Margaret Salmon was born in New York and studied photography at The School of Visual Arts and the Royal College of Art. She lives and works in Glasgow, Scotland. She creates filmic portraits which weave together poetry and ethnography. “Eglatine” is Salmon’s feature directorial debut.
“Eglatine” will premiere at the 2016 BFI London Film Festival on October 9.
W&H: Describe the film for us in your own words.
MS: “Eglatine” is an avant-garde children’s film and nature study. The film follows the real and imagined encounters of a young girl who becomes lost in the woods one night.
W&H: What drew you to this story?
MS: A keen interest in nature documentary and classic children’s books, films, and TV. There was also a desire to participate in the creation of entertainment for younger audiences — and all the possibilities that opens up for philosophical discussions surrounding children’s independence, perception, and education in modern life.
W&H: What do you want people to think about when they are leaving the theater?
MS: I’d love people to leave the cinema more attuned to the natural world around them with heightened senses, and to feel that wherever you live, the earth is a community of living things. (This is pretty obvious! But somehow still needs to be said.)
W&H: What was the biggest challenge in making the film?
MS: Where to start? Using 35mm in natural light on location in ‘sunny’ Scotland. And shooting with with a low budget, children, and animals.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MS: The UK has wonderful support for artist filmmakers taking on features. I pulled together a range of public and private art funds, as well as one wonderful patron who served an executive producer. And, of course, incredibly generous in kind support from practically every person involved.
W&H: What does it mean for you to have your film play at LFF?
MS: It’s amazing to be able to premiere the film in the country that made it possible — and to showcase British wildlife to a British audience in particular.
W&H: What advice do you have for other female directors?
MS: Well, I guess I’d offer this advice to working mothers in particular, or anyone who has to balance home and work commitments and daily compromise: Don’t expect to fit your life into everyone else’s working methods. Film is a young industry, and for other voices to emerge, some modes need to be tested and reworked. Don’t be afraid to say what you want and need, even if it’s considered counterproductive at that moment — things have a way of working out for the best, really.
Do forgive yourself for mistakes and keep learning. Sometimes mistakes are a good thing. Take pleasure in the work and stay positive.
W&H: Name your favorite woman-directed film and why.
MS: “Cleo from 5 to 7” by Agnes Varda. It’s brilliant, and everything I’d want in a film — beautiful, inventive images, imaginative sound and music, simple yet poetic structure and story, and sensitive performances. Practically untouchable.
W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?
MS: Yes, it seems like there’s an increased interest, which is fantastic and should be just normal [and expected.]
There’s a lot that can still be done. From my own experience, childcare expenses need to be considered when employing mothers, and in particular single moms. I’ve only once been offered a childcare stipend for time at a festival — I was awe struck! What a wonderful thing to provide.
