Sandy Chronopoulos is a documentary filmmaker and television producer living in Toronto, Canada. “House of Z” is her feature directorial debut. She is the Supervising Producer of Lifestyle & Entertainment programming at Rogers Media. Her 2012 television documentary “Project Runway Spotlight: Marchesa” starring Halle Berry, Eva Longoria, and Anna Wintour, produced by The Weinstein Company and Rogers Media, was recognized by the New York Festivals for Best Direction.

“House of Z” will premiere at the 2017 Tribeca Film Festival on April 22.

W&H: Describe the film for us in your own words.

SC: “House of Z” explores the life and career of designer Zac Posen. It is a story about the rise and fall of a fashion industry wunderkind, personal and artistic resilience, and redemption.

W&H: What drew you to this story?

SC: Filming began as a television special, simply about the process of making a runway collection. But once we started shooting, I could feel that there was a bigger story, and my instinct was to capture everything and delve deeper in my interviews with Zac.

Looking back now, it feels serendipitous that we were filming at a tipping point in his career, and at a time of searching and personal growth. It was about five months into the process that I was certain this was a feature documentary. We continued to film for two more years after that.

W&H: What do you want people to think about when they are leaving the theater?

SC: Failure is an integral part of success. It’s how you handle the failure that dictates the rest of the story.

W&H: What was the biggest challenge in making the film?

SC: The biggest challenge was making a documentary about a public figure, who was — understandably — protected by a team of people. As I said, I initially gained access to Zac through filming a television special. Very early on, every interview and interaction was accompanied by a PR person.

It took time for Zac and I to establish a trust and a relationship, but when we did, it became just him and I having honest conversations. A vulnerability and authenticity started to reveal itself on camera.

What started as a small glimpse into Zac’s latest collection naturally evolved into a story that was much more personal and powerful. That’s when it became a film.

W&H: How did you get your film funded? Share some insights into how you got the film made.

SC: “House of Z” originated as a television special for Rogers Media in Canada, so the first leg of filming was funded by the company. When I decided to expand the story into a feature film, I partnered with producers Jana Edelbaum and Rachel Cohen at iDeal Partners to raise money through private investors, along with UTA and Untitled who were incredibly helpful. It was a group effort.

W&H: What does it mean for you to have your film play at Tribeca?

SC: Tribeca was always the festival I wanted this film to premiere at. The documentary was filmed in New York and Zac is a born and bred New Yorker. So I think it’s special for “House of Z” to debut at Tribeca, and I couldn’t be happier.

I am also incredibly proud to be part of a festival that values and elevates the voices of female filmmakers and first-time filmmakers.

W&H: What’s the best and worst advice you’ve received?

SC: Best advice: Be the mountain, not the storm.

Worst advice: It wasn’t bad advice, but rather, it was one comment that persisted, and often, for the three-and-a-half years that I worked on the film. People who didn’t understand the process would say, “You’re still working on that? What’s taking so long?” And because I was a first-time feature-length filmmaker, I thought that I was doing something wrong, not knowing the reality that documentaries take time and patience.

You are working with the raw material of real life and waiting for truth to emerge and reveal itself on camera. Storytelling isn’t linear; you have to navigate creative and ethical questions and create an emotionally transformative experience.

I heard someone once describe it like this: Making a documentary is like walking down a dark tunnel with a flashlight. You can only see a foot in front of you, and you have no idea when you’re at the end until you reach the end.

W&H: What advice do you have for other female directors?

SC: Don’t be a female director. Be a director.

Go with your gut, even when the entire room disagrees with you. No one knows the film better than you. Be open to criticism and feedback, but be persistent, obstinate, and believe in your vision first and foremost.

W&H: Name your favorite woman-directed film and why.

SC: “Citizenfour” by Laura Poitras. It was fearless and powerful storytelling. She let the scenes breathe and you really felt like you were in the room. It builds anxiety in real time, which makes it riveting. The stress they are experiencing is palpable. I also just loved listening to Poitras’ voiceover in the film. It was beautiful and chilling. She’s an incredibly gutsy filmmaker.

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.

SC: I grew up working in television in the early 2000s, where it was acceptable for a male colleague to smack my ass in front of a room of male execs, to the chime of laughter. Another male once told me that I only got my job because I was “pretty.”

Ultimately, it made me work harder than the men around me, and become more fearless. And while I think sexism is still pervasive in both film and television, I am also optimistic. I still work in male-dominated fields, but now I am a female television showrunner, leading an all female team.

And as the director of “House of Z,” I worked with strong female producers, female editors, and a female DP. As women we need to surround ourselves with other smart, talented women and raise them up.