Filmmaker Gillian Robespierre talks to The Creators Project about transitioning from short films to her debut feature film, the buzzy Obvious Child.
She says, “The way that my producer, Elisabeth Holm and I ran our set was really a combination of how I liked to work on my shorts in film school, just on a bigger scale. I had never had been the boss of thirty people and that was really strange— I felt a lot of the weight of that. Not that I couldn’t make mistakes or anything, but to have to put a payroll company together, and all those things. It takes away from the creative side, and that’s why you have a UPM [unit production manager] and a line producer to deal with those issues. Being someone who came from film school who wrote, directed, produced, and at one time edited, until I realized I was a terrible editor, my own things, the control freak in me had a hard time relinquishing those tasks to other people. It was like playing tug of war. When I finally let go, my life changed completely; it was really exciting to just be able to focus on the scenes and working with the actors and the DP. For me it was about relinquishing control— from the short to the feature.”
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