Perhaps best known for her Emmy-nominated series “Parks and Recreation,” Amy Poehler currently serves as co-creator, executive producer, and the lead voice of Fox’s animated series “Duncanville” and is the co-host and executive producer of “Making It.” The “SNL” alumna also serves as executive producer on the series “Harlem” at Amazon, “Baking It” at Peacock, “Russian Doll” at Netflix, and “Three Busy Debras” at Adult Swim. She is making her documentary directorial debut with Amazon’s “Lucy and Desi.” Her other directing credits include Netflix comedies “Moxie” and “Wine Country,” which she also appeared in.
“Lucy and Desi” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website.
W&H: Describe the film for us in your own words.
AP: “Lucy and Desi” is a documentary exploring the love story and professional partnership that was Lucille Ball and Desi Arnaz. The film explores the big talent and bigger moves the couple took that changed the industry. But also it’s a story about love, family, and two underdogs who made their most beautiful music together.
W&H: What drew you to this story?
AP: So many things — talking about the different ways people approach process; my personal love and admiration for them both; the simple story at the core of most relationships which is rupture and repair; the opportunity to direct my first doc.
W&H: What do you want people to think about after they watch the film?
AP: It was amazing that two outsiders changed the face and direction of the business. But, how would they consider their long-lasting relationship and the success of their family?
Hopefully, the film will show not only how much has been changed but also how much has remained constant, especially for performers of color and women.
I also want to be reminded of what a powerful and hot couple these two were and how funny their work is decades later.
W&H: What was the biggest challenge in making the film?
AP: Lucy & Desi, like many American icons, were flattened into two-dimensional Halloween costumes. I wanted to remind everyone that they were passionate and complex people. Humans made of flesh and blood who didn’t live black and white lives.
W&H: How did you get your film funded? Let us know how you got the film produced.
AP: Imagine produced the movie with White Horse. I was asked to direct it and I jumped at that opportunity.
W&H: What inspired you to become a filmmaker?
AP: This is a difficult question to answer succinctly. There are many reasons. It’s a privilege and an opportunity to tell a story. The satisfaction of creating something new from nothing. The joy of collaboration. Being able show and not tell. Films are a way to connect and feel things. There is no better feeling than working in a film industry.
W&H: What’s the best and worst advice you’ve received?
AP: Best? Keep an open mind and be curious. And when you’re given bad advice forget it immediately and don’t repeat it in interviews.
W&H: What advice do you have for other women directors?
AP: You’re ready.
W&H: Name your favorite woman-directed film and why.
AP: Well, it’s very hard to name just one or a “favorite” but let’s say Lilly and Lana Wachowski’s “The Matrix.” Because, duh.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is creativity something you do?
AP: If “Russian Doll” has taught us anything, time is a flat circle and Thursdays are just a “concept.” So on we go.
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?
AP: The importance of representation on the screen is still important. Lucille ball and Desi Arnaz were both ahead their time in the things they built and reinforced. A Latino man who was a boss, beautiful dressed, and never laughed at jokes. A strong, funny woman who knew her stuff and was in control of her performance and path. The impact this had on America’s minds can be seen in the way they were present in your living rooms in the 1950s.
Source: Women And Hollywood
