NEWS + COMMUNITY

Alumni Interview: Marina Zenovich

Question Time with Peter Baxter

At Slamdance 1998, Marina Zenovich premiered her documentary about US indie filmmaking called Independent's Day. Since then, she's gone Euro on us, following up her first feature with docs Estonia Dreams of Eurovision!, Who is Bernard Tapie? and this year's Sundance entry Roman Polanski: Wanted And Desired.

Although Marina's thing for seductive and flawed Francophiles has been checked by marriage to an English TV writer, P.G. Morgan, she remains committed to documentaries. In between stints in the edit room, Marina cuts to the chase with a festival Q + A ...

Since Independent’s Day how has independent filmmaking changed?

It seems like its become hip. But the challenges are the same as ever.

How have you changed as a filmmaker?

I'm not that different. I go between passion and work projects and I've been lucky enough to find a balance. I never take no for an answer. I think it's a very American trait and it's worked well for me in Europe. Having a child has put things into perspective. Ten years ago, I had every weekend to figure out how my career was going to work. Now, there’s no time and decisions are made quickly and instinctively. I became aware of this the day before we started shooting Polanski when I found out I was pregnant. I had no idea how I would feel but we continued ahead and there was no problem.

In scandal or film Roman Polanski has long fascinated the media. How did your interest turn into a documentary about him?

After my Bernard Tapie film, I had a hard time finding my next project. I toyed with several things until I come up with the Polanski idea. I read an article in the Los Angeles Times in January 2003 which examined whether Polanski would come back to LA if he was nominated for an Oscar for The Pianist. And then I saw the girl and her lawyer on 'Larry King Live'. He said that the day Roman Polanski fled was a sad day for the American judicial system. That's when I realised something wasn't quite right about Polanski's court case; the whole thing appeared weird. And here began the beautiful process of making the film.

5 years in the making... how did the editing collaboration actually work?

My first choice for editor was Joe Bini, but he was not available. After many attempts with different editors, he joined us and it was the perfect collaboration. My instincts had been right -- he was the perfect fit for the job. Joe, my husband P.G. Morgan, and myself wrote the text in the film.

I’ve heard Polanski was tough to complete. How did you get through?

The story elements were very complicated. Polanski's attorney Douglas Dalton or Los Angeles District Attorney Roger Gunson had to be convinced to talk to me.

Like Polanski's case, the production itself became Kafkaesque. Laying out the facts and telling a story that took place between 1978 -2003 took a lot of time. Through it all, my producers Jeffrey Levy-Hinte and Lila Yacoub made it happen.

Given how competitive the documentary is today, how important is it to have naturally built-in publicity and marketing devices in order to exist as a filmmaker?

I only go after things that interest me. I guess flawed and seductive Frenchmen are one of them! I'm actually challenged and excited to complete a trilogy and follow with French President Nicholas Sarkozy next. Everyone finds his or her filmmaking niche. I just did whatever it took to make the Polanski film happen and wasn't scared about its outcome.

What is the most important lesson you have learned about filmmaking?

Have the right editor.

Onward and upward Marina!