Stephanie Laing has received eight Emmy nominations, and two wins. She just directed all six episodes of the limited series “Mammals” for Amazon Studios. Laing launched her directing career on HBO’s “Veep.” Most recently she directed the pilot and five episodes of the HBO Max series “Made for Love,” starring Cristin Milioti, Ray Romano, and Billy Magnussen. Laing is also an executive producer on and directed seven episodes of Apple TV’s “Physical,” starring Rose Byrne. She directed and produced the Hulu series “Dollface” with Margot Robbie’s Lucky Chap.
“Family Squares” opens in theaters and on demand February 25.
W&H: Describe the film for us in your own words.
SL: This is a love letter for families. When their matriarch passes away, the Worth Family gathers over Zoom to say farewell and chaos ensues.
W&H: What drew you to this story?
SL: This is a deeply personal story and dedicated to my mother, who died while we were FaceTiming. It was hard, and it still is. I wanted this story to be told because so many families lost loved one during the pandemic.
W&H: What do you want people to think about after they watch the film?
SL. Society has never had to go through the same kind of collective, communal, and global grieving as it did after the pandemic.
My hope is that “Family Squares” might help offer viewers whatever it is they need to take away from it at the time, be it a different perspective, some levity, or a reminder that all family dynamics are unique, special, and sometimes drive us crazy, but sometimes insulate us at exactly the time we need it most.
W&H: What was the biggest challenge in making the film?
SL: This was not a simulation for a lockdown; we were actually locked down. It was September 2020.
We sent the cast iPhones to them with Filmic Pro installed. There were 22 cameras, tons color-coordinated cables and microphones, as well as laptops in eight cities and two other countries. I’ve still never been in the same room as most of the cast.
This was a huge team effort — the cast dressed their own sets, set up their own cameras, did their own sound, their own hair, makeup, and wardrobe. We did virtual wardrobe fittings via FaceTime and did virtual scouting.
Although there were many challenges when shooting a feature film remotely from home, we couldn’t have asked for better cast and crew.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
SL: I approached Unbounded Media with the concept and thankfully they got it. We had been talking about other projects at the time of the pandemic.
I recommend that you do your research on financiers before you try to establish any relationships.
W&H: What inspired you to become a filmmaker?
SL: I have always known I wanted stories to tell. Movies like “Heartburn” and “The Graduate” inspired me.
W&H: What’s the best and worst advice you’ve received?
SL: Best advice is to keep trying, and not give up on the fear.
Worst advice: Don’t take risks.
W&H: What advice do you have for other women directors?
SL: Keep trying, and you will get through the fear.
There’s no clear path and you just have to focus on the work and keep going. It’s not easy — nothing is — but in the end you can get there.
W&H: Name your favorite woman-directed film and why.
SL: “Fast Times At Ridgemont High,” directed by Amy Heckerling. It’s a legend of a movie and she kicked ass and was a trailblazer for us all. It’s funny, rude, sweet, and tonally perfect.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
SL: Make sure you are seeking out the stories that matter, because everyone needs to hear them. Begin with inclusion for all. Don’t just say it — do it.
Writers, be aware of the characters you create.
Source: Women And Hollywood