Young, bestselling author Eryn Bellow concludes her bookstore tour with her agent selling film rights and closing a six figure advance for her follow-up. Headwinds arise as critics get offended by the claims that Eryn is being declared a living literary legend. The storm gathers force as the assaults gravitate from bad reviews to a fake-memoir designed to obliterate her from the field. Through the noise, Eryn attempts to write her way out of the public fray, and reclaim her voice in the minds of her readers. Along the way, she hopes to prove a happy ending is not always a bad thing.
The Herculean task for any artist is to climb to the shoulders of those who have come before, then point the direction forward. The ascent is difficult, and to develop the sight and point the right direction always contains risk. Saul Bellow used to liken authors and artists to the antennae of society. In The Creatress, Eryn Bellow (Lindy Booth) scouts the way, allowing the audience to follow along and feel her struggle. Finally, when she gathers her epiphany, the gambit of this film is to make the audience feel this moment when she falls into herself and finds a way to reflect that in her words, and hopefully, find something worthwhile, unexpected, and new.
I feel there is a universal fascination with writing a book.
There are plenty of people in my family that talk about doing it. I think it comes from a curiosity about what it must feel like. So I set out to deconstruct that fantasy, and craft the Storytelling has evolved over the years—from the classic literature to post modern, self-aware, meta texts. It is difficult to find the next thing worth writing about. I think a writer seeks the truth of their time. Sometimes that means deploying a new technique. Sometimes that means using a classical technique. Regardless, they are all paths to unlock truth. This film explores that journey and hopefully gives the audience the satisfaction of figuring it out…along with the protagonist.
The experience working on this film was both exhilarating and exhausting. We could only afford 15 days of production, and the story covered 29 locations. So time, which is always limited, was more limited on this production due to the amount of company moves in and around Los Angeles… which is famous for its traffic, among other things.
We were truly blessed with the actors that wanted to come along for this ride. Not only was the material challenging, with lots to keep track of, but we could not afford much time to discover on set. So everyone came as prepared as you must be for a play, and invention began in blocking. We often shot rehearsals. So the pressure was on. I’m grateful to each of their dedication to their craft, and Fran Drescher and Peter Bogdanovich because of all their experience they brought to the film. Without their A-game, we would not have half the movie we ended up with. Especially Lindy Booth. That woman is a rock star.
The concept was conceived from an expression that everyone has heard about movies based on books— that the movie is never as good. Though I often agree, I also find myself playing devils advocate when talking with my friends on the subject. What I point out is just how different the mediums truly are. Similar to how speaking and writing are different. The experience of reading a book requires the active participation of the reader with the guidelines laid down by a writer years, or sometimes decades before. This exchange often happens over the course of ten hours. Or more. Proust…150 hours? At least? A film is designed for one sitting, and the image is realized. So I looked for a way to bridge the difference between the two experiences, and craft a film that encourages the audience to participate with their imagination.
I’m a big reader. My love of stories was born first in books. Movies came shortly after. I also have always looked at things historically, and how storytelling in both books and film evolve. It’s also interesting the differences in the mediums. So, as a craftsman, I’m interested in pushing the boundaries. How far we got is up to the audience
The Creatress had theatrical releases in the UK and South America in 2019 and is now available in multiple digital platforms around the world such as iTunes, Google Play and many others!
- Official Selection at the Nice International Film Festival 2019 Nominations: Best Feature Film, Best Director, Best Lead Actress. Winner: Best Lead Actress (Lindy Booth)
- Official Selection at the Madrid International Film Festival 2019 Nominations: Best Film, Best Feature Comedy, Best Director & Best Lead Actress. Winner: Best Feature Comedy.
- Official Selection at The Milan International Film Festival 2019 Nominations: Best Feature Comedy, Best Director, Best Lead Actor.
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