Erin Lee Carr is a New York-based filmmaker and writer. Her debut film, “Thought Crimes,” premiered at the Tribeca Film Festival and Hot Docs Film Festival in 2015. Variety named her as one of the 10 Documentarians to watch that same year. She is currently directing another film for HBO Documentary Films and writing a book for Random House.
“Mommy Dead and Dearest” will premiere at the 2017 SXSW Film Festival on March 11. The film will premiere on HBO in May 2017.
W&H: Describe the film for us in your own words.
ELC: Our film is truly one of the strangest criminal cases I have ever hear about. But, it is also about something quite simple: a young woman that just wanted to grow up.
W&H: What drew you to this story?
ELC: I am drawn to stories that involve the internet or communication in some way. I think that the web can be a window into someone’s state of consciousness, and as a filmmaker, I think that is such an incredible development.
Gypsy, our main subject, was forced to live in a little house with no access to real friends or education, so she taught herself about the world through the internet. It had fascinating and yet very dangerous consequences.
W&H: What do you want people to think about when they are leaving the theater?
ELC: I want the audience to put themselves in Gypsy’s shoes — which is nearly impossible, but it is a good mental exercise.
I also want us to think about the men, women, and children we know — or don’t know — who are handicapable and perhaps be mindful to check in with them and ask the right questions. I don’t think we want to assume that something is wrong, but it is good to be in a dialogue about how life is going, as we would any friend.
What is true about this story is that no one knew to ask Gypsy the right questions; her mother spoke for her.
W&H: What was the biggest challenge in making the film?
ELC: The biggest challenge was definitely access. When we first started, I spoke at length with Gypsy’s lawyer, Mike Stanfield, who was wary about press as he had a trial to prep for.
There was such a little shot at being able to speak to her that when it happened, it felt like a gift from the documentary gods. We first filmed with the family, Rod and Kristy Blanchard, we developed a relationship based on trust, which was crucial to our filmmaking process.
W&H: How did you get your film funded? Share some insights into how you got the film made.
ELC: I made “Thought Crimes” for HBO with Producer Andrew Rossi, Senior Producer Sara Bernstein and Executive Producer Sheila Nevins. They asked me to find another crime story for a potential series, and this is one of the stories that made it past pre-production. This film would never have been possible without the people mentioned above. So, yes, HBO Documentary Films funded the project.
W&H: What does it mean for you to have your film play at SXSW?
ELC: SXSW is a big deal in my family. I am so honored that SXSW is celebrating my dad with their annual David Carr Prize.
I visited the festival once for my work at VICE, and I am so thrilled to be back in Austin with a film I love so much.
W&H: What’s the best and worst advice you’ve received?
ELC: The best advice: Filmmaker Aaron Lubarsky emailed this to me in 2014: “Trust your gut. Don’t let others sway you from your vision, but keep an open mind. Surround yourself with people who are smarter than you, people you like & respect. Don’t sweat technology too much, but learn as much as you can about gear and how it works — it’ll make you a better filmmaker and a better communicator. Shoot and edit your film yourself if you can. If you can’t, ask yourself why you can’t. If you hire an editor, hire someone who isn’t just a button pusher — you want someone who will push back.”
He continued, “Don’t worry about getting in to film festivals or awards or that kind of nonsense. Focus on story and emotion. Ask yourself, ‘Why should I care about this film?’ every now and then. And, prepare yourself emotionally — rejection is a perfectly normal, perfectly healthy part of the process. Just keep moving forward. Also, remember this: films are never finished. You can continue to work on them forever, constantly modifying, tweaking, refining, etc. Films are never finished; they are, at some point, abandoned.”
Worst advice: Stay at a job because it’s secure. Nothing is for sure in this life — not even tomorrow. I choose to leap.
W&H: What advice do you have for other female directors?
ELC: Find something that speaks to you, and make it your beat. Don’t be afraid to ask others for help, and definitely find a female mentor who can counsel you through this wild ride (Hi to my mentors Amy Emmerich and Faith Gaskins).
W&H: Name your favorite woman-directed film and why.
ELC: Most recently, Liz Garbus’ “What Happened, Miss Simone?” It is a gut punch of a bio doc about a complicated, incredible human being. I watched a couple of times, just awestruck by the talent of Nina Simone and the director capturing the story.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
ELC: I am definitely optimistic. I am a woman who has been consistently been given chances. I hope to do the same for other women.
