I certainly see an empowerment of the feminine in this movie, but I don’t know that that’s necessarily the same as being feminist. I try to approach my stories from a feminist standpoint, to the degree that feminism is about equal-handedness in treatment. I’ve always assumed that as the right position to be in. Now, the cultural expectation is such that we foreground different experiences, ones that haven’t been overstudied, and the perspective I liked was using a fairytale to map a young woman coming into her own.
Which half of that equation comes first, the underlying idea or the story used to convey it?
It’s different with each project. Blackcoat’s Daughter started with me asking where I was in my life, what was important to me, and what I wanted to see more of in movies. As facile as it sounds, that movie grew out of the location. I forced myself to commit to the concept of a horror movie in a school, and then kind of like a crossword puzzle, I used that one answer to start figuring out the rest.
Gretel and Hansel came to me as a script based on beautiful, classical material, and what turned me on about that was how faithful it was to the Brothers Grimm.
Really? The finished film seems to be doing its own thing, especially in terms of aesthetics.
Well, what I wanted to be faithful to was the notion of fairy tales being self-contained, and not contingent on any context. In “Little Red Riding Hood,” it hardly matters what time or country this is supposed to take place in. It exists outside of time and place. Stories like that work because they’re a set of markers that don’t correspond to one metaphorical or allegorical reading. I did my own thing by leaning all the way into the metaphorical, fitting the archetypes into it.
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