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They were fascinating, and I had never met women like that in my life, that spoke the way they did. So I actually set out to prove that my process with musicians was the same for any genre, and that’s why when I met Kate and Laura at the beginning of their career, I wanted to document it. I pretty much mostly worked with rock ’n’ roll music, but I kept thinking to myself, “I don’t know why people see such a difference.” What I do is I go into the world of the artist, and I heighten, I bring the fantasy to it, I document it. I did use my music knowledge from years of being in the studio, with all these different bands and musicians, but I didn’t get to use them-except for Johnny Flynn. We ended up making this thing that has a lot of inspiration from animated films and clocks and clockwork and music boxes. When I found Isobel Waller-Bridge, because of her sense of humor in music and her work on Fleabag and in general, her personality, I told her I wanted the music to be like a misbehaving orchestra, like the conductor is overwhelmed and the oboes are escaping. I kept thinking about the orchestra as like each character being an instrument. What happened was I was obsessively listening to Peter and the Wolf, even though it’s a later time period than Emma.

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It felt a little bit frustrating because I was like, “I have all these amazing songwriters that trust me, that love me, that can’t wait to do a movie and use their music.” It felt just a little bit cruel to have it not be the right movie for that, but that’s how it was. If you really think about it, there have been times when you’ve been Emma, and that’s really important.īut when I was making the movie, I kept thinking about Beck and Jenny Lewis, and I was like, “Should I ask them?” I, “No, I know that I want to go into music history.” Even though it would mean writing an original score, I want everything to be dancing around this time period. A lot of us think we’re the victim, like Harriet. And then what I thought was really interesting is that by making Harriet such a powerful character that you sort of take for granted as kind of a dingbat in the beginning, you realize that there’s a piece of all of us that are both Emma and Harriet. I think a lot of girls have to learn that about their friends, or they have to learn how not to be a doormat, which was the case for me. The most hurt can be caused at that age, when you don’t realize that people are not disposable. The third thing that was really important to me is, I said, “This is also a love story of two friends, not just Emma and Knightley, but Emma and Harriet.” I have a lot of heartbreak and romance in my heart for my early best friends. She’s very intelligent, but she’s emotionally kind of stunted, with very little experience at friendship in general. The second thing I wanted from the book was that I wanted to remind people how young they were, that Emma is young. I just thought this would be so interesting, because in Bringing Up Baby, the comedy works because of the formality in that period, in that there’s this disruptor.

As an American, as an outsider, I wanted to bring American screwball comedy as a style into the making of the film. One of the really important points to me was that I find Jane Austen really funny. This interview has been edited and condensed.

The director spoke to Slate about bringing out the screwball comedy in Jane Austen, why rock stars and actors really aren’t so different, and the reason you won’t find Beck on the movie’s soundtrack. It’s fitting that de Wilde’s take on Emma, which will expand its theatrical run on Friday, looks beneath those petticoats to reveal multiple bare butts. But the photographer and music video director did land the job, and she swears that working with artists like Jenny Lewis and Florence and the Machine perfectly prepared her for her feature debut.

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The Racist Panic That Thrust Michael Jordan Into the Debate Over “Sneaker Murders”Īt the time she was asked to pitch a new film version of Emma, Autumn de Wilde was best known for her work with rock stars, making her far from the obvious choice to helm a period piece full of parasols and petticoats. I Read the Dragon-School Romances Dominating the Bestseller Lists. Here’s What the Backlash Is Really About. Taylor Swift’s Go-To Producer Is a Controversial Figure. The Beatles’ “Final” Music Video Shows That Peter Jackson Has Really, Truly Lost It