Photo by Lynn GoldsmithPhoto by Lynn Goldsmith
Australian-born director Gillian Armstrong seems to have a knack for picking projects that prove that there really is a market for well crafted films that refuse to mimic the Hollywood formula. Not only has her latest effort - the fourth released film version of Louisa May Alcott's classic novel Little Women - won critical applause and awards, but it performed well at the box office despite going head to head at Christmastime against popular films like Disclosure and Dumb and Dumber.
Armstrong, whose credits include Mrs. Soffel, My Brilliant Career, The Last Days of Chez Nous and the pop musical Starstruck, studied film at the Swinburne Art School and went on to complete the National Film School's course in directing. In 1979 she became the first Australian woman in 50 years to direct a feature film when she made her debut with My Brilliant Career.
The film went on to win seven Australian Film Institute Awards, including Best Director and Best Film. After the film was selected for competition at the Cannes Film Festival, Armstrong was invited to Hollywood to develop features, but elected to continue working in Australia until 1984, when Mrs.Soffel brought her to America to maker her US directorial debut. Little Women is her third US feature.
Around the world, Armstrong's films have drawn critical acclaim because of her ability to bring such ethereal elements as romantic attraction and deep emotion to the screen. The DGA Magazine caught up with the director recently in Los Angeles as she was about to receive Women in Film's prestigious Dorothy Arzner Directing Award, which recognizes the importance of women directors in the film and television industry.
What are the preconceptions people have about women directors?
I'm always asked about what the problems are as a woman director, so all my interviews come across as though I'm complaining, and I'm not. Actually, I've been treated very well, generally. But we will never achieve true equality until people drop the label "woman" before "director". I have a different directing style than, say, Kathryn Bigelow or Barbara Streisand, but we have different styles because we're all different human beings, not because we're women or men.
One thing I'm very sensitive about - and have been since film school - is this preconception about women film directors. We're always seen as having to be the little mother on the set, which is the last thing I ever was. Actually, I have wonderful people on my production crew who mother and look after me, and many of them are men.
What preconceptions do people have about directors in general?
I think there is still a misconception that all directors are Cecil B. De Mille types with a loud voice and a whip. Perhaps maybe that's why there's always been some puzzlement about a woman in the director's role. A director is a person who, hopefully, brings a vision to the screen, and you do that by using a team.
Do you like working with the same team whenever possible?
Yes. You develop sort of a shorthand over the years and no one needs to say anything or prove anything. Everyone can be absolutely honest and straight with each other. Many of the people who worked on Little Women have worked with me for the last 10-15 years. My editor, Nicholas Beauman, has worked with me for more than 19 years.
I've worked with a number of DP's including Russel Boyd and Don Macalpine. David Cooper and Geoffrey Simpson are to cinematographers I've worked with on numerous occasions.
What qualities do you think are important in a first assistant director?
Great organizational ability and, of course, personal loyalty to the director and to the film. My AD's Mark Edgerton and Mark Turnbull look after me. No one realizes what a long day a director has on her feet. They also, more importantly, look out for the schedule and figure out how to get the most out of the day so I can concentrate on getting the shots and the performance.
Do you believe in rehearsal?
Yes. I always have a minimum of two weeks rehearsal. Rehearsal period is a chance to explore and refine the basics. It's a wonderful time for the actors to play around and get to know and trust each other. I don't rehearse all scenes, though. Some emotions I believe you should save for the set. For example, I didn't rehearse any of the big emotional scenes in Little Women because I didn't want the actors to go stale on those. Not only does rehearsal time give the actors a chance to find their own way, but it also gives me time to go away and think about how to shoot it.
Do you storyboard?
I've storyboarded all my films. I believe that film is a visual medium and that we're bringing something visually alive. I draw rough sketches during pre-production and then, after rehearsals, I do another version.
Australian filmmakers appear to be a fairly tight group that help each other out. How do you find American directors?
The few times I've rung American directors to ask their advice about an actor or crew member, they've rung me back immediately. They've actually been very generous. Ed Zwick let me come and see some of his rough cut and Jamie Foley rang me while he was driving to the set on location to help me with a crew selection decision.
Sidney Lumet wrote me a letter after Mrs. Soffel came out saying how much he loved it and telling me not to let bad reviews get me down. An American director once gave me a tip about an actor who always got bored after several takes. This information helped because I knew not to take it personally when it happened on my set. So, I've actually had only nice experiences here. We're all in the same boat, and I think we should all help each other.
These days directors often do their own producing. Do you have any plans to produce?
I like having a producer to use as a sounding board. I think you lose objectivity on a long project and a good producer is really an asset. If you can do it all, then sure, but for me it's hard enough work trying to be the best director I can be, let along having to deal with all the money battles. I also love working with writers and have a great appreciation for what they do.
You make your home in Australia. Are you trying to balance the work in Australia with the projects you do in America?
The decision is really based on the script. The only time I have ever made a conscious decision to stay in Australia was with High Tide because that was the first film I did as a mother, and I thought it would be much easier for all of us if I filmed in my own country.
It must be very demanding to be a director and a mother.
Those male directors don't know what we're going through! But it's very hard for any working mother. One advantage female directors have is at least you're not working full time, all the time. We can take long breaks and I did just that after Little Women.
Also, my children always come with me when I'm gone for long periods of time. They have gone to school in Los Angeles and Canada and can even sing "O Canada."
How did Little Women come to you?
It was developed by Robin Swicord and Amy Pascal at Columbia. They had been working on it on and off for years, but no one was interested until Amy got into a position of power and could push it through. Denise DeNovi was a producer on the lot. She and Winona Ryder were on board when they approached me. At first I said no, because I thought it was too similar to My Brilliant Career. They both were period pieces about women who want to become writers. Denise was very persuasive and pointed out that, while my movie was quite fresh in my mind, it had come out quite a number of years ago and there was a whole generation of women now who hadn't seen it.
This article is continued in the September-October Issue of DGA Magazine.
