What Wilson had in mind was "to not go by the normal rules of a biopic, which can often (mean) going through all of the episodes of a person's life, but to look more at the background and the details and the themes of Diane Arbus's life and to create a film that might attempt to show the moments where her creativity ignited into her becoming an artist in her mid-30s. I still notice in biopics the problem that happens in the connective tissue between events. It always seems to be this shuffling to get to the next event because, in fact, the writer doesn't know what happened in-between. And none of us knows what happens in-between to these people. So I didn't want to pretend that I knew what happened in-between or to try to re-enact the moments of her life that we all know, but to try to create something that we could feel. I wanted to walk out of this picture feeling what it was like to become this artist rather than to know some high points of her life."
Friday, November 10, 2006
In The Hollywood Reporter, Martin A. Grove talks to screenwriter Erin Cressida Wilson about her new film Fur: An Imaginary Portrait of Diane Arbus (from a book by Patricia Bosworth).