“I don’t think the whole poop thing is really grabbing people.”
So said producer Gina Kwon to first-time feature director Miranda July, and she was probably correct: excrement definitely inhabits an in-between zone. Necessary? Yes. The stuff of interesting artwork? Sometimes. The foundation for a feature film pitch? Uh, no. Better to focus on the stars. Or the unusual plot. Or an emerging artist’s exceptional promise. Financiers are an uptight bunch after all, a fact that July, an experimental filmmaker, video artist and musician, learned the hard way when she and Kwon began taking July’s first feature film script, Me and You and Everyone We Know, to investors.
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