00:00So my daughter's eight years old, and I have a clutch of filmmaker female friends.
00:08So my daughter just thinks women direct.
00:10She thinks a lot of women direct.
00:11That's so badass.
00:12Most people that direct are women, including her mom.
00:17She recently said, you know, Mom, people go to the movies, and they eat popcorn, and then they watch it,
00:25and then they leave, and they just say something about it.
00:29But they have no idea how hard it is.
00:32Nice.
00:33So cute.
00:33Nice.
00:35She really has reverence for...
00:37That's awesome.
00:38Yeah, and performers, and music.
00:41She gets a cameo in Private Life, too.
00:42Yeah, she's a little cameo.
00:44She's a trick-or-treater.
00:50We like to kick things off with the chairlift pitch, which is the pitch you would give on a chairlift about what your movie's about.
00:55The shortest, I would say, it's a movie about a middle-aged marriage.
01:01That would be the most succinct.
01:04When I read that script, I just wanted it in so badly.
01:07I just so clearly understood her hunger and her ache.
01:12I remember thinking, I thought it was like waiting for Godot.
01:15I love when you...
01:16Yeah, that when I finished it, I was like...
01:17For two reasons.
01:18One, it made me sound like Beckett.
01:19Yep.
01:20And...
01:20No, seriously, when I finished it, when I finished it, I thought I was like waiting for Godot.
01:25I was like, it's not even about...
01:27Even if they got the kid, it's still not going to be the thing.
01:29Right.
01:30It's never going to be the thing.
01:31I remember you saying that on the set.
01:33One movie's about expectation of like, what can I expect from everybody else or my life or anything?
01:39We all loved Savages, and that was 10 years ago here at Sundance, I think.
01:43Yes, it was.
01:43So, what took so long?
01:46Like, why did it take a long time for you to get this movie made?
01:50I had a kid, and after I made The Savages, I sort of had this...
01:54I actually thought that I would, on top of doing my own writing, that maybe, you know, and that never happened,
02:01which was very interesting from a female director point of view.
02:07You know, I was like doing a little math, and I looked, I saw that Deborah Granik, it's been eight years since she made a dramatic feature,
02:16that Patty Jenkins hadn't made a movie for 10 years before she made, you know, that little picture, Wonder Woman.
02:25And, you know, a good friend of mine, Alison McLean, is incredibly brilliant.
02:30It was 15 years between her two movies.
02:32I'm not saying there's a pattern there, but...
02:36But there's kind of a pattern there.
02:37But there's a pattern there.
02:38And Mary Herron, a really long time between movies.
02:42It's so funny.
02:43I guess I just feel, like, so joyful after that screening last night of seeing this movie that I'm, like, celebrating this moment of Tamara, who's a female director, writer.
02:53I felt the movie was so strongly woman that I was, like, take as long as you want, honey.
02:59Because the product is so beautiful that I'm just in the moment to celebrate that as a woman.
03:05Of, like, you know, why the rush?
03:08I think, to me, I feel like enjoying being an artist and being creative is the most important.
03:12You can get in that mode of being afraid, or what's next, or I don't have enough.
03:15It's like a never-ending cycle, like you're saying.
03:18And I just choose to focus on what is, and that's what I want to say.
03:23But there is so many more women who are studio heads now and who have the fiscal power to put more women directors in the projects that they should be telling the stories they need to be telling.
03:35This is a story that I really don't think could have been told by anybody but a woman.
03:42And it's so radically feminine the whole time.
03:44It's really killer.
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