While the industry is now more favorable toward women directors, it is also harder on them in a way than it is on men, according to Seidelman. Actress Penny Marshall has just directed her first film and newcomer Michelle Manning directed the recently released Blue City. Seidelman believes that her success has improved conditions and opportunities for other women directors. In a way Ann's a throwback to the career woman in old movies like Rosalind Russell. "She has a different, a little more modern take on the career woman, unlike those yuppie career ladies you see in their Reeboks or those models playing executives on television commercials. She's sharp, not in a bitchy way, just quick.
I auditioned a lot of people for the part of Frankie but there some quality about her as a person. Says Seidelman, "I knew of Ann Magnuson for years.
This morning in a three-color minidress and windswept short red wig, the actress looks like a young Shirley MacLaine. Rather than go with a name star for the leading female role, she chose Magnuson, a New York performance artist who has regaled audiences as far away as Japan with a variety of comic characters.
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I do think she was very professional on the set and really weird off the set." It was a little difficult with Rosanna because you weren't sure about her mood at any given minute. Actors are so insecure that they'll say, 'What do you mean, it doesn't work?' "įor her part, Seidelman said after the film was released, "I work well with people who are professional and adult. "Susan's very blunt - she says what she means.
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This is a good experience for her to learn how to talk to actors. On the set of Desperately Seeking Susan a year and a half ago, Arquette said, "Susan is open to improvising. If there's a difference between the two films it's the ease with which I'm now able to communicate with actors and they're able to communicate with me." I'm also working with really wonderful actors. "I feel better, much more comfortable working with actors on this film. Right is a happier experience than Desperately Seeking Susan with the mercurial Rosanna Arquette. Later in the cool of her trailer, she explains why Making Mr. After Masters gives her a kiss, she hurriedly starts the car engine and gives him a fleeting look as if she feels a glimmer of attraction for him. Something she says clicks with Magnuson, who does it differently than she has on all the other takes. Out of earshot from everyone else, she confers with the actors about how she wants the scene played. The heat and humidity are almost intolerable but Seidelman asks for retakes of the scene, which is then shot from a different camera angle. You can even hear crickets in the bushes.
When he calls "action," it's miraculously quiet.
Tuber half-kiddingly tells a man in shorts, a Turnberry resident standing on the sidelines, "Don't talk to the actresses." To a woman who just happens to drive her car out of the underground garage, a male production assistant says with an attitude that will brook no dissent, "Could you turn off your engine, please?" She's slow to catch on, so he screams, "TURN IT OFF!" People are stopped from coming out of or going into the building because the electronic doors make noise that disrupts shooting.
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