Sabrina Jaglom is an LA-native author and director. This 12 months, she launched two scripted podcasts — QCode’s Rachel Brosnahan-starring “Listening In” and iHeartRadio’s “Wheel Lady” — each of which she wrote and directed. Jaglom labored in manufacturing on numerous tasks earlier than pivoting to movie and TV growth at Fox Lit and Whalerock Industries. She served as an affiliate producer on the function movie “Residence Once more,” and has directed a number of award-winning music movies and quick movies, in addition to numerous stage productions, together with the West Coast premiere of “Empathitrax” and “This Occasion Sucks.”
“Jane” hits theaters August 26 and shall be accessible on Creator+ September 16.
W&H: Describe the movie for us in your individual phrases.
SJ: “Jane” is a psychological thriller about anxiousness and the pressures that younger folks face in the present day, instructed by a heightened lens. It’s about one over-achieving younger girl, Olivia (Madelaine Petsch), who struggles with grief from the current lack of a good friend, Jane (Chloe Yu), which is compounded by her deferral from her dream faculty.
Decided to succeed irrespective of the fee, Olivia groups up with the favored Izzy (Chloe Bailey) to make the most of Jane’s former social media profile to assault those who keep in the way in which of their success. Nevertheless, issues get out of hand as Olivia begins to see a bodily manifestation of Jane, and we notice it’s Olivia’s alter ego, forcing her to embrace her inside darkish aspect to get forward.
W&H: What drew you to this story?
SJ: Difficult feminine characters of this age are not often featured on the middle of their very own tales. I needed to make a movie with them on the forefront, and depict the immense inner stress felt at that age, separate from college crushes and actions. Psychological well being considerations are so not often taken critically in youngsters, notably excessive functioning ones, and but it’s a time period if you find yourself usually making grownup choices for the very first time.
I like that this can be a darkish, cautionary story about how far somebody would go to get what they need, and hopefully the extremes of this example can illuminate a number of the truths concerning the stress and anxiousness that younger adults face on this trendy world.
W&H: What would you like folks to consider after they watch the movie?
SJ: I hope that watching the movie helps to open up conversations about anxiousness. I’ve usually discovered that in additional genre-leaning movies, it’s simpler to attach with the subject material as a result of it’s so faraway from actual life.
Moreover, I like the concept of audiences debating what occurs to Olivia following the movie, and her relationship to Jane.
W&H: What was the largest problem in making the movie?
SJ: One of many greatest challenges in making this movie was Covid. I sadly examined constructive whereas directing, and midway by the shoot we needed to shut down after which discover a technique to begin again up with a brand new schedule, in addition to some new areas and crew members. It was a attempting time, particularly after months of cautious planning, and I even needed to direct remotely from my lodge room for 2 days. However we discovered a technique to preserve issues transferring, and everybody banded collectively to make it work.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
SJ: My brokers at UTA had been instrumental in serving to me connect artistic producers, after which establishing conferences with actresses to play the a part of Olivia. After I spoke with Madelaine Petsch and noticed her audition, I knew she was the proper individual to embody the various sides of the character and tackle this demanding function.
Then, we started assembly with financiers, one among which was Creator+, a brand new studio. They got here on board to fund and produce the movie, and had been keen to maneuver shortly in order that we might shoot inside the window of Madelaine’s availability.
W&H: What impressed you to change into a filmmaker?
SJ: I’ve all the time felt that the way in which folks join greatest to 1 one other, in addition to to themselves, is thru a very good story. A very good story could make you’re feeling, make you query issues, and spark dialog.
As I started to discover filmmaking, I fell in love with the various parts used to inform a narrative on this distinctive medium. The best way a script takes form as you discover the fitting solid, the method of selecting sure digital camera angles, utilizing totally different clothes, choosing music, and so forth. I like that there are such a lot of instruments to have an effect on the kind of story you’re telling and the way in which it’s perceived, and the enjoyment of discovering the fitting one.
W&H: What’s the perfect and worst recommendation you’ve acquired?
SJ: The perfect recommendation I’ve acquired is “the enemy of artwork is the absence of limitation.” That is one thing my father has mentioned to me many instances, each after I’ve hit a roadblock, but additionally when telling a narrative rooted in Hollywood historical past. I’ve reminded myself of this as I’ve wanted to discover a new answer to an issue, or one thing didn’t go as deliberate. These will not be causes to cease creativity, however, moderately, alternatives for creativity to come up.
The worst recommendation I’ve acquired is to be indifferent. Some folks will inform you that you may’t get too emotionally invested in your tasks, as a result of the movie business will be so fickle. However I don’t imagine that’s useful. Sure, that you must shield your self in opposition to disappointments in a roundabout way, however I imagine that solely while you care are you able to push a challenge ahead to the place it must be.
W&H: What recommendation do you might have for different girls administrators?
SJ: As a lady director, I feel it’s straightforward to overthink the way in which you act, one thing many male colleagues sometimes don’t worry about. Am I appearing forcefully sufficient in order that they respect me? Good sufficient in order that they don’t assume I’m a “bitch”?
My recommendation could be to attempt to quiet this voice and notice that solely by utilizing your individual voice will you achieve creating the movie you need. There isn’t a “one kind” of director.
W&H: Title your favourite woman-directed movie and why.
SJ: One in all my favourite women-directed movies is “Cléo from 5 to 7,” by Agnès Varda. This was the primary movie directed by a lady that I used to be instructed to review from a “movie historical past” perspective, which impacted me drastically. Not solely do I actually benefit from the movie and uncover new items of it each time I watch, however I additionally all the time cherished how Varda’s directorial fashion shone by. Though it has lots of the parts of different French New Wave movies, it felt fully like her and unabashedly female, whereas additionally not attempting to suit into another person’s thought of what that ought to imply.
W&H: What, if any, duties do you assume storytellers need to confront the tumult on the earth, from the pandemic to the lack of abortion rights and systemic violence?
SJ: I feel there are numerous methods during which storytellers have duties in attempting instances. Personally, I like movies that form of “Malicious program” a message in — they’ve one thing to say, however this which means is contained in a extra accessible or off-beat package deal, usually by style movies. In a approach, I feel it may be simpler for audiences to narrate and study when one thing doesn’t really feel fairly so simple or heavy.
However I additionally really feel that there’ll all the time be a necessity for artists to straight handle points, simply as there’s additionally benefit to escapism and making movies for pure leisure. I feel so long as storytellers are clear in what they’re attempting to do and say with every movie, and that we’re getting movies from totally different views, progress will be made.
W&H: The movie business has an extended historical past of underrepresenting folks of shade onscreen and behind the scenes and reinforcing — and creating — damaging stereotypes. What actions do you assume have to be taken to make it extra inclusive?
SJ: I feel that starting these conversations early within the course of is of the utmost significance. It appears that evidently usually within the movie business these questions are solely addressed when a movie is about to be made, [pigeonholed into] one thing that’s already largely shaped. A number of voices of all ages, genders, races, and backgrounds ought to be introduced into the room earlier on to make these conversations extra influential within the course of, in addition to extra natural.
The beauty of a film is it’s usually telling the story of many various characters: it’s solely pure that we should always have extra voices included alongside the way in which.
Supply: Women And Hollywood