Elizabeth Sankey is an English writer, musician, and actor. As a cultural commentator, she has written for The Guardian, NME, Vice, and McSweeney’s Quarterly Concern. With her band, Summer Camp, she has released three studio albums. “Romantic Comedy” is her feature directorial debut.
“Romantic Comedy” will premiere at the 2019 SXSW Film Festival on March 8.
W&H: Describe the film for us in your own words.
ES: “Romantic Comedy” is a documentary. I’ve tried to go under the surface of our favorite films, seeking a better understanding of the way we view love, relationships, and romance. From “It Happened One Night” to “Runaway Bride,” from clumsy meet-cutes to rain-soaked declarations of love, these films reflect our experiences but are often just as problematic as they are comforting.
I interviewed other writers, filmmakers, actors, and fans to get a broad perspective on the genre. It was very important to me that the film included lots of different perspectives and experiences.
W&H: What drew you to this story?
ES: Romantic comedies are hugely successful and deeply loved by many, but — being frequently dismissed as guilty pleasures — they have often avoided critical analysis. I have always been a fan of them, despite their flaws, and think they have an incredible power. They are important in pop culture and human relationships. I wanted to work out why they’re so emotionally effecting, and also cut them into tiny pieces to see what they say about us as a society.
W&H: What do you want people to think about when they are leaving the theater?
ES: I want them to feel hope for the genre, as I think there is still a lot of life in it yet — with the right people, it could go to some very exciting places.
W&H: What was the biggest challenge in making the film?
ES: Because it was my first film I was learning as I went. Making sure it worked as a film on a very basic level was quite overwhelming, and then obviously I also wanted it to be funny, interesting, moving, and even shocking.
Luckily I had three great producers working with me — Chiara Ventura, Oskar Pimlott, and Jeremy Warmsley.
W&H: How did you get your film funded? Share some insights into how you got the film made.
ES: I self-funded the film. It’s an essay film so my only real expenses were DVDs, Blu-rays, hard drives, and a laptop that could handle all of the movies. I basically didn’t earn any money for two years, but it was amazing to be able to just get on with it and not rely on investors or securing funding.
Film essays — good for control freaks who have savings.
W&H: What inspired you to become a filmmaker?
ES: I have always been obsessed with films and cinema, but I never really considered making films myself. It seemed like a mountain that would be impossible to climb. The only reason I made this one was because I had worked on the soundtrack for another essay film, “Beyond Clueless,” and am good friends with the director, Charlie Lyne.
When I had the idea that maybe I could do something similar with rom-coms he was the first person I talked to. Charlie has always been so helpful, supportive, and encouraging, and seeing how he works and makes his films was very inspiring to me. He is a good man; I hope there are many more in the industry who are like him.
W&H: What’s the best and worst advice you’ve received?
ES: I had two really helpful pieces of advice. The first was from my producer Oskar, who told me to transcribe all of the interviews I’d done. It seems like madness to me now that there was a point I hadn’t thought of doing that! The second was from my producer Chiara, who forbade me from touching or watching the film for two months when I’d finally finished it. That was such a great piece of advice, as it meant when I finally did watch it before festivals to do any tweaks or edits, I saw it with fresh eyes and could almost just watch it as a film.
I would never share the worst advice, as the person might read this! I think, though, that it’s important to listen to all feedback and if possible get it in email form so you don’t have to receive it face to face. The feedback that feels right to you will stay with you and you’ll want to act on it, but if it doesn’t ring true, don’t do it.
W&H: What advice do you have for other female directors?
ES: I’m really not ready to be giving advice. I still need advice! But I would say that I sometimes hold back from starting projects because I feel like it’s not something I think I’m experienced enough to do — I think I need to be more prepared, or study more, or have done other things first. And then I look at the men around me and I realize very few of them seem to have that concern. Learn on the job, blag it, just make the fucking thing.
W&H: Name your favorite woman-directed film and why.
ES: At the moment it’s Marielle Heller’s “Can You Ever Forgive Me?” which I thought was such a beautiful, heartbreaking, hilarious movie. I will also always love Greta Gerwig for “Lady Bird” and Amy Heckerling [“Clueless,” “Fast Times at Ridgemont High”] is my absolute hero.
W&H: It’s been a little over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?
ES: I can’t speak to this, as I have so little experience in the industry. I will say that, compared to the music industry, the world of film seems to be a far more open and welcoming place with a real sense of community. So far it has been an absolute joy to spend time in.
