Stephanie Johnes is a director, producer, and documentary filmmaker who gravitates towards tales of underdogs and dreamers. Her directorial debut, “Doubletime,” premiered at SXSW and Tribeca and was acquired by Discovery Movies. She served because the Director of Pictures for “Venus & Serena,” the Magnolia Footage and Showtime movie in regards to the iconic Williams sisters.
“Maya and the Wave” is screening on the 2022 Toronto Worldwide Movie Competition, which is working from September 8-18.
W&H: Describe the movie for us in your individual phrases.
SJ: After a brush with dying, Maya Gabeira makes historical past within the male-dominated world of huge wave browsing. The movie is an empathetic portrait of a lady preventing to realize her dream whereas struggling towards gender bias.
W&H: What drew you to this story?
SJ: I used to be interested by massive wave browsing, and what it have to be prefer to be one of many few ladies within the sport.
I believe I used to be drawn to Maya as a result of I can relate to her struggles, and I hope that viewers will see themselves in her story as properly.
W&H: What would you like folks to consider after they watch the movie?
SJ: Folks normally take into consideration their very own struggles with prejudice and really feel validated after watching this movie. I hope they can even really feel empowered to face up for themselves.
W&H: What was the largest problem in making the movie?
SJ: The most important problem was the timeline. Once I met Maya I didn’t know the way lengthy it might take for her story to unfold. Seems it was 10 years.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
SJ: The movie was initially self-funded. After the story had confirmed itself, financiers got here on board.
W&H: What impressed you to turn out to be a filmmaker?
SJ: I couldn’t determine on a profession, so somewhat than select, I pursued journalism in order that I’d have an excuse to study something and every little thing.
W&H: What’s the most effective recommendation you’ve acquired?
SJ: The very best recommendation I’ve acquired is to be your self. As a filmmaker, you’re usually a fish out of the water, in unusual environments, and it all the time helps to simply be your genuine self, even should you don’t slot in.
W&H: What recommendation do you’ve for different ladies administrators?
SJ: In case you love what you do, hold in there! And attempt to work with ladies as a lot as doable when you’ll be able to.
W&H: Title your favourite woman-directed movie and why.
SJ: “The Crash Reel,” directed by Lucy Walker, is my favourite documentary of all time. I like it as a result of it’s each intimate and spectacular. It was an necessary reference for Maya’s movie. I aspired to make a movie like “The Crash Reel,” an empathetic portrait of an athlete, with the context of a household story and the visible magnificence of maximum sport.
W&H: What, if any, duties do you suppose storytellers must confront the tumult on this planet, from the pandemic to the lack of abortion rights and systemic violence?
SJ: I don’t suppose storytellers have duties; we observe our hearts or do the roles given to us. I believe funders and distributors have a duty to fund and distribute significant tales somewhat than pandering to the bottom widespread denominator.
W&H: The movie business has an extended historical past of underrepresenting folks of coloration onscreen and behind the scenes and reinforcing — and creating — detrimental stereotypes. What actions do you suppose must be taken to make Hollywood and/or the doc world extra inclusive?
SJ: I believe we want extra feminine executives in positions of energy. Feminine-driven content material has confirmed itself each commercially and artistically. Fifty % of the world is feminine, however the majority of individuals in energy are males. With extra feminine decision-makers, we might have higher illustration of girls and other people of coloration onscreen.
Supply: Women And Hollywood
