Gigi Gaston, an Olympian turned writer-director, has sold screenplays at Universal, Miramax and New Line. She also directed music videos, features and an award-winning Sundance documentary. Gaston made her directorial debut with Sundance Channel documentary “The Cream Will Rise,” showcasing the elusive, Grammy nominated singer-songwriter Sophie B. Hawkins. In 2014, she wrote and directed the stage play “Room 105: The Highs And Lows Of Janis Joplin,” which starred Hawkins in the title role and was held over for an extended six-month run in Los Angeles to sold-out audiences.
“9 Bullets” is now in theaters and available on demand.
W&H: Describe the film for us in your own words.
GG: It’s a movie about second chances, and how you think your second chance is one thing but it’s another.
A burlesque performer is about to retire. She will be able to make a living from her mind, instead of her body, and she has a new book deal. She thinks her second chance in life is the new book deal. But, as the movie ends, it turns out that she had another chance.
W&H: What drew you to this story?
GG: The second chance theme and the notion that you don’t know where or when your second chance is coming. I felt that everyone needs a second chance in their lives. Take a look at the world around you: the hatred, the pandemic and now, a possible World War III. We all need a second chance for our mother earth and our fellow humans.
Also, it’s about making the right choice no matter what. Gypsy (Lena Headey), who was the protagonist, made the right choice to help the child, even though it was difficult, and will reap the rewards. Life is about the choices we make, both good and bad. It’s also about overcoming and healing your past, which I try to do daily. We all get stuck with the past.
It’s also a movie about survival, and how children survive differently through trauma, as Sam (Dean Scott Vazquez) shows us. It explores the theme of motherhood and the many manifestations of this word, whether they are good, bad, soft or hard. With Lacey (Barbara Hershey), to Gypsy, central themes include maternal love and mentorship. Even Tasmin, played by La La Anthony, decided to return to her mother and start over. She has had a difficult childhood and is now looking for love again. Does she get it? Eddie (Martin Sensmeier), wants a second chance, and to get out from the hit business. He is so nuanced in moments [at times].
W&H: What do you want people to think about after they watch the film?
GG: I want people believe that they too can get a second chance, regardless of their age, status, race, or circumstances. Believe that you can, and you will. My mother used to tell me that, so I wanted that grain of hope to be shared with people who are looking to give up. I have been there, and I know it’s a big ask. But change begins with a ripple. And with this pandemic and this war, we need more chances to succeed in life. It is possible to get a second chance at any age.
I want people see in my characters a piece of me. My childhood was difficult, but movies helped me to get through it. Why was “Rocky” such a great movie? Because we all saw ourselves as Rocky and wanted to be him. I can tell you that the movie inspired me and that I succeeded in getting back to something I was almost quitting. Being the underdog doesn’t mean we can’t win!
W&H: What was the biggest challenge in making the film?
GG: There are always challenges. UPS lost all my footage when I made a documentary film, just like in the days of Super 16! It was a nightmare. I’d say on this, the small budget, and the very few days we had to shoot such a big movie, were the challenges. 205 scenes were shot during the peak of Covid in 19 days. This was made possible by Byron Werner (my DP) and Jarell (his camera operator). It was exhausting. Due to a lack of funds, I had to cut back on a lot of the kick-ass action that I wrote for the film and combine and refine the main characters. I was blessed with a stellar cast and their chemistry made it all worth it. The actors and myself were on the same page, and we were open to receiving gifts from the universe. They made it easy for me to overcome the obstacles.
There was one person who really didn’t see through the lens the rest of us were looking through, and that always makes it very hard, especially if they are in a place of power.
Post-production was more difficult than shooting. My cut was done in three weeks by Eve Doherty, my editor in the UK. We worked for hours on Splashtop and by phone. Eve is a great talent but it was difficult for us not to be together in the same place and in different places. After all this was Covid, and no one was sitting in a room with anyone, and we just said, “We can do this!”
I was able to edit more time thanks to Lena and Cassian Elwes, my producer. Cassian and Lena were both great support for me. They helped me to see my vision and gave great notes. Lena is the most incredible woman I have ever met. I will always be grateful for them, as well as Bettina Viviniano, my manager, as well as Jane Holzer, one our EPs who was very protective of my time in the edit area. It is vital to have enough time for editing.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
GG. I met Gary Pearl, a writer who knew me via Facebook. He was an agent at William Morris. He loved the script and brought it to Cassian Elwes, who then gathered so many elements. Cassian is a genius man. He’s very creative. Everyone seems to admire him, including me. Cassian’s name is attached to this project. [helped our casting team, Mary Vernieu and Bret Howe, get the talent to jump on board]Because he makes movies that are successful, Cassian is a trusted manager.
