Marti Noxon is the creator and executive producer of Bravo’s first scripted drama series, “Girlfriends’ Guide to Divorce,” and the co-creator and executive producer of the acclaimed Lifetime drama series “UnREAL.” She is also the executive producer of the CBS drama “Code Black,” which is based on the same-name feature documentary she produced in 2013. Her other credits include “Buffy the Vampire Slayer,” “Mad Men,” and “Grey’s Anatomy.”
“To the Bone” will premiere at the 2017 Sundance Film Festival on January 22.
W&H: Describe the film for us in your own words.
MN: It’s a semi-autobiographical movie about a young woman who is dying from anorexia, and the journey she goes on that helps her decide to fight for her own life.
W&H: What drew you to this story?
MN: I was anorexic and bulimic from the time I was about 13 until I was almost 25.
W&H: What do you want people to think about when they are leaving the theater?
MN: I hope they will have a better understanding that women and men who have eating disorders have a disease that is real — that it’s not an issue of vanity.
And I hope they will look more closely at their own self-critical voices and think about being kinder to themselves.
W&H:What was the biggest challenge in making the film?
MN: Personally, a huge challenge was that my father died a few days after we wrapped. I was immobilized for a while. Given the personal nature of the film, editing was really hard. But all the producers were very compassionate and we took a short hiatus so I could face plant.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MN: We were financed by a few independent companies after we secured the film’s stars, Lily Collins and Keanu Reeves.
I deferred my fees, as well as some of the producers. We await distribution and hope very much to get it!
W&H: What does it mean for you to have your film play at Sundance?
MN: To me, it means that this incredible group of people we assembled to make this film should all feel validated that their passion for the project paid off. And no matter what happens from here, people are going to share this experience we worked so hard to deliver. It makes me very, very happy.
W&H: What’s the best and worst advice you’ve received?
MN: Best advice: “If this isn’t work you have to do to live, find different work.”
Worst advice: “You’re crazy to buy a house in Silverlake.”
W&H: What advice do you have for other female directors?
MN: Use all the tools at your disposal to start making stuff! Don’t let the technology part of the puzzle intimidate you. You are good enough at maths, even if you think you’re not. It’s time to challenge those old ideas. And attack all genres. Every story can be a genre story — you just need to find the right container.
W&H: Name your favorite woman-directed film and why.
MN: Lisa Cholodenko’s “The Kids Are All Right.” Just loved the sure-handed tone and the compassion for the characters. It reminded me of one of my favorite all time films, “You Can Count on Me.”
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?
MN: Absolutely, it’s now much easier to give female directors a break in episodic. And my advice would be, fight for justice in terms of opportunities, but also fight to be prepared for that break if it comes. Meaning, make stuff on your phone and put it on the internet — or direct a play, or take an acting class, or develop material for yourself, and so on.
