Conversations...with Director & Writer Lauren Fash.
Recently, I watched a film called Disappearance at Lake Elrod or to give the movie its original title Through the Glass Darkly starring Twin Peaks and Teen Witch alumni Robyn Lively. I was really taken with the film; with its subject matter, it’s tone, Ms Lively’s performance and most of all the direction and production value.
The film was directed by Lauren Fash, or simply Fash as she likes to be known, and I, very cheekily, contacted her through Instagram and asked her if she would chat with me about her career and the industry.
Much to my delight, she agreed.
Lindsey Bowden (LB)
Hey Fash, how are you doing?
Lauren Fash (LF)
I’m good thanks, how are you?
LB
I’m alright! Thanks for chatting with me today. I want to start by going right back to the beginning. Was film always the main goal for you?
LF
No, not at all. I played sports from a young age. I think there’s some directors who came out of the womb with a camera, but that was not me at all. I never really thought of film as a potential career. I wanted to be a professional softball player, even though that wasn’t really an option then, but when you’re a kid logic doesn’t come into play! But, my father passed away when I was 17 and I lost my passion and my nerve. It was a pivotal moment, so I moved to California a couple of years after. It wasn’t until I was in college that my counsellor suggested this film class. I remember thinking ‘film? You can study that?’. It was my first time doing anything in that realm and I really fell in love with the whole process. I ended up getting a job as a production assistant and eventually found my way to film school.
LB
You went to USC, the University of Southern California. Do you feel that through your training there you were equipped with the tools you needed to head into the film world?
LF
Absolutely. It’s interesting because you hear some filmmakers that say film school is a waste of time, don’t waste your money, and I think it’s the case that, absolutely, you do not have to go to film school to have a career in film, but for me, I was a bit wild, the discipline of it was necessary. Also, you’re in this world where you’re allowed to fuck up, you can make mistakes and try things and there’s not huge stakes. It allows you to study and appreciate the art form, and the history of cinema, I loved that part of it. For me, I wasn’t growing up and making short films, so for me this was all new, getting behind a camera, working with actors, all of it.
LB
I completely understand as I went to Drama School in London and trained as an actor, and like you, I was good fun when I was young and needed the discipline and focus. I mean if you were 5 mins late you were thrown out for the day! So, you touched on short films there and I want to chat about your short film Quiet which showed at a lot of festivals and is actually based on a true story?
LF
It is yes. I made Quiet right out of film school, it was my first independent short and it was based on a New York Times article about a woman called Janice Langdon. She was denied the right to say goodbye to her partner in a hospital in Miami, this was before gay marriage was legalised. Can you imagine? She was in the hospital, in the waiting room, and she wasn’t allowed to say goodbye because she wasn’t “related”, there was no legal connection. So, for me that was a moment of knowing we have to change this and that was the inspiration for this story. I’m really interested in stories like that, putting yourself in the centre and saying “well would I have done”. It was so clear that this is why we needed to legalise gay marriage. You can argue all you want about why you’re against it, I grew up with that, but at the end of the day we are human beings, and that was a horrible way to treat somebody at the end of their life. So, I got in touch with Janice and she was touched. So, it was a fictional story but based around her experience. And thanks to Obama, Janice ended up getting the Presidential Medal of Freedom.
LB
Wow! That’s amazing. You had quite a lot of festival exposure with Quiet?
LF
Yeah I did, about 35 festivals, it was a good experience.
LB
So keeping with short films, a lot of filmmakers tend to make shorts before moving onto features. Do you think that’s a good path to take?
LF
I do, you know, just in the progression of storytelling. A short film has lower stakes, and it’s an opportunity for you as a director to take risks, figure out how to convey tone throughout your story and, the thing that people don’t really talk about, you still have to tell a complete story. Well, that’s really hard to do in 10-0 minutes. That’s the challenge, which I think is wonderful as it forces you to think outside of the box. The only way to gain experience is simply by doing it and getting behind the camera. I can’t recommend short films enough, and again, this is why film school is wonderful because we did so many.