A friend of mine read the script, and she said that she wanted to invest. Also, I met Scott Carlson through my other manager, who was also an investor who wanted in the film industry. Gary had a friend who also invested and Cassian was a friend of the bank.
Mark Damon, executive producer, had a significant part of the funding and was heavily involved. I am grateful to everyone who believed in the film and supported it.
W&H: What inspired you to become a filmmaker?
GG: I love stories. I love to read, watch movies, and listen to stories that friends tell. I love overcoming hardships. I started my writing career telling stories of people who have overcome hardships. I began writing in a tack booth at a Phoenix horse show. I had this story about a tomboy in my head that I sold to Miramax for Drew Barrymore seven year later. It was easy for me to see, and I used stories to inspire others. This is what you can do. You can do it! This is something I must remind myself of every day!
I didn’t become a director until I met Sophie B. Hawkins in 1996 and wanted to do a documentary about her and she said, “Okay — do it. I tour in a week.” It all happened so fast, and I didn’t know anything about anything. I was terrified. I got up and did it. Bryan Bantry, Colleen Bantry, and a DP were also available. Although I didn’t know what to do, I knew that there were many layers to her music and that she was an interesting person.
So, I started digging as soon as the camera was on. wow,It was amazing. I discovered a whole new world of sexual abuse and our film was heartfelt, raw emotion, truth. The film was screened all over the globe, helping victims of abuse and opening film festivals. I received a lot of letters of appreciation from people who saw the film. They were all I needed to know that it had helped someone. It was amazing. I thank Sophie each day that I walk on a setting, in my head.
A funny story about that movie, “The Cream Will Rise,” is that I was complaining about the DP after about a week in and then Sophie said, “Guess what? Stop complaining and learn how to use a camera. No one is allowed now to shoot me but you.” I was like, “Sophie, I can’t even take a polaroid.” She said, ”You have a week.” I learned, and I was pretty darn good with a camera. If you see the movie, it’s beautiful and poetic, and even Sydney Pollack asked me when I met him who my DP was because he loved the film. I had someone load my Super 16 camera and frame the shot to get what I wanted.
W&H: What’s the best and worst advice you’ve received?
GG. Two people provided the best advice. One was the director George Cukor (“My Fair Lady,” “A Star Is Born,” “Let’s Make Love,” “Born Yesterday,” “Gaslight,” and so many great films), who I met at a party at 18. We began to talk because I was dressed like an horse girl, fresh from a barn, and I was unique than everyone else at that party. I think my hair was straw-colored. As a child, my speed was unstoppable. He said, “Everyone stays in school too long. Write if you are interested. Directing is what you should do. It’s all in the doing — that is where you learn and grow as an artist! School can’t teach you this.”
A half hour before her death, my mother gave me the second best piece of advice in my life. She came out of her fog and looked me straight in the eyes, grabbed my hand, and said, “Be strong, don’t quit,” and then slowly slipped away to heaven in my arms. It was profound.
I have heard so much bad advice throughout my life. The worst advice was about my personal life. It was the worst advice I have ever received and the one that I took and followed through on. People have agendas so it’s very important you see through them. All I can say is if it’s negative do not listen to the negative, or to people who make you doubt you. It doesn’t serve you. I have lost a lot of sleep when I didn’t need to and it’s all on me. I listened.
W&H: What advice do you have for other women directors?
GG. I have a different perspective. I have never thought of myself either as gay or female when I directed. Directing is hard work regardless of your gender, sexual orientation, gender identity, or gender identity. A director must focus, keep one’s eye on the ball, and not give up. A director must have a team of support. If there is one person in the team who is a challenge, you need to disengage. Next, surround yourself with those who believe in and treat you with respect. Water the plant, and not the weeds.
As Bette Davis said, “Attempt the impossible in order to improve your work.” Every movie presents impossible hurdles, but we all get over them and it’s how you choose to do it that counts.
W&H: Name your favorite woman-directed film and why.
GG: There are so much. I love the films of Lina Wertmüller, Lesli Linka Glatter, Kathryn Bigelow, Patti Jenkins, particularly “Monster,” Mira Nair, Dorothy Arzner, Barbra Streisand, Nora Ephron, Sofia Coppola, Dee Rees, and Emerald Fennell.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is it possible to keep your creativity alive?
GG: Work, work, work! I’m currently working in three different projects. I’m about to enter prep on a Cassian Elwes-produced movie that I am directing.
I also go to the gym, take vitamins, and am grateful. Sounds corny, but it’s true!
W&H: The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing — and creating — negative stereotypes. What steps do you believe are necessary to make the industry more inclusive?
GG: I think we are doing this now — recognizing the problem and fixing it. We must be positive and focus on the solution. There is no day without night, no positive without a negative. It’s a balance. We are now aware that studios and networks need to make their programs inclusive and diverse.
Source: Women And Hollywood