Fran, producing is something that you’ve added to your repertoire, and the results are undeniable. After starting with Every Secret Thing, you championed and produced Olive Kitteridge and it won eight Emmys. And then came Nomadland, which won the Best Picture Oscar, one for Chloé Zhao as only the second female Best Director winners, and one for you as an actress.
So, one of the things that is the foundation of it is that when we go back to work…like, come on, we don’t always work that well at home putting together a window treatment.
But it’s a little bit more complicated than that. I think there were a couple of things about this particular project. You know, when you say that people assume it’s sort of two halves of one brain or we share identical sensibilities or interests, that part of it is actually not true. I mean, what our careers are and our collaboration together is reflective of those points of intersection where we share interests in the same thing.
And I think that also, we’ve been celebrating…Ethan has had a whole career in the theater in the last ten to fifteen years. He started writing plays and having them produced, and we’ve been celebrating that with him for a long time. So this was, for me, watching Joel kind of…Joel has other pursuits that aren’t necessarily as public as Ethan’s in the theater, but this is the first time that Joel has gone from soup to nuts with an idea of his own.
And so all of those decisions that we were talking about before, you know, what was edited, how it was cast, what the tone was, what the pace was, what was the parts of the play that we wanted to bring out more, all of those things I think were really primary to that question, which was yes, that was the interest in doing this this way, and that it’s a movie and they can feel like a movie-movie, as opposed to an exercise or an “adaptation of Shakespeare”.: Right.
Man, I have to say, I'm really disappointed in how Frances took that Rudin question. Saying that this article was supposed to be about the film and not about him. I mean... come on.
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