The epic tale portrayed by Damsel and fantasy stories in general seem to be a preference for you when creating new audiovisual projects.
[–>
Indeed, I have always been very escapist and elusive. My fondness for fantasy is linked to something that has been ingrained in me since childhood. I believe that being born on an island naturally instils in you a very lively character. You can picture worlds beyond the blue wall, that sea so present in our geography. Imagination soars beyond and we envision characters and stories that lie beyond those limits. Being an islander channels you and generates a special sensitivity that may be close to fantasy. As a creator, I have always felt a special predilection for scenarios of that nature, although I always make sure to infuse something tremendously human into the narrative. In fact, I believe we can now talk about a constant, which is family drama. I have the impression that I am revising my own life and I am influenced by the unique family I had. I place those characters from my life in extraordinary situations that modulate and change family relationships. There is something about personal growth that I am interested in reflecting, even if it’s in imagined worlds.
In the case of Damsel, apart from family, the female figure takes on great importance, being the true protagonist of the movie.
Yes, the woman empowers herself in this film. It was something that I found interesting to reflect in this revision of classic tales: modernizing the story through the introduction of a heroine, a woman who becomes a warrior and fighter, doing so from a solitary place without anyone’s help. It is a powerful way to reach out to the new generations because it shows directly and sincerely what is happening in our world today. I find modernizing classic stories to be a healthy exercise that demonstrates a freshness in the creators that interests me.
Why did you decide to cast Millie Bobby Brown as the protagonist of this story?
There was no doubt because from the very beginning we all knew that she was the only possible candidate. We needed a young woman who had experienced the same transformation process as the character Elodie on screen and who could firsthand understand her growth. We have all witnessed Millie’s development through the series she has been in, which makes her relatable. She also accepted this role as a way to show that she is capable of taking on roles with great depth. Let’s not forget that she carries the weight of the movie for over half of the film, not in connection with anyone, fighting against a mythological figure that is not human. I believe it is a tour de force from which she has emerged successfully and proves that she will be in the industry for a long time.
The development of this film has taken you five years, during which you also experienced the pandemic. Will this be a project you remember above others?
Despite how awful it was, for me, the pandemic was a blessing because it allowed me to dedicate time to phases of the project that would have otherwise been much shorter. In that sense, I enjoyed it. My mind was very occupied with preparing the film, which kept me more uplifted, despite the horror of the situation. I think I am a man of five-year periods, every five years I produce something, it seems to be my gestation process, that I need that time. Also, I was born on December 5th; there must be something about the number 5.
Dan Mazeau is the screenwriter and creator of this story. How has your relationship with him been in order to further focus the narrative on the family dynamic?
I believe it has been a constructive and productive relationship. The original script already had the foundations of a somewhat irreverent story towards classic tales. I did propose to amplify the more familial aspect and generate relationships within the story that were more prominent. Within that family focus, very interesting dramatic relationships are generated to develop the characters. There is a sense of tragedy because they struggle against their destiny, and the one who has the ability to adapt to a new fate in their life is Elodie, this warrior princess.
The movie was filmed in Portugal. Why did you choose that country specifically?
We shot all the exterior scenes in Portugal and all the interiors, the caves, in London. We briefly considered filming in natural caves but dismissed the idea as it was unfeasible due to safety concerns. We recreated the caves in indoor sets based on references from places that already exist on our beloved and divine planet. We chose Portugal because I felt it had a naturally beautiful and somewhat melancholic allure that captivates and hypnotizes you. This was part of the concept of the kingdom of Aurea. There are aspects of late Gothic in Portugal that we found very fitting for the film. The monasteries and castles where we filmed are of Manueline style, which reflects the splendour of a kingdom and brings it quite close to fantasy. All of this led us to the decision to bring the production to Portugal.
This is your first work for Netflix. What is your opinion on audiovisual content platforms?
It has been a very creative and collaborative process, and I have been able to integrate the vision that I deemed appropriate. I grew up in a movie theatre and I miss it, but as a creator, I am aware that being able to reach millions of people worldwide on the day of release is very satisfying. I want my films to be seen and for the audience to enjoy and be moved by them, and now Netflix gives me the opportunity for that to happen on a massive scale. It’s exciting. So, I adapt to the times with optimism. I still go to the cinema as much as I can because I believe that the immersive experience a cinema hall provides is unmatched.
