Stéphanie Di Giusto co-wrote “The Dancer,” which marks her feature directorial debut. “The Dancer” will premiere at the 2016 Cannes Film Festival on May 13.
W&H: Describe the film for us in your own words.
SDG: It is the story of a dancer who becomes famous by hiding behind her veil.
W&H: What drew you to this story?
SDG: Everything started with a black and white photo of a dancer hidden in a whirlwind of veils, levitating above the ground, with a caption at the bottom of the photograph: “Loïe Fuller: l’Icône de la Belle Epoque.”
I wanted to know and understand what woman was hiding behind these mounts of fabric and her story perplexed me. I liked the idea that she became famous by hiding herself. With her “Serpentine Dance,” Loie Fuller literally revolutionized the performing arts in the late 19th century, yet no one — or hardly anyone — remembers her. It became a mission for me: I could not leave this woman in the shadows.
W&H: What do you want people to think about when they are leaving the theater?
SDG: I would like people to be touched by the energy of this woman, and that they get the feeling of being swept away by her breath. I would like to convey her free spirit to people: this woman gives you the will to fight. I would like this film to give momentum to the audience.
W&H: What was the biggest challenge in making the film? How did you get your film funded? Share some insights into how you got the film made.
SDG: It was an impossible first film to make: an expensive first film, a period piece with an unknown in a first lead role, and an elitist subject. Everything to displease a financier. Thankfully, I met Alain Attal, one of the rare producers who will take risks. He immediately understood what I wanted to do, and fought just as much as I did. Without him, this movie would never have been made. This was three years of writing and two years of production.
Every movie is a miracle. The filming for “The Dancer” was a constant battle, but also mostly pleasure and happiness. The film was possible, and it was going to exist. After a very chaotic start on the film, and years of hustling, I no longer believed in the existence of movies. After Alain made the decision to move forward with production despite the financial deficiencies, I had a hard time believing that I would finally be able to shoot.
Nothing could’ve stopped me. It’s the faith you have in making your first film. There’s adrenaline and an unconsciousness that takes you far. The difficulties and constraints are part of the process of creating. We started the shoot under-financed by a very limited budget. So we had to go into the movie thin.
From there on, it was a war between my artistic requisites and the reality of the film’s economy. Comfort is never that interesting. Every piece of bad news was a way for me to bounce back. Shooting days were taken away from me at the last minute. Believe me, when it’s your first film, it’s very hard to surpass — I had to rewrite sequences during the filming, on top of having the usual daily difficulties.
But I was already lucky to have a solid budget for my first movie. It seemed normal to have these constraints: it allowed me to focus on the foundation of the story and the emotions.
The last day of filming had to take place at 2000 meters of altitude in the Vercors, for the beginning of the film in West America. The mountain was not practical and dangerous because the roads were frozen at night. Production wanted me to give up on going up there: we were not equipped for it and it was dangerous. I couldn’t get myself to admit that it was impossible — it was up there or nowhere else for me. I imagined my heroine galloping on that landscape, very far away with the title right above her.
During our last night, the climate suddenly and strangely warmed up, and all the snow melted. We were able to shoot as planned. It was like the film was protected by a benign spirit. We made lots of different plans on a daily basis, multiple set decorations and complex camera movements. I didn’t have time for many takes. It was hard for the actors but deep down I liked that. It was everything then and there.
Regardless, with the current economy, if we want to keep making interesting movies, we don’t have a choice. The days when Terrence Malick could wait for the right lighting to do his take are sadly gone. Either way, the shooting of this film will be one of my fondest memories.
W&H: What does it mean for you to have your film play in Cannes?
SDG: It is rare and unique to be able to show your first film at Cannes. It allows me to perhaps imagine making a second one — at least I hope so. And I especially love the idea of showing “The Dancer” to the world in addition to in France. Movies are made to travel. Cannes is the opportunity to see films from around the entire world. I really want to work with American actors and British actors. I like their way of working.
W&H: What’s the best and worst advice you’ve received?
SDG: It was very complicated to convince financiers to make “The Dancer.” Some of them said that the script was very good, but asked “Are you able to do it?” Others said, “Nobody cares about dance,” or “Willpower is not enough,” or “You should write a movie that’s more simple.”
You can’t imagine the strength this gave me. I knew that if I gave up, it would make me sick. The best advice i was given was “Never give up.” During the shoot, the Dardennes brothers, my co-producers, advised me to not be too wary. I always had the idea that speech and language had to lose itself into gestures.
W&H: What advice do you have for other female directors?
SDG: There will always be a reason to not make your movie. The important thing is to believe in it and to fight for it. You are the only one who can make your movie exist.
W&H: Name your favorite woman-directed film and why.
SDG: Maya Deren’s work has been very important to me. She was [influential in] American filmmaking [but] originally Russian. She was born in the 1920s. Her work is so avant-garde.
And of course, it’s not very original, but my life has never been the same ever since I saw Jane Campion’s “An Angel at My Table.” She is my favorite filmmaker. I completely understand Xavier Dolan and the emotion when he received his prize directly from Jane Campion; it was very moving. She has a way of capturing desire which transports me. Of course, “The Piano” remains her biggest masterpiece, but I particularly like the sobriety in “Bright Star.”
And finally, I stay faithful with Loïe Fuller, who made her first film “Le Lys de la Vie” in 1920, inaugurating slow motion into the history of cinema.
W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some change?
SDG: We need to start by stopping speaking about women making movies. There are filmmakers — that’s it. It is shortsighted to think that it’s hard for women to make movies. It’s hard for everyone. The real progress would be to stop pointing fingers at women. It is normal for a woman to be a filmmaker. Loïe Fuller is proof.
