Amy Redford
The Guitar
2008 Sundance Film Festival
www.youtube.com/watch?v=Jhm2LsnJz8I
Bio: Amy Redford made her directorial debut with The Guitar, which premiered at the 2008 Sundance Film Festival. She has a degree in drama/theater from San Francisco State University. As an actress, she has appeared in numerous TV shows and movies, including Sex and the City and Sunshine Cleaning. Current directing projects include El Americano and Phoenix.
Description: The Guitar is a tour de force for English actress Saffron Burrows. She plays Melody Wilder, an unhappy woman who is invisible to most around her and is given a month to live with advanced cancer of the larynx. She abandons her life as she knew it, rents a loft, and prepares for her demise by running up her credit cards and learning to play the guitar she had been dreaming about her whole life. Turns out that in changing everything about herself and her life, she tricked her cancer into a full remission. Melody now has to deal with the consequences of her spending, as well as the new life she has created for herself, full of creativity and on her own terms.
The film is a true character study. Burrows is alone for most of the film. She begins the film literally—and figuratively—with no voice and at the conclusion she is reborn and finds her true, authentic voice.
Interview Date: November 7, 2008
Women and Hollywood: In the beginning, people just talk at Melody and the words seem to bounce off her. When she’s alone and sick she finds her voice. It struck me that she found her voice with barely any words.
Amy Redford: I went through a period in my life in my twenties when I had chronic laryngitis for three years, and I realize now that I was not my authentic self. I was shut off so I totally related to the condition of the character. There is a quality of the physical manifestation that I thought was fascinating. Or the fact that the character is left to be on her own, even without the devices she brings in to the room—that’s the scariest. She goes through this journey of buying the things, but ultimately it’s an appetite that will never be sated because what it’s really about is not what you buy, it’s really about the quiet. So that moment when she found her voice, it is like a rebirth—powerful and joyous.
W&H: How did you get the script?
AR: I was introduced to Amos Poe (the screenwriter) by a friend who thought I would be right for the lead role. I heard the story that inspired the script and I was haunted by the premise. I kept firing myself from the part and hiring other actors in my head. I had been looking for a project to direct for a while, and I knew this was the one when the images started coming to me naturally.
W&H: Do you still want to act?
AR: My passion lies in directing, but I don’t want to quit acting completely because it’s important to stay flexible. It’s easy to be dismissive about actors because sometimes they are high maintenance. But being able to use all my faculties is really satisfying, so directing feels like an evolution for me.
W&H: Lots of women directors also write their own stories. Are you a writer?
AR: I really love the collaborative process and working with writers. I think now there is a bigger window for stories about women than there has been. The blank page is daunting to me.
W&H: What’s the message of this film?
AR: It’s funny; I should be so good at answering this question. What you take away from it is such a personal experience. It’s really about questioning whether you are using the currency of your life to the fullest capacity. That’s different for everybody and what they would do in the face of mortality is different for everybody. This movie isn’t meant to be a prescription; it’s meant to be a conversation. It can be literal when you are facing an illness, or metaphorical when you hit a roadblock, or a turning point in your life. I hope people make their own conclusions. I don’t want to tell someone what to feel.
W&H: Do you think that women have a hard time finding their voice?
AR: I think it’s easier for women to submerge their voice. I think that women innately have wonderful things to say, but in order to accommodate others, it’s easier for us to put our own voice aside. Even the loudest women are loud for a reason—because they can’t be heard. I just had a daughter two months ago, and I hope that whatever I do has a positive influence on her chances of not having to fight so hard. This election (the 2008 presidential election of Barack Obama) has shown us a lot of different ways to be a woman. Like her or not, Sarah Palin made it to the table and there is something to be said for that. It is interesting how the conversation was not about the fact that she was a woman but about what kind of woman she was. On the other hand, we have Hillary Clinton who is beloved by so many. It’s an interesting time and the conversation is steering more toward substance.
W&H: This film was a real departure for Saffron Burrows. Were you nervous about having to make her look not as beautiful as she really is?
AR: I think it speaks to her emotional sophistication. I learned a lot because I felt she was too beautiful and was worried that people were going to be alienated by her beauty. But then I realized I was perpetuating the same thing and I had to give myself a spanking. It was the realization that it’s really about the light that you have inside and what you project. You can be a beautiful person but if you are shut down inside you are not going to attract people, and you can be unconventional looking and be projecting a kind of life force that people can’t get enough of. She so completely understood what I meant that I knew she was right for the part. She was at the perfect moment in her life and her career. She had a lack of vanity that allowed her to be truthful, which I appreciated. We shot the film chronologically so my job was to start her off in the right place, to begin the film in the right pitch, and then go for the ride and see what happens.
W&H: Was it a small budget?
AR: The shoot was twenty-one days long and the budget was really small. I can’t even talk about it, but as it goes in the independent film business, one second you have the money and the next the union guys are knocking on your door and you come to work and people are like, “Hello, where’s my paycheck?” which is horrifying. But, at the same time, people are generous.
W&H: This movie is really coming in under the radar screen with very little publicity. Is that frustrating?
AR: It can be frustrating, but one of the things that makes it worthwhile is the amount of letters I have received from people—people struggling with cancer and people who had their own emotional rebirth. People are hungry for these kinds of things. I can’t control the other stuff. I just need to stay focused on what my job is. I learned a lot about film finance on this movie, and I implore people, especially women filmmakers, to really go to school on budgets and money because that’s the protection around the creative element. You empower yourself. It’s like the big lesson for women everywhere—money is your freedom.