British - Director | April 20, 1970 -
I'm very interested in cinema that explores emotional journeys and where you can use everything at your disposal cinematically to locate you inside someone's head and their emotional landscape.
Sarah Gavron
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In a way, perhaps, there's an advantage of being on the edge of something and looking in as the observer, because as the filmmaker, you're the storyteller, and you're pulling out this universal story.
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I suppose I do have an interest in stories that show complexity.
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I've endlessly found myself in rooms of men and had the experience of feeling I wasn't being heard. It's a confidence thing.
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With 'Suffragette,' I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.
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I'm so aware how often women's bodies are objectified on film.
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I think it's great to be talked about as a woman film-maker. It's part of who I am; it affects me daily. I want it to be part of the conversation. I'm for any scheme or initiative that gives women a way in.
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It's well proven that if you have equality in society, society flourishes, and if you have inequality, it doesn't. So it's good for everybody.
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We need to have more conversations about representation as well as the imbalance in terms of needing more women behind the camera and in front of the camera, and the diversity factor.
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It's my mission in life to put people on the screen who don't get normally represented.
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I'd made this film called 'This Little Life,' and it went round the fests and won awards and did well.
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I was taught nothing about the suffragettes in school. The version I eventually got was mainly about the peaceful campaigning of the constitutional suffragists. Their work was vital, but there was this other, not widely known story of the women who risked everything, who were prepared to break every taboo.
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