LB
It feels like short films have had a real resurgence in the last few years – how important to the industry do you think they are?
LF
Yes, I think it’s a great way to find talent, see who’s up and coming. They are very challenging and I don’t think people give them enough credit in that sense. I think that short films are really focused on the art, but once you get to the feature world you’re on the business side of things. The stakes are much higher, you’re dealing with way more money, and you have to keep your audience entertained. With short films, you can go play, have fun and see what you create.
LB
So whose work inspires you Fash?
LF
I’d say Billy Wilder (Sunset Boulevard, The Seven Year Itch) is probably my favourite director. I feel like a lot of people probably feel that way, the guy was a genius in terms of blending genre. I love the way that Some Like It Hot was a noir but was also a comedy. There are a lot of people, I’m a huge fan of Mike Nichols (The Graduate, Working Girl) and Anthony Minghella (The English Patient, The Talented Mr Ripley), but then working people today, Dee Rees (Pariah, Mudbound) is so talented, and I’m really excited to see what she does with her career. It’s really fun to watch people’s careers progress. Craig Gillespie (Director – I, Tonya) is a good example of that. I remember when Lars and the Real Girl came out, I think I was still at film school, but he’s developed this incredible shooting style and has done so much great work.
LB
I love hearing about who inspires who as often it introduces me to filmmakers I wasn’t aware of, like with Dee Rees, I’m excited to explore some of her work now.
LF
Yeah, I feel like when people go to the movies they’re always looking at trailers, but I’m always looking at who’s directing and who’s doing what. Part of what nobody tells you is what projects to take on, so I’m always intrigued to see what projects people who inspire me are doing.
LB
Yep, I’m always the person in the movie theatre who stays right until the end of the credits to see who is doing what. So, let’s talk about Femme Fatales, of which you are a member, which is an organisation of women who are striving for equality in filmmaking. Can I ask how you came to be involved and how important you think it is for women to champion each other in this industry?
LF
They contacted me through another director, they were wanting to build their network. So, I joined as I think it’s a great group, and it’s very interesting if you look at the numbers, because when I was at film school it was 50:50 men and women, and even in independent film there are many female directors, but once you get to those big studios budgets, I think the number used to be 4% women. I’m not sure if it’s still that low but it was for a long time, and what you’re seeing is the drop off as the budgets go up. Patty Jenkins, for example, directed Monster which is an incredible film and Charlize Theron wins an Oscar, and then she hardly did anything. Then she did Wonder Woman. This incredible filmmaker, there should have been an offer immediately to be in the studio world because that’s what happens with guys. That’s where I think we need to see more help and growth, and be trusted with these big budget studio movies.
LB
Absolutely. We’re living in a very interesting world right now which has a lot of conflict – how important do you think film is to our world?
LF
I would say that film is just the most powerful tool ever created in allowing us to see empathy and see the world in a different perspective, and that’s insanely important. I can’t tell you how many films have had an impact on me. I mean, I remember the time I first watched Fried Green Tomatoes, because when I was growing up I would watch Disney films and think “well, am I the Prince or Princess?” cause I’m sure as hell not wearing the dress and waiting for some dude to come kiss me! But, I’m not a boy either. So, when Fried Green Tomatoes came out I was itchy! I was like “there I am!”. People always say representation matters and I have to say, as a little lesbian being raised in a Southern Baptist environment, that was insanely important! It’s so fun to see the world from new perspectives, it just makes us better.
LB
Yeah, I think film is so important for it’s incredible reach, and I call it the 3 e’s which is education, entertainment and escapism. I love nothing more than going by myself to the cinema and just letting myself go for a couple of hours, but I also love that film can educate so much. So, let’s talk about your feature film Through the Glass Darkly or Disappearance at Lake Elrod as it’s known over here in the UK, which is currently streaming on Netflix. I really loved this film for many reasons. I loved the tone, your direction and really enjoyed Robyn Livelys performance, because let’s face it, she’s the Teen Witch!