QUESTION#1: What excited you the most when making this film?: I really enjoyed working with Right To Privacy's writer Rachel Mann to develop both the doctor and the protestor as flawed, but well-intentioned women who have more in common than they would ever have imagined. Because they're on different sides of an issue, it was important to all of us to create a story that was as balanced as could be.

QUESTION#2: What was the most significant film you've seen AT THE THEATER in 2024, and how did it influence your filmmaking?: I recently saw Marielle Heller's NIghtbitch, starring Amy Adams, going in with no idea what the movie was about. I loved the way Heller weaved the story between fantasy and reality, not just for the physical transformations, but when she showed what Adam's character was really wanting to do, but didn't. It was a great set up to tell a story of coming to terms with deep emotional conflict.

QUESTION#3: What's an obvious and not-so-obvious question someone might ask about your film?: "Why did you make this movie?" seems to be both,
We didn't set out to change anyone's mind, but to create an opportunity for conversation. Wouldn't it be great if we could learn to listen to each other as the world is becoming more and more about "Us vs. Them"?

QUESTION#4: A magic movie genie is giving you an unlimited budget for your next production! However, you're only allowed to use it on either "above line" or "below line" resouces. Which do you choose and why?: My initial answer to this question was BTL, because it's critical to have a crew that is talented and hardworking, and to pay them what they're worth. However, the key to getting that crew in place is to have excellent producers. They not only can discern smart dept heads, but they also know how to make money go farther. A good producer would certainly earn it, since producers have to live with a film for years after post is completed. It would be lovely to get them paid fairly for the many months/years of work done shepherding the film in early prep and through distribution with all that entails.
Also ATL, because taking the time in prep to get the script right is essential, so whether it's for another draft, or a full new rewrite, it would be amazing to pay a writer enough that they could focus completely on the script and meet the deadlines.
Cast (and clever casting directors) can make or break a project. Being able to afford talented actors with name recognition means you'll have a film that people will see, because distributors will be happy to have it. And your smart producers will make sure the distributors are decent and honest.
As the director, I'd be happy to be paid full DGA feature rate, rather than a low-budget agreement. That would be cool.

QUESTION#5: What is it about your current movie that will influence your next film?: The Director/Producer relationship is so critically important! I was very fortunate to work with wonderful producers on Right To Privacy. I'm now quite spoiled by a team that is dedicated, kind and professional. It also helps that lead producer Nancy Nagrant and I think very similarly, and when we see things differently, it's actually fun to discuss it and come to a solution that we both like.

Social media tags to share with our readers: https://www.instagram.com/righttoprivacyfilm/ https://www.instagram.com/julieherlockerdirector/

5Q's w/: Julie Herlocker "Right To Privacy" Director