Fox, Netflix, and Amazon. Her producing credit embrace “Your Sister’s Sister,” directed by the late Lynn Shelton.

    “I’ll Present You Mine” is making its world premiere at Seattle Worldwide Movie Pageant April 16.

    W&H: Describe the movie for us in your personal phrases.

    MG: “I’ll Present You Mine” is a couple of dialog that occurs over the course of 1 weekend between two characters, Priya and Nic. Priya is a feminist memoir creator whose properly of private revelations has run dry. In hopes of mining some new territory, she has invited Nic, her nephew by marriage, to her dwelling to interview him about his previous as a profitable mannequin who drew lots of consideration for his sexual exploits with individuals throughout the gender spectrum.

    Priya and Nic have lengthy shared a bond, in order that they have an ease collectively which is quickly examined as they wade into increasingly more delicate subjects. Over the course of this more and more intense weekend they push and break boundaries, and dig deeper into themselves than both of them may have anticipated.

    W&H: What drew you to this story?

    MG: I beloved the characters — they felt layered and fascinating and like individuals I needed to know higher. The script was additionally actually engrossing and took me locations I didn’t count on to go.

    It felt like an ideal movie for this time.

    W&H: What would you like individuals to consider after they watch the movie?

    MG: I believe the movie has one thing to say about private acceptance and the liberty that may come from that. I’d wish to assume that watching the journey of those two characters may spark the viewers to consider the methods during which they may not be being sort sufficient to themselves, or treating themselves with sufficient care.

    W&H: What was the largest problem in making the movie?

    MG: I believe discovering the best individuals to play these two characters. Since Nic and Priya are the one characters within the movie, they each should actually draw you in, and there should be layers to find over the course of the movie.

    Given all that, I’m so grateful we discovered Poorna Jagannathan and Casey Thomas Brown. Each are such robust actors, however additionally they are such fascinating people. Poorna has an intelligence and pure curiosity that actually comes by in Priya and permits the viewers to study together with her. Casey is so charming and loveable, but in addition such a high-quality actor who was capable of navigate among the extra advanced components of Nic.

    They each make each second so true and grounded. It took us about 9 months to seek out them and line up schedules, but it surely was utterly definitely worth the wait.

    W&H: How did you get your movie funded? Share some insights into how you bought the movie made. 

    MG: After producer Lacey Leavitt and I initially acquired the script from our three writers, Tiffany Louquet, Elizabeth Searle, and David Shields, we shared it with Mel Eslyn at Duplass Brothers Productions. Mel completely beloved and understood this venture and she or he championed it to Mark and Jay Duplass, who fell in love with it as properly and have supported us each step of the best way.

    Ashley Edouard from Duplass Brothers Productions turned the ultimate integral piece to our producing staff, and we had been off and working.

    W&H: What impressed you to develop into a filmmaker?

    MG: If I’ve a faith, it’s empathy. I believe it’s so essential to look at the world from different views. Directing movie and tv permits me to do that by an enormous number of characters and tales. I by no means go away a venture with out having discovered one thing and grown in some small — or typically massive — method, and I hope the identical is true of the viewers’s expertise watching something I direct.

    W&H: What’s the perfect and worst recommendation you’ve acquired?

    MG: I believe the worst recommendation was to carry out for some good studio alternative after early success on this trade. On this enterprise it’s straightforward to permit different individuals to dictate your path, and primarily based on this recommendation lots of proficient individuals lose years ready for different individuals to permit them to work.

    Conversely, the perfect recommendation was to cease ready for permission and simply discover methods to inform your tales and get your work on the market. Watching Lynn Shelton get her Spirit Award in 2009 and utilizing the chance to empower individuals to go make their movies was a extremely pivotal second for me and I believe many different filmmakers.

    W&H: What recommendation do you will have for different girls administrators?

    MG: Construct a physique of labor that speaks for itself, all the time respect and make the perfect of each alternative, invite and combine suggestions, and be capable of settle for a praise graciously.

    W&H: Title your favourite woman-directed movie and why.

    MG: There are far too many to checklist, however since this movie was so influenced by Lynn Shelton’s early work I’ll discuss a bit about “Your Sister’s Sister.” As a co-producer, I noticed firsthand the secure bubble that was created for not solely actors Mark Duplass, Rosemarie DeWitt, and Emily Blunt, however for all of us who had been there behind the digital camera.

    That bubble allowed everybody to carry our greatest to the desk and resulted in an intimacy and vulnerability that made its method into each facet of the ultimate movie. Movie units will be hectic and chaotic locations, however that movie set was an oasis. I’ve tried to hold on that custom of making an area which is protecting and centered, however nonetheless manages to be enjoyable and unfastened and permit individuals to shine.

    W&H: How are you adjusting to life throughout the COVID-19 pandemic? Are you holding artistic, and if that’s the case, how?

    MG: Earlier than the pandemic, I had been steadily constructing my tv resume. When all the pieces shut down, all of the TV work I’d lined up for 2020 was pushed, pushed, and ultimately evaporated. In that very same time interval, Might 2020, got here the devastating information that Lynn had handed away. As a method of dealing with my grief and honoring Lynn’s reminiscence, I threw myself into making a tribute piece for her with Mel Eslyn and the Duplass brothers.

    After that, I turned my consideration to one thing that I had drifted from for a number of years and began growing function work. This in the end resulted in each “I’ll Present You Mine” and my different upcoming function, “12 months of the Fox,” which I’m simply ending now.

    W&H: The movie trade has an extended historical past of underrepresenting individuals of colour onscreen and behind the scenes and reinforcing — and creating — adverse stereotypes. What actions do you assume have to be taken to make it extra inclusive?

    MG: Definitely pulling in additional voices from underrepresented corners and elevating these tales is a superb first step, and one which appears to be occurring slowly however certainly, and is bolstered by audiences which can be ravenous for these new views.

    However I believe these of us who aren’t from communities of colour — or the incapacity group or LGBTQ+ communities — even have a accountability to have consciousness across the stereotypes we could also be creating or reinforcing in our personal tales, and to take each alternative to study and develop our personal understanding and replicate that in our work.

